Antonio Lopez Garcia
As we work observationally we will discover how important tonal relationships are, as well as how elusive and fascinating perception is.
(11) Consider tone as a way to create concave and convex surfaces on the flat picture plane:
A thorough scientific article regarding this:
(12) Consider tonal drawing and how light on a surface describes form.
(13) In addition to thinking about mark making, the idea of intentionality leads to consideration of composition, including placement on the page, scale, balance, and opposition.
Here is an informative video on thumbnails, planning the composition by mapping out the basics.
The thumbnail will be a useful tool in your sketchbook as a means to explore and to get the most out of your ideas:
(EA# 1A) Regarding the process of building up a drawing with tone from a gestural drawing:
(EX#1B) Richard Diebenkorn worked in both painting and drawing with the same seriousness, creative exploration, curiosity, seriousness, and aesthetic goals.
Here is his advice and a glimpse into his sketchbooks:
In EA #1 B, you will think about using line in various dilutions, with or without a wash as a ground to describe a still life, as Elzabeth Blackadder does. You may also use, exaggeration, and stylization, with intention for the overall feeling or expression you want to convey.
Or, as Diebenkorn does in this and other images in ARTSTOR.