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Step 3 -- Stump Out Hatches
requires close observation and fore planning.
As explained in the
eyewitness account of Prud'hon's method, the outline was rubbed to a pale
mist before moving to this step described below. It is not clear to me that
Prud'hon always rubbed out his outlines. I chose not to rub out the outline
in this drawing.
Observe the forms holding highlights. Use your softest white to draw the
highlights. You are drawing anatomy here, no matter how coarsely. Highlights
run along the peaks of forms, and in the troughs between them.
As seen in the example
by Prud'hon, this is a stage where your marks
should be generous and openly spaced. Cross
hatching is applied mainly to allot enough material for eventual smudging
and modeling. Cross hatching can be directed obliquely over the forms, and
is typically destined to be stumped thoroughly, which leaves a fluid haze
and ghostly hatches. If all goes well, selected areas can be left 'as is'
before or after first stumping, leaving a good sense of anatomy and lighting.
A good setup requires that you keep the coarse hatches firstly on the highlights
and secondarily on the main lights. (The lower leg in this drawing is destined
to be stumped once, and never touched again.) If you place the hatches too
close together, the stumped out drawing will be opaque over the blue paper,
which cancels the paper's purpose as an undercurrent, and denies the possibility
of elegant open marks in a final effect.
linear on cylindrical and
circular on the spherical
narrow and concentrated on
small turning forms
broader and more diffuse in
large turning forms
Materials Use the softest white.
Apply black to the shade zone using parallel diagonal
open coarse hatches. Cross hatch at the core of the shade zone, or in extra
dark areas like caves, or at the joints of projecting, bent limbs (not an
issue in this drawing). As with the whites, you are allotting enough material
to eventually smudge into the foundation as a medium dark tone. At this
stage, you can be deciding whether the shade zone will be simpler, with
less anatomical description, than the lit side.
Materials Use the softest black Conte, or the "medium"
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This page updated July 16, 2003
1999 by Rebecca Alzofon.
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