Yay! I get to use a third colour at my very strict art class – sanguine (a dark and a light) – used above alongside white conte, white chalk and charcoal on A2 peachy coloured paper.
I never get excited by working from photographs – it seems to be missing the point of drawing somehow – but I learnt a lot from this in terms of the media but perhaps more importantly that it’s possible to add to what the photograph is already saying.
This feels like quite an old-fashioned subject handled in an old-fashioned way, but nevertheless I like my cow – just hope he’s saying ‘moo’ and not ‘meh’.
What I learned:
- As with the grey paper in the last exercise, I have to remind myself to leave the coloured paper as the mid-tone – and resist temptation to cover it up all the time.
- Working from a black and white photograph it seemed impossible to invent colour, but once I realised I was drawing my cow, and not the one in the photograph, it became far easier.
- Likewise with the texture and shadows, I had to forget trying to understand what was going on in the photograph and think about being up close to the real thing, where the coat would be tufty, where it would be smooth, the bulge of the eye socket, the cup of the ears.
- To get the shadow on the white – a very light layer of white followed by a light touch with the charcoal. To get the smooth areas around nostrils – white down first, then sanguine and a little smudging.