Tuesday, May 19, 2009
This is another example of charcoal on paper with vine. I've used a lot more vine than the other two drawings and have used a soft haired filbert brush to move the vine around to achieve the subtle edges in his hair and beard.
One of the hardest things to do on white paper is getting a nice even light half-tone. Usually the paper marks up and you're forced to go darker to cover it up. It's a good idea to try out a lot of different papers (hot pressed, cold pressed) and different paper surface textures. I mostly use very smooth papers, not too smooth that there isn't anything for the charcoal to grab onto though.
Learning to use a medium like charcoal requires one to not want to overly control it. Knowing how to construct the figure is key to not messing up while you 'paint' with charcoal.
Monday, May 18, 2009
This drawing was approached in the same manner as the last post. I chose before I started to leave the background white. Because her hair is dark, the light background works well.
It's all about the value pattern and the 2 value statement. For those of you who aren't familiar with the above terms. If you squint at the drawing you will see a separation in the values that create 2 shapes. What is in light and what is in shadow. That is the 2 value statement. The stronger and the more simplified the shapes the easier it will be for a beginner to proceed.
This drawing was done with B-6B General Charcoal Pencils and Vine on standard Charcoal paper.
1) Toned paper with Vine. It's important to repeat this step until a flat tone is achieved. A chamois was used then a cotton cloth.
2) Construction Drawing. Please see Handouts above .
3) laying in of the shadow shapes and planes.
4) Modeling of the form. I used a soft paint brush and a cotton cloth to push the charcoal around. Careful not to take off too much.
5) I decided to lay in the background to add a greater sense of light on her face. I liked the abstract shapes that framed her face.