Tag Archives: artistic process
Sketch Book Series: Hip Joint (October 2010)
In this sketch from the Tech Museum, there were many different textures. I am most proud of the rendering of the clear plexiglass that embedded the plastic hip bone close to the base of this model.
Sketch Book Series: Tech Museum (November 2010)
I used ink in this sketch primarily for the edges. This gives the impression of higher contrast than if the whole sketch were in pencil. At this point in my development, I was having a hard time with vantage point. I seem to be looking down on the scenes in most of my sketches I […]
LA Store Fronts
Sketch Book Series: Plant on Table (October 2010)
Pencil sketching allows a method of shading not available to pen and ink. It involves the use of fingers and a smearing motion. Some call it ‘smudging’. Below is an example.
Sketch Book Series: Shading Practice (September 2010)
Painters sometimes paint black and white tonal studies. They make a strip starting with black paint, adding white until they achieve a smooth gradient from the blackest black to the whitest white. I did the same below with pen and ink, making a gradient of dense to sparse ink marks. This tonal gradient is a […]
Sketch Book Series: Tree Trunk (September 2010)
With this pen and ink sketch, I was trying to replicate the textures I saw in a tree trunk.
Sketch Book Series: Parking Lot (April 2010)
Sometimes the planned goals of my sketch are not achieved. Below, I got too caught up in drawing the cars, that I could not render the sky, which was my original intention.
Sketch Book Series: Texture and Shadows (August 2010)
I didn’t quite get the texture of the wood, except for reproducing the lines of the grain. There is more texture in the shadowy part of the sketch, but it didn’t quite portray the overlap of the fence boards. More practice sketches should help improve the impression of texture and shadows.
Sketch Book Series: Shading Study (August 2010)
I took my glasses off to do this sketch. I was hoping that I would get a better sense of dark and light areas by obliterating details (as does my sight without glasses). I had some problems though, getting the whole composition to coalesce.
