Page 103 - sarah-simblet_sketch-book-for-the-artist

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LIGHT TO DARK (LINE TO TONE) TONALITY

1Using a sharp HB pencil, draw a rectangle. 2 Honetheshapesand angles of the shells, 3Gentlydissolveoutlines so that areas
Remember that its size, shape, and edges definingthespacialrelationships between oflightanddark meet without a line
between them. Fll in broad areas first and leave
are important aspects of your composition them. Treat positive form and negative space all detail until last. Relaxing your eyes out of
focus will help to eliminate distracting details.
(see pp.56-57). Use quick, loose, pale lines with equal importance. Erase and make changes

to roughly place theunsthileyllosuinasriedehaypopuyr wfriathmeyo. ur composition.

DARK TO LIGHT (TONE TO TONE)

1 Using the flattened tip of an HB pencil, 2 Let your eyes go out of focus while looking 3 Keeping your eyes out of focus, look at the
gently layer marks to create an even tone at your subject and paper: Draw the most main areas of darkness. Use your pencil to
ofmid-graywithin a rectangle. Avoid a rosiuggnihficant areas of light in your gray rectangle with develop these in relation to the areas of light.
Continue working between light and dark to
texture and do not press the graphite haradwinhtitoe plastic eraser Ignore all detail and draw refine the drawing. Draw in the details last of all.

thepaperor you will not be able to erasbeolditl.y with broad sweeps of the eraser.