This book contains all the information required The step-by-step exercises explain how to ap- to begin drawing with different media: charcoal proach drawing a model, and presenting and and its derivatives, sanguine crayon, chalk, dry evaluating the different media, while imparting a pastel, graphite, colored pencils, and oil-based basic understanding of color theory. crayons and pastels. All the media discussed can The fact that so many different media are be used for drawing lines, shading (in the cases of covered does not mean that this book is unfo- charcoal and graphite), and coloring. They are cused. To the contrary, it provides an overview applied to a support, usually paper, following a of all that is essential for making progress in series of procedures that are referred to as dry drawing and painting. Basing lessons on the ob- techniques. And although they possess similar servation of a model, this book analyzes each characteristics, their differences require different drawing and the light that illuminates it, teaching techniques and render results that are very differ- the reader to mentally situate the areas of light ent as well. The various media and effects, com- and shadow and to apply a range of tonal values bined with the personal working style of each art- and colors necessary for modeling the volumes. ist, all contribute to the wide range of expressive Dry media are ideal for realistic representations possibilities. All the dry media will be covered in because during the learning phase the applica- this book, each one requiring the development of tions and techniques emphasize depth. good drawing skills and a mastery of color. Francese Crespo drew a large still life with charcoal and added a note of color with sanguine crayon. Dry Techniques

here are media that can be applied using dry T techniques without the need for additives or complementary products, such as charcoal, sanguine crayon, chalk, and soft pastel. But graphite, colored pencils, wax crayons, and oil pastels are also consid- ered to be oil-based media because of their grease, oil, or wax components. Techniques common to all of them include line, shading or coloring, gradating, blending, and rubbing. The effects and results pro- duced by each of these techniques, and others that are not common to all, depend on the medium that is used. A general overview comparing work done with different media will make this quite clear.

SKETCHING MEDIA

It is obvious that a sketch can be made with the same medium that is going to be used to make the final for use in the pre- most used media for drawing. However, it liminary sketch for sketching. is not always done another medium. For Although a work of art this way, since the example, the volatil- can be done entirely in characteristics of one ity of charcoal causes charcoal, sanguine crayon, medium make it ideal it to be one of the chalk, pastel, graphite pen- cil, colored pencil, or oil pastel, these media are of- ten used to create the pre- liminary sketch of a draw- ing or painting that is then done in another medium. Charcoal, chalk, and soft pastel are usually used to make sketches for oils and acrylics. Watercolors, on the other hand, require sketches done with graphite or colored pencils, even water-soluble ones. Oil This is a character portrait, pastel, which can be dis- L'Arnau, done completely in solved with turpentine or charcoal by M. Braunstein using mineral spirits, can be used the basic techniques of line, gradation, and rubbing. in the sketch for a painting that will be completed in oils. A line drawing is the usual technique for a sketch, the elements and main shapes representing the model being loosely Gabriel Martin used charcoal and black chalk to create this Still Life. drawn on the surface of the support. PERFECT MEDIA DRY MEDIA ARE COMPATIBLE FOR SKETCHING White chalk is used to highlight a charcoal drawing. Sepia is used to darken sanguine Charcoal, sanguine crayon, and white chalk is used to lighten it. crayon, chalk, pastel, The historic technique aux trois crayons mixes graphite and colored charcoal, sanguine crayon, and white chalk, pencils, and oil pastel which can be used to achieve a perfect repre- can be used to make sentation of volume. Charcoal and sanguine sketches using line, crayon are perfectly compatible with colored shadow, and color to chalk and the soft pastels. The same is true of indicate the light and soft pastels and the colored chalks, which are shadow of the model. nothing more than hard pastel. In addition, the tech- Sanguine crayon, chalk, or pastel can be niques of gradating used over a sketch made with charcoal. In any and some blending and case, it is always a good idea to draw lightly rubbing can be applied with the charcoal so the medium applied over to more developed it will not become dirty. sketches. The sketch can be achromatic The graphite pen- (charcoal or graphite pen- cil is a very inter- cil), monochro-matic, with esting tool, since it can be used to one color of sanguine make a small crayon, chalk, dry or oil drawing with a lot pastel, or colored pencil), of detail. or done in several colors.

Head of a Girl, by Jean Baptiste Greuze, illustrates the three pencil drawing techniques: charcoal pencil, sanguine pencil, and white chalk highlights.

