WetCanvas > Explore Media > Drawing and Sketching > The Classroom > Skin Tones and a Maze of Circular Logic!!!
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By request, I'm posting a brief explanation of the technique that I usually use for skin tones in graphite portraits. As I've indicated, we will cover this in greater depth sometime fairly soon in a realistic portraiture lesson in 101, but for now this will hopefully give some of you something to work on, play around with, debate, etc etc etc... :D Before going any further, let me reiterate again that this is MY approach, and it may not necessarily work for you. It doesn't always work for me! And I don't always use the same exact approach. I think it is important and beneficial that portrait artists explore this technique, but it is equally important that you find your own way and do not become slaves to any one style, method, and so on.
With Armin's permission, I recently did a portraiture exercise for the purpose of getting back in practice (I'd been doing pretty much nothing but pen and ink work at the time and was seriously out of practice with graphite in general) and used the Stage 1 scan of his son Jeremey's eye as my "reference photo." I made some careless mistakes on this, so it's not the greatest example in the world, but I suppose it's sufficient for the purpose of this thread. I certainly did not plan for this to be the basis of any kind of lesson or anything like that, so I did not scan my version in stages, but I will post it here and explain briefly the method that I used to create it.
As we all know, scanners do strange things with your work, so I am posting two images here. The first is a b/w scan of my drawing, which is closer in terms of tonality to the original, but is less accurate texturally because somehow greyscaling always seems to blur my scans. The second scan is a color scan, which makes the tonality look a bit off, but this is closer to reality in terms of texture.
A parenthetical note before going further. I was first introduced to this technique as a colored pencil artist, so my approach to this method differs slightly from those of some other graphite artists. Armin, for instance, has said that he generally tones the area he is working with graphite powder before doing actual pencil work. I believe that Reinhard said he shades in lightly with the side of his pencil before beginning circles and all that jazz. I approach it like I would a cp work, which is to say that I do neither of the above. I begin with blank paper and slowly, lightly layer from the word "Go" until I achieve the tonality that I'm after. This means that in most cases, it will take me many more layers to achieve the same result, but this seems to yield the best results for me personally - if only psychologically. ;) It should also be noted that, at least with my personal approach, the term "circular" refers actually to the hand motion involved more than it does the actual application of the graphite. In the early layers of my drawings, I am not concentrating so much on literally drawing tiny circles on the paper, but rather moving my pencil in that motion and moving across the paper extremely lightly. This actually results in the pencil touching the paper at random, creating short strokes that fall into an overall circular, or non-directional pattern. In the later layers when pressure is increased, THEN my method does indeed involve literally putting circles down on paper.
I do also want to mention something that has come up several times lately both on the board and in private discussions that I've had with other artists. Too often we create extra work for ourselves for no good reason. One of the things that always drove me crazy as a graphite artist in the past was the necessity of involving a whole arsenal of pencils into one piece of work. There's a very simple solution to that: Use a mechanical pencil. The line control, consistency of line, and fine detail work that you get with a mechanical pencil is unparalleled, and you have two added bonuses. You never have to sharpen them, and because of the higher density of the lead in a mechanical pencil, you can produce a remarkably wide range of values-including pure black- with a simple 2b lead. I've had people balk at me when I tell them that, and to prove my point I am including an unrelated scan here from one of my other works. Everything in the scan below, including the pure black, was rendered with a 2b mechanical pencil, with zero blending, and zero fixative spray in between layers. If you look closely toward the edge of the bottom right quadrant of this scan, you can see where I stopped doing my final layer of black in the background to take this scan. This will give an idea as to the progression to black, since you can see what it looks like before that final layer. This circular method of applying the graphite also lends itself very well to backgrounds, as it results in a completely uniform, non-directional and glare-free finish if done correctly.
Moving on, I then blocked in the darker shadow areas by applying two very light circular layers with the mechanical pencil in ONLY those areas. Additionally, I put in some stray hairs in both the brow and lash area to establish the general direction and presence of both.
I then did a light "wash" over the entire skin area. That left me with some shadows blocked in, and the rest of the skin an extremely light layer of graphite. If you look around the unfinished edges of the scan below, you can see traces of what the initial wash looked like. This will give you an idea of just what I mean when I say LIGHT layers!
From here, it is not rocket science... just continue layering and modeling until you get the tonality how you want it. I'm including a larger closeup scan below if that helps any.
The bottom picture shows the 'circles' quite clearly, which is good as I was confused by the idea of drawing in circles.
Can you tell me what size the eye is please?
