رسمة بالرصاص

[عبــ الورد ــير]

السلام عليكم

هذا اول موضووع لي ويمكن اول مشاركة بعد

هذي رسمة رسمتها بالرصاص لصووورة وحدة بالمجلة

هي مغنية بس ما اعرف اسمهاا

بس الزبدة انهاا من لبنان





يهمني نقدكم

وارائكم

[gokussj]

السلام عليكم

Pencil Drawing Techniques



Getting Started

Once you have decided on your subject, you will need to choose the best techniques and materials for your work of pencil genius.
Pencils, a Brief Overview
لازم تستعمل اقلام الرصاص المدرجة علشان الشعر يطلع اسواد والخشم يطلع فاتح . انت اكيد استعملة قلم رصاص واحد و هو 2H

Pencils range in hardness and blackness from 9H to 9B. Pencil manufacturers use the letter "H" to indicate a hard
pencil and "B" to designate the blackness of the pencil's mark. The letter "F" indicates that the pencil sharpens to a fine point. 9H pencil is the hardest pencil available. 9B is the softest pencil you can get and it will create the darkest lines. My ‘pencil kit’ ranges from 2H to 2B, but I recommend using up to a 6B for deep shadows and bold, dark lines. You will find that any harder that 2H is quite difficult to use and may create dents in your paper.

For fine details, you will often require a sharp pencil, or a mechanical pencil. Using a sharp or mechanical pencil with keep all your strokes fine and small.
Paper & Other Materials

You will also require good quality paper, an eraser and a sharpener. Make sure you have a clean and uncluttered desk to draw on, or if that is impossible or you are outside, draw on a solid clipboard with a bulldog clip to stop your paper from flying.
You might find the kneaded rubber eraser to be an invaluable tool for eliminating erroneous lines and softening tone as you have a lot more control than a generic rubber. Using a patting technique you can gently lighten areas which are too dark, or to harmonize incongruent tone. (Or you might find it a complete waste of money, as personally, I hate kneaded erases, they are too malleable, and when molded to a fine point never stay that way.)
Your papers’ texture can drastically determine the kind of drawing you will create, and may require different pencils. Drawing realistically, with plenty of details requires smoother paper, characterized by not very much tooth (texture) so that the individual pencil strokes are barely evident. Rough paper holds more graphite than smooth paper, allowing your drawings to have deeper shadows, and more contrast, though the grainy texture of rough paper makes it difficult to render fine detail. Drawing on smooth paper requires softer pencils to create dark shades.
Medium paper give the best of both worlds (purchase it if you are unsure of your own preference), paper with enough ‘tooth’ to grasp the graphite without producing a metallic sheen, but smooth enough to allow for the application of relatively fine detail. I draw on 100% cotton Rag paper, which is long lasting and gives me the freedom to watercolour my drawings.
Holding Your Pencil

To draw with a pencil skillfully you must be able to hold your pencil in a comfortable position where you have optimal control. If you have pain in the hand or shoulder after a long drawing session, it could be an indication of holding your pencil ‘incorrectly’. Don’t grip relentlessly to your pencil, and drive it into your paper with your entire body weight! The paper is not your enemy, soothe it with delicate, beautiful pencil stokes and it with reward your poise with a lovely drawing.
There is no real ‘correct’ way to hold a pencil when drawing; it is a matter of personal preference, and comfort. Experiment with different grips (perhaps the way you hold your fork or maybe in a similar way to how you hold chopsticks).
Drawing Techniques

The technique you use will habitually be determined by the initial purpose of your drawing, or the aspirations you have for the illustration. Sketching for a watercolour would require an entirely different technique than that for a detailed photo-realistic drawing. You have most likely seen the techniques cross-hatching, circles, scribbles and contour lines and you may have even experimented with a couple, but have you ever completed your final work with these techniques?
Before you start experimenting make sure you know…
THE RULES

وهدى مهم اكيد مرت عليك بس لا زم ادكرك لان ما تقدر ترسم بدونه

It won’t hurt to go over them

Objects appear smaller as they move back away from your eye and equally objects drawn larger appear closer!
Lines and surfaces are their largest closest to the picture plane.
Lines or edges that are parallel appear to meet as they recede from the picture plane.
All vertical lines are parallel when using one point perspective (the viewer is not looking up or down at the objects)
Objects drawn in front of one another appear closer (overlapping!)
Images further away will appear lighter, with less contrast and detail.
For more information on perspective visit ‘Perspective’ by Scott E. 'Sven' Johnson