Portrait of a Figure was done with silver point, a very old medium that cannot be cor- rected. Carlant drew on a smooth paper covered with a thin layer of dry gouache, using a silver point and a copper wire in a lead holder. The characteristics of DRY MEDIA AND soft pastel gradations OIL-BASED MEDIA lend an expressive accu- racy and painterly style The techniques of blending to the modeling of this and rubbing create a very figure done by similar effect with charcoal, Oscar Sanchis. sanguine crayon, chalk, and dry pastel, although the spe- cific characteristics of each of these media and their deriva- tives do present some slight differences. Rubbing adds a special dimension to grease- based pastels, whether they are wax or oil, while the ef- fects of blending and rubbing graphite or colored pencils greatly depend on the quality and hardness of the lead. With colored pencil, rubbing can even be done by drawing hatching or over areas of color. That is, the tool that applies the color does the rubbing, while with dry media this is usually done after the line or color is applied, with the fingers or a blending stick. It is possible to draw quick sketches on large sheets of paper with chalk. This way you learn to loosen the wrist Practice will show that it is and gain confidence in your freehand lines using very not always a good idea to use inexpensive materials. Drawing by M. Braunstein. these techniques if you wish to avoid smudging the draw- ing more or less pres- and sanguine crayon), ing. MODELING media's range of tone, color, and gradations. sure to the draw- the tonal ranges can Achromatic or mono- ing tool and observing be increased by using D r y t e c h n i q u e s chromatic tonal ranges the effect on the color white chalk. Color and allow perfect modeling of the support, which tonal ranges are of the forms in the can be created with can be white or any achieved using chalk, representation of the any of the media that are covered in this color. In the case of the dry and oil pastels, subject thanks to the book simply by apply- dry media (charcoal and colored pencils. Applying these ranges using the gradation technique will model the forms, and thus create the impression of three dimensions on the two-dimensional support.

Sanguine is useful for mak- ing quick sketches like this one by Oscar Sanchis. In this case, he resolves the drawing using figures and perspective. THE MEDIA AND ever, it is easier to THEIR DERIVATIVES make hatching with the pencil, while the stick is ideal for laying down A work in charcoal color in large areas. can be strengthened The lead of pastel using a compressed pencils is like a hard charcoal stick or a pastel and that of col- charcoal pencil. These ored charcoal pencils is two derivatives of as hard as compressed charcoal have charac- charcoal. They are very teristics that are useful media for intro- somewhat different ducing contrast or for from vine charcoal. making sharp outlines. Compressed charcoal There are so many colors the support products and so many more and it is less varieties of professional voiatile than vine char- and student quality that coal. Charcoal pencil, it is a good idea to sur- on the other hand, be- render to curiosity and Oscar Sanchis used a cause it is oilier, is the technique of drawing make a systematic least volatile of the opaque lines with soft study of them. You charcoal derivatives pastel to create hatching may find it interesting and the one that most and optical color mixes. to evaluate the charac- darkens the support. It teristics of each product is not surprising that DRY TECHNIQUES and to find out which media, the subjective many artists, aware of AND INTERPRETATION media and techniques abstraction can lead to these differences, use will be useful. areas of color or dis- one or more of these torted forms. forms in a single draw- Interpretation is a ing to give it greater part of all works of art. depth and introduce It could be the amount In Field of Wild Poppies M. variations of texture, of synthesis or abstrac- Braunstein shows the possibili- Sanguine crayon and tion of the form or the ties of wax crayons using re- sanguine pencil do not color, or of both. With serves, rubbing, and sgraffito. differ as much as the achromatic media like charcoals. How- charcoal or graphite, or in monochromatic drawings, the interpre- tation consists of the artist's definition of the Here M. Braunstein used chalk on the rough side of brown forms and the represen- wrapping paper. In The Pipe Corner the strong colors and tation of light and the contrasts between them stand out. shadow. With color Charcoal

harcoal is, without a doubt, the C most traditional medium used for initiating a drawing. Furthermore, charcoal is the most universal drawing medium, whether used for simple sketches or complete works of art. Its line has a characteristic freshness, es- pecially in large formats. Available as sticks, pencils, or powder, it enriches artwork with its contrasts in intensity of line, shadow, and texture.

ITS ORIGIN AND COMPOSITION FORMS VINE CHARCOAL cess must be very uni- COMPRESSED form to ensure a consis- CHARCOAL tent hardness through- Charcoal is the oldest Vine charcoal, com- Vine charcoal is out the stick while medium, used by hu- pressed charcoal, char- available as 5 - to 6-inch maintaining the same Charcoal sticks, mans in prehistoric times coal pencil, and pow- (13-15-cm) long sticks, quality for shading. The made by pressing char- for their representations dered charcoal are the with a diameter ranging best known brands are coal powder in molds, of the hunt and customs different forms available. from as small as 3/32 Koh-i-Noor, Grum- are very regular cylin- or for decoration. The It is very useful to know inch (2 mm) to almost bacher, Lefrane, and ders with a consistent smudge became very the compositional char- 3/4 inch (2 cm). Select Taker. The sticks are hardness. They are very durable when mixed with acteristics of each one of the straightest sticks with soft, medium, or hard, useful because of their some kind of grease. these products, since the the least number of depending on their ori- low cost and because Today's charcoal is a drawing depends on their knots. The most common gin and the carbonizing they do not have incon- vegetable carbon, and it effects. are thin branches of wil- process. The intensity venient natural irregu- is made from a complex low, linden, and walnut. of their "black" is less larities. Knots and im- burning process. The carbonizing pro- than that of charcoal perfections cause vine pencils and compressed charcoal sticks to break charcoal. more easily when heavy pressure is applied while drawing. Some compressed charcoal sticks have a little clay as a binder, available in 1/4-inch (7-8-mm) di- ameter cylinders, like those sold by Pitt and Faber-Castell. They arc available in varying degrees of hardness, with the softest render- ing a very intense black, and each has its own characteristics when it comes to color- ing ability. Thus, they can be used for differ- ent purposes.

