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New Drawing on the Right Side of the Brain

New Drawing on the Right Side of the Brain

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Crosshatching a lighter shadowBefore we advance to <strong>the</strong> next drawing, your self-portrait, I wantto show you how to "crosshatch." This is a technical term for creatinga variety <strong>of</strong> t<strong>on</strong>es or values in a drawing by laying down asort <strong>of</strong> "carpet" <strong>of</strong> pencil strokes, <strong>of</strong>ten crossing <strong>the</strong> strokes atangles. Figure 10-14 is an example <strong>of</strong> a t<strong>on</strong>al drawing built almostentirely <strong>of</strong> crosshatches. I'll also review <strong>the</strong> proporti<strong>on</strong>s <strong>of</strong> <strong>the</strong>head in fr<strong>on</strong>tal view and in three-quarter view.In former years, I thought that crosshatching was a naturalactivity, not requiring teaching. Apparently, this is not <strong>the</strong> case.The technique must be taught and must be learned. In fact, I nowbelieve that <strong>the</strong> ability to Crosshatch is a mark <strong>of</strong> a trained artist.If you glance through this book at <strong>the</strong> many reproducti<strong>on</strong>s, youwill see that almost every drawing has some area <strong>of</strong> hatching. Youwill also notice that crosshatching has almost as many forms as<strong>the</strong>re are artists to use <strong>the</strong>m. Each artist, it seems, develops a pers<strong>on</strong>alstyle <strong>of</strong> hatching, almost a "signature," and, very quickly, sowill you.At this point, I will show you <strong>the</strong> technique and a few <strong>of</strong> <strong>the</strong>traditi<strong>on</strong>al styles <strong>of</strong> hatching. You will need paper and a carefullysharpened pencil.1. Hold your pencil firmly and make a group <strong>of</strong> parallel marks,called a "set" (shown in Figure 10-15), by placing <strong>the</strong> pencilpoint down firmly, fingers extended. Swing <strong>of</strong>f each mark bymoving <strong>the</strong> whole hand from <strong>the</strong> wrist. The wrist remains stati<strong>on</strong>aryand <strong>the</strong> fingers pull <strong>the</strong> pencil back just a bit for eachsuccessive hatch. When you have finished <strong>on</strong>e "set" <strong>of</strong> eight toten hatch marks, move your hand and wrist to a new positi<strong>on</strong>and hatch a new set. Try swinging <strong>the</strong> mark toward you, andalso try swinging it away from you in an outward movementto see which seems more natural for you. Try changing <strong>the</strong>angle <strong>of</strong> <strong>the</strong> marks.2. Practice making sets until you have found <strong>the</strong> directi<strong>on</strong>, spacing,and length <strong>of</strong> marks that seem right for you.3. The next step is to make <strong>the</strong> "cross" sets. In classical hatching,<strong>the</strong> cross set is made at an angle <strong>on</strong>ly slightly different fromFig. 10-14.THE VALUE OF LOGICAL LIGHTS AND .SHADOWS2O7

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