You are correct, we all do it more or less the same way. Especially these first layers where the lead nearly does not touch the paper always gives me the shiver but in the end all comes together.
I am looking forward with interest to your more detailed 101 portrait class.
p.s. One more thing from my own painful learning experience. When circling I have the hardest and darndest time to always come back with my eyes to the area I am working on on the reference making me jump all ove the place and lose control. What I am experimenting with is putting "markers" next to area I am on forcing my eye always back. I use, depending on what surface I work (flat or easel) a pencil, my circle template over the respective area, post-it notes on the easel, Whatever helps me to avoid jumping all over.
Very informative and very well-presented.
Great article Troy. Thanks for posting it.
As a meaningless side note: The first time I heard the term "Circulism" was from an artist named Maggie Toole. I asked her to do a lesson for one of my sites and she explained her technique in circulism which was her answer to pointillism in colored pencil since that takes way too long for many cp artists.
Karen - try places like Office Depot and Office Max for Mechanical pencils.
Thanks Anita! I never would have thought of that.
For what it's worth ... I used graphite holders and 2mm Staedtler "leads" for my John Lennon and found they worked quite well as my developing style uses a rather dull point much of the time. (2H, HB, 2B, 4B).
Karen - Maggie is who I learned this from. Thanks for the reminder. I couldn't remember who specifically I got it from.
Karen, try the simple BIC pen. This is it.
You mean a pen? Something you can't erase? ...gulp.
Very interesting Troy.....can't wait to try it.
I've said this elsewhere, but I wouldn't have had the courage to try this technique had it not been for Troy. I began to PM him a few weeks ago and he shared much of what he presented here with me. After asking some questions I gave it a try ... but privately. My first attempt was only worthwhile as practice but he gave me C&C on both the technique and my rendition which was invaluable. When I decided to forge ahead with a new drawing he encouraged me all the way and I feel I have met with a major step forward in my artistic abilities as a result.
One of these days I have to get Troy out here to teach a workshop... either that or show up at his door and say, "Don't mind me... I'm just here to watch you work.".
Karen, no not the BIC ballpoint pen but the if I recall correctly the "BIC click". But if I confuse more than clarify, please forget my post.
Thanks Troy. I've heard the term "circularism" a few times recently but couldn't work out how to get started. thank you for such a clear, detailed explanation.
Karen you can wander drunkenly into a wal mart at 3 in the morning and get a mechanical pencil! They aren't hard to find. If you're looking for a really durable high quality pencil, you can go the extra mile and get what I use: Alvin Draft/Matic. They run about 12-15 bucks each. But a cheapie from wal mart for 3 bucks will get you by.
Did start an eye but think I will pick a new one and see how it goes.
Thanks so much for the tips! Now I know where to look.
Reinhard, thank you very much for the compliment on my work! I keep hoping to get my site updated one day with some of my newer work. I have some things on there that are kind of embarrasing now.
I really appreciate the compliment!
As for the "article," thank you for the kind words.:) I didn't have a lot of time to put into this, so the presentation isn't the greatest in the world, but hopefully it will help. Some of the people who asked for this info have not even checked in on this thread though, so perhaps it is not useful after all. :eek: Oh, say it isn't so!!!
Since you pmd me to look I can say your instruction on the technique is good.
If I can ever get the pen out of my hand, I must give this a try. You did a good job giving a clear explanation.. the folks here in D/S must be pleased to have you around!
Wow Troy! Now I would like to know how to do that slick shiney finish you were talking about!! I wanna know about slick!
Troy, I've been in and out this last past week nursing a severe migraine--I finally ended up over at old doc McFadden's for a shot of whatever he shoots me up with in these situations. Anyway--the headaches have slightly subsided and I can at least read the computer screen.
This is a much, much needed tutorial to one of the most diverse subjects that we have. I think there are more ways to approach this subject then there are smiths in a phone book. I dont use Armin's technique (or I would would probably need more shots)--I do use the wash technique and I tend to layer where needed. This is a slow process and takes a great deal of patience. Like you, I rely on my cp background to draw (pardon the pun) for techniques and have benefitted from the the cp approach. I think that anyone who follows your tutorial on this subject cannot help but advance their talents and I urge them to try and as Howard David Johnson would say, "practice, Practice, Practice". This implies that, while your techniques are valid and solid and good comon sense--they are NOT magic formulae sprung forth from the tips and erasers of cosimic pencil genii. Certainy, you have a practical approach and ANYONE who reads, and thinks about your wise words and examples cannot help to improve.