Vine charcoal sticks, Vine charcoal is sold in bulk or as besides being available individual sticks. The thickest ones in different widths, also usually have a protective foil cover- have varying levels of ing on one half. hardness. There are boxes that arc sold with an assortment of charcoal prod- Charcoal pow- ucts, although most artists prefer to assemble their own drawing box. der is another Shown here arc white chalk and sanguine sticks and pencils, since it option. is a common practice to make a trois crayons drawings. CHARCOAL PENCIL THE FRAGILITY Conte pencils come in CHARCOAL COLOR OF VINE AND LEADS six grades of hardness, POWDER CHARCOAL CHARCOAL from soft through me- The charcoal pencil, a dium to hard. The Although a charcoal There are also color It is best to buy derivative of vine charcoal, leads have the same stick, compressed char- charcoal pencils. This good vine char- is also known as the Conte formula and work best coal, or even a lead can is an interesting prod- coal, even though pencil or crayon. It is a when used with a lead be pulverized manually uct, since it adds color it is expensive; lead made from vegetable holder. The Conte using a craft knife or to the volatile charac- when drawing, you charcoal that contains bind- Pierre Noire pencil is sandpaper, the quality of teristics of the charcoal. can depend on the ing agents, and it is pro- the greasiest and most the powder that is ob- It is very interesting to quality and inten- tected by a wood case. resistant to blending tained will not be very compare the results of sity of its line. Fur- and rubbing. consistent. Manufac- color charcoal pencils thermore, because tured charcoal powder, with those of chalk and vine charcoal on the other hand, is hard pastel pencils. The perfectly pulverized and former can be blended breaks so easily, it works better for any and spread very easily; is a good idea to blending that requires the latter have more use the one that subtlety. coloring power and has the most con- adhere better. sistent hardness. You can only draw well when you Esther Rodriguez drew Female trust your tools. Figure with Shawl using a com- pressed charcoal pencil.

The "blacks" of the charcoal de- rivatives share neither the same intensity nor the same finish. Sanguine

n crayon or pencil form, sanguine I is one of the very best media to use for modeling the figure. It has been used since about 1500, and it continues to be used today. In all the academies and schools of art it is the media that is typically used after having begun the drawing in vine charcoal. Sanguine has better cover- There are boxes with an ing power, and because it is less assortment of sanguine volatile than charcoal it requires crayons ami pencils. more control of line and coloring to White and black chalk are THE PENCIL AND avoid mistakes and later corrections. always included with THE LEAD them. The sanguine pencil is oxide, and it usually COMPOSTION FORMS THE CRAYON made from a lead and a contains a small wood protector or case. amount of chalk. Conventional san- Sanguine is avail- T he sanguine The thicker lead is cylin- When using sanguine, guine comes in the able in crayon and crayon is a square drical and usually used it is usual to carry a form of a stick or pencil form and also stick about 3 inches (8 with a lead holder. San- darker colored crayon, crayon. It is composed as a cylindrical stick cm) long. Depending guine does not need as such as sepia. In fact, of ferruginous clay or or lead. It is a good on the brand, the sides much agglutinate as char- there is a range of iron oxide or iron per- idea to practice and can be from 1/5 to 1/4 coal to strengthen the chalk used with san- become familiar with inch (5-7 mm). Its lead, although the Conte guine: white, two all the variations and hardness and covering method requires some blacks, and sepia. to use the appropriate power vary according baking. The pencils are one at the opportune to its quality and the available in sanguine, time. amount of time it is sepia, and white. baked during the There is also an oil- manufacturing proc- based sanguine pencil ess. that should not be con- fused with the normal A range of sanguine colors is sanguine pencil. Its lines available in both crayon and can be used as reserves pencil form. The white is used for highlighting and the black that can later be colored and sepia for shading and block- with the dry version of ing-in drawings. the pencil.

The square crayon is the most common form. But the length and girth of the crayon will vary depending on the brand. PIECES

As soon as one begins to draw with sanguine, it becomes apparent that the cray-on breaks relatively easily, although it is harder than charcoal. Nevertheless, all the pieces can still be used. The side may be used to draw wide lines and to color large surfaces. There is also a very useful square crayon holder or extender to hold the pieces and ensure good control for accurate freehand drawing.

The different applica- SANGUINE the crayon is scraped CHARACTERISTICS is difficult to erase if tions of color vary POWDER lightly. Even the san- AND COLOR applied with much from one brand to guine powder created pressure. A crayon of a another, but the dif- One way of coloring when sharpening the The characteristics of different hardness will ference is especially with sanguine without point of a pencil can be each form of sanguine have more or less in- pronounced between leaving visible streaks used to introduce a little and the particular mark tense color. Non-oil- the crayon and the is to apply it very care- variety to the composi- each makes on the sup- based sanguine pencils pencil, and with the fully with the side of the tion of the crayon pow- port can be very instruc- arc drier and harder oil-based pencil (from left to right: der. All the powder can than crayons and wear crayon. But sanguine tional when all the prop- two crayons of differ- powder can also be used also be sifted through a erties are used in one more slowly. Oil-based ent hardness, pencil, for this task. It is very piece of woven fabric to drawing. For example, pencils, on the other and oil-based pencil). easy to make this powder eliminate the largest the crayon covers well hand, have little cover- using a crayon and a craft particles and get a very and ing power. knife. The powder is fine powder. quite homogenous if

The point of a a sanguine pencil lead can be cleaned up with sandpaper. A holder for square crayons can be very useful for drawing controlled lines.

