In this drawing lesson, we will take a seem to be at rendering a Quill with graphite pencils. The strategy explored right here can be utilized to any situation and many of the standards are applicable to drawing any subject. Drawing a Quill is an terrific exercising for growing your grasp of texture and how it is communicated via cost and line.
The floor texture of the paper will continually play a position in the texture that is produced inside the drawing. Because the intention is to create easy transitions of price in this drawing, a paper with a weaker enamel is used. Smooth Bristol paper makes a appropriate surface, though any drawing floor with a smoother floor will do.
Blending stumps are additionally used to clean graphite applications. Blending stumps are truly pointed sticks of compressed paper. Blending stumps enable the artist to work the graphite into the enamel of the paper, growing an even distribution of the material.
Since they are pointed, the artist has extra manage over the ensuing mark. Blending with a finger is discouraged due to the fact that you have much less manage and the oils from your finger can produce an uneven distribution of the medium.
How to Draw Quill Step-By-Step
It’s cautioned to create your drawing by way of searching at a Quill. This might also be a image or possibly a Quill that you have found. Observation is important. By analyzing our Quill visually, we’re supplied with all of the statistics we want to entire the drawing.
The drawing begins by first establishing a line for the center shaft of the quill which is called the “Rachis”. The length and curvature of this line varies depending on the type of quill. In almost all cases, this line will curve slightly.
Light, sketchy lines are used to “find” the curvature and length of the line with the “H” pencil. It may be helpful to draw this line in segments, if you find that it’s difficult to capture the curve.
Using this initial line as a guide and for comparison purposes, we can draw the outer contour of the quill. At this point, we aren’t concerned with the smaller shapes that happen within the body of the quill. Again, light and sketchy lines are drawn to “find” this shape.
With our subject, the space between the center line and the outer contour of the quill remains fairly constant. For some quills, this outer contour line will be quite varied. It may taper in areas or become smaller. Each quill is different – even ones that originate from the same bird.
Again, you may find it helpful to draw this contour line in segments. Don’t allow yourself to become overwhelmed by the smaller details. We’re only concerned with the larger shapes at this point.
With the outer contour defining the shape of the quill in place, we can now focus on the smaller shapes within the body. The smaller “hairs” of the quill are called “barbs”. Collections of barbs on the quill are tightly compacted in areas. But in other locations, they are sparse. Each shape that is formed by the tightly compacted barbs forms a shape that is similar to a flattened “s”. These shapes are defined with light marks made with the “H” pencil.
It’s important to think of these collections of barbs as a simplified shape. We’ll develop the linear features of the barbs in a moment. Again, just concentrate on general shapes.
Now that the smaller shapes within the quill are defined, we can begin the process of developing the value and texture within each collection. Marks are pulled outward from the rachis, extending out to the end of each shape. These directional strokes mimic the overall shape of each collection of barbs. An “HB” pencil is used initially before blending with a blending stump.
The blending stump lightens the value slightly while softening the pencil applications. The “4B” pencil is used to darken values after blending occurs, creating darker tones and increasing the contrast.
As we broaden the range of value and increase the contrast, the texture of the feather begins to emerge. Visual texture is heavily dependent on two factors: the directional stroke and value. The texture is therefore developed as we push the value range, making directional strokes with the pencil.
Next we’ll add a bit of cast shadow on the surface, underneath and behind the quill. An “H” pencil is used since it provides greater control of the transition of value from dark to light. These cast shadows are darker closer to the quill but fade quickly. Since the light source originates from the lower left, these shadows mainly exist behind the quill above and to the right.
In this case, our quill doesn’t rise very far off of the surface. This means that the cast shadow is fairly short and doesn’t extend very far from the edge. However, if you use your own resource, you may find that your quill is more curved or the light source originates from a different location. If this is the case, then your cast shadow may extend further and create a completely different shape. Again, it’s important to pay attention to your subject and the shapes that the shadow create on the surface.
As cited before, drawing a quill is a extraordinary exercising for growing your abilities for shooting texture. It’s a easy procedure – draw the rachis (shaft) with a easy line, outline the shapes, and then increase the fee and texture with directional strokes.