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Get Better Results With Your Graphite Pencil Drawing.

Use matting, I prefer using mats with the framing of my drawings. If an acidic matting is use, it can be backed by an acid-free material that will act as a protective barrier between the matting and the drawing. There is a standard thickness that is necessary and favored in the industry for this buffer or barrier. The same thinking must be given to the backing of your drawing. If your drawing or art is backed or mounted on an acid-free material, the barrier is unnecessary . Some framers use a foam-core board for backing.

The glass should be fantastically clean and should be tested for finger prints, dust, hair, or other far-off material, before securing it permanently in the frame. You could have to do this more than once.

It`s how your completed artwork is presented that makes all the difference. Although it`s teasing to just area your drawing in a ready-made frame, there are many things that you must take in deliberation before framing your artwork to insure it is adequately fortified over the years.

Use acid- free materials, Any matting, tape recording or adhesive, barriers, or backing that you employment in the framing of your graphics or drawing should be totally acid free. Acidic materials, after long times of time can actually damage the artwork in the frame by distorting the actual paper or by turning the paper a yellowish color.

Add a protective dust cover, After attaching the art and framing materials to the definite frame, a dust cover can be used on the back to keep supplementary dust, spiders, or bugs from entering the framed photograph compartment. This is usually done by using a two-sided tape on the back transpire of the molding all the use around the perimeter. Then a piece of brown paper is laid down on the adhesive betide as it is continued flat as you press it onto the adhesive draw near . You then trim the outer edges of the brown paper to fit and then you are ready to attach your hanging wire, before placing your artwork on display.

The drawing should be cleaned well, removing smudges, dust, or eraser fragments. To notice if there are any petite fragments on your paper or drawing, you must look at the crop up neatly from a serious angle, so that you may see them contrasting from the paper`s materialize as they rise up. You should use a brush or compacted air to remove the fragments from the framing material.

Stay away from black, As a general rule, I always stay away from black, especially solid black-although, it may work if is part of a color roadway with a particular molding and if it is not overpowering the drawing. It`s great to have something that has a range of values-including molding and mats, working as a set. Even with the values and gradations created within the graphite media, the mat or mats and the frame could all be chosen to either compliment, subdue, or emphasize any particular value or aspect of your drawing.

Let your artwork breathe, In attaching the drawing to the backing or whatever secures its situation within the mats or frame, it must only be secured at the top and allowed to hang if an adhesive or tape is used. It must not be secured seriously at all four corners or around its perimeter, because the humidity changes continually and the paper has to have liberty to flex, expand, and contract. Otherwise, the paper will ripple or develop sequences if it is localized in any idiosyncrasy episodes in the paper become extremely apparent when the lighting is directional or at an angle to the framed piece of art. The light causes highlight and shadow because of the contours in the paper. Some framers are using a large plastic photo type corner that allows the paper to slide in and be secure at all four corners and still allow for the flexing of the paper. It seems to be working quite well, as a few of my drawings and illustrations using other media on paper, have been framed this habit for a number of years.

Always build with glass, I would ever skeleton with glass, but I would as well spend the additional money for the UV protection glass. However, I would never use non-glare glass or plexiglas.

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Erasing, using the white of the paper and protecting your work from smudges are all key skills I recommend researching and practicing.

Softer grades of graphite are harder to shift but they are 95% removable. My belief is that errors are better off avoided by careful drawing, rather then erasing but that doesn’t mean erasing doesn’t provide a vital function or creative purpose.

Understanding what you can do with graphite and applying all that knowledge into creating your image can make this humble medium incredibly rewarding and key to success is experimentation and asking questions.

Photographed incorrectly graphite will reflect light and as result all that beautiful detail you just captured becomes lost. Therefore graphite drawings need to be photographed out of the direct path of sunlight and presented in a way where there is no glare and this can be infuriatingly tricky in most people’s normal working environments. Yes if we all had photography studios it might be fine, but we don’t, so my advice is to look out for it, avoid shooting your artwork next to any bright light sources, check for any shadows you might be creating on the art work but ALWAYS take photos at daytime if you can- indoor lighting at night is just as intrusive and reflective but when you shoot in the daytime you get a nice clean white light rather then a hazy orange/yellow that indoor lighting always seems to produce.