Powder can be made with a sanguine crayon and a craft knife. TAKING ADVANTAGE Beginning to Model with Sanguine OF THE SKETCH

The color is applied follow- ing the sketched outlines of the still life with several objects is a good subject to practice model- forms. The volumes are drawn, A ing with a sanguine stick. The preliminary sketch is outlined with lightly at first, with the flat very light lines. Once the shapes have been established, shading be- side of the stick on the paper. gins to create a light tonal guide. The darkening of the colors that Gradually, more tonal values are added by darkening the follows this step is done to reflect the contrasts of the actual objects. colors that need to be dark- The procedure consists of combining the chiaroscuro with some gra- ened, adding more layers with dations, using the fingertips to adjust the tones and an eraser to es- the same sanguine stick. Mod- eling continues by darkening tablish the highlights. the drawing.

This still life containing a variety of shapes is a good exercise for mod- eling. 1. The sketch is drawn with very light lines to avoid smearing the paper.

2. Tile first color is applied very lightly as well. 3. An attempt is made to begin coloring by laying out the basic shapes and shadows. 5. This drawing lends itself to modeling by erasing, and some highlights are added to finish the scene.

4. When the placement of the objects has been estab- lished satisfactorily, the tones are darkened as needed.

6. The potential for applying chiaroscuro with sanguine arc visible in this drawing by Mercedes Caspar. Texture and Chiaroscuro TEXTURE WITH PENCILS

with Sanguine The textured details of the hair are represented with thin o enhance the chiaroscuro effect of the sanguine and to create a lines using pencils and the T textured appearance, it is necessary to introduce the contrast of sides of the stick. It is not nec- sepia and pencils. The objects immediately acquire richer depth, and essary to draw it all, but only a the finest texture can be created in detail with ease. A medium- few lines that indicate the di- rection and inflection of the textured absorbent paper, your hands, sticks and pencils, sanguine hair. It is important to differen- and sepia, a cotton rag, a blending stick, and an eraser are all that is tiate the hair from the ears, needed. from the nape (it may fall in different directions depending SEPIA TO DARKEN on the hair's natural disposi- THE SANGUINE tion), the neck, and so on. The snout, the eye, and the The effect created by using horns require more contrast the dark sanguine tone is very and good outlines. They are different from that created by laid out with short expressive using the dark sepia tone. In- lines. troducing sepia to darken the A more in-depth study can be sanguine tones increases the achieved with an exercise that in- color options in the darker volves textures, like that of the hair. range. The artist can use tonal gradations of both colors, which arc incorporated in the background, that is, the con- Greater contrast is achieved by using trasting atmosphere as a back sanguine and sepia, either in pencil or drop for the image of the cow. stick form. An eraser is required for Some areas are darkened making highlights. with sepia by layering it over the sanguine used to represent the animal. This gives the scene a more realistic look against the backlit effect. 1. In the sketch, a very soft color defines the most important areas of shadow.

3. Blending with the fingertip inten- sifies the values, and the features begin to emerge.

2. It is a good idea to begin highlighting the figure. To do this, the top area is darkened considerably using color gra- dations. 4. The background is finished by gradating the sanguine with the 5. The shape of sepia, darkening it. the nape and the texture of the hair are worked on carefully.

6. The body of the cow is mod- eled with lighter tones than those used in the background.

7. A cotton rag is used to soften the 8. A blending stick is used to tones and to eliminate unwanted blend some details that are hard harshness. to create with the fingers.

9. The Iast review to evaluate the overall feeling takes care of a few final touch-ups. The mastery of Vicenc Ballestar lays out everything with electri- fying realism and a feeling of depth. Modeling a Torso A VALUE STUDY A value-study approach is he possibilities offered by the human fig- most effective in figure draw- T ure for modeling with sanguine are well ing. In fact, the representation known. The basis of this exercise is drawing of the flesh requires the appli- cation of delicate gradations a torso with values using a stick of sanguine without sudden tonal jumps, sepia, which can produce dark tones without that is, without gaps. It is im- difficulty. The same stick used for coloring portant to be aware of the can also be used for drawing the outline. darkest tone, which in this light drawing is not very dark, The contour lines can be reinforced with to- as well as the gradations cre- nal values that convey the feeling of volume. ated by progressing very The objective of this approach is to cre- gradually up to the medium or light tone. With this model as a base, a drawing is ate a figure with a very light overall tone, created using only a stick of sanguine devoid of harsh lines or colors. sepia.

1. The sketch is created by drawing a detailed outline of the shapes. The various planes that define their respective volumes arc drawn using contour lines. These lines serve as guides for subsequent shading.

3. The shading created with the sepia stick is very subtle but produces a tonal gradation that defines the torso, until completing the first stage of the drawing. 4. White areas are created with an eraser to represent the highlights, touching up and rearranging the colored areas at the same time. 5. When the entire figure is basically modeled, it is a good time to darken the tones.

6. A few shadows are carefully darkened. It is better to not darken the shadows enough and have to go back over them than to make the tones too dark.

2. Shading and blend- ing are applied with a cotton rag or with the fingertips. 8. The background colors are worked on until the correct atmosphere has been achieved.

