Opening the Fold, or Early Morning

Opening the Fold, or Early Morning, Palmer, 1880
Metropolitan Museum of Art

Palmer, Opening the Fold, or Early Morning, 1880. Etching; third state of ten, retouched in graphite.

Pins mark where to look before you draw.

The Metropolitan Museum of Art · Gift of G. L. Winthrop, 1917

Master studyLine + Mass

Opening the Fold, or Early Morning

A sunrise built from line: the brightest thing is the least drawn

Palmer's last etching, 1880: the sun rising behind trees, a shepherd opening the fold, sheep spilling out. The glow is made by leaving paper inside a dense web of hatching; the trees against it are the darkest things on the plate.

In pencilAn etched line is a drawn line. Copy it with hard grades and long points: tone from the spacing and direction of lines, cross-hatching only in the darkest third, no smudging anywhere.

Difficulty
Time
about 2.5 h
You draw with
H, HB, 2B graphite

Why this one

  • A light source drawn by what surrounds it.
  • Trees as dark silhouettes against light: the reverse of the usual.
  • Sheep and figure as a texture of small darks on a light ground.

From your kit

The whole kit →
  1. 1Grafwood H, HB, 2B H, HB for layout and line; 2B for the darks. Long points from the Blackwing on everything up to B.
  2. 2Kneaded eraser and the Mono Zero press-and-lift corrections only; the Mono Zero for a single sharp light.
  3. 3Alpha sketchbook 9 x 6 draw at the book's size and keep the proportions; date the page.
In general, this study asks for
  • Drawing pad or smooth cartridge
  • 2H and H with long points
  • HB for accents
  • Kneaded eraser
  • Sandpaper block

Watch first

All videos →

All six mark families in one sitting.

YouTube

The plan

4 stages · ~120 min
  1. 1

    Rings of spacing

    20 min

    H: around the sun, hatching whose spacing opens toward the light and closes away from it, in rough rings. The sun itself stays paper.

    Four swatches of identical line weight whose spacing closes from wide to tight, producing four steps of valueSAME PENCIL AND PRESSURE · ONLY SPACING CHANGESvalue 2value 4value 6value 8Value by spacing is how an etcher thinks. Half-close your eyes: the lines disappear and only the tone remains.
    FigureSpacing is the value.
    Checklist0 / 2
  2. 2

    The dark trees

    40 min

    2B: the trees as silhouettes against the glow, their edges crisp where they meet the light, their interiors layered dark. Branches drawn into the mass, not on it.

    Sky holes in a foliage mass: a few irregular gaps near the edges of the canopy, with a branch visible through the largest, compared with evenly scattered round holesWRONG · POLKA DOTSRIGHT · FEW, IRREGULAR, AT THE EDGEa branch crosses the holeHoles happen where clumps fail to meet. Shape them like the gaps between fingers ofa loose fist.Three good sky holes make a tree breathe. Twelve make it a sponge.
    FigureLight through dark.
    Checklist0 / 3
  3. 3

    Fold, sheep, shepherd

    50 min

    HB: the fold's rails, the shepherd dark, the sheep as a textured mass of small darks with their tops left light. Ground hatched toward the sun like the sky.

    A single foliage clump whose interior is flat tone and whose outer edge carries all the leaf texture, with a zoom showing the scribbled edge markszoom: broken, varied,pointing outwardThe eye reads texture at edges and assumes it continues inside. Give it the edge andnothing else.Interior texture flattens the form and kills the light. Trust the edge.
    FigureTexture, not individuals.
    Checklist0 / 3
  4. 4

    Compare

    10 min

    Note, date, box.

    Checklist0 / 2

What it should look like

  • A sunrise you squint at.
  • Black trees on a bright sky.
  • A flock, not a count of sheep.

Where it goes wrong

  • Drawing the sun. It is the subject. It is the one place you do nothing. Draw everything around it.

Log this session

Start the clock when you pick up the pencil. Stop it when you put it down. Log it. Every session counts toward the box.

00:00of ~150 min

Status

How did it go?

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