Chisel-point or blunt pencils are useful for some techniques, but for most pencil drawing, keep your pencil sharp. Don’t worry about ‘wasting’ graphite in the sharpener – better than wasting your drawing efforts! Brighten the point by rubbing the side of the pencil on scrap paper between sharpenings. If you need a darker line, use a softer pencil, and be aware that a softer pencil goes blunt quickly.

Once you appreciate that graphite is essentially just slivers of graphite being abraded off by the paper surface and it is nothing more then dust, you being to realise it’s not too dissimilar to layering pastels or paint- just that its in a refined point and encased in wood. Graphite comes in a whole range of different forms from mechanical pencils to caseless sticks of graphite and even graphite dust. Below are the tools I use the most when working with graphite.

Mechanical pencil, wooden pencil, caseless graphite pencil, graphitone, eraser pencil and blending stumps.

Continue layering and blending throughout your drawing. Job done.

Who knew shades of grey could be so important? But enough. Let’s talk techniques!

Graphitone can produce a more matte finish to graphite meaning your blacks will really pop in your photographs which look great. I will also use a black coloured pencil if I feel my artwork really needs it. Otherwise, as a very last result, you can tweak contrast in photo editing software to try and portray your artwork as accurately as possible. We are artists and not photographers after all…

How could I write My Essential Colour Pencil Techniques without sharing with you it’s sister post, My Essential Graphite Pencil Techniques? Especially when graphite plays such a huge role in my artistic practices.

I LOVE blending, as it allows me to have full control over what result I choose to have with my graphite. It can play with the tooth of the paper and have grainy, fluffy marks, or, I can polish it out with my blending stump and create glassy, flat smooth areas of tone which work flawlessly in photorealism artwork.

Top: Crosshatching. Bottom: Circulation. Graphite layering and shading techniques.

My Essential Graphite Pencil Techniques March 3, 2016Art & IllustrationLianne WilliamsComment

Erasers come in so many varieties these days that it’s impossible to recommend one over another as artists all have their favourites. I’m particularly keen on pencil erasers as I work small and frequently need a tiny point to erase with. I can’t stand putty erasers as they seem to retain the graphite (or colour pencil) and then smear it all back over your work. When I erase I want as much to shift off as possible.

When drawing lines, either in a linear drawing or within a texture in a tonal drawing, note that you can vary the weight of the line by lifting the pencil or pressing harder. This might seem obvious, but it is important, and most people don’t exploit line weight enough. Note the example above, which shows how lifting the pencil towards the end of the stroke can be used to give a grassy or fluffy effect. It can be useful to reduce the weight as the pencil is applied at the start of the stroke, rather than dropping it straight into full pressure.

In this pencil drawing lesson, we’ll focus on the importance of mark-making. Mark-making is the expression we use to describe the process of applying pencil to paper. You can improve your pencil drawing skills by carefully considering your pencil and how it hits the page. Controlling and exploiting the possibilities of the mark is an important step in developing as an artist.

Graphite Technique 4: Fixing Drawings and Photographing your Artwork

I personally like exploiting the nature of erasers to lighten areas or add in detail and texture. It’s almost impossible to ever return to the pure white of fresh paper so if I know I’ll need to have areas of white I especially protect those places as best I can to retain the white of the page rather then erase back into an area I’ve already shaded.

Protecting your artwork as you draw is vital since graphite is so prone to smudging. You can lay a fresh piece of clean paper under your hand to protect your work (I’ve heard magazine paper is particularly good as it’s so shiny and slips around with you) use a mahl stick like painters do, or you can simply work across the page from top left to bottom right (if you’re right handed, reverse if you’re left handed) and you won’t need to touch your drawing at all.

Graphite remains an unwavering favourite of mine. Profoundly simple. Tactile. The chemistry. The history. Plus the fact I can’t get on with charcoal, (at all).