7. The background is darkened to make the figure stand out, without moving the focus away from the torso.

9. After a few final touches to even up the different tonal values, and darkening them where needed, this drawing by Josep Torres is consid- ered finished. An Atmospheric Background

olored chalk allows drawing and painting C at the same time. The impact of the col- ored areas intensifies the lines. A good back- ground can add drama to the volumes and provide a feeling of depth. Chalk can be ap- plied directly to create different colors and rones, or it can be built up in layers. Blend- ing with the fingertip is the secret of chiaro- scuro, which is used to represent the forms and the atmospheric effects.

THE COLOR OF THE All these colors PAPER AND LAYERING subject and to do the basic color- ing with the lightest and darkest are used in this exercise. chalk. Evaluating each color and A very light neutral colored its effect after it has been applied, paper is the perfect base tor 1. A loose sketch is blending colors together, and achieving good immediate drawn with a color touching up with the fingertips is results with chalk. The very that stands out on how you create a composition first applications define the the paper and that that conveys the feeling of depth. forms. It is especially impor- can be easily inte- grated with the tant to focus on the main colors that are used later. For practicing, it is not necessary to find a still life subject with many elements; however, if it is arranged naturally, a still life provides a good opportunity to make a loose freehand drawing.

2. Next, the light areas are defined. 3. Shading is applied with confidence, intensifying the colors with sepia and burnt sienna.

4. Once the shadows are established, the greens arc applied in an effort to approximate the different nuances of the colors and the tones.

5. A range of pinks, some reds, carmine, and so on, is used to color the flowers.

7. A layer of white chalk adds to the atmospheric effect of the top right-hand side, which intensifies the colors of the flowers, and especially of the vase. 6. The layering of colors to create an atmospheric back- ground is begun by applying violet. 9. The shadows are colored with ochre to lighten 8. Now it is time to outline the vase and to define the shadows projected by the leaves. them.

10. Blending the various layers of color with the finger- tips creates a good base with different tonal hues.

11. The white chalk highlights the shadows projected on the wall (creating an atmospheric effect that enhances the feeling of depth) and the vase, giving them the importance that they deserve. 12. This step includes several applications, but the shape of the vase is modeled by softly blending them.

13. Now that the values have been created, only the neces- sary outlines are colored to represent the mimosa without clashing with the other objects. Then they are finished with touches of white, and light and medium yellow.

14. Thanks to the intensity of the shadows, interpreted in this exercise by M. Braunstein, the still life conveys a feeling of great depth. AN ARRAY OF the interpretative ability of the Working with Pastel POSSIBILITIES individual artist. Each artist would, without a doubt, provide The characteristics of pas- his or her particular version. But tels are evident, even on a sim- if all the potential of pastels is put hether it is a sketch, a quick sim- ple sketch. Every work created at the service of the artist, of his W ple study, or a complete work of with them is completely tree of or her palette and special "touch," art, pastels provide the opportunity for harshness. The quick sketches pastels can produce works of art enhancing the interpretation. There are achieve an immediate feeling of unimaginable visual impact, of depth when the colors that power, and subtlety. two basic currents: the value-study ap- form the shaded areas are dif- proach and the colorist approach. The fused. These first applications value-study approach is based on the are an indication of creation of chiaroscuro using gradations, rubbing, and blending to achieve an ef- A simple sketch dis- fect that looks almost photographic. The plays the artist's indi- colorist approach, on the other hand, vidual approach. represents volumes and areas of light using pure colors that are not rubbed or blended afterward.

Once acquainted with paste/s, a person easily realizes that making light sketches is passible.

The figure and the background an depicted using color contrast and other different techniques. In this drawing by Francese Crespo, rubbing is used on the entire work; how- ever,gradations arc used to model the figure against a background of colors that have been rubbed. A VALUE STUDY needed. The palette is composed of pure colors that resemble To make a value study with those of the model. The artist a still life, it is necessary to must decide which colors are analyze the light and the shad- going to he applied for grada- ows carefully, and to study the tions and which will be used to colors and the tones that are darken the shadows.

A subject that requires modeling is chosen.

1. The sketch must place all the shapes, sketching them simply with an expressive line.

2. The first coloring and rubbing produce some chiaroscuro effects against the color of the paper.

3. The background: The table and atmospheric effect arc worked on. using gradations to enhance the vol- ume of the objects.

4. A few details are introduced: The shadows are defined and the outline are reinforced, always modeling the forms with rallies. A TREND

Every artist develops a per- sonal approach for his or her work. Some prefer dark tones while others use a light ap- proach. But the value model- ing technique can be equally appreciated in two such differ- ent trends. The artist can even modify the approach depend- ing on his or her feelings and the motivation inspired by a particular model.

5. In this second to last stage of the painting, the artist shows a tendency to darken the work, using a value modeling approach.

6. The group of colors and tones are touched up and lightened where re- quired. Then the final reflections and highlights are added by the artist, Vicene Ballestar. COLOR STUDIES VERSUS 1. The color is applied using several pure 2. The outlines and contrasts are created with VALUE STUDIES colors and tones. bold applications of color without further manipulation. An alternative to the traditional value study is the color-ist painting. Here the forms are modeled through the application of pure or neutral colors by painting them next to each other. To compare them, we draw a different still life containing the same elements as the first ones: the teapot, the apple, and so on. In all of them the difference between the value and color approaches is obvi- ous.

