Charcoal Drawing Techniques For Beginners Pdf

Human Figure in Charcoal

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Human Figure in Charcoal Drawing people and figure art is exciting and challenging in any medium in this short art lesson we will produce a fairly small rendering of the female nude in vine charcoal. Charcoal is typically a medium to be loved or loathed. In an instant it can create those rich blacks that any graphite artist will envy, having squandered hours to achieve the same result. However, there comes a price, and that price is dust. Charcoal (particularly vinecharcoal) will do its utmost to distribute itself wherever it can: on fingers, under nails, unwanted smears across your page, usually everywhere except the very place you wanted it. My own brief experiences with this ill-behaved medium have met against some resistance, until recently and somewhat ironically, I found dust to be a solution. I tried an experiment by grinding charcoal into fine powdery form and then painting it onto the paper, with instantly improved results, and it is these techniques I would like to share with you now. Equipment A Sandpaper B Vine Charcoal Ideal for grinding down charcoal, or sharpening it to a point. Assorted sizes. (note: vine charcoal is made from the willow tree). This came from the garden of John Ruskin, and was C Vine Charcoal formed in larger sticks, though essentially it is the same as B. D Chamois Bought from a car shop and can be used to blend. A rubber tipped tool designed for blending and E Colour Shaper shaping pastel/charcoal and paint (available in artshops and on the Internet). Charcoal can be bought in pencil form. It saves F Charcoal/Pastel fingers from becoming blackened, and can be easier Pencils to control. The white pastel pencil can be used for highlights. G Compressed Not as messy as the vine charcoal sticks, but is harder Charcoal to erase. H Putty Eraser A crucial piece of equipment that removes charcoal without leaving a mess. An old tic-tac sweets container to hold the charcoal I Container dust. Use whatever you like, but preferably something with a lid. J Brushes Two cheap brushes that can be used to push the dust around on the paper. Fixative - Brushing dry charcoal dust around with a brush makes it difficult to apply a dark tone in one take; spraying fixative allows me to build up two or maybe three layers to get the darker tones. The larger can was the cheapest I could find, and as a consequence I have to spray three times as much to get any use from it. My recommendation would be to invest in something half-decent. The Windsor and Newton fixative may be smaller, but it is much more effective and ultimately lasts longer. Paper - You can use any paper from pastel paper (Canson is particular good from my previous pastel painting efforts), watercolour paper to bristol board. For the purposes of this article I have bought a pad of Charcoal Paper made by Daler-Rowney. It is 'laid' paper, giving it a texture that helps hold the charcoal, and is slightly tinted. Creating Dust This is the messy (and fun) part! With your vine charcoal in hand, sand it down over a piece of folded paper (I've used an old envelope). If you do not have any spare sandpaper, you should still be able to create dust by rubbing your charcoal on a piece of paper. Take caution not to breathe in the dust. You will probably need to obliterate two sticks, and once done carefully pour the dust into a container for safekeeping. Making a Point When drawing people, facial details can be very fiddly when working small and working in charcoal as it does not have the pinpoint accuracy of a sharpened pencil. If you rub it down you can form a sharp edge for more detailed work. Do not expect the sharp edge to last long though. Outlines The initial outline does not have to be inspiring in-itself, and can be reworked throughout the drawing, however some level of accuracy is required if you wish to keep areas of your page clean for later highlights. If your lines go astray a piece of putty should soon put it to rights as vine charcoal is very malleable - you might even get away with rubbing out areas with a clean finger. Seeing negative shapes helps a great deal when marking out the human figure, for example, the triangle between the sloping back and left arm, or the shape between the left thigh and right breast. I started the drawing with the arm and back so that I could size the head to fit. Applying the Dust I used an old soft brush for this. One that is too coarse (such as hog's hair) will scrape the dust particles, which may find a use in another drawing, but not for this one. This step is fairly messy, but I am unconcerned about particles finding their way into my outline: dust particles are easily removed providing they have not been pushed in too hard with the brush. Even before I put brush to paper, particles were falling off onto the page. By working the background first, the darkest tones are established and provide a tonal reference to more accurately apply the highlights and middle-ranged tones for the body and face. The dust particles create miniature plumes of 'smoke' that are fascinating to observe, but try not to breathe it in. Better to work

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