mormonink
Four-hour kitchen
Right before Liz's lesson was released, I had been thinking about Tommy Kane's "draw your kitchen" assignment over at Sketchbook Skool. Thus this probably has a bit of Tommy Kane's "overworking" influence.
I spent about four hours on this drawing, beginning with about ten lines roughed in in pencil. Given the complexity of this view, and how some of the significant, yet smaller, elements (such as the cardboard box and small appliances) got away from me, I'm thinking that I should have roughed those lines in as well. As it was, those items ended up a smaller than they should have been, and I think that would have been most easily corrected in the "drafting" stage, when I was not so much "in the details."
I laid out my supply of Micron Pigma pens (1, 08, 05, 03, 01, 005), and started with the 1 for the foreground elements. Then, as I worked into the distance, I generally switched to smaller tips and lighter lines -- although not universally.
i did find, for example, that when rendering the cast shadows of the cupboard doors, that I needed a larger nib. If I continued, for example, with the 01 nib, then the shadows looked too weak. I discovered that even within a given cupboard door, I had to use about three different nib sizes (from the 005 nib to barely graze in the woodgrain to a 05 for the cast shadow). It was the same, too, for the foreground elements (only using a range of the fatter nibs), although for some of the final crosshatching, I used the 005 nib regardless of location, since I found that gave me the most flexibility (meaning, that I could easily make patches that were light to dark with the same pen) in adding various cast shadows.
i did find that it was more enjoyable to draw the guidelines first. I could be fairly confident that my big chunks were in the right place, and from that point on, I was freer to noodle in the details.
Four-hour kitchen
Right before Liz's lesson was released, I had been thinking about Tommy Kane's "draw your kitchen" assignment over at Sketchbook Skool. Thus this probably has a bit of Tommy Kane's "overworking" influence.
I spent about four hours on this drawing, beginning with about ten lines roughed in in pencil. Given the complexity of this view, and how some of the significant, yet smaller, elements (such as the cardboard box and small appliances) got away from me, I'm thinking that I should have roughed those lines in as well. As it was, those items ended up a smaller than they should have been, and I think that would have been most easily corrected in the "drafting" stage, when I was not so much "in the details."
I laid out my supply of Micron Pigma pens (1, 08, 05, 03, 01, 005), and started with the 1 for the foreground elements. Then, as I worked into the distance, I generally switched to smaller tips and lighter lines -- although not universally.
i did find, for example, that when rendering the cast shadows of the cupboard doors, that I needed a larger nib. If I continued, for example, with the 01 nib, then the shadows looked too weak. I discovered that even within a given cupboard door, I had to use about three different nib sizes (from the 005 nib to barely graze in the woodgrain to a 05 for the cast shadow). It was the same, too, for the foreground elements (only using a range of the fatter nibs), although for some of the final crosshatching, I used the 005 nib regardless of location, since I found that gave me the most flexibility (meaning, that I could easily make patches that were light to dark with the same pen) in adding various cast shadows.
i did find that it was more enjoyable to draw the guidelines first. I could be fairly confident that my big chunks were in the right place, and from that point on, I was freer to noodle in the details.