3. The colors and tones for the back- ground and the more distant objects are chosen to create a solid and balanced reference.

4. In the colorist approach of Vicenc, Ballestar, the closest ob- jects are those that contrast most with the more distant background. Pastels Encourage Interpretation

astels offer many possibilities when it comes to interpretation. A colorist approach P uses the striking characteristic of a flat painting, the darkening of the outlines, the synthesis of forms, and the trajectory of light. The impact is guaranteed when the model gives the artist the opportunity to use all these features at the same time.

find the best way to frame it. painting's color palette. PRELIMINARY STUDIES It is a good idea to make After some experimenting, some preliminary sketches, Before starting to draw, it is very you will discover a bal- like those seen below. Next, important to become familiar anced solution that features it is important to try several with the forms in the model, the floral motif, which is color combinations to help The contrast between the colors of which in this case is a still life the focus of the painting. with flowers. The first step is to choose the pastel crayons this still life guarantees a striking that will make up the result.

This first sketch to frame the subject seems less striking than the effect of the other study.

In this other sketch, the composition of the masses of color and shapes is successful because it rein- forces the center of inter- est.

It is important to make pencil sketches to gain confidence at drawing and blocking in.

This quick sketch calls for the use of all these pastel colors.

1. When the placement and the palette have been determined, the sketch is drawn with light lines on special white paper for pastels. 2. The first colors begin to delineate the floral motif.

3. The drapery is intensified with a very dark, almost black, color.

4. The coloring of the rest of the elements is completed, always very lightly.

5. The color of each part is darkened by adding new layers of color. Ex- pressive line work repre- sents the contrasting out- lines. 6. Darkening colors and tones makes the floral motif stand out well. Notice now the dark green contrasts with the iris.

7. The yellows are very bright. They are used to reinforce the background and to introduce some areas of light to represent one side of the flowers and the brightest part of the leaves.

8. In the first overall approach to the subject, everything is in place for later adjusting the volume.

9. The darker touches and lines solidify the shapes and the contrasts.

10. The lightest value behind the bouquet is created with very light yellow and white. It will be the counterpoint that balances the harshness between complementary colors. 11. The most appropriate shading is sought by superimposing colors, layer upon layer. 12. The shade projected by the vase is adjusted to achieve a greater feeling of depth.

13. After touching up the shadows on the left and the effects that focus the interest on this floral motif, Esther Olive de Puig considers this drawing finished. Pastels and Contrasting Colored Paper he artist can use a colored paper that vividly contrasts with the palette-chosen. This draw- When the pastel colors have ing is based on the application of areas of color and a colorist approach. To confirm the been chosen for the leaves (box T on the left) and the tree trunks possibilities for contrast afforded by this approach, a test is conducted first with a few colors on (box on the right), a test is a piece of scrap paper. This is a way of verifying the contrast that can be created between differ- conducted on both sides of two ent colored papers and the selected pastel colors. A good example of contrast is the one estab- different blue papers. the lished between warm colors and a cool colored paper. smooth side is represented by the long strip, the coarser side by the short strip.

A colorful landscape will be the subject for this exercise in contrasts.

SELECTING PASTELS

Once a colored paper has been selected to produce a strong con- trasting effect, the pastel colors must also be chosen to create the same kind of impact. Among the colors present in the subject, it is a good idea to select those varieties that can create very strong con- trasts. It is interesting to test the effect of the contrast on a piece of blue paper. The sample on both sides of the paper (smooth and textured) will show the contrasting effect produced by the texture.

1. The sketch is drawn on the selected paper, a blue Canson Mi-Teintes. on the side with the heavier texture. 3. Orange and red are used to represent the areas of shadow in this forest 2. Yellow contrasts strongly with the blue paper. canopy. The contrast is strong, although the effect is less luminous.

5. Bright red and carmine are chosen for 4. Light pink is used to color the illuminated leaves of the second tree because it cre- coloring the shaded area of the bright pinks. ates a good contrast with the blue of the paper.

6. Lightly applied colors create optical mixtures with the blue of the paper and its texture, producing intermediate tones and colors of different values. 8. The branches arc colored to look like a silhouette. The trunk on the other hand is modeled with the colors on the palette.

7. The first stage includes the delineation of the branches and the tree trunk.

9. Now that the entire scene has been laid out, the colors are darkened, creating the highlights and the shadows of the treetops.

10. Now the branches and the trunk are mod- eled, superimposing colors that resemble the effect of the foliage. 11. Now is the time to introduce middle tones and 12. The outlines and a few details are strengthened at the end. values by blending with the fingertips.

13. The warm colors create a strong contrast with the blue paper in this exercise painted by M. Braunstein. Graphite Combinations his exercise demonstrates a way of T working with graphite that consists of alternating different grade pencils ac- cording to the effect desired. For exam- ple, a sketch can be done with an HB pencil, but then the artist may progres- sively switch to 2B, 5B, 8B, and a me- dium-hard graphite stick. The final result is an image that conveys a great feeling of depth and outstanding modeling. This simple still life will serve to illustrate how a drawing can be exe- cuted with pencils and sticks of different hardnesses.

