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Hi Andres,
Good job marching through the Bargue plates! I want to recommend a slightly different procedure to situations where there are a lot variations in the shadows. Basically, it’s very easy to get caught up in those variations and have them affect the halftones later. So as a rule, either in the Bargue plates, or something a bit more academic, French, Italian, Russian, or whatever, is to get the general tone of the reflected lights blocked in first (as the flat value of the shadow) and then gradually push the darks where they need to be pushed. That way you’ll never have to erase, and you’ll be much more in control of the value relationships.
Keep up the great work,
Iliya
Ahh I understand, somethings clicked here, haha. I think Leo calls this “Pass”. I find that idea extremely important and has helped me tremendously in seeing values relationships. As I go through each Barge I’m beginning to notice the complexity in not only the shapes but also the values and the turning of the forms and most of it is extreamly subtle. So instead of chasing the values, I go though the entire Bargue or “with each pass” establish a flat tone and slowly build up my darks. Even when I’m building up my darks I still try to keep it consistent hitting the strongest darks where ever its needed.
Thank you Iliya for this, you have made it really clear for me.
Here I have just finished the drawing and didn’t notice your message. I will definitely include your notes into the drawing on my next pass. 🙏
Plate 15 of Day 046
your Bargue plates studies are looking great!
looking forward to doing some of these myself
keep doing your thing, cheers
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