Shading Techniques: Value Exercises with Graphite

Full courses available here: sadieartschool.com
Paper: Strathmore 300 Bristol Smooth paper, which is a very smooth, thick, bright white cardstock. Complete materials list is here: www.sadievaleriatelier.com/ma...

[@khemetbey803]

I am big fan of graphite art, like to the point that I love seeing other artists doing values with pencil. It takes a lot of patience to use circular motions to execute values, I prefer this method over using a tortillon. Thank you for sharing your skill.

[@thedocshlaett5960]

This is so difficult for me. But, I’m getting better each time, thank you for providing these videos.

[@estuart76]

Exactly how I draw/shade, even down to the use of eraser. Takes forever but the fine details really stand out. Thanks for your time.

[@SadieValeriAtelier]

Thank you for the comment, sounds like you know what goes into it. Bon courage!

[@TheDoerf]

Thank you very much Sadie for sharing your work.

[@MMOStein]

Its rare to see artists use the H pencils (on youtube anyways), I thought I was the only one who found them very useful and was always wondering why people just stick with 2B for almost all shading.....like, you have a million pencils for a reason bruh.

[@SadieValeriAtelier]

Very true!

[@jamesaritchie1]

Every artist I know, and the large majority I watch on KZbin, use H pencils. I doubt it's possible to do many drawings without some level of H pencils, though few go beyond 5H. Doing so really is not necessary fow any drawing. It's simply a matter f the artist's personal preference.

[@vdbacon8329]

Beautiful work and a very nice voice to listen to. Thanks!

[@SadieValeriAtelier]

Thank you!

[@robertomontero9457]

that shading is perfect

[@nicolastockar]

Hi, thank you very much for sharing.

[@thyung5681]

It inspired me so much, now I'll go working on my drawing

[@samrobinson141]

Incredible!

[@faithwaipouri8472]

such a beautiful peace

[@rosamontero946]

I can watch this video a billion times and not get bored;)

[@ianblack7321]

i know right i watch it before bed relaxes me

[@jamesaritchie1]

That is truly beautiful work. Just fantastic. I've seen many new artists give up because they could get a drawing right in an hour or two. They thought it meant they lacked talent. I told them patience is a must for any artist, and that a drawing/painting/ whatever, takes as long as it takes, and this can often be a very long time. Anyway, I have a set of Derwent that goes from 9H to 9B, though I've never found it necessary to go harder than a 5H, or softer than a 6B. It's all about preference. I think the softer B pencils are the ones beginners make mistakes with. Once you get past 6 to 8B, you're going to get shine, especially if you're a beginner. When I need something darker than a 6 or 8B, depending on the size of the rea, I. like many artists, switch to a black colored pencil, or even to ink on a very small, detail area. I really like the idea of not allowing new students to use too wide a range of pencils. Beginners often think you must have a very wide range to do anything, and pencil companies always give consumers what they ask for. It's good business. I have a set of pencils that goes from 9H to 14B. I bought them out of curiosity because several students in a friend's art class had these pencils, and asked me why I didn't use them. Well, I didn't know they existed, but the beginners swore by them. So I bought a set. From 8B on up, they were both bad and worthless. I pointed out some unbelievably good masterpieces from history that were done with a single shade of graphite, or a single shade of some other materials, and they found it hard to believe. I told them it was about contrast, and while you can nly make a particular piece of graphite so dark, you can make it as light as you wish it to be by very careful use of a kneaded eraser and, if you like it, a piece of Blu Tack. Personally, I wouldn't know what to do witho0ut Blu Tack. I've been using it for so long that it's almost as needed as a pencil. Anyway, he did a brilliant demonstration of this with a 4B pencil, and then assigned the task of doing adrawing with only that pencil grade, and they had to give it a specified range of tone.. To their credit, most of the students did a great job, though that job was accompanied by a lot of frustration and temper tantrums until they got the hang of it. This, I think, is an essential thing for new artists to learn. Once an artist can do this, they can then use a wider range of pencils with more care and understanding.