Besides the medium-hard HB pencil that is going to be used for the sketch, the other materials will consist of one 6B graphite stick and two graphite pencils, SB and 6B²in other words, basically all soft graphite.

1. The sketch is made with very DEPTH AND THE USE OF light lines drawn with an HB pen- TONAL GRADATION cil.

It is important to learn to observe the model and to identify the tonal values and gradations that will bring a feeling of great depth to the repre- sentation. The darkness that sur- rounds the shelf and the object itself is very intense in its lower part, but it dissipates progressively as it reaches the gray background of the upper part. Furthermore, the objects immersed in this type of atmosphere of tonal gradations are worked with more contrast and definition in the closest and most outstanding areas, which sets them apart from the most distant areas, which are executed with a lesser degree of contrast and definition.

2. This is the first application of tonal values in the main elements of the draw- ing: the cruets and the doily. 3. The entire background is shaded using the thick line of the stick.

4. Once the background has been created with the graphite stick, the shading is dark- ened with layers of vertical and oblique lines.

5. Tonal gradations arc applied in successive layers to represent the 7. A piece of paper is placed under the hand so it will not drag across the paper when drawing detailed and specific lines and shadows. atmospheric effect that surrounds the objects.

6 The first cruet is defined with pencil lines. The hatch-shaded back- ground contrasts with the shading without hatching of the cruet, sulfate, and doily. 8. The metal tray and the projection of its shadow are developed by alter- nating the two pencils.

9. The blending stick is used to create the table's texture and to introduce a different range of tonal values.

10. Drawing continues with an 8B pencil to darken the shadows of the foreground.

11. The same pencil is used to darken and adjust all the tonal values of the most distant plane, which increases the feeling of depth of the drawing. 12. The details of the doily are left until the end. To repre- sent the boles, the artist locates the darkest shadow pro- 13. The doily is approached as a whole, creating all the shadows: those that jected on the wood, and repeats this for practically every represent the part that hangs over the table, its texture, and so forth. opening.

14. The shadows of the doily look darker once the drawing of the tray and the cruet is made final. This is the last step of the excellent exer- cise, executed by Myriam Ferron, in which the various planes are differentiated in this realistic interpretation. Landscape and Shading without Lines landscape is the ideal theme for illustrat- A ing the technique of shading without visi- ble hatching. The different planes that are needed to convey the feeling of depth are cre- ated with the intensity of the shading and the intermediate values that result from using a blending stick. Thanks to the 8B graphite pen- cil, the results are immediate and convey in- credible energy and harmony. The artist will create a drawing that illustrates the technique of CONTROLLING THE shading without visible lines, based on this landscape. case the pencil²is essential. It is LINE important to create light shading that can be intensified by layering For the technique of shad- applications until the desired tone is ing without hatch lines, achieved. mastery of the tool²in this

2. The definitive layout is executed on a different paper with an HB pencil. Graphite powder, scraped from a graphite stick, is used with the blending stick to apply the first shadows of the mountains.

1. On a piece of scrap paper, a preliminary sketch is created with a 6B pencil. It will include the most important lines of the landscape.

4. The mountains arc modeled by shading with an 8B pencil.

5. The shading of the rock 3. The outlining is done with an 8B pencil, resting the hand on a wooden wall in the background is platform to avoid smearing on the paper. softened with a cotton ball. 6. We continue darkening the shadows and adjusting tonal values for 7. To model the foreground, the artist must establish the best possi- the medium and distant planes with an 8B pencil. ble relationship between the central subject and its natural sur- roundings.

9. A kneaded eraser, shaped appropriately, is used to create high- lights.

8. The blending stick is used for softening and touching up.

10. The artist, Carlant, contin- ues defining the tonal values and harmony until the very end. The result is a very light drawing, with no visible lines, that offers a representation at once realistic and bucolic. Coloring without Lines Using Colored

oloring without visible lines using colored pencils is one of the C most difficult procedures, although the results are so beautiful that the tedious work is well worth it. In the examples that follow, the line technique acts as the contrast and constitutes a very at- tractive counterpoint. This very striking view of flowers in the foreground calls for a medium, in this ease colored pencils, that allows the artist to draw in detail.

1. The sketch is drawn in detail, but lightly. Some of the sketch A variety of colors and pencil lines are erased to avoid smearing before coloring with the clear, hardnesses have been chosen bright colors. for the following theme. LAYERING COLORS When the artist works with 2. This first layer of color, which forms colored pencils, the strongest part of the background that helps define tonal values are created the space around the flowers, helps to lay through several applications of out and to establish the location of the color. flowers. First, the background is applied very lightly until the main theme, the flowers, is well defined. Then the back- ground is worked with darker tones until the desired color is achieved. The artist does not begin to model the flowers until the background is completely fin- ished. The successive layers of different colors ultimately represent the petals in a very realistic and, at the same time, 3. Any layer of the same color, or a darker one that is applied over the delicate way. first one, immediately becomes more intense. The artist also intro- duces the highlighted areas of the vegetation using light greens on the clear paper. 4. The shapes are defined and a few permanent details arc introduced.

6. It is important to outline all the flowers because it is necessary to establish the drawing's value range before moving on.

