Step 5 moves on to the darks.
The eyewitness account emphasizes that Prud'hon focused on the lights. It indicates that the lights came first, then the shadows. Clearly, the first bold hatches of both black and white were applied before the first stumping of tones. It is possible, but not at all certain, that Prud'hon also hatched both white and black before stumping again.
First, a bit of "outline" was used to mark plane changes and consequent lighting (see the horizontal black lines with the vertical abdomen hatches -- this describes the dark side of the form and its base).
Then, as with the white, I ran SHORT hatches either at
the same angle as the outer form's edge, or
with the form's length, or
although not done here, oblique to the form's edge
The hatches were applied in rows,
As the rows added up, I got a continuous tone.
I made the hatches only slightly interlock.
I ran long'ish diagonal hatches in the shadows and background.
Direction in backgrounds and shadows
The backgrounds in academies were traditionally applied with diagonal black hatches. Likewise, it was common to use diagonal black hatches in shade zones, when the artist wanted simplification.
Prud'hon used the traditional diagonal black hatch background. In shadows, Prud'hon sometimes used diagonal black, but often chose to run the hatches with the form's length, just like he did with the whites.
Materials Use a black chalk that freely releases the color, so you don't have to bear down. Use a hardness that can erase and smear, and will leave a ghost with stumping. Use the harder Conte.
Again, these hatches may be directed oblique to the form if you think that would be right; or you may direct them with form's length. More about this coming up...
Next Page: Demonstration: Step 6 -- Lightly Stump
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Rebecca Alzofon can be e-mailed at firstname.lastname@example.org
This page updated July 16, 2003
1999 by Rebecca Alzofon. All rights reserved.