Cross Hatching

Ideal for sketching, cross-hatching is predominantly used by pen artists, but creates tonal depth and can produce realistic textures when employed with pencil.
Cross Hatching is ideal when creating a ‘light map’ for your piece. By ‘light map’, I mean the paths in which light takes across your subject. By using different directional strokes, you leave an indication of the different light sources and their strength. Using a compact and meticulous crosshatching technique one can create breathtakingly realistic art. When the individual lines are tightly woven they can be undetectable, and the overall impression smooth, realistic and accurate. I highly recommend visiting Michael James May’s Gallery, if you are interested in the amazing capabilities of this technique. Check out ‘Beast’ and ‘Beast Detail’, they’re unbelievable!
Circles and Scribbles

Are wonderful techniques for loosening up your drawing hand. The movement itself is relaxing. Circles and scribbles are a great method for making a distinction between objects of similar tone, by creating contrasting textures. The overall effect is dynamic, with its unique texture and energy. The technique is wild, and inspires you to release your creativity by using intertwining and overlapping circles. And best of all, it’s simple!
Contour Lines

Give shape and volume to your drawings using simple lines! Contour lines follow the hills, slopes, curves and edges of your shapes and are a great way to explore the scope of the space, and the dimensional capabilities of your paper. Creating a contour line sketch can greatly aid and enhance your definitive work by planning the direction of your pencil strokes.
Smooth Shading

Apply continuous tone, varying your pressure gradually to create smooth shade. Create a ‘wash’ with your pencil and make the transition from light to dark in one continuous stroke, using the side of your pencil may help in the initial coat. At random, vary the stopping and starting point of your strokes to avoid unwanted bands running through an area of shading. Repeat the action, until the values are dark enough, and you have shown the most delicate, subtle areas of tonal change with different pencils. Start with your lightest pencil, as it is easier to make your drawing darker than to make it lighter but do not force the pencil to make values out of its limits. Pushing your pencil to make darker shade will create a metallic sheen, very undesirable in areas of shadow or could cause dents in your paper. Smooth shading can use combinations of circular shading and contour lines to bring more depth into your drawing. Practicing this technique is imperative to create realistic shade, and allows you to use ultimate scope of tonal values with the highest degree of accuracy.


Creating a Complete and Professional Pencil Artwork

Sketches can be the instantaneous manifestation of a concept image from whim and imagination onto paper. Often when we attempt to transform our visions into something tangible, the magic and atmosphere of our original concept get left behind. That happens because the pictures in our heads are actually devoid of specific information, and details or we have failed to look at it properly. Sketches, when done without preparation can taint our visions but grounding before sketching can aid us in appreciating the qualities of the initial idea, helping to attain loyalty even in the final product to the original design.
1. Looking at the image in your head

Questions to ask yourself about the picture before you put your pencil to paper:

• Is it made up of any major shapes?
• Is there a background?
• Can you apply perspective techniques?
• Can you break it down into sections?
• Does it have features from something in real life, is it contrived/inspired from a picture?
• Is there a major light source?

2. Composition

The initial sketch does not have to be detailed or realistic, fix that up later. Your concept will grow, develop and undergo reformation but first it must be born onto your page.

• With a relatively hard pencil H or HB, sketch the image LIGHTLY, using lines and shapes
• Don’t concentrate on texture or light at first but rather the outline of forms.
• Don’t get daunted if it doesn’t exactly resemble your idea.
• On the side, make some perspective sketches if it seems distorted. You could also separate it into bite size pieces, honing in on challenging areas, then putting it back together with more insight into the way each individual part works.
• This is a good time to look at references especially for proportions, e.g.: if there are wings featured in your drawing look into the skeletal structure of birds, this could be invaluable in creating a realistic dragon or angel and must be done NOW at the sketching stage.
• Remember composition concepts such as focal points, negative space and balance as they will separate your picture from mundane and make it extraordinary. (I should really listen to my own advice.)

SPEND TIME ON YOUR SKETCH!

As the foundation of your final illustration, a good sketch is crucial to a successful finished product.
I take my time with my sketches because I would much rather be able to perfect it on the same paper until it becomes the final work than sketch and transfer, decreasing the chances of my completed work dramatically changing and drifting from my vision. All the work in my gallery are my sketches, there is no rule that says your finished work has to be separate, the more times you have to transfer the picture, be it from your imagination, a book, or from your sketch the more chances you have of your final product differing from your original aspiration.
If you have made your conceptual sketch but need to transfer the picture onto other paper cut out any details that it had, draw the basic outline, then start filling in any tonal values etc., this will help you with proportions and compels you to evaluate the sketch as you change its size, position on page etc.
You could also use transfer paper, a burnishing technique, an opaque projector or if your final work is going to be larger, a grid technique.
For more information about sketching techniques, visit Pencil Sketching by Max Betruzzie
3. Adding Details