5. Dark colors and tones arc added over this base, indicating the background, which will highlight the group of flowers.

7. The final phase of the drawing involves adding nuances and soften- ing the brightness of the colors with gray, a most important technique of this medium. 8. The modeling of the flowers is based on an 9. The carmine and light violet tones of our 10. The warm highlights are created with yel- overall coloring process from which several tonal color selection are used to define the shapes lows, orange, and ochre. rallies emerge. and the volume of the flowers.

11. Now the appropriate texture is applied with a sharp pencil to define the structure of the petals, these lines contrast strongly with the color scheme of the drawing. 12. Mercedes Caspar finishes a very colorful drawing, harmonizing it by dark- ening some of the tones that surround the flowers. Colored Pencils and Hatching

he direction of hatched lines created with colored pencils can T be used to darken outlines, to define shapes, and to contrast different planes. It is important to establish the tonal values of the drawing and to plan the order of the successive coloring process. Light colors, for example, are reserved mentally and kept clean throughout the process, as are the white areas that require the pa- per to remain uncolored.

THE DIRECTION OF THE HATCHING

It is a good idea to apply the hatching so it conforms to the curves of the objects. Modeling can be done by following the direction of the perspective lines. This enhances the volumes and conveys a strong sense of depth in the drawing.

1. Over the lightly drawn sketch, the artist begins to apply, also slightly, the first base cedars.

2. Hatching is drawn with dark gray to represent the background.

3. Placing colors against each other can enhance their intensity. Notice the horizontal direction of the colors of the table.

4. The modeling of the cup is done with curved strokes that attempt to describe its volume.

5. One by one, each shape is modeled using darker colored pencils. 6. The modeling of the teapot continues as the required contrast is applied. 7. Working the colors and the edges of the table automatically defines The light lines shade the volume without smearing the light colors. the outline of the teapot.

9. Darkening the shadow projected by the teapot on the table creates an ideal background for the contrasting white cup in front of it.

8. Tonal gradation representing the values of the table's surface conveys 10. The reflections on the blue cup arc applied with a white pencil. a feeling of depth. 11. The spoon is carefully shaded with gray, and great care is taken not to distort its shape or proportions.

12. The main object is emphasized simply by darkening the tonal values of the background. 13. David Sanmiguel darkens the colors and tones of each plane, object, and shadow to create balance, relating the tonal values until he achieves a perfect chiaroscuro represen- tation.

There is a wide range of grays and yellows. The blues are for the cup and the earth tones for the napkins. The neutral colors and the greens are used for darkening the yellows against the blue reflections. Colored Pencils and Complementary Colors

he most vibrant technique that can be used T with colored pencils is that of color contrast. The shapes are described and outlined by super- imposing hatched lines of" complementary col- ors. The challenge in applying this technique lies in the synthesis of the shapes and the selection of the pairs of complementary colors.

This seascape is a suggestive model THE REASON BEHIND for illustrating with colored pencils VERTICAL LINES using the complementary color tech- nique. A vertical line applied next to other vertical lines of different col- ore produces an effect of simultane- ous contrasts. This contrast is en- hanced when the colors involved are the complements of each other. Therefore, the less complementary they are, the less contrast there will be. On the other hand, the vertical orientation of the characteristic lines of this technique creates an overall rhythm that is slightly interrupted by occasional lines drawn in other 1. A sketch is created with red pencil on colored directions. 2. The outlines of the boats begin to emerge after paper, a factor that will enhance the final contrast. applying red and blue.

3. the first colors on the sea are applied with bold vertical lines using violet and dark tones in that color range.

4. The details of the boats in the foreground are darkened with several colors, brown tones among them. 5. Vertical hatch lines using yellow and orange are overlaid to create tin-color of the water, to represent its reflections, and to provide continuity in the middle ground and background. 6. Additional overlaid vertical hatching (red, ma- genta, and blue) darkens the colors and tones and defines the forms in all three planes with more pre- cision.

7. Horizontal hatch lines, drawn with a light blue pencil, contrast with the vertical lines in the rest of the drawing to represent the light on the water in the middle ground.

8. A layer of white is used to bring out the light tones and the highlights in general, wherever they are needed.

9. Oscar Sanchis has masterfully demon- strated the technique of contrasting colors using colored pencils. DARKENING TONES BY Wax Crayons and RUBBING Areas of Color All the color of the wax crayons applied on a rough textured canvas o draw, it is not always necessary to begin with an elaborate accumulates on the highest areas of T sketch, especially if the artist intends to create the forms the fabric. The low areas of the tex- ture do not get any color at all when with blocks of" color. Gradually building up wax colors will de- it is applied superficially. However, scribe and darken the colors and tones of the various volumes a bold and intense stroke covers the that are to be represented. The same treatment is maintained entire surface of the canvas. This throughout the work because the line technique is not used at can be used by the artist to create optical mixtures and rubbing that all. covers the entire surface. To illus- The texture of the support is one of the elements that en- trate this point, we are going to de- hances this painting. It enhances the effects of optical mixing. velop a still life with lemons that will be very expressive.

1. The three objects arc drawn directly with the appropriate colors.

2. The entire scene is situated by lightly coloring in the background (black crayon) and the shadows projected by the lemons (with sepia and yellow) on the tablecloth.

3. The colors of the background arc darkened with black. The