4.3 Ink the Even Values in the Shirt
Now’s the part you’ve probably been hoping to avoid: the black shirt. I specifically sat for my photo with a black shirt on so that you could get experience inking in the full value scale. Since my face and hair are so light, the dark shirt also acts as a nice contrast. I’ll be speeding up the video in this lesson as we ink in the 6 and 8 values into the shirt. Don’t forget to use the trick of the squiggles to cover the large area more quickly.
1.Introduction1 lesson, 01:40
2.Making a Gradation Scale2 lessons, 17:21
3.Sketching Out the Portrait 2 lessons, 11:35
4.Ink the Portrait4 lessons, 49:07
5.Inking the Fine Details3 lessons, 19:49
6.Blending3 lessons, 24:48
7.Conclusion1 lesson, 00:43
4.3 Ink the Even Values in the Shirt
In this lesson we're gonna be inking in the clothing. Since I was wearing a black shirt, I photographed a little bit flat. But this actually makes it easier for us because we don't have to worry too much about the fine details. Since the shirt is black, it's mostly gonna register as six through nine. So we're gonna be inking in values that are six and eight. It's gonna take a little bit of time, so we are gonna speed up the tape here. You can follow along as I work my way through inking the shirt left to right. Just go at your own pace and hopefully have some fun. And don't forget the methods that I talked about before. We're cheating with the squiggles, that will save you a lot of time. So we're gonna start in on the shirt here. We're gonna start with the value six since there isn't much of it. It's a little bit lighter. Black always photographs a bit flat and that does make it easier for doing something like pointillism. You have enough to worry about in the face, it's easier if the clothing is not quite so detailed. Doing large areas, it's a bit challenging and tiring. Just because it is so large, but it does show off your skills much more. So we're going to move on here and start in, since I like to work left to right. That way my hand doesn't go into the ink. And just start in on the value eight areas, using those trick techniques I showed you where we dot it up to about a six or seven. And then start to put squiggles in. For this one we're going to be leaving the background white. But if you're interested in doing darker backgrounds, I wouldn't necessarily recommend black. But certainly something around the six or the five is a really nice scale because you get a good even tone. And you can still actually see the dots. So in case you want to impress your viewers, those values are really good for doing that. Anything lighter than a four and it gets quite hard because the mind doesn't put it together as a solid shade. It sees more of the individual dots Do whatever you need to do to keep yourself engaged and not frustrated right now. [LAUGH] You have a lot to fill in. I sometimes forget how hard you can grip your pen. So check in from time to time, relax your hand. It'll save you a lot of muscle pain. Start to squiggle in again. Bump up that contrast, that value. Just keep dotting it in. I'll just finish this section of the shirt. It always feels good when you get a big area done. You can step back and see what you've even inking makes it almost worth it. Okay again we are going bump up with the value six area so it's just right in here now, make sure I remember where that cut off is. Don't want to lose that value of six. Set some of the barriers up for the shirt. Make sure this is the view of where the color ends or the color begins the light hits. I wanna make sure we keep that in there. All right, so we're just about done here. Line in the last little bits, push the value with the squiggles to get it up. Since for some reason I can see the squiggles a bit more than in others so, in the later chapters, we're going to start to push that black and to get it up to a level nine, in terms of value. I'm going to go back in with some more dots and do a slight layer over the top and that should cover up any of the squiggle marks that are visible. So if you have a few areas like that, don't worry. We're going to go back. Cover them up so that nobody will ever know we cheated and saved ourselves quite a bit of time. So you can see now why having a black background would be a bit of a daunting task if you're gonna do pointillism like this. But it can create a really nice effect, and it shows a lot of effort on your part. They actually are able to push these darks this far, and it really makes the drawing pop when we have contrast between what will be the whitest whites and then these dark darks here. So looks like I've covered in all the areas. We'll push the contrast a little bit later and cover up any of these areas where you can see some squiggles here, fill those in with dots in another chapter, but for now, we're done with all the fabric. So we're gonna move on from here and go into the next chapter.