Porque hay que seguir estudiando, así es la cosa.
Dibujos con modelo vivo por un lado, de poses cortas (diez/quince minutos, media hora la más extensa; adivinen cuales prefiero...), tratando de capturar sin medir las proporciones, entender las formas, qué está adelante, qué está atrás. Qué lindo eh.
El cast, por otro lado. No se cuantas horas tiene encima y no está terminado.
Nada de esfumar eh. Todo con la agudísima punta del lápiz. La idea es tener un entendimiento aCsoluto del modelado. Nada de copiar valores (mas oscuro, mas claro). Es buscar una compresión espacial: entender que enfrenta más la luz, y qué se repliega con respecto a la misma.
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Hola, Ariel!
All of your drawings look great! You are very talented.
With the cast drawing, the places you were saying that look grainy could be from overworking the paper. Where there are tiny black spots of pigment build-up, you can take the kneaded eraser, roll it to a fine point and gently dab at the dark spots until the tone is even.
Also, at GCA they told me to save the darkest accents for holes or cavities in the cast where no light is entering. If you gently dab out (just a little) the super dark areas along the core shadow lines, it might help to turn the form a little softer.
And it is important that all of your reflected lights in the shadows are darker in value than the halftones in the light, that way your shadows will stay in the shadow value range.
Lastly, it seems your light source is coming from above and to the left, so then the lightest value (besides any highlights) will be the plane that is closest and directly facing the light, which I think is the upper left eyebrow area. So, if that is the lightest plane, the light very gradually tapers off as it moves away from light source.
But these are only little details that were recently taught to me. Your drawings are lovely. I hope these suggestions are helpful!
Sheila, thanks a lot for taking the time to visiting and write this! It's very helpful! :)
I'll correct the drawing, and will see what happen!
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