[@SadieValeriAtelier]

Thank you! Yes, many art students don't realize how much they can achieve by slowing down.

[@TheJmh19]

great video and awesome drawing, thanks!

[@SadieValeriAtelier]

You are welcome!

[@lindalangeheine5787]

Thank you for defining your terminology. I didn't know what "turning form" means.

[@KingKing-bo5yf]

Area from darkest area, contrast line, towards the lit area. The transitting.

[@erikt81a]

Amazing exercise

[@test89267]

Incredible.

[@musyokscreation3821]

Practice makes perfect

[@albertross2456]

This is amazingly photo realistic work

[@SadieValeriAtelier]

Thank you! A gentle correction: This is classical realism, not photo realism. I have a lot of respect for photo realists, but we have different goals and styles.

[@DedicatedSpartan]

Thank you.

[@tegian732]

Grazie mille the bargue course helped me as well with rendering forms in such way to trick the observer to thinking that hes looking a 3 dimensional object Wonderful work . Bouna anno

[@SadieValeriAtelier]

That's great to hear, glad you have found Bargue plate training so useful.

[@tegian732]

@@SadieValeriAtelier your video too

[@Mock_demo]

That is gorgeous art piece wow😍

[@SadieValeriAtelier]

Thank you!

[@jx0uax0xn]

Thanks!

[@Justin-General]

Beautiful

[@kimnoah5316]

perfect

[@BjornarFrantzen]

amazing

[@yoelbeche6213]

The 'H' pencils are useful when it comes to adding details and a slight and subtle tones. Btw,amazing drawing!!

[@SadieValeriAtelier]

Thank you!

[@dhruvilparmar5016]

That's so beautiful 😀

[@SadieValeriAtelier]

Thank you!

[@Gyncop]

I really admire your technique !!! Do you have a specific sketch video? Thank you!

[@SadieValeriAtelier]

You can check out all our inline courses at sadievaleriatelier.net/all-courses/

[@Gyncop]

@@SadieValeriAtelier thank you!

[@roblevintennis]

A critical question here is what paper are you using and texture smooth vs. rough. I'm trying to do this sort of thing with Nitram charcoal and it turns out to be extremely nuanced. Thanks for sharing these techniques! I'd love to see one in charcoal. I see from your web site's material list that you stump when you use charcoal and I'd be curious how you integrate that in (I presume you wait until towards the end and use it sparingly).

[@SadieValeriAtelier]

Some ateliers teach mainly with charcoal, but some of us teach mainly through graphite. Both are useful and have pros and cons. For this drawing I am working on Strathmore's Smooth Bristol 300 series, you can see my whole graphite drawing materials list here: www.sadievaleriatelier.com/materials-lists

[@cronchybo]

HOW???!!!

[@chriscornell9409]

Can i do this all with 2hb do you use brush to blend?

[@SkyKyu]

Hi it's a great video, you draw very well. and I have a question about this classic style, I mean normally the artists darken the background to highlight the drawing, so this can be done with graphite or I have to use charcoal?

[@SadieValeriAtelier]

I teach both graphite and charcoal. You'll see in the course previews if you look at my website: For full compositions that include background, use charcoal. For graphite studies, just draw the subject without a background. It would take months to fill in the background with graphite to this level of refinement, and I believe your time at the easel is better spent learning something more than filling in a background. www.sadievaleriatelier.com

[@Abu.H.]

wow

[@sabretooth717]

Hmmmmm...wow

[@hasanrazaart]

what kind of paper you used for that kind of graphite rendering?

[@BjornarFrantzen]

This!

[@SadieValeriAtelier]

I'm drawing on Strathmore 300 Bristol Smooth paper, which is a very smooth, thick, bright white cardstock. -Sadie

[@UnseenWorldITC]

I see your using stedler pencils for shading but what is the pencil applying the dark tone? Great work

[@SadieValeriAtelier]

Tombow Mono brand pencils. My full materials list is in the description beneath the video.

