So, I’m still working onĀ this foot. I think it’s almost done.

Bargue Drawing Course Plate I5 Attempt 2 Stage 2

After the initial drawing, I filled in the “darkest darks” as my teacher Paul Dusold taught me at Fleisher.

Bargue Drawing Course Plate I5 Attempt 2 Stage 3

Then I completed the lines and worked on the lighter tones and transitions.

This is the first drawing I’ve done without manually smudging to soften and blend the tone. The transitions aren’t very smooth and there are inaccuracies compared to the original plate, but it’s coming along. I’m pretty much dying to move on to something else after spending another 1.5 hours with it. I realize that’s not a very long time, but I keep thinking, “it’s just a foot!”

I used four different pencils for this drawing – I started with a 4H for the initial guidelines, then moved on to a 2B to fill in the initial tone, then a 4B to make the darkest parts darker. I happened to have a mechanical pencil on my desk, which I used to outline the toes…it’s a bit stark but I couldn’t resist the unbeatable sharpness of a .7mm point.

One of the most important things I’ve learned in this process is that even the most skillful and successful artists throughout history have planned their art. From methodically measuring out dimensions to full color studies, I’ve come to understand what happens leading up to a finished piece I may marvel at.

I’m sure there are a rare few that can sit down at a blank canvas with no forethought and produce a masterpiece – me, I need a plan.