Today, I would like to draw your intention (no pun intended!) to some wonderfully in-the-moment art from a rising star: Check out Rebecca's Artwork and Reviews in the 'Links' section of SpOOk's art.
Rebecca popped up on twitter one day and I was draw to her raw and powerful images. Take a look!
How much work is it to write a book? To get a clue, take a look at the date of my last post!
I've made over 100 illustrations. ended up with 37,500 words which is about half the length of a typical novel. It took 11 editing sessions.
In the book you will find tips and tricks possibly not seen elsewhere. There is a comprehensive index and sprinkles of links throughout to help you jump back to the index. With this, you can treat it like a reference book or read it from start to finish.
Please download a copy while it is free. All I ask in return is for you to spread the word. Use Facebook, Pin it, Tweet it, or email the link to a friend. Please use THIS link: http://www.smashwords.com/books/view/295756 (Each person must download their own copy.)
This is a close-up of the eyes from a new portrait. This portrait is posthumous and therefore referenced from a photograph that I took.
To date, 32,000 words and 101 illustrations. Still more to do but it's coming together now. I promise, there will be things in this book that you are unlikely to find anywhere else in print. It will be published as an ebook for Kindle and others via smashwords who will send it off to Apple iBookstore, Barnes & Noble, Sony Reader Store, Kobo and the Diesel eBook Store.
This is a link that is worth reading in detail - including the Q&A. It talks about shadows and light and their colours over the human face. http://www.wetcanvas.com/forums/showthread.php?t=265241
... and made a short video about it. Here it is: Manna in the wild.
While it's nice to know that a painting can be valuable, somehow it seems obscene that a piece of work - as good as it is, can command enough money to feed a small third-world village for two generations.
18.104.22.168 Wooden pencils
There is definitely a wide range of quality available for wooden pencils. The main difference is consistency. You need the graphite core to be devoid of hard scratchy bits, and places where it breaks easily. Obviously hard pencils don't break very easily, but they may contain scratchy bits. These scratchy bits can damage the paper. Soft pencils can be easily broken, so as well as careful sharpening, you need good quality construction because if the lead is fragile, then it becomes very difficult to sharpen. The wooden casing also needs to be soft yet consistent. It should be easy to remove with a knife without putting undue strain on the lead. You will need to purchase various brands to find out their characteristics, or get some recommendations from someone who has already gained the experience.
When you sharpen a wooden pencil, it is useful to shave off quite a lot of wood to expose a very long core. Use a knife rather than a pencil sharpener because you have a lot more control, and a sharpener is very wasteful. The point that a sharpener creates wears quickly, and you need to frequently sharpen it.
Here we discuss more paper types:
22.214.171.124 Mat board
Mat board is readily available because it is used for mounts around a picture in a frame. It is acid-free. Mat board usually has significant texture. It's fairly difficult to work on for beginners and it might be a little delecate compared to high quality paper. This means that it will not “take the layers” as well. However, some artists like mat board for graphite. If you use it then be very gentle with the pencils. Use only the weight of the pencil to make a mark, and be patient.
126.96.36.199 Illustration board
Illustration board is finished only on one side. This side is often watermarked in one corner and can serve as an indicator if you are in doubt: The watermark is visible from the good side. If you cut down a full sheet, then place a small identifier on the good side to make it easy to identify.
The surface of an illustration board is very good for scanning and as a master for print making. If you intend to easily reproduce your originals to sell copies, then consider illustration board if it suits your style.
188.8.131.52 Bristol board
Bristol has two working surfaces. It is often lighter than illustration board. It is good for long-term use and preserves well. You can also find archival Bristol board.
Plate Bristol board is somewhat like hot press.
Vellum Bristol board is somewhat like cold press.
184.108.40.206 Drafting paper
Drafting paper is an interesting medium. It is smooth, yet rough which is an odd thing to state, but I mean by this that it seems smooth to touch, but when you draw on it, it grabs the graphite and wears the pencil quickly. It's almost like extremely file sand-paper. Because of this, it produces a very good black. Another interesting property is that it is translucent. For beginners, this is an advantage if you care to copy a picture on a scale of 1:1. Simply overlay the drawing, and trace a contour. Then you can place the drafting paper on a clear white background and progress to rendering. When you use an erase, it will smudge. It will also smudge when touching it, however these smudges will vanish with a clean eraser, and the surface is very tough. It's an unusual but interesting option for graphite artists.
Let's look at some paper types:
220.127.116.11 Hot press
Hot press paper is formed by squeezing the paper through hot rollers. This makes a smooth surface. Since it has little tooth, this means it is less abrasive which often means more difficulty to get very dark non-shiny shadows. Its smooth surface is good for very fine detail. When you need to create a texture-effect, then you need to build the texture with layers using differing techniques and pencil grades. Hot press can often be more expensive than cold press paper for a given weight and size. The smooth surface is good for making copies and preserving fine detail.
Hot press board often comes in bright-white or with a coated surface. The advantage of bright white paper is greater dynamic range. However, a smooth or smooth and coated surface might be difficult to apply heavy dark areas. As usual, once you find a supplier, it is a good idea to test the paper with a quick sketch. If you like the bright white and the coated surface but have difficulty getting a deep dark, then consider using a carbon pencil. See [sub:Carbon-is-a].
A very bright white paper might be difficult to reproduce onto normal paper, so the original is likely to look much better than copies. The bright white paper can also cause significant problems to get even illumination for photographic reproduction and display/viewing.
18.104.22.168 Cold press
Cold press paper may also be called “Not Hot” or simply, “Not”. It has more tooth than hot press paper which makes fine detail more difficult, but is a better surface for deep darks with no shine. When you need to create a texture-effect, then the tooth of the paper can be exploited by choosing various pencil grades and pressure.om the top bar.
(C) Jeremy Lee 2010, all rights reserved.
Note: I am allowing the blogs in the category 'Book' to be stored for personal use only, but not for distribution or commercial use. Should you wish to reproduce any material, please contact me for negotiations.
spOOk's art is owned by Jeremy. He has practiced drawing and painting for about 40 years, and might get good at it one day. spOOk's art is focused on graphite portraits.