Lianne WilliamsArt & Illustrationgraphite, drawing, photorealism, blending, technique, Tutorial, derwent

Blending really depends on the artwork though. Sketches might not need blending, for instance, or you might just prefer to see the marks. I prefer a mix. I generally blend and then add in marks back on top creating artwork that has a photofinish, but you can still see is a drawing. All you need to do is lightly layer, then go over with your blending tool in the same motion, smoothing out your marks. The blending tool should smudge the graphite down into all the white of the paper leaving a lovely flat grey which you can then go back over the top and rework with more graphite.

Graphite Technique 2: Erasing & Keeping the White of the Paper

The marks you make on the paper are like the notes played by a musician. No matter how good the written music, if the ‘notes’ are carelessly played, the result will be ugly. Likewise, by thinking about the kind of mark on your paper, you can make your idea as beautiful or dramatic as you choose. Is it a lyrical, gentle, flowing idea? Let your pencil strokes reflect that feeling. Often the subject (a spiky dried flower, or a curving vase) or model (a wrinkly older person, or a smooth-faced child) will imply a certain kind of handling. Take a critical look at all the little marks you make, as well as your overall composition.

A mechanical side-to-side shading motion, with each stroke ending below the last as the hand is moved down the page creates unwanted bands of tone through the shaded area. To prevent this, work back and forth over the same area, randomly varying the spot where the pencil-point changes direction.

My soft grades will create areas of dark that I can then neaten with the crispness of the hard grades. The hard grades will allow me to create smooth areas of gentle smooth shading without the tooth of the paper showing through which the soft grade wouldn’t be able to manage. The middle grade will help connect the two in gentle but contrasting gradients which create my final artwork.

Your final technique to master will be fixing your drawing with artists fixing spray and then taking the dreaded photographs.

Shading your layers requires gentle, even layers of built up tone. One on top of each other until you reach the desired shade. Like with coloured pencil you can vary the strokes you make but it does effect the final texture. Crosshatching and circulation are two common shading & layering techniques as demonstrated below:

The harder the pencil the lighter the graphite ‘shade’ but the finer a point you can sharpen to. Softer grades are darker but more crumbly and more difficult to get a clean crisp mark with. They often leave thicker marks. So the real challenge with graphite is understanding the full range of properties within the range of hardness as well as the full potential of what can be achieved with graphite.

Or, try using a fine circular motion. This gives a different texture.

The starting point of every drawing will be your layers. Light areas will need light/hard grades. Dark areas will need dark/soft grades. Or you can stick to one HB pencil and us that throughout, layering many layers, over and over, creating quite a diverse range of shades. The best method is to use the FULL range. I will pick a hard, a middle and a soft grade of graphite and create my drawing layering all of those together.

Don’t let your shading just follow the curve of your arm as you move it across the page. Use direction to describe your object. Follow the form, or create an edge using contrasting direction in two planes. A casual-looking but carefully executed effect of shading everything in one direction can also look effective. Direction directs the viewer’s eye or creates energy. Even randomness is often carefully considered, in order to look ‘artfully disheveled’ rather than ‘scruffy’. Where are your marks going?

To blend, you just need a blending stump or cotton bud. You can even use a DIY paper cone to blend with. But never, ever use your finger. I don’t make rules about art but I draw the line (excuse the pun) at finger smudging graphite- just because the oils on your hand can destroy your artwork and leave great big grease marks all over it which will not come off… You’ve been warned.

Bonus tip: Don’t waste the graphite picked up by your blending stump. It can create soft, light marks too. If you need a fresh stump simply sand the tip down with sandpaper.

BONUS TIP. Don’t muddy drawings. Keep your contrast clear so your subject reads well. Too many subtle variations of grey ends up creating a very bland haze of grey. Not a drawing that pops.

Bonus Tip: Micro white details can be achieved in two ways- white ink over the top. Or, if you’re a purist, you can lightly emboss the page with a very fine embossing tool (which looks like a flat pin head) and this will invisibly dent the paper until you shade over the top- the graphite will skim over your mark leaving a white mark for you.

All graphite is not equal. There are different mixes and some brands produce better shades of grades then others. I recommend sticking to one brand of grades for one drawing otherwise you may find that one brands 2B is a LOT darker then anothers 4H and then you’ll struggle with picking grades for your drawing, and it matters.

To start, a brief explanation into graphite hardness. Graphite pencils come in grades of hardness. The full range is:

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