Here’s a drawing that I found beyond the edges of the original. I tiled more drawing board around the original in a moment of creative juiciness, and the rest of the story appeared.
To meet my criteria of a “beyond the edge” drawing, which I’m making up as I write, I have to approve of each tile of the drawing as it looks alone, and how it looks combined with the others too.
I began the drawing with the upper left tile, added three more pieces of drawing board (Strathmore 500 Bristol Board Vellum), and that’s when I discovered that I was drawing pears that appear to be wrapped in paper, perhaps as if they’re in a gift box.
There isn’t any deep meaning in this drawing. I just like pear shapes. They’re cute, with their pointy tops and round bottoms. Also, I’d like to take a bite of one. Yummy!
This drawing could simply be the result of hunger. C’est la vie!
The nitty gritty with a twist.
The surfaces of my pears look relatively smooth on this medium textured board, but I didn’t use a blender tool. I don’t have anything against using blenders, I just didn’t want to smudge the beautiful texture of graphite on this vellum bristol board.
I’ve come to appreciate paper textures, even very rough ones, when they are made to look “smooth” with careful hatching technique. A slightly rough paper texture even sharpens the over-all look because the eye can focus on it, unlike smudging which blurs things a bit.
Here’s how I draw a smooth looking texture on rough paper.
This example isn’t “smoothed” and you can see that it looks a little bumpy, and there are a few odd lines and other blemishes.
I drew this shape with a dark 2B hatch around the edge. then filled the center with HB and 2H while blending in the edge by hatching over that area again.
The smooth looking drop on the left in this example simply has it’s light spots darkened, and dark spots lightened. That sounds easy, but it takes a bit of practice and patience to handle the tools deftly enough to do this gracefully.
First, I pinched a kneaded eraser into a tiny point and “tapped” out the dark lines and spots in the lighter part of the shape, then I carefully filled them back in with a hard sharp lead (2H) until they disappeared into the surrounding area. I used a softer lead (HB) to fill in little light spots in the darker hatching.
That’s my process for making a smooth looking hatched surface on a roughly textured paper. There’s nothing magical to it at all, it’s just plain old pencil to the paper technique, with lots of practice.
Well, maybe there’s a little bit of magic to it.
Keep making magic everyone!