So guys--TRoy has put a LOT of hard work in this tutorial and it is obvious that there has been a lot of research.
So start posting some of your examples showing how you have benefitted from his tutorials. I challenge you!--especially you cp-heads!!!
they are NOT magic formulae sprung forth from the tips and erasers of cosimic pencil genii.
Sorry to hear about your migrains JayD! Those things can get you down like nothing else. Hope the doc got you all cured up so you can hang around now!
Troy, are you referring to my comment about finding the original point of reference for shading when using circulism?
karen, I watched my geography teacher send a student out for a bucket of striped paint. That day the student never returned that day, I figure that like the man who disappeared on the MBTA (reference the folk song) that we would never see him again...but really stupid people are like boomerangs and he retured the next day--empty handed.
The migraines seem to be getting worse and it is sometimes hard to concentrate but I will muddle through---I think in my next life I will come back as a sponge--that way I can just sit around and absorb.
Sorry about your digital camera and scanner--doubled whammied, I see. Well, do it when you can--I miss your delightful work.
Cindy, I dont really equate O'tooles circulist approach with the graphite technique. For one thing cp circulism relies on a colored ground(this comes directly from O'Toole even thought I have seen some artist work directly on white) and a visual mix of differnent colors to be effective--also unlike standard cp techniques, O'Toole says that her best results are with a duller pencil (not so sharp, folks). Also in cp circulism, size does count whereas in graphite, smaller is better as you are trying to create as close to a realistic look as possilbe. In CP, the drawing IS about seeing the circles.
There has to be one daft enough, so I throw away my certificate of sanity, have a feww slugs of JD and say first. Thanks to all you people out there,especially Troy, Reinhard, Sparrowhawk et al. I can't compete but thanks to you I have been persuaded to start a drawing that looks like a face. Another slug....daft and insane....but grateful.
The gubernator er governator--I think you can put away the Jack Daniels (good choice by the wa)--you have a rough textural style which is really working here--fix the ear lobe --Arnie's left and maybe work on the dark shadow of the chin just a tiny bit and you are good to go. Especially out standing are the glasses and the hair. Very good so far!
Cindy - YES that's what I was referring to!
brigante, I love what you're doing with Arnie's portrait!
Keep going with this one!
Karen, lets name it the Armenian Troy Dance in honor of Eclipse and Troy.
bone in your nose and a big iron cauldron!
already on it--Whispering Corridons, A tale of two sisterrs, Dark Water--all subtitled and spooky!
As for the competition thingy .. the way I see it, we're only really in competition with ourselves. Even if I were technically equal to ,say, Armin in applying graphite, his drawings would still be different from mine so there is no need for me then to compete with him or anybody else. It is always my hope that each drawing I do be an improvement over the one before. And however it turns out, at the very least I will have learned more which is always worthwhile.
Troy, didn't get a chance to read this yet but will definitely come back to it. I need all the help with portraits that I can get.
Now, Troy--dont you know that the Republican Party is where aging thespians go to die?
Like to throw in a couple of things. First.........Thanks Troy, would be obliged if you posted image of Arnie.......pictures save many words and explanations.
Used a mechanical pencil and circled vertically, for what its worth, but discovered the paper took up the graphite at different rates or the quality of the lead varied or more likely my pressure varied.
Ken, I believe that you are right, we are in competition with ourselves, because we all have different styles/methods /conditions and of course abilities; but we all strive to improve. Maybe one day I will produce something that I will be perfectly happy with...or is that the time to take up sunbathing.
Question.....how big are the "circles", what about ellipses, french polish eights or is the main thought just to produce a random pattern with associated myriad reflections?
Tim I'm glad you joined in the fray here! I'll see if I can hunt down Arn in a moment. As for your question, with my particular method your final option listed above is closest to the correct answer... the object being to eliminate directional line and so forth and create random texture while maintaining a fairly even tonality. In the later layers, I will make more of an effort to create actual circles with pencil strokes, and those would be very small.
Ahhh... how's this for fast service!!
Well-I think this thread needs rated for Troy!
Troy - That is fabulous! Wow all over!!, the leather is especially awesome! How many hours did you clock on this out of curiousity?
Sorry Troy, i guess that was a stupid question because you are with this thread but what i meant is, are we goint to go into it more?
