I have been thinking of making a painting out of this scene for the last… 9 years? I guess so.
I didn’t pay much attention to fine details, since everything will be covered with opaque oil painting soon, but still, I tried to be as precise as possible on the main shapes of both summons, as well as the town. I did modify a couple of things compared to the original, as I felt it was a bit too bulky on the rooftops and chimneys.
Once more following Artur Guptill’s “Sketching and Rendering in Pencil”, I somehow tried to applied the sketchy way of rendering shading he describes in Chapter IV, Part I.
I used a single pencil, 2b Mars Lumograph, although it’s recommended to use different grades for finished pieces. I guess this is fine since mine was more of an experiment. I setup a pretty simple still life with old, rusty metal objects: (notice the camera angle was slightly different from mine when I was drawing).
As you can see from my notes on the side, it took me roughly 3 hours. More to get the drawing accurate, to be honest, since the shading was pretty quick and probably not careful enough.
I’ve been using Artur Guptill’s Sketching and Rendering in Pencil recently. Quite an informative book, especially if you don’t have an academical art background, like me.
The first part deals with the importance of painstaking accuracy in line drawing. I feel I sometimes lack the speed I need to quickly measure and report big shapes of what I draw. Therefore, following his example, I took an old shoe of mine (though it’s not so worn out) and drew it. The full drawing took a lot, like 4 hours, to be completed.
I first blocked in the big masses, constantly taking my drawing near the subject to compare it. It’s useful to strive for precision just by eyeballing, as I noticed measuring too much with the thumb on the pencil is not only time consuming, but not precise enough to base the drawing on it.
Then I worked (really) slowly to getting more and more details in, till getting to this final result: The point of the final drawing would be to exploit the true “character” and “mood” of the object.