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Learn how to draw - graphite pencil and charcoal
This tutorial contains techniques to create realistic looking
artwork. I will try to update these pages occasionally to provide fellow
charcoal and graphite pencil artists insight into my methods. This first
tutorial will show you what pencils and blending tools I use to render both
rough and smooth textures. Once you know how to create realistic looking
textures, you're on you way to creating much more realistic looking artwork.
#1
Getting Started
Once you have decided on your subject, you need to decide on the best
techniques and materials to use. There are so many things to consider.
Should the background stay white? Should you use a smooth paper or rough?
Should you use graphite, charcoal, or a maybe a combination of both. It's
enough to make you take up sculpting! Don't get discouraged. This tutorial
will answer these questions and more.
The
first thing you need to do is analyze the textures in all the areas of your
subject. Decide which areas would be considered rough and which are smooth.
Notice where contrasting textures and values are adjacent to each other.
Once you have identified the basic textures and values of your subject, you
need to decide on the appropriate techniques to use in each area.
#2
Using Charcoal and Graphite Pencil (why I use both in each drawing)
The
individual granules of charcoal have an irregular shape. When light strikes
a drawing containing these particles, it bounces back in many different
directions. That means when it is pushed to its darkest value, charcoal
doesn't have the reflective glare that is common with graphite. Usually the
darkest values in a drawing are shadows, and, if you are trying to render a
subject as realistically as possible, the last thing you want is a shadow
that reflects more light than the subject. I use both charcoal and graphite
pencil in different areas of my drawings.
Subjects I typically render with charcoal pencils:
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Wood, Bark, fur, hair, eyelashes, pupil of the eye, dark line between the
lips, nostrils, coarse fabrics, - like denim, leather, cast shadows,
Subjects I typically render with graphite pencils:
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Skin tones, Shading in the white of the eye, Glass, Porcelain, Light
values in shiny metal, Smooth fabrics - like silk, Light shading on paper
objects- like playing cards.
My
favorite brands of charcoal and graphite pencils:
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Graphite:
There are many artist grade graphite pencils to choose from these
days. A 2B pencil of one brand may be vastly different than the 2B of
another brand. I use Berol Turquoise drawing pencils.
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Charcoal:
Many people who are used to the feel of graphite effortlessly gliding
across their paper find charcoal too abrasive. Several years ago, I came
across Ritmo charcoal pencils. While they aren't as smooth as
graphite, they do have less of that feeling of "drag" than many
other charcoal pencils. The degrees of hardness ranges from HB (hardest)
to 3B (softest). All charcoal smears easily so if you are not familiar
with this medium you may consider reading the chapter entitled Keeping
Your Drawing Clean on page 18 of my technique book.
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Carbon Pencils
I also employ two types of carbon pencils: Wolff's and Conte carbon.
The Wolff's carbon pencil has recently been reformulated to give a
smoother feel and richer blacks than the old version. The clay in the
Conte carbon pencil has a slightly warmer tone to it than the rest of the
media I use. When either of these carbon pencils are used in combination
with charcoal and graphite, their inherent characteristics make them ideal
for separating subjects containing similar values.
#3
Blending
I
use various tools to blend with also. Each creates a different texture
and spreads each medium differently. Using the right blending tool can mean
the difference between using a few quick swipes to create the exact look you
want, or, re-working an area for hours (or until you rub a hole in the
paper) and giving up in frustration. These are some of my blending tools:
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Blending Stump: These
are tightly wound paper sticks with points on both ends. They are
available in several diameters. Use them to blend large areas of the
medium and also to apply the medium directly to the paper for softer
effects.
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Tortillon: These are
generally smaller and not wrapped as tightly as blending stumps. They are
not as solid as blending stomps and they create a slightly different
texture.
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Felt pad: Purchase 1'
x 1' white squares at a craft store. Creates random textural
effects for a variety of natural looking textures.
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Facial Tissue: Good for blurring the edge of
shadows and softening unwanted pencil strokes. Paper towels are another
choice if you don't want to lighten the area as much.
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Paper: Blending with
paper brings out the texture of the drawing paper. The paper you use to
blend with makes a big difference in the texture created. Try wrapping
notebook paper around you finger to start with. Good for separating two
objects that have similar values by using only textures.
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Chamois: To imitate
smooth textures like skin tones and reflective surfaces like glass. Also
use it like an eraser to lighten large masses of dark charcoal or
graphite. Creates an extremely smooth texture.
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NOT FINGERS: I know some people don't have a
problem with it but it can be a nightmare. I suggest you even be careful
touching important areas of the paper with your bare hands. Your
fingertips can transfer oil to the paper. This oil becomes apparent if it
is in light areas of blended charcoal or graphite. Graphite and charcoal
work exactly like finger print dusting powder, leaving the incriminating
imprints of the person responsible for groping your paper.
(Probably you, but you can yell at the kids if it makes you feel
better.) It is impossible to make a smooth, even tone with charcoal or
graphite powder in areas with fingerprints.
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Experiment: Put those creative thinking caps on!
You never know when you might come across something that will produce the
perfect texture you are looking for. Try different fabrics - smooth and
rough. Just make sure the materials are clean and the color from dyes
won't rub off on your paper.
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One Last Tip: These are some of the
materials and techniques I use. I offer these methods as a starting point,
to help you achieve a style all your own. I believe there are as many
techniques on how to draw as there are people. Never let any
instructor or book make you believe that their way is the ONLY
way. My theory is - if it works, use it. We all need to keep growing and
experiment but keep true to your own vision
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