![]() ![]() By working slowly, we have full control over the marks that are made. Like with any drawing media, success with graphite or pencil requires patience and attention to subtle changes in value. Once all of the graphite applications have been made, we can use a kneaded or vinyl eraser to clean up the drawing and remove any stray marks or smudges left by the graphite. To do this, we'll go over the darkest locations within the drawing with a 2B graphite. It's now time to increase the contrast a bit and broaden the range of value. Up to this point in the drawing, we have only used the HB graphite. For this reason, we'll include textural details only in the location of cast shadow. By excluding the background information, we place more emphasis on the horse and its motion. We need to include it to strengthen the light, but in this case, we want to exclude the rest of the surrounding background information. These marks taper as they are made and include some variety.Īnother factor for creating the illusion of natural light in the scene is the cast shadow below the horse. The tail of the horse is drawn with deliberate strokes of the pencil. The form of the horse dictates the directional strokes applied with the pencil. For each section of the body, we are still paying close attention to the form. We can continue developing the value through graphite applications down the rear of the horse. The slant of the horse helps to create the illusion of movement, but including the flying dirt accentuates it even further. This motion is causing portions of the dirt to fly up, overlapping the body. The horse is also running through a field of loose dirt. ![]() Including these locations of strong contrast help to create the illusion of natural sunlight. The horse is outside, which produces a strong shadow underneath the head, body, and portions of the rear leg. The environment that the horse is in plays a role in how we approach portions of the drawing. ![]() This produces an even transition of value. The pressure is not necessarily heavy, but it is consistent. Circling does not mean that we are drawing small circles, instead it simply means that we are pressing with the graphite in a circular motion. Since we are not using a blending stump to smooth transitions, we must rely on the pressure placed on the pencil. Circling refers to making small circular strokes with the pencil to create even transitions of tone and value. In areas where the cross contours are a bit harder to identify, we can apply the graphite by circling. By paying attention to subtle changes in tone and value, we can develop the illusion of the muscles of the horse, just underneath the skin. We'll gradually and patiently work our way down the body of the horse with even applications of graphite. We can darken these applications easily, but if we go too dark too quickly, it's a bit harder to fix. We begin with light applications that flow over the cross contours of the form of the horse. ![]() We'll start with the head of the horse and work our way to the left of the body to prevent smudging (for right handers). This part of the drawing process is usually referred to as "shading", even though we are considering both the light and dark values. Once the basic contour lines are in place, we can begin the process of developing the tone and value. Adding the Shading - Developing the Value ![]()
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