[@lisengel2498]

I would like to know what the name of the pencils is? And also how you sharpen your pencil, wonderfull technique

[@sarahqueen7309]

Lis Engel I usually sharpen my pencils with a cutter

[@gajapekosak2874]

If I'm not mistaken, the brand is called TOISON D'OR, pretty good pencils, but the brand doesn't make much difference, unless you're using DERWENT, those a very prone to breaking. It is visible that she sharpens her pencils by cutting, many artists do that. Usually they will cut the wood and expose about two inches of graphite, then they'll "shape" or somehow sharpen it even more by rubbing it on sand paper (very lightly spinning the tip so that it gets the shape of a thick needle). I know I'm a year late, but if you see this answer, I hope it helps.

[@SadieValeriAtelier]

I use Tombow Monos, which are softer but also more sensitive, but most my beginners start with Staedtler. My full materials list is here: www.sadievaleriatelier.com/materials-lists

[@mrnootnootmcnoot4954]

i cant decide which art school to go to i want to learn both fine and modern art and CG but as a hobbyist

[@ksuhuh]

Mr Noot noot Mcnoot modern day art degree usually is great on a resumé when applying for a shitty job. Having atelier training, you can feed yourself with classical portraits, teaching drawing and painting classes and make cool expressive art stuff on the side. The downside is that ateliers are expensive and by the time you're finished you already have a lot of debt. I would say your safest bet would be illustration/graphic design, that way you can make money after a few years and if you start going to an atelier, you can make a decent living doing webdesign stuff, that way you won't need an enormous loan with terrible intrest rates. Just my two cents.

[@webkoros]

Hello, what is the weight and granularity of the paper you are using in this video ?

[@alexandrustefan2170]

I think its 300

[@SadieValeriAtelier]

Strathmore 300 Bristol Smooth paper, which is a very smooth, thick, bright white cardstock.

[@thyung5681]

That's absolutely amazing, how many hours did you spend on this drawing?

[@SadieValeriAtelier]

I really don't know. I had it up on my easel in my teaching studio and I worked on it on and off for about 2 years, between critiquing my students. Maybe 100-150 hours total?

[@thyung5681]

@@SadieValeriAtelier omg that's an incredible patience

[@vincentnguyen8698]

can anyone tell me, for smoother shading, esp for smooth core shadows, do you start with harder or softer pencils?

[@SadieValeriAtelier]

Soft first, then hard, all well-sharpened. I offer detailed instruction and feedback for shading in my Online Atelier at www.sadievaleriatelier.com/

[@louiscorbett3278]

*couple years*

[@ubhayfitness7247]

Could you please tell me the name of the pencil that you used.

[@SadieValeriAtelier]

This is a Tombow Mono pencil. You can see my materials lists here: www.sadievaleriatelier.com/materials-lists

[@Dale_Blackburn]

Hello Sadie! May i ask from what age have you been drawing? Is it too late to start at the age of 20? Thanks much.

[@sylvianblue]

Lorne Malvo 20! If only! I’m 51 and started about 5 years ago and often lament at how good I may be by now if I’d started at your age! Go go go!

[@SadieValeriAtelier]

After teaching over 2,000 students ages 18-78, I have found that every single one feels they have started too late. It's never too late!

[@verloren_ruhe]

Hi! If you see this, please tell me how do you work smooth dark values in graphite

[@SadieValeriAtelier]

Fill in all the white dots with a needle-sharp, very hard pencil. Don't press hard with your pencil, ever. Erase the black dots with the tip of a twisted kneaded eraser. Just do all that for 50 hours and you'll be a master at shading.

[@argeancomics3291]

Seems that you first create the dark shadows and then, start the soft values coming from the dark to light areas. Is that correct? Because I do the opposite (meaning shading all the draw in light shadow and then darkening the darks) and Im having trouble doing good shadings like yours. At this point Im dping Bargue´s book and is hard to control that soft or subtle changes in values convincely. Maybe I need to change my approach. By the way, incredible work and control of your tool.