Showing form, texture and pattern, adding detail takes time but is very rewarding and when carefully done, with the support of a good sketch will establish your illustration as professional, realistic and enjoyable to view.
Get out your references! Back to the hypothetical wings in your drawing: find a feather, collect images from the web or the library of both photographs of wings in different positions and drawing of wings. Don’t be carried away and forget the principles! Remember your light sources, Stop and Think about how they will affect different textures, such as the extreme reflection of polished metal versus soft skin. When working on details like complex patterns on clothes or on a weapon, sketching on another page can be necessary to avoid mistakes and ugly rubber smudges because of our fickle minds. Drawing Different Textures

Fur & Hair

• Your shading lines should follow the natural direction of the growth.
• Vary the length and size of your shading lines
• Each pencil stroke does not represent individual hairs
• I recommend Dummies.com as it has a very good page on drawing fur and feathers with some excellent pictures.
• I recommend Mike Sibley Fine Art, The Graphite Pencil Studio as he is a master of realism with pencil and his site has many tips, tricks, and lessons on drawing hair and grass with a negative drawing technique and drawing circles in perspective.
  Check out his gallery too!

Metal

• Draw the reflections accurately distorted by the shape of metal object
• Visit the comprehensive and enlightening tutorial, Reflective Materials & Metals by the talented William Li.

Tip: Practice with Ribbons

• When sketching ribbons you can explore perspective techniques, shading with multiple or single light sources, reflected light, create wind and use cast shadows all with a simple or, at your bidding, complex and elaborate object that can be very beautiful. Continually practice on something that when done correctly is both lovely to look at and satisfying; ritual-shading exercises on a sphere will always be boring (as I have recently found out)!

4. Finishing Touches

• Smoothing out shading
• Smartening up edges
• Brightening whites with an eraser
• Deepening shadows with a 6B pencil
• Storing it somewhere safe, with a sheet of tracing paper to protect the graphite from smudging.

Enjoy your Art!

[Iris]

هلا فيك بالمنتدي "عبير الورد"
ماشاءالله رسمتك حلوة.
رسمك للانف و العيون جميل جدا.
لكن احدى العدستين اغمق من الثانية.
ولاحظت ان موقع الشفاه مو متناسب قليلا.
وبالتوفيق انشاءالله.

[gokussj]

الشى المهم اللى لازم تحط في بالك هو انك ترسم الموضوع صح سواً كان خشب حديد انسان حيوان . بس بيني و بينك احسن واحد هو
Crosshatch
ادا اتقنتة ترسم في اى شى تقريباً .

[عبــ الورد ــير]

تسلموون على المروور الرووعة

gokussj

خخخخخخخخخخخخخخخخخخخخخخخخخ

انا مو مرة بالانجليززي يعني كلمتين ورد غطااها


وانت ما قصرت حطيب موضووع كامل

وحبيت اقولك انو انا ما استخدمت الا قلم واحد الي هو الرصاص العادي

الاصفر اذا تعرفة خخخخخخخ

على العموووم ترى الرسمة تعتبر

ثالث تجربة لي اني ارسم صوورة بمجلة

وانا عندي مشكلة بالتووزن مثل ما قالت"Hikari"

من جد توني الاحظ الشفايف بس العيوون من زمان ملاحظتهم وحاولت اعدلهم بس يعني

ما ضبطووو

شاكرة لكم مرووركم الرائع

[Iris]

العفو
واتمنى نشوف رسماتك الأخرى.

[Lenalee Lee]

السلام عليكم ورحمة الله وبركاته

كيف الحال أختي عبــ الورد ــير ؟؟؟

أولاً أرحب فيكي عزيزتي بيننا وإن شاء الله تستمتعي معنا في المنتدى وفي قسم الرسم ^^

ماشاء الله محاولتك الثالثة حلوة بس ماأدري ليش حسيت الوجه من منطقة الذقن مشفوط

ولاحظت كمان الرقبة حسيت انها صغيرة ماأدري هل عشان الشعر؟؟

وكما قالت الأخت "Hikari" على العينين والشفاه "^^

بس الرسمة عموماً حلوة ماشاء الله

لا تحرمينا من المزيد ياعسل ^^

مع تحياتي..
Lenalee Lee
(Ms.Rose)

[عبــ الورد ــير]

"Hikari"

تامرين امررر

بحطلك كذا رسمة وانشاء الله يعجبوونك

بس ترى الي حطيتهاا هي اخر رسمة رسمتهاا

اولا: هذي اول تجربة لي اني ارسم رسمة من مجلة والي لحد الحيين مو مستوعبة شلوون رسمتهاا خخخخخخ

بس اذكر اني قعد عليهاا كثيييير و طوولت عليهاا مرة وقدت ازيد واعييد فيهااا

بس الي ظبطتوو بصرااحة بس العيوون اما البااقي يعني <<< كل واحد شاف الرسمة قالي هالكلام

