Hi!
I have a few sketches and thoughts to share with you...
In this first one (above) I chose a salmon color for the base. I was
insecure about it, but it work out in the end. I think that color gave a
good feeling of temperature and light. I like the sky and the suggestion of the palm trees in the background.
The thing I don't like in this sketch is that I overworked my friend who is wearing the cap. The color in his belly is too dark and dirt. His posture is also too rigid.
The sketch above was done in one and a half hour. This abandoned hostel I found was a perfect subject for a painterly painting. I pursued the light and textures. In this one I had to use colored pencils to achieve the textures I wanted. Actually I've been using a few touches of colored pencils and white gouache in some of my studies.
When I scanned the sketch at home (and saw it in a thumbnail) I realized that I should have organized the tonal range better - so I added another layer of grey markers in the shadows (in the original sketch). The difference is subtle, but important.
I also did something in Photoshop which I thought was interesting and it helped me to better understand the tonal range of the image:
Take a look at the little square I copied from the top of the wall and put against to a brightest part. See how the white and the colors are darker than they seem to be - it seems dull doing this, but when you are on location, with all the reflected light, is hard to see this. That's why the sketch was a little messy before.
(Did I make myself clear? Sometimes I struggle with the language...sorry about that.)
Later, I sketched this window. I did it much faster than the other one. The hardest part was doing the handrail - I had to preserve the lightest color, so I did the darker negative spaces instead. This is exactly like watercolors works.
I took two pictures of the process on location. They are not as good as I wish.
This is how I've been doing this - working from big areas to the small ones / from the whole to the specific.
Next time I will take more pictures of the process.
Hope to read your comments.
Abraços do Bajzek!
All these are so great! I've been trying working directly with markers and it's really tricky to suggest that much detail with broader tips than the usual. How many markers do you use for field sketching?
ReplyDeleteEduardo, seeing your process is so interesting and informative. I’m signed up for your workshop. This is a great jumpstart! I’ve been working most recently with Neocolor II wax pastels and continuing with watercolor, too. I’m excited to try these markers as a new media.
ReplyDeleteYour Sketches are great Eduardo but you're also an amazing teacher, I'm very impressed, congratulations!
ReplyDeleteThank you very much for the kind comments.
ReplyDeleteLuis, I think one of the good things about using markers is actually avoiding too much detail. As the marker's tips are quite broad you can't do it as if you were using ink pens, for example.
I usually sketch on location with a set of 24 markers - sometimes I carry an extra set, mainly with grey shades.
Marcia, I really hope I will be able to help you there with this.
Well, there are some things which are universal in terms of concepts right? Some things can be applied in any technique.
Thanks Filipe!! Are you going to SD?
Unfortunately I won't be able to go to SD this year, but I'll surely follow everything on the internet!
ReplyDeleteQue pena Filipe!!
DeleteBem, nos vemos em um próximo...
GRande abraço!
Thanks Eduardo. What I meant is that it is so cool to be able to suggest that much detail with just a few strokes, knowing where to put them and the color layering. Your process is phenomenal, I'm certainly looking forward to your workshop. What paper are you using, watercolor?
ReplyDeleteAh ok...yes, that's is the point: suggesting details with a few strokes, instead of putting to much effort to rendering them. I tell you...this is a hard thing for me! I always worked with architectural renderings...so, you can imagine how difficult it is for me.
DeleteThanks very much for your support.
I just do these sketches in my sketchbook, but I used watercolor paper (moleskine)too.
I'll make a post about this practical things.
Saludos!
Eduardo, I order my own set of markers to practice with your guidelines, hope to get them delivered before symposium so I can practice, I have been enjoying your posts very much, thanks!
ReplyDeleteThanks Orling! I hope you'll enjoying them!
DeleteThanks for the support.
Hi Eduardo, thanks for another great post.
ReplyDeleteI found your comments about the tone in the shadows very interesting. I have a tendency to make my shadows too dark (thanks to all my cast shadows in elevation drawings at work) so I am trying to put more reflected light in my shadows. How you adjusted your sketch and the photoshop trick is very helpful.
A question - how wet/dry are your markers. Do you carry top up ink with you? the bottom image seems that your pen is quite dry - or are you applying only a light pressure on the page (or both) Hope this makes sense.
Liz!