Sunday, February 16, 2025

Of Course, We Begin with Values


2/8/25 Faber-Castell Polychromos
(all sketches in Stillman & Birn Zeta sketchbook)

The first assignment in Sarah Bixler’s class was – surprise, surprise – an emphasis on values. Using only gray tones and black, we were to make four master copies of the image from the portrait shown at the end of the post. Sarah encouraged us not to worry about resemblance or even proportions. We were instructed to squint a lot, avoid details, avoid rendering with contour lines, and simply make large shapes of value contrasts. In addition, since most students were experienced painters but new to colored pencils as an art medium, the exercise was an opportunity to become familiar with the medium. (I may be unique among my classmates in that I have little painting experience but expertise in colored pencil geekery!)

2/9/25 Caran d'Ache Luminance

After having spent part of the first class discussing color and getting excited about colored pencils again, you can imagine how frustrating this exercise was for me (and probably all my classmates): We were all using freshly sharpened pencils, yet we were to avoid all detail – and color!

2/9/25 Prismacolor

Of course, I understood the purpose of such an exercise, so I soldiered on, and it was challenging as well as frustrating. To avoid rendering, I tried to shade loosely with my pencil held way up near the wrong end. Sarah equates this pencil method with painting with a palette knife instead of a brush. When doing the latter with oil or acrylics, you slather on paint, then scrape it off with the edge of the knife. Picky, little details are not possible – only large swaths of color. This is part of how we learn to think like a painter, regardless of actual medium. To make it more interesting for myself, I switched out the pencils.

2/10/25 Polychromos

Despite my grumbles, the exercise was low pressure because I wasn’t worried about whether my copies looked anything like the painting (what a mean grump I made this sweet girl into!).

You'd never guess from my studies that they were all from the same reference!

2 comments:

  1. The hand cracks me up. Looks like she's motioning "call me . . ." Or maybe even holding a phone. I've run across that suggestion of holding the pencil at the opposite end of the point, and loosely but it felt so awkward I soon discarded it. Maybe I should be less resistive?

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    Replies
    1. The loose grasp works well for this type of exercise where precision is avoided. It's also fast!

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