Comment on Alessandra Ambrosio by Stephen67
I wish I could fave a comment. Thank you for all the patience you took out of your own time to describe the process to me. I will try to follow those instructions best I can. I understand the commitment that is required to show such detail, and I'm willing to try to reach that level. I'm just hoping I have that level. To become cross eyed would be an achievement 
I know its a bit much to ask, but the steps you have told me (which were very helpful, thank you) are still hard to visualize. Do you think that during the next piece you do, you could take photos? I'd love to see the process in a tutorial format. Unless you have one and I've missed it. Any other handy tips?
I know its a bit much to ask, but the steps you have told me (which were very helpful, thank you) are still hard to visualize. Do you think that during the next piece you do, you could take photos? I'd love to see the process in a tutorial format. Unless you have one and I've missed it. Any other handy tips?
Oh, I forgot to mention; don't be too quick with the outline. Its boring, but outlines are CRITICAL. It lets you know where everything is going to be, allowing you to get things perfect without having to un-do hours of work shading and drawing. Not using one also makes it very difficult to fill up the sheet of paper or to have things framed the way you want. I usually spend a few hours doing an outline before I start anything. I can't stress how critical it is. I know it is the most boring part of it all, but it is the most important step in having things come out right.
Also remember with shading; a line is a separation between a lighter area and a darker area. One side of the line is ALWAYS darker than the other, even if only for a slight moment. (And one side is always lighter...).
Contrast is also critical. It can be used to make things feel softer (take one in my gallery; Saturday with Kate. I only got as dark as 5B), but for the most part you want a spectrum that goes from pure white to pure black.
If you have trouble getting blacks as dark as you really want (when 9B isn't enough), I know a few tricks, but they make for a bit more work.
Oh, and I can't believe it took me this long to remember; the direction of your stroke is CRITICAL at ALL times. Even if you are just blocking in an area, it is always critical that you go the right direction. When you go over something that is a bump, your strokes need to curve with it, other wise it looses it shape a bit and begins to look a little dead. Your pencil will automatically create these directional lines no matter what you do, so it's best to use them to your advantage. Take for example clothing, you always go the direction of the weave, and it needs to curve and change for ripples.
Out of curiosity, did you have something already in mind to draw?
Also remember with shading; a line is a separation between a lighter area and a darker area. One side of the line is ALWAYS darker than the other, even if only for a slight moment. (And one side is always lighter...).
Contrast is also critical. It can be used to make things feel softer (take one in my gallery; Saturday with Kate. I only got as dark as 5B), but for the most part you want a spectrum that goes from pure white to pure black.
If you have trouble getting blacks as dark as you really want (when 9B isn't enough), I know a few tricks, but they make for a bit more work.
Oh, and I can't believe it took me this long to remember; the direction of your stroke is CRITICAL at ALL times. Even if you are just blocking in an area, it is always critical that you go the right direction. When you go over something that is a bump, your strokes need to curve with it, other wise it looses it shape a bit and begins to look a little dead. Your pencil will automatically create these directional lines no matter what you do, so it's best to use them to your advantage. Take for example clothing, you always go the direction of the weave, and it needs to curve and change for ripples.
Out of curiosity, did you have something already in mind to draw?
Not really, its just that I was never any good at drawing hair. Even comicbook hair. I saw your stuff and the little tiny part of my brain that contains envy and self loathing exploded. I hope to improve somewhat. If I get the time to... Is it all graphite you're into here? Because my weapons of choice are very limited. Mostly because its a side thing that not even my parents know I do. I hope to see the steps, meanwhile I'll make do with the text you left to guide me hand. Thanks a lot. I've watched you. I want to learn so bad. 
lol np.
Thanks for the +fav and the watch as well
And yes, graphite is all I use ^_^
Thanks for the +fav and the watch as well
And yes, graphite is all I use ^_^
Your welcome ^_^
Yeah I figured my directions might have been a bit hazy, I learn by seeing and doing personally and when I can't show what I mean it usually takes a while to get the idea across.
I was thinking about doing a tutorial in all honesty on this next one, so you're in luck. It is going to be in color, but its also going to be of black hair. It is a little different with color than shades, even if black though. (I am finishing the background to one now, so the next one I post won't be the one with the tutorial).
As far as other tips go, off the top of my head I would say its very important to understand what it is you are drawing. Sometimes there is an odd shape or shadow or whatever and if you don't see whats causing it, it makes it difficult to convey it on paper. Don't draw if you are bored or not in the mood, it shows when you're being quicker on one spot over another. Background is important, most people skip it and just shade (ok, well on this one it was supposed to be just shading... but notice the angle that you are looking at her face...), but background is what makes it look more real. Very very seldom do you ever look at anyone with nothing but say a clear sky behind them, there is always a little something, even if just a horizon. The person could be flawless but if the background is no existent like it should be, its not going to look nearly as real as it should.
Yeah I figured my directions might have been a bit hazy, I learn by seeing and doing personally and when I can't show what I mean it usually takes a while to get the idea across.
I was thinking about doing a tutorial in all honesty on this next one, so you're in luck. It is going to be in color, but its also going to be of black hair. It is a little different with color than shades, even if black though. (I am finishing the background to one now, so the next one I post won't be the one with the tutorial).
As far as other tips go, off the top of my head I would say its very important to understand what it is you are drawing. Sometimes there is an odd shape or shadow or whatever and if you don't see whats causing it, it makes it difficult to convey it on paper. Don't draw if you are bored or not in the mood, it shows when you're being quicker on one spot over another. Background is important, most people skip it and just shade (ok, well on this one it was supposed to be just shading... but notice the angle that you are looking at her face...), but background is what makes it look more real. Very very seldom do you ever look at anyone with nothing but say a clear sky behind them, there is always a little something, even if just a horizon. The person could be flawless but if the background is no existent like it should be, its not going to look nearly as real as it should.