Hey Dawood!!!
It’s great to see you here—your gradation blocks are looking good. The tooth (crests and troughs) are often a great matter of concern for the artists engaged in these exercises. Pressure, stroke direction, point maintenance, application pitch, alternating from spot fixing to sweeping applications, etc…all contribute to not only marks that aggregate into perceptions of smooth value transitions—but also to a controlled surface that is highly conducive to the aforementioned functionality of the material.
Also keep in mind that the drawing program is designed to lay the groundwork for painting. Just as with the tooth of the paper, painting will have you dealing with substrate/ground textures, a highly-varied paint layer topography, and a host of varied drying times. As such, learning to deal with the surface of a drawing is another great preparatory precursor for painting.
Lastly, it’s always difficult to productively analyze surface quality in scenarios like this. Most photograph at a distance to see the overall gradation leaving the surface quality more difficult to assess. Scanning is a more useful option here in one sense, but the change from more raking light found with an easel scenario to the perpendicular illumination if a scanner can also lead to misleading results. To assist here, we’ve added some high-resolution images of exercises, including gradation blocks. You can use these to compare with your results.
They can be found here: Language of Drawing Exercise Collection
The surfaces you can find there can help you to appreciate just how “clean and controlled” these should be.
