Drawing gallery sections
Here are some of my drawings. They are mostly done with charcoal on rough
watercolor paper or on ingres paper.
Industrial and buildings
Click on thumb images to see larger versions.
Zollern II/IV
|
Hoesch
|
Very Large Array
|
Hansa
|
St. Pauls
|
Tower Bridge
|
Gullfaks A
|
|
|
|
|
|
|
charcoal on rough watercolor or drawing paper
|
|
Figurative
Click on thumb images to see larger versions.
Taiji
|
Yamato
|
Sumo
|
Thinker
|
Spock
|
Yamato
|
Terminator
|
Wooden beam
|
Birth of Venus
|
|
|
|
charcoal on rough watercolor, ingres or drawing paper
|
|
Landscapes
Click on thumb images to see larger versions.
Hamnoy, Lofoten
|
Fjaerlandsfjorden
|
Quiraing
|
Lyngenfjorden
|
Quiraing, Isle of Skye
|
|
|
|
|
|
|
charcoal on rough watercolor, ingres or drawing paper
|
|
Portraits
Portrait 1
|
Portrait 2
|
Portrait 3
|
Portrait 4
|
Portrait 5
|
Portrait 6
|
Portrait 7
|
Portrait 8
|
|
|
charcoal on ingres or drawing paper
|
|
Animals
Click on thumb images to see larger versions.
Hoatzin
|
Penguins
|
Penguins
|
charcoal on rough watercolor, ingres or drawing paper
watercolor crayons, pastel chalk on ingres paper
|
|
How my drawings may emerge ...
Here is an example of how my charcoal drawings may typically evolve. The drawing is based on a picture of the Norwegian oil rig "Gullfaks A" located in the North Sea (operated by StatoilHydro).
The final result is also shown in the gallery above. I have chosen a rough mould-made
watercolour board of natural white colour manufactured by Hahnemühle (200 g/sqm, sheet size 24 x 32 cm or 9.4 x 12.6 inch).
In my view this paper has a nice texture for drawings of (industrial) architecture and is relatively resistant.
|
Step 1:
Initially I have sketched the main outlines. The very dominant structures
have been partly traced from the back of the photo printout. Then smaller details
have been sketched which are surrounded by larger uniform areas (like the sky, see also one of the cranes
to the right as an example). In order to see some quick progress
I then started filling some sky and sea areas even before all details in the middle part of the oil rig have
been prepared.
Light areas are worked out with the 'estompe' while taking very
little charcoal powder (which is left on the estompe from blurring slightly darker areas).
The first step displayed on the left took around 2h.
Step 2:
The second step was relatively short. Unfortunately, spare time is finite.
For the skye and sea I rarely use the estompe. Such large areas are mainly filled using a tissue, Q-tip or
the fingers. Only for the darker areas I directly use an extra soft Pitt charcoal pen directly on the paper and
blurr it with the fingers. The whole work step was around 1/2-1h.
Step 3:
Another 1-1.5h.
Step 4:
Just 1/2h.
Step 5:
This again was a main step which lasted around 3h. The details in the inner part of the rig have been worked
out while alternately sketching some outlines, adding shadows with a softer charcoal pen, blurring shadows
with the estompe, then sketching outlines again and so on. Well, all these pipes, stairs, railings etc. are
quite painfull.
Step 6:
The last step took around 1/2-1h. There is not much which has been added to finalize the drawing. Most importantly
my initials and the date in the left corner. Some lines in the sea have been added and some little details completed
which the artist seemed to have 'neglected' before. I spend the remaining time with staying up and stepping back,
staring critical, then I sit down and correct some details.
|
|
Crane detail step 1
Crane detail step 6
Leg detail step 6
|
Here is another example:
|