والي استخدمتوو بس قلم الرصااص العاادي وطبعا المسااحة




ثانيا:هذي رسمة من خيالي بس كنت بذااك الوقت نفسيتي زفت

وكنت ودي اصيييييييييييح خخخخ




ثالثا:هذي رسمة رسمتهاا واختي الصغنونة قباالي خخخخخخخخ

وقمت استهبل يقال اني ارسمهااا خخخخخخخخخخخ

طبعا اختي وييييييين والرسمة وييين خخخخخخخخخ



رابعا : هذي رسمة رسمتهاا وكنت مررررة مستانسة
واذكر كاان يووم العييد <<< راايقة خخخ
ورحت للفوتوشوب وسوويت كم حركة مع اني موو مرة بالفوتوشوب



طبعا رسمااتي على قدي خخخخخ
بس انا احب ارسم حيييييييييل

[عبــ الورد ــير]

كيف الحال أختي عبــ الورد ــير ؟؟؟

تمام الحمدلله

أولاً أرحب فيكي عزيزتي بيننا وإن شاء الله تستمتعي معنا في المنتدى وفي قسم الرسم ^^

ماشاء الله محاولتك الثالثة حلوة بس ماأدري ليش حسيت الوجه من منطقة الذقن مشفوط

خخخخخخخخخخخخخخخخخخ والله مدري هع هع<< يمكن اني جوعاانة

بس الصوورة يعني تقريبا كذاا مشفووطة هي من الاصل <<< بترقع الحيين خخخ

ولاحظت كمان الرقبة حسيت انها صغيرة ماأدري هل عشان الشعر؟؟


خلاص الجاياات اكثر بنزل رسمتي والصوورة الي رسمتهاا عشان تشووفون
بس اعتقد انا انو لو اني لعبت شوي بالتظليل يمكن يضبط طول الرقبة
بس ما اعرف

وكما قالت الأخت "Hikari" على العينين والشفاه "^^

بس الرسمة عموماً حلوة ماشاء الله

عيوونك الاحلى

لا تحرمينا من المزيد ياعسل ^^

ابشر بعزك ماطلبت شيء ^_^
مع تحياتي..
Lenalee Lee
(Ms.Rose)

هلا فييييييك وكل يوم تعال
سعيدة بمرووووووورك الرائع

[Iris]

بحطلك كذا رسمة وانشاء الله يعجبوونك

تسلمين, مشكوره عجبوني
رسماتك هذه عندي احلى بعد.

اولا: هذي اول تجربة لي اني ارسم رسمة من مجلة والي لحد الحيين مو مستوعبة شلوون رسمتهاا خخخخخخ

بس اذكر اني قعد عليهاا كثيييير و طوولت عليهاا مرة وقدت ازيد واعييد فيهااا

بس الي ظبطتوو بصرااحة بس العيوون اما البااقي يعني <<< كل واحد شاف الرسمة قالي هالكلام

والي استخدمتوو بس قلم الرصااص العاادي وطبعا المسااحة

ماشاءالله. بالنسبة انها كانت اول تجربه و استخدامك لرصاص عادى.

العيون حلوه. نفس الإنتقاد للفم
الرسمه ككل رائعة.

هذه الرسمه عجبتني اكثر. واضح الي كنت تحسين فيه عكستيه في الرسمة.
و مع انها من خيالك لكن ابعاد الوجه متناسقه.

ما عندي اي انتقاد فيها. حلوه
العيون جميلة. لاحظت ان رسمك للعيون ممتاز ماشاءالله و الانف لكن بس الفم تحتاجين تتمكنين منه. (الفم في هذه الرسمه مناسب) و كذلك التظليل.

حلو انك تعبرين عن مشاعرك في رسماتك.

طبعا رسمااتي على قدي خخخخخ

بس انا احب ارسم حيييييييييل

رسماتك حلوه. والله عجبوني
سوي لك جالاري في المنتدى و عرضي لنا رسماتك الى ترسمينهم و تحبين تشاركينا فيهم.

واكثر رسمة عجبتني من بينهم:


وبالتوفيق انشاءالله في رسماتك الجاية.

[عبــ الورد ــير]

رسماتك حلوه. والله عجبوني
سوي لك جالاري في المنتدى و عرضي لنا رسماتك الى ترسمينهم و تحبين تشاركينا فيهم.

عيوونك الاحلى

وشوو الجالاري وشلون اسوية

[Iris]

وشوو الجالاري وشلون اسوية

GALLERY
موضوع في "معارض هواة الرسم" --- نفس ما انتي حاطة موضوعك هذا.
تكونين مخصصته لتحطين رسماتك اول باول في موضوع واحد.
بتشوفين في اعضاء مسوين نفس الشيء.