#2 Pencil (first)
ZIG Brushable – Root Beer Float – using just the light side.
Outline - with one pass of massing in the under-plain of the railroad trestle.
ZIG Brushable – Root Beer Float – using just the light side.
Massing in the shadows - trying not to overlap too much at this point - as each layer makes it darker.
#2 Pencil
ZIG Brushable – Root Beer Float
Adding layers where I want the value lower (darker) helps clarify the light effect.
I am using the dark brush end where I want to note exceptions
#2 Pencil (first)
ZIG Brushable –Black – using just the lighter side.
Outline the main shapes
ZIG Brushable –Black – using just the lighter side.
The marker was beginning to dry out as I was working - the marks are a bit softer and less opaque than they'd typically be.
ZIG Brushable –Black –
Now I am layering the marks to lower the value and find some form in the plain changes of the snow bank.
I also used the darker brush end to deepen the value of the railroad trestle.
#2 Pencil (first)
Outline with Faber-Castell, Pitt Artist Pen Brush, Cold Grey III #232
Most of the scene is backlight - so it will be in shadow, which I am now beginning to mass in the with Faber-Castell, Pitt Artist Pen Brush, Cold Grey III #232
With most of the scene is backlight - I am creating depth and atmosphere by making the foreground shadows richer (darker) by layering over the initial lay-in with Faber-Castell, Pitt Artist Pen Brush, Cold Grey VI #235
With the shadows massed in, I used Faber-Castell, Pitt Artist Pen Brush Black #199 to find some of the exceptional darks.
The sky felt a little stark and as this was my first attempt using the Faber-Castell, Pitt Artist Brush Pens, I used the Cold Grey III #232 and went over the drawing. I felt it was too dark and wished I had used the Cold Grey 1 #230 to knock back the white without shifting the value so much.
Having not been super pleased with the effect of using Faber-Castell, Pitt Artist Pen Brush Cold Grey III #232 in the sky, rather than go back into the drawing, I used the Faber-Castell, Pitt Artist Pen Brush Black #199 to create a dark border for the drawing hoping that would then shift the perception of value scale.
This is a drawing from a small project I did for a family during the pandemic. Grandma hadn’t been able to see her granddaughter, since this day on the beach, so they reached out to me. Sent me a photo, and I worked up a drawing from which, if approved, I would use as a compositional guide for the painting.
This is a small field drawing of a fairly ordinary place. the arrangement of railroad items was particularly important - so the drawing helped me get squared away.
This is drawing of the farm in Isanti, where I grew up. It was from an old 1970’s photo. It is the template for a larger version on my father’s headstone.
This is a field drawing from a few falls ago. I had run out of time to do a proper plein air painting… but this drawing is a seed waiting to be planted.
This is a drawing done after a day of winter painting.
