Waiting in the Little Black Dress
 

Okay, blast away.

This is charcoal and a very pale yellow conte. I'm unhappy with the paper as I don't seem to be able to lift and mold the charcoal around. Especially her left arm, it looks hairy to me. I'm concentrating very hard on form, but am having to develop a new method of creating my lines, (hatch marks). Instead of the longer curved lines I used to use, I now have to use shorter lines with more control (due to my shoulder).

But I'm trying, reading Juliette Aristides book on atelier training and jumping in way over my head, but working nonetheless.

It's 18x26 inches on Fabriano paper---not sure which one, I'm going to have to start labeling all paper immediately in the future.

Jean

Jean, well done. the only thing that I would do here is to lighten both arms and the leg. Lighten the far arm and shoulder respectfully according to the light hitting it. The arm closest to us lighten more than the far arm but keeping in mind the fall of light and the what people call the terminator line, the darkest area of the form. On the leg I would just take out the dark blotches.

All the best

Dear Jean,

I am so glad you are exploring new approaches in drawing that will work better for you!

I like what you have accomplished - just a couple of observations - the body looks too large for the head. It might be a result of some photo distortion.

Also, you might think about moving the right side of the dark vertical a bit more to our right so it doesn't form a tangent with the strap on the dress. I would hate to see you lose that little kiss of light between the body and arm, so I am not sure how far you could go with the vertical.

Good to see you here!

Mischa, thank you for taking the time to reply. I've lightened her arm up, was quite surprised that I could lift the charcoal off, but it is quite a bit lighter and am reworking it. Also, the blotches--didn't even notice them till I saw it on screen. It will look much different next time you see it.

Chris, after looking closely at the posted image, I'm sure that what you are seeing is a photo distortion of the drawing. I'll be more careful next time I photograph the drawing. I was so careful about the dreaded tangents when I did this and totally missed the edge and her strap. I'm going to try moving the strap slightly, and adding some stray strands of hair and I think that will so the trick.

What I miss most is the ability to draw "the beautiful line". My professor way way back referred to the line that wavered, changed thickness, disappeared at times, and curved with grace as "the beautiful line". I will find a way to reproduce that if at all possible. When I post the close up of her face you will see my attempt in the hairs that cross her forehead. Dismal at best, but it will pass for right now.

It's good to be back, I've missed many people here, but learned much about landscapes and can mix any green found in nature now!

Jean

Hopefully improved, there seems to be a strange color showing up on her face and other places. It does not show like this in real life.

Jean

On my monitor, the blacks are not deep enough in her dress and the darkest side of the wall. Otherwise the color is better than the first image.

Better images
 

These are closer to the original.

Jean

Jean, thank you for the closeups. You have done a nice job on lightening the arms and leg. Remember skin is soft. Skin glows even in shadow. Skin exhibits form and solidity. I say this in order to express that if there is a dark blotch or a dark line on skin it represents something. A dark line represents a gash. Remember that transition in value, when talking about skin, are gradual even when moving from light to dark. When moving from light to dark there is a long halftone or a shorter halftone. If the brake between dark and light is sharp and or abrupt as is on a box there we will see a definite abrupt contrast between two values.

The bleached out light you have on the girls chest hand breast are interesting but a question arises, what is the center of attention? In a painting or drawing of a person there is usually one center of attention. That center of attention can be shared by another person but at best one should most always dominate. In your drawing, a well done drawing, you have the breast and the chest area that stand out and dominate. Now, I see what you wish to do but to be able use this method effectively one must understand much about focal points in order to give the viewer art.

In short, I would suggest that you ton down her breast for the light expressed in that area can never be as bright being that it is not shiny metal or glass.

Again all the best to you and I hope I was able to help

Yes Mischa, you have helped. The most important part of your message to me, "one must understand much about focal points in order to give the viewer art", is something that I need to keep in mind. I fell in love with the drama of the shape of the highlighted area on her chest and lost focus of the whole as a drawing, I sacrificed "art" for impact. Her face and the expression is a much more important part of the whole. Here is a young woman, waiting and waiting, getting impatient and feeling sad at the same time-------many mixed emotions. So much potential there, but the first thing the viewer sees is this brilliant patch of light on her chest. So, I think I will revisit the subject with a new attempt, and just start over.

