Here are some of my last month explorations and sketches...
Not great, not necessarily bad... hahaha
As per usual diving into different approaches and seeing what it gives me in return.
Basic construction focus and gradual value evolution on textured paper:
Used lines to create an Asaro head like construction at the beginning, to later progress and insert values and directional strokes, smudging with the blending stump and finger.
Basic construction and gradual value evolution on smooth paper:
Same as above, but on a smooth paper that provided some pros and cons, But to be honest, every paper will have pros and cons, it's more about how to take advantage of its attributes.
Chaotic expression, playing with shapes and lines, in this one. Since the purpose was to play with tools and shapes... in the end I run out of lighter values. Still interesting for what it is, but if I was to re-do or apply things I learned from this in another drawing, I would control my values better.
Charcoal pencil "only" drawing on smooth paper. Used compressed charcoal for darker accents.
I wanted to see what I could achieve with using the pencil only and smudging to achieve smooth values graduation.
I didn't smudge it in every single place, because I wanted the sense of form that was generated using the pencil in the direction it was done in preliminary phases.
In the very end I used a fine eraser for highlights. It was interesting trying this method.
Quick sketch thumbnail from imagination, willing to inform light and shadow with directional charcoal stick strokes.
Being both precise and expressing some form of sense of life, light.
I appreciate old photographs, and those little defects that comes with it. And I took this sketch as a way to re-imagine what if it was a polaroid but in charcoal with my own technique infused. And this was the result.
Quick drawing on the back of another sketch, why waste paper right?
Working with big directional strokes and letting the texture do the work itself.
A tip for having interesting strokes is: Make 3 or more strokes following the same direction, That way you can get a sense of unification and form, rather strokes going to every direction that don't communicate with each other.
From the sketchbook:
Quick drawing, moving fast to capture the whole scene in limited time amount can be beneficial too.
My main focus was to quickly capture the main shapes of light and shadow. I wanted to use the edges lost and hard to evoke a sense of time and movement.
Constructing the facial features in a gradual manner again. This method proved to be the one that provided the most readability.
From Big strokes to smaller ones.
I didn't want clear readability in this one, as I wanted to use the lack of readability to add to the storytelling of the figure in a deserted place. Leaving tons of lost edges and smooth value transitions,
No construction! Let's go with the best stroke I can do in the most correct place, direction and level of value strength I can put approach.
This is like oil painting, minimal levels of "redo"
Analysing where a stroke needs to be made and inserting it. It’s one of my favorite methods.
These are some of the techniques I am personally exploring, I think that having multiple ways to go about something gives me leverage to decide and play with my subjects. It's definitely something I consider to continue improving upon.