[@SadieValeriAtelier]

Hi, for classical drawing we always fill in all the shadow shapes 80% black first, and then we darken the area just behind the terminator to 100% black, and only after that we round the form by shading from the terminators up to the light. More info on my blog post here: www.sadievaleriatelier.com/post/music-of-the-spheres

[@SadieValeriAtelier]

And thank you!

[@anima6035]

​@@SadieValeriAtelier 😍😭😍 this comment is exactly what I've been looking for, thank you so much!! I just wrote it in my sketchbook and now I'm ready to shade!

[@dudegrant6198]

What is a terminator?

[@Kalo953]

My drawing teacher told me that H pencils and B pencils cannot be combined, because of some kind of difference in the graphite that makes the texture inconsistent. What would you say about that?

[@thoughts2536]

with all do respect to your teacher but you should experiment on your own and make your own path. For any artist who is not working on a MASTER PIECE its ok to use what ever is available regardless the differences.. simply use the B's to make hard edges and the H's to soften them. Shadow and cast shadows with B's and H's to refine them.

[@Kalo953]

David Abrams i have experimented with both types of pencils and it seems they kinda cancel each other off. I guess the person in the video uses other special pencils or just the technique is different. There are many variables to consider when you paint.

[@SadieValeriAtelier]

Interesting, I've never heard that, and I don't find it to be a problem for me, but it all depends on what you are hoping to achieve.

[@ritaldemerde763]

how do you make the 2B so dark ? Mine just remains dark grey, no matter how hard I press! Beautiful drawing

[@MattShade64]

Also you might want to try different makes - values can and do vary greatly among different manufacturers.

[@theartistic8662]

@Team Player ohh I see...so it is always going to be some sort of glare , we can just try to reduce it , right ???...do you mean 5 pencils with different layers ???...Which one to use lower layer ??...should start from H to B..Or B to H..?? Sorry for this much questions but I have to achieve that.:)

[@theartistic8662]

@Team Player I really appreciate the time and information given by you...I will try and will definitely get this done...THANK YOU VERY VERY MUCH :)

[@gajapekosak2874]

@@theartistic8662 The softness is not that important, I will usually go with a 5B if I'm drawing dark values, any softer than that just gives you some more grain on the paper and isn't very important in my opinion (feel free to ignore if you see the difference, I personally don't). With dark values it's more about what I call "saturation of thickness". You put many layers of same pencil in particular area, that way you fill gaps that have a lighter value but are harder to notice. One thing you can do is sacrifice a brush and cut the bristles so that only about 3-5 mm are left, then you use that to rub the graphite in the paper, it saturates the value even more and you are able to put more layers on which makes it even darker. Italian academics usually work this way. As far as the paper goes, you have hard and soft paper, which is VERY important in my opinion. A rougher paper will never give that beautifully soft feeling of shadows, unless you are very experienced and, as @Tywyll Moon already said, know how do adjust the technique based on the material. That's why for example watercolor paper would be inappropriate for portraits in most cases. Also, if you are working with some sort of hyper realistic technique, rougher paper makes it impossible to get that texture you are usually looking for in very detailed hyper realism. Brands and kinds of paper also matter, some paper is purposefully made for some particular use. There are papers that take in graphite better than the others and if you choose the wrong one, it can sometimes be impossible to get a very dark tone. And yes, it is in the nature of graphite to have a shine while exposed to light. But good technique and shading can make a big difference, I also suggest buying a fixer to spray the drawing. It protects the layers and it also looks better aesthetically. I know I'm a bit late with the answer, but I hope it helps. Also, feel free to ask if you have any more questions. I've been working in academic drawing for years now, also took up some hyper realism so I can say I know some stuff.

