In some of his works, the artist uses the technique to contour the features of a person's face and body, as though they were being warmed by a mysterious light. Bernal makes clever use of the placement of the glare, as well as the color. This digital “glow” imitates an unknown fluorescent light source. Recently, however, Bernal has added extra effects to his illustrations with stunning results.Īfter completing the pencil sketch, Bernal uses the artist app Medibang Paint to add artificial lighting to his drawings. His realistic drawings-which range from portraits to animals-are made using mechanical pencils and pens. Edward Brooks, please visit his drawing blog.Artist Enrique Bernal (AKA Kike) has found a way to make his pencil sketches glow with life. I hope this post has been helpful-good luck!įor more drawings and tips from H. If the drawing holds the room, my work is done. When I decide to look at the drawing again, I set it across the room towards dusk. I need to refresh my eyes for that drawing. I use value strips to compare all of my light, mid-tone and dark values from different areas of the image until I think I’m finished.Īt this point I put the drawing away for a week or so and work on something else. For this step, you may want to create a value strip using the same paper as the drawing. Continue the rest of the drawing until you are satisfied with the range of lights and darks throughout the entire piece. Fix about every third layer in the dark areas, and continue adding darks until you reach the value you want.īoxer in a Box, graphite on print-making paper.ħ. You can then apply more layers of graphite. The paper will rise (expand), much like foccacio bread dough. Use a buffing technique, much like hand buffing or waxing your car.Īfter the third layer, apply a light workable fixative and let the drawing rest for a couple of days. Find a soft cotton cloth to use when applying the powder. ![]() Bottled graphite powder that you can purchase is just not as rich. For graphite powder, I grind my own using a mechanical pencil sharpener and 6B, 8B, and 9B leads. You will get your darkest darks by building up multiple layers of graphite, maybe as many as 20 layers.Ħ. Work your pencil and powdered graphite very lightly, caress the paper. When creating your deepest blackest values, patience is the key. You do this so that you have something to compare the rest of your values to.ĥ. Once your drawing is well along, and you can see all the major shapes of your subjects, it’s time to fully develop the darks in the background. Great Dane, black tie, graphite on print-making paper.Ĥ. Bring the whole drawing along slowly, much like a photo developing in a darkroom tray. Work the whole drawing, don’t linger in one area. Let the large shapes of light and shadow guide you, detail comes later. Begin your drawing by lightly blocking in your subject, then start massing (adding) in the major forms. It doesn’t have the sizing of a watercolor paper so it really soaks up the graphite, allowing me to get more graphite on the paper at once.ģ. Choose your paper carefully for the amount of graphite it can hold-I am using Stonehenge’s print making paper. I rarely use the H’s as their color is less rich and has a shiny appearance.Ģ. Use an architectural pencil (a lead holder) so you can continually keep a sharp point while drawing. ![]() The techniques I use in producing these drawings range from the traditional handling of the pencil to a glazing technique using powdered graphite to enhance darks. ![]() "Profiles in Black and White" is my on-going series of drawings observing various forms in profile. Edward Brooks in Art Tutorials > Drawing Tips
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