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Design – Artistic Production, Step by step 8 of how to draw by Rosângela Vig

Rosângela Vig é Artista Plástica e Professora de História da Arte.

Rosângela Vig is a Visual Artist and Teacher of Art History.

Design – Artistic Production, Step by step 8 of how to draw
by Rosângela Vig

The White Pencil

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint, and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor”, I muttered, “tapping at my chamber door.
This it is, and nothing more "
(PERSON in CASTRO, 2008, p. 45)

Edgar Allan Poe was brilliantly translated by Fernando Pessoa. In this passage from the poem, the night scene, silent, remember a dark place. Maybe a forest at night (Figures 1 and 2), is as dark as the scene of Edgar Allan Poe. The trees, partly involved by the tenuous light of the Moon, Let the clarity pervade and that compose mysterious scenario. The forest full of details invites you to enter, with the soul of artist.

Fig. 1 – Floresta à noite, com lápis de cor branco, Rosângela Vig.

Fig. 1 -Woods at night, White with colored pencils, Rosângela Vig.

To produce this work, We used paper A4 size, Black, without texture, with basis weight 160; white color pencil and color pencil black; and square. The white color pencil was of fundamental importance to give prominence to the scene. Often this color pencils is disposed of a, but its use on paper of darker colors, You can make beautiful any work. I made this drawing in no time, worked freely, without worrying about the accuracy of the form. Maybe that's the most delicious way to do the Art.

Fig. 2 – Floresta à noite, com giz pastel oleoso branco, Rosângela Vig.

Fig. 2 -Woods at night, with oily pastel chalk white, Rosângela Vig.

My scene started with a mild stroke in the horizontal direction, in the middle of the paper, made with white pencil, using the square, for my horizon stayed straight. From there, I took off the river, in vertical direction, in vanishing point. The trees were drawn on the banks of the river, in loose risks, from bottom to top. From the logs, did the branches, kind of twisted and angular, also from the bottom up, with loose and short risk. The treetops were so lightly painted, because only appear their bottoms, We are under the effect of light. At the end of the scene, almost ready, only the light which comes from the vanishing point, in the center of the sheet. In the river, the reflection is greater as it approaches the origin of light. From there, due to the current of water, the light dissipating, to the bottom of the paper.

Fig. 3 – Barco à noite, com lápis de cor branco, Rosângela Vig.

Fig. 3 -Boat at night, White with colored pencils, Rosângela Vig.

I did finish the scene with the black pencil, reinforcing the shadows of the trees on the ground and on the branches that were not enlightened. I took off the Bush, along the banks of the river, with the white pencil, and with the black pencil, from top to bottom, in loose and fast risks.

And the night follows landscape outside, charmingly reserved and melancholic. In the silence of the night taciturn, the darkness can be surreal, scary. Or, It may be that a heart enraptured by the lyricism the look only moon poetry extract permeating the trees. It is for the spirit to do his interpretation.

Check out the video of the production of the work Woods at night:

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Articles on the history of art of Rosangela Vig:

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References:

CASTRO, Lea Nursery. A Filosofia da Composição. Rio de Janeiro: Publisher 7 Letters, 2008.

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The figures:

Fig. 1 – Forest night, White with colored pencils, Rosângela Vig.

Fig. 2 – Forest night, with oily pastel chalk white, Rosângela Vig.

Fig. 3 – Boat night, White with colored pencils, Rosângela Vig.

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Comments

Design – Artistic Production, Step by step 8 How to draw by Rosangela Vig the white pencil on a midnight wild, while I pondered, weak and weary, Over many a quaint, and curious volume of forgotten lore, While I nodded, I heard what sounded like the sound of someone knocking lightly to my Chamber door. "Uma visita", I muttered, "está batendo a meus umbrais. This it is, and nothing more " (PERSON in CASTRO, 2008, p. 45) Edgar Allan Poe was brilliantly translated by Fernando Pessoa. In this passage from the poem,…

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