Waiting in the Little Black Dress

[Jean Kelly]

I've knocked the light areas way back, and made her dress more "black". Actually I've done much more that that. I believe that the biggest problem here is my choice of medium. Mischa, you mentioned something about "oily charcoal pencils", and I think this as caused some of my problems in lifting off the charcoal. I used a mix of vine charcoal, General charcoal pencils, and black conte. Some areas simply refused to "lift" and may be due to the oil you speak of. I also use my fingers extensively, and I would imagine that any oil would also be deposited on the drawing. There are dark round spots that refuse to be erased! Next time I will limit my choices to vine charcoal only, and blend with the appropriate tools. I am also going to choose a simpler subject to start with and learn the medium before I tackle a complex subject like this. When I mix my types of charcoal, I will do it with knowledge, not just because it is there.

Thank you, this has been a tremendous learning experience!

Jean

Also, I stopped at her hands-----just didn't want to work on this any more. My photography skills are less than to be desired. Somehow the light areas are too light, her dress is actually quite black, and softened much more than the photo shows.

[Mischa Milosevic]

I find that the pink pearl pencil eraser 400-A series work the best on those difficult to erase jobs.

I mentioned the difficulty in distance critique so in order to give you an idea what you can do I have made some tonal adjustments. Again when erasing one must have patience. There are times when in the paper I get a dark, black dot, and it is right in the lights of the face. I have used a sharp object to slowly pick out just that dark spot and have not damaged the paper.

So, please have a look here and see what you can do. You should not stop yet.

[Mischa Milosevic]

Please notice that I have just made some not so perfect adjustments. This is just to give you an idea that you still have options to work with.

All the best to you

[Jean Kelly]

I guess if I was actually in an atelier, I would have my hands swatted with a mahl stick.

I had already started adding color when you replied, Mischa. I thought it might be interesting to add conte, like the old colorists of the 50's and 60's photography world. I have an old senior high school photo with the most outrageous color of pink on my lips using this technique. This drawing was a perfect candidate.

I did incorporate some of the suggestions in your image, Mischa. Her arms are much lighter and her face will be lighter also. I haven't finished yet........ and have not given up on charcoal. I'll get the eraser and at this point need all new kneaded erasers and more vine charcoal. I also would never have thought of scraping as a method to remove those dark spots.

All the best to you too! You are a great long distance teacher.

Jean

[Patricia Joyce]

Hi Jean,
I love that you have introduced color. And just enough. I really like the look. I also wanted to add that I so admire your working as consistently and as hard as you do considering your health issues. You are my hero, I so admire your tenacity. and all your work is amazing.
Keep it up, but call this one done (my humble opinion)

[Jean Kelly]

Thank you Patty.

I need to work more on her hands and arm, they must turn! I've also finished her left eye, it was not quite right.

Believe me, I'm no hero. We've had gray skies, mist and rain, plus cold raw temps for the last week and I'm whining and pissing and moaning. Heros don't do that! I still thank you though. You have also worked hard and long to improve, with many obstacles thrown in your way. Hero worship goes two ways.

It's time to put all this stuff away and make some pies, stuffing, etc. etc. Have a happy turkey day to all.

I'd rather be painting or drawing, but food prep and cleaning are part of a balanced life............bah humbug.

Jean

[Mischa Milosevic]

Jean, this is a wonderful surprise. I really like what you have done so far. I hope you wont mind if I make a comment or two.

Some things to consider. You have light coming from the left and you have light coming from the right (the light on the hair). This is good and it presents a challenge.

Here is what I suggest that is if you fancy the thought. Spread the light that you have on the entire chest cavity. Also, bring the lights up just a little on the arm in shadow, her left arm the bicep and shoulder area. On the tricep and shoulder of the same arm introduce the same value you have on her chest but gradually to half tone and leaving the dark on the arm as it is. O yes,one more thing, I would think on adding more light on her hair in the shadow on her right side, our left. Maybe just a little and not as light as on her left side. I think doing this will make her head more solid looking. The highlight in her eye try not to make it to strong , give it a little mystery.

This will be top notch! Good for you!

[Jean Kelly]

Of course I don't mind comments, I thought I was in trouble.

Thank you, I'm glad you like my attempt to save this drawing. I've already done some of the changes you suggested (her eye highlight in particular). Now to finish the arms and those awkward looking hands. I won't be doing much but cooking for the next few days... I've enjoyed this challenge more that I thought.

Jean

[Jean Kelly]

This is very close to complete. I only have some work to do on her hair, more shaping on the dress under her left arm. and texture to the wall behind her.

Jean

[Michele Rushworth]

You've come a long way with this piece. The softness in the arms, hands and elsewhere made a big difference. I would encourage you to look at the strong value changes between the lights and darks on the dress, though. The high contrast, especially in the stripes/folds across her middle take too much of the overall form away. You might want to think about simplifying and massing the values in the fabric in that area, and in the bodice area.