Troy, thanks for sharing all of your knowledge on this, both here and through the PMs. Despite my silence on this thread up to now, it is highly appreciated by us "young bucks", as are the additional comments by the other gurus visiting this thread. I am looking forward to starting one of my own attempts at this technique, but waiting for some Stonehenge paper I ordered (Strathmore Drawing pad isn't working for me on this project - too rough). I'm also waiting for reality to stop getting in the way of my art - not a good excuse, but it will have to do for now. I should have plenty of time to draw over the holidays and I am looking forward to applying some/all of these techniques as well as developing my own twist or style on what I will be learning. I'll be sure to post a WIP thread so everyone can share my success or failure. Thanks again, Troy, and for everyone else who has chimed in. I will be over hear acting like a sponge for now.
What an excellent base of knowledge you are Troy! Thank you.
I'll be signing on to that portrait class as soon as you're ready. Meanwhile I'll be practicing circularism.
Thanks for posting Arni, Troy. Much appreciated and gives me a level to work towards. My main problem is of course trying to go too fast and producing stretched out springs. Must remember to rush slowly. My thanks again for starting this thread and sharing wisdom.
Now where is everybody else. The sublime and ridiculous have shown.
I'm trying this technique for the first time but I'm having some trouble. You say you use only a 2B and you seem to get full deep blacks. I'm using a 2B as well and as I add more layers to get closer to black, I never seem to reach a deep black, only a shiny grey. What am I doing wrong?
Foil - what kind of pencil are you using? If it's a wooden pencil you may not be able to get the results I mentioned. You also are likely working with too dull a point. I get my blacks with mechanical pencil at about a 45 degree angle to the paper, so that I'm drawing on the "sharp" edge of the cylindrical lead. To get blacks, work in very very tight circles, and it's best to do this in 2 or 3 layers rather than using too much pressure and trying to do it in one layer. The more layers you use, the less glare you will have. If you play your cards right, you will have almost zero glare, even in large black areas.
I'm using a Rotring mechanical pencil but it's not the kind with the very thin leads. This one has the thicker leads so maybe that's the problem. Is paper a big factor? I'm doing this in a Strathmore sketchbook.
Foil - I'll pop in here for a moment. I did one recently using 2mm "leads" in holders so my experience shows it's not really the size of the graphite. Paper DOES make a huge difference however. I did my first attempt on Bristol Smooth which was NOT the paper for me with this technique. Others may have different results but when I tried Stonehenge it was a night and day difference. I started out some months ago on Strathmore 400 series pads. I liked them for blending (all I knew back then) but there were several negatives with them. First of all, it's not really white .. it's more yellowish off white. Secondly, it's not heavy enough for my taste (80# I think). I tried some 300# paper (some of which I like a lot) but the 140# paper is plenty for this method. Just be sure it's pretty smooth and go slow, putting down LOTS of layers.
Foil - I agree with Ken that for the most part, the size of the lead isn't going to make much of a difference in your results tonally. Lead density is different with mechanical pencils and superior to wooden, so you're on the right track there. Now, as for surface, that is really a matter of personal preference, but I personally would not waste time trying to do any serious work on sketch paper. I've gotten lazy in recent months and have pretty much used stonehenge for everything in dry media with portraiture, but when I'm not being lazy, I generally tend to use stonehenge or arches for adult males, old people and anyone who may for whatever other reason involve a lot of texture, and I'll use hot press illustration board for women, children, people seen at a distance, and any portrait subject which has an overall smoother texture or de-emphasized texture. I would consider bristol smooth a good paper for this also, but I personally don't use it a lot because I work very large and the bristol around here maxes out at about 11x14".
Speaking of bristol smooth, here's a treat (or an act of cruelty, depending on your opinion of the work!;)) just to show you guys that I don't just talk about these things, but I DO them!! I do a lot of ink commissions, and it just so happens that my graphite commissions lately have been oddball things, and it's really been a while since I seriously tried my hand at photorealism or whatever you want to call it. So... for practice the other day I got out a sheet of bristol smooth and started working on a cropped version of a large portrait of a friend of mine that I'll be doing soon. Since this was a practice run, I have little or no patience for correcting mistakes on this, and I've made quite a few! So this is pretty much done. But for better or worse, here's a partial-partial portrait using this circular technique on bristol smooth. The rendered area is about 4x6 inches, about 8 hours of work.
Yay! :clap: :clap: :clap: This thread keeps getting better and better!
OH be quiet! And check messages and follow instructions.
Just the kind of information I have been looking for...!
Hey everyone after following the John Lennon thread I ordered my mechanical pencils and leads (2B,4B,2H,4H) through www.misterart.com. They arrived within 5 days.
Great technique, thanks for the posts.