I'm unhappy with the shadowed parts of her arms and can't lift any more charcoal off. This, I think is due to technique and my lack of control (injury). I'm not going to beat myself up, but will simply try again, maybe using different paper, pencils, or blending techniques. I like her face, but not the my drawing ability of the stray hairs. Oh, "beautiful line" how will I create you again.

Thank you Chris, Allan, and Mischa, for being a part of this learning curve and the encouragement.


To anyone who is reading this and afraid of posting for a critique, remember it's just paper or paint, or charcoal or whatever. It's what is in the brain that counts, and one can never learn too much.

My mantra: "fear becomes anticipation, anticipation becomes excitement"! Now on to a new project........

Jean

Jean, the point is not to start over rather to work with what you have. Please do not be discouraged for you have a excellent drawing to work on. Sure this is paper and working with charcoal rather than oily charcoal pencils is a good thing.

It is not simple to give a detailed critique from a distance. So, we do the best we can always keeping in mind that the artist must learn to see. Think of it this way. when a critique is available it is the duty of the artist to see other areas where the same instruction can be applied. This helps to develop ones powers of observation.

Many artists think that by throwing paint around or charcoal around a master peace will evolve somehow. Trashcans are full of such ideas. On the other hand if one wishes success, with a drawing or painting, planing and patience must be exercised.

When working with charcoal one must be patient and pick out the dots that do not fit or add dots that need to be there. Don't rush it and you will reach your goal.

All the best to you.

Oh Mischa, the drawing is not in the trashcan yet. I was planning on starting over, but maybe I will continue with this one after reading your comments.

If I had done this from life, I would have seen that those highlights were much softer. This has always been my weak point, working only from photos (unless I'm outside working on a landscape). I do have a new lead on a model though, and am looking forward to working with her. In the meantime I may try drawing my feet , I can easily see them and they are always with me. Good practice in foreshortening also! ;)

My goal is not to make a masterpiece each time I do something, but to learn and develop new skills within my limitations. I see no reason that I can't accomplish this, and find satisfaction and peace along the way. Impatience is a problem though. I do want (deep down inside), to create beauty, I want to have my work stop the viewer and take their breath away. I want, I want, I want--------------oops, time to take a deep breath and put my priorities back into place.

Thank you for your insightful comments!

Jean

I've knocked the light areas way back, and made her dress more "black". Actually I've done much more that that. I believe that the biggest problem here is my choice of medium. Mischa, you mentioned something about "oily charcoal pencils", and I think this as caused some of my problems in lifting off the charcoal. I used a mix of vine charcoal, General charcoal pencils, and black conte. Some areas simply refused to "lift" and may be due to the oil you speak of. I also use my fingers extensively, and I would imagine that any oil would also be deposited on the drawing. There are dark round spots that refuse to be erased! Next time I will limit my choices to vine charcoal only, and blend with the appropriate tools. I am also going to choose a simpler subject to start with and learn the medium before I tackle a complex subject like this. When I mix my types of charcoal, I will do it with knowledge, not just because it is there.

Thank you, this has been a tremendous learning experience!

Jean

Also, I stopped at her hands-----just didn't want to work on this any more. My photography skills are less than to be desired. Somehow the light areas are too light, her dress is actually quite black, and softened much more than the photo shows.

Jean
 

I find that the pink pearl pencil eraser 400-A series work the best on those difficult to erase jobs.

I mentioned the difficulty in distance critique so in order to give you an idea what you can do I have made some tonal adjustments. Again when erasing one must have patience. There are times when in the paper I get a dark, black dot, and it is right in the lights of the face. I have used a sharp object to slowly pick out just that dark spot and have not damaged the paper.

So, please have a look here and see what you can do. You should not stop yet.

Please notice that I have just made some not so perfect adjustments. This is just to give you an idea that you still have options to work with.

All the best to you

Oh, oh,,,,,,,,,,,,Colorized!
 

I guess if I was actually in an atelier, I would have my hands swatted with a mahl stick.