[@-.__Hazel__.-]

rital demerde its a technique ,in my art class we worked almost a month only on tonality contrasts. And later we applied that to a Bargue project. U usually don’t work with higher than 2B because as u can see its looks dark enough and u have to do it we the sharp tip of a pencil and u need to sharpen ur pencils like the one in the video.U shouldn’t use any blender or white pencils .I do it with staedler pencils and it gives me a very satisfying result.

[@h.t1201]

Is it necessary to sharp your pencil that way i mean regular sharped will not give the same effect?

[@h.t1201]

Please answer this

[@friedricengravy6646]

H .T the longer tip will give u a lighter touch.....This whole process is about slowing down. Also u will not lose the point as fast as a pencil sharpened to write traditionally. The long tip u see is also very thin....if u rotate the pencil as it wears, u will continue to have a fine point. There maybe more to it, but these r 2 explanations i am aware of. Also, it may feel odd at first, but holding ur pencil or any drawing/sketching tool in a non-writing position (as u probably have seen artists do) will force u to draw from movement with ur arm & shoulder.....instead of ur wrist. U will keep ur head back as well this way. We all have a tendency to creep up real close to the substrate while drawing with our wrist. Seeing value is more accurate from a slight distance verses having ur face a few inches from the paper, etc. Happy drawing!!

[@h.t1201]

@@friedricengravy6646 thanks i know that these drawings requir layering but i sharping the pencil this way i alway break my lead

[@SadieValeriAtelier]

Its likely you are breaking your lead because your cuts into the wood are too deep. It helps to cut the wood in long shallow ribbons, as I demonstrate in this video: kzbin.info/www/bejne/roSpc5Rqa9J_fbM

[@joshsilva4953]

Can you do this on figuring drawing

[@SadieValeriAtelier]

Yes but only ateliers offer long pose model sessions. You need a model to do one pose for a full month, and it's rare to find that in an open model session.

[@nithinjoy100]

Madam do you blend it or without blend ?

[@SadieValeriAtelier]

No blending. Just a light touch. And a few hundred hours of practice :)

[@user-vl5jv5dn3j]

What kind of paper are you drawing on?

[@SadieValeriAtelier]

This is Strathmore Bristol Smooth 300. You can see my whole list of suggested materials for graphite here: www.sadievaleriatelier.com/materials-lists

[@zain_bk]

I'm also training on bargue plates but my shading is bad it include black and white point it isn't smooth and I'm tired because i don't know what is the problem I'm shading slowly and use very short line and my pencil is sharp how can i get smooth shading

[@SadieValeriAtelier]

In my online program students learn smooth shading by practicing value scales and spheres first. Then they are ready to do smooth shading on a Bargue plate. Https://www.sadievaleriatelier.com

[@zain_bk]

@@SadieValeriAtelier is the course translated into Arabic language?

[@SadieValeriAtelier]

Sorry, only english.

[@symmachus898]

Are you using 2B to get your shadow that dark?

[@SadieValeriAtelier]

Watch the video with the sound on and you'll get your answer :)

[@symmachus898]

Well I'm not sure because I think you're using a B for your terminator line (which is darker). It's just unbelievable how consistent you make your dark shadow.

[@SadieValeriAtelier]

I layer different pencils to build up the values, 4H-4B. My beginning students are limited to working with HB-2H to learn to get a wide value range just with pressure sensitivity.

[@manzencastillo]

Thank you i have trouble controlling my urge to use stumps

[@SadieValeriAtelier]

If you use a stump with graphite it gets too shiney, it will look greasy. The other reason not to use a stump is to learn how to sculpt the illusion of 3-dimensional form under your pencil. If you smear with a stump you are likely copying values with 2D thinking, vs sculpting form with 3D thinking.

[@manzencastillo]

I really appreciate your response to my comment. Do you happen to be on Instagram too?

[@manzencastillo]

@@SadieValeriAtelier thank you so much for your time to respond to my comment

[@SadieValeriAtelier]

Yes, IG @sadievaleri and @sadievaleriatelier. All my instruction is on my website though, www.sadievaleriatelier.com

[@manzencastillo]

@@SadieValeriAtelier thank you, I explored your website. Amazing

[@KingKing-bo5yf]

Just my own opinion, I started from 6B, then down to HB, then 2H and then 6H which is oposite. This way, the graphie got stuck in the paper and make it really solid. But this is not really 100% realisic way more like 90% realistic and add 10% my input.