I had already started adding color when you replied, Mischa. I thought it might be interesting to add conte, like the old colorists of the 50's and 60's photography world. I have an old senior high school photo with the most outrageous color of pink on my lips using this technique. This drawing was a perfect candidate.

I did incorporate some of the suggestions in your image, Mischa. Her arms are much lighter and her face will be lighter also. I haven't finished yet........ and have not given up on charcoal. I'll get the eraser and at this point need all new kneaded erasers and more vine charcoal. I also would never have thought of scraping as a method to remove those dark spots.

All the best to you too! You are a great long distance teacher.

Jean

Colorizing Changes everything
 

Hi Jean,
I love that you have introduced color. And just enough. I really like the look. I also wanted to add that I so admire your working as consistently and as hard as you do considering your health issues. You are my hero, I so admire your tenacity. and all your work is amazing.
Keep it up, but call this one done (my humble opinion)

Thank you Patty. :)

I need to work more on her hands and arm, they must turn! I've also finished her left eye, it was not quite right.

Believe me, I'm no hero. We've had gray skies, mist and rain, plus cold raw temps for the last week and I'm whining and pissing and moaning. Heros don't do that! I still thank you though. You have also worked hard and long to improve, with many obstacles thrown in your way. Hero worship goes two ways.

It's time to put all this stuff away and make some pies, stuffing, etc. etc. Have a happy turkey day to all.

I'd rather be painting or drawing, but food prep and cleaning are part of a balanced life............bah humbug.

Jean

Jean, this is a wonderful surprise. I really like what you have done so far. I hope you wont mind if I make a comment or two.

Some things to consider. You have light coming from the left and you have light coming from the right (the light on the hair). This is good and it presents a challenge.

Here is what I suggest that is if you fancy the thought. Spread the light that you have on the entire chest cavity. Also, bring the lights up just a little on the arm in shadow, her left arm the bicep and shoulder area. On the tricep and shoulder of the same arm introduce the same value you have on her chest but gradually to half tone and leaving the dark on the arm as it is. O yes,one more thing, I would think on adding more light on her hair in the shadow on her right side, our left. Maybe just a little and not as light as on her left side. I think doing this will make her head more solid looking. The highlight in her eye try not to make it to strong , give it a little mystery.

This will be top notch! Good for you!

Of course I don't mind comments, I thought I was in trouble. :o

Thank you, I'm glad you like my attempt to save this drawing. I've already done some of the changes you suggested (her eye highlight in particular). Now to finish the arms and those awkward looking hands. I won't be doing much but cooking for the next few days... I've enjoyed this challenge more that I thought.

Jean

This is very close to complete. I only have some work to do on her hair, more shaping on the dress under her left arm. and texture to the wall behind her.

Jean

You've come a long way with this piece. The softness in the arms, hands and elsewhere made a big difference. I would encourage you to look at the strong value changes between the lights and darks on the dress, though. The high contrast, especially in the stripes/folds across her middle take too much of the overall form away. You might want to think about simplifying and massing the values in the fabric in that area, and in the bodice area.

Hi Michelle, how are you doing?

In real life there isn't as much contrast, for some reason my camera is accentuating the contrast in the dress. I do agree about simplifying the bodice and the folds across her abdomen. I will soften that area up and hopefully not lose the form in the process. I think this might end up as a nice plan for a painting.

Thank you for your comments......... are you still buried in work? It's been a long time since we "met" on the forum. :)

Jean

I just got back from Wyoming where I did the sittings for the 3 Governor's portraits. I've got lots more work than I can handle right now -- a very good thing, I guess!

Jean, now you have it! Good job! Do bring some light to the hair on our left, her right and there is a light area between her jaw and the hair in light on our right that does not set well. Try to balance the shape of the jaw there to the other side. One more thing, there is a light line on the breast I think you would do good if you spread that value of light a bit further, that will give some dimension to the breast and maybe adding just a little more light to the other breast in light.

Don't forget to sign it.

Hello Mischa,

She is complete! As soon as I can get a decent photo of her I will post in the unveilings section. I thank you, Mischa, for continuing to push me to work on this, with your guidance and the encouragement of Michelle, Patty, and Chris, I feel that I have have done a halfway decent drawing. Thank you all!

Jean