[@SadieValeriAtelier]

Yes, to build up a dark even value, use soft leads first, hard leads on top. That's what I demonstrate here.

[@KingKing-bo5yf]

@@SadieValeriAtelier oh, my bad. I thought you meant the oposite. Anyway, at the end I sometime use even 2H on top of the darkest areas. Which means light areas only using H to 6H, but dark area start with 6B and end up covered by Hs. In this case I don't neeeds to spray it afterwards. Less smudge.

[@boglake22]

Wonderful work! Just curious, where did you find that beautiful plaster cast horse? I've been looking for some nice casts but not sure where to look. Thanks!

[@roblevintennis]

You could start by googling "charles bargue drawing course book pdf" and you'll probably find some very nice cast pictures. I don't recall seeing a horse, but that's where this whole method she's using stems from I believe. Maybe the best would be to get an actual cast and "do it from life" if you're hardcore enough :)

[@SadieValeriAtelier]

I bought the horse cast at www.capronicollection.com/collections/animal-sculptures-for-sale

[@davemills3298]

Are you lifting the pencil each time here, thus laying down town only in one stroke direction?

[@SadieValeriAtelier]

Great question: I am keeping my pencil point always in contact with the paper. I think about it like airbrushing, laying down a "mist" of continuous tone. If you lay down marks only in one direction of the stroke you will get a hatching effect.

[@davemills3298]

@@SadieValeriAtelier Thank you for your answer. If I did a hatching effect, does that rule out trying to hatch in a complete and uniform manner? That is, with no separation of line. Or, perhaps that would be too much work since laying down a "mist" is more effective?

[@SadieValeriAtelier]

How many hours have you spent shading with graphite?

[@davemills3298]

@@SadieValeriAtelier I have been off and on with drawing for years. Mostly off. Many interests and a demanding job have limited me. . I am now retired and find drawing good for my mind/soul. I can finally throw myself into it. I remember an early lesson in drawing stating never to move a pencil back and forth laying down graphite. Always to lift and touchdown again in one direction. I found when doing shading with the pencil angled I would end up laying down tone in both directions, regardless of the instruction. I have never seen the type of drawing you are doing until a few days ago. I have several figure drawing and portrait books but they don't discuss laying down lines beyond "from the shoulder", "long clean lines", etc. I want to build a strong foundation in my skill and knowledge, I need to do this. Living by assumptions is too easy. I do appreciate your input.

[@davemills3298]

After reading in introduction on Modeling in Charles Bargue's Drawing Course I can better use language to express my difficulty. When does one use "veiling" vs "hatching" in a drawing? I believe your term "mist" is the technique of veiling. Yes? Now this technique is as you say a bi-directional laying down of graphite. Is the technique of hatching best or always to be done with a one direction laying down of graphite? Thank you...Dave Mills

[@Ed-lz4jv]

boy you got PATIENCE

[@divinedia]

Do you do private lessons?

[@SadieValeriAtelier]

My online teaching program has an option for private feedback. For that level only I and my two instructors see your uploaded artwork. We give detailed feedback in writing twice a week. www.sadievaleriatelier.com/

[@divinedia]

@@SadieValeriAtelier thank you! I’ll check it out

[@SonoftheLivingGod7]

Is this drawing for sale?

[@SadieValeriAtelier]

Thanks so much for asking, but no, it's not for sale. I do offer a studio sale a couple times a year, you can sign up for my mailing list if you want to be notified of the next sale: www.sadievaleriatelier.com/newsletter

[@TheMozza76]

Why graphite, why not work with charcoal? How do you stop the shine using graphite? Thank you

[@ksuhuh]

TheMozza76 by not pressing hard and not using blending stumps that flatten the texture of your paper and make your graphite shine like crazy. If you just creep up on the value doing light passes and hardly pressing at all all the while maintaining a very sharp point. Actually when doing a charcoal drawing, at least a classical one, you'll need to do the same. Bargues and castdrawings can often take weeks. She had another video demonstrating shading i'm graphite.

[@chotebada]

whats the point of sharping that lead this much big???

[@asharma6358]

So that one can work for longer duration and the strokes are more refined and controlled.

[@SadieValeriAtelier]

Try it and see what works! If you can get results you are satisfied with using a short dull pencil, then there is no need to to sharpen yours like mine :)

[@paul1349]

If you're going to shade with the tip of the pencil what was the purpose of shopping the pencil like this oh I got it makes you look more artistic

[@SadieValeriAtelier]

Yeah that's my primary goal in life, to look artistic. You caught me :)

[@EuphemiaGrubb]

This is a cast of a flayed horse? How is that accomplished? Maybe, hopefully not what my imagination has come up with.

[@SadieValeriAtelier]

It's likely the artist, Isidore Bonheur, worked from imagination and memory, based on a lifetime of anatomical study. Just like the artists who made human écorché sculptures, the Bonheur probably did study from real horse cadavers at times.

[@JFTL81]

Couple years…???

[@SadieValeriAtelier]

Most my students finish their cast drawings in 2 or 3 months, working about 20 hours a week. This drawing took 2.5 years because I was working on it on and off, in between teaching my students. But yes, it was in-progress on my easel in my teaching studio for 2.5 years.

[@shogrran]

I'm only here to find out how she sharpened that pencil in the thumbnail.

[@SadieValeriAtelier]

kzbin.info/www/bejne/i6KWdHmvnZxgp68 ;)

[@kaasbram2000]

thnx nice... hmmm.. why are americains always talking about 'turning' and not about observing tone. If you observe tone shouldn't the form follow automatically.? ... thnx

[@SadieValeriAtelier]

'Tone" is 2-dimensional thinking, "turning form" is 3-dimensional thinking.

[@buttonsnrubbish]

How the hell do you keep the lead from breaking? Also what is the benefit of keeping it so long?

[@sarahqueen7309]

It is not breaking cuz she's being super careful with it also she keeps it long enough so that she doesn't have to sharpen it every 5mins lol

[@elsagrace3893]

What? You are crazy. Years? What is it that you are trying to achieve? Your patience.....

[@SadieValeriAtelier]

Slow practice is best for learning, in all disciplines. I am trying to achieve the same thing the pianist is trying to achieve when they spend years on scales :)

[@lilacmoon2120]

If you rush ur pieces you won't get as good quality. Not to mention she teaches as well as has other works shes doing. Things take time :)

[@OlinCaprison]

in the end the fine details don't stand out. classical artists, in terms of technique, all the heroes everyone admires to this day, were far more concerned with speed than this extreme nitpicking. i guess this is cool if you want to do something meditative, but otherwise i can't imagine why someone would fill in tone like this

[@SadieValeriAtelier]

Slow drawing is actually a much faster way to learn. I'm the rare artist who studied at a full time 4-year art program at a top US art school, and then studied classical training afterwards. Nothing pushed my skills forward *faster* than slow classical drawing.

[@BC-sh7en]

so....how the hell can you work on a drawing for a couple of years???? How big is that drawing?? 😮

[@SadieValeriAtelier]

Go back and listen closely. I say quite clearly I was working on it for a couple years ON AND OFF, and I that I had it set up in my teaching studio and I worked on it IN BETWEEN TEACHING MY STUDENTS. It's probably a 75-hour drawing, and it was 2.5 years before it was done. My students were all working on similar drawings all around me. This is typical atelier training. And this is why classical drawing is not taught in regular art schools, they are not set up to support a student to work from 3D life on one subject for 75-200 hours, which is what it takes to learn to see to this level of precision.

[@DS_portraits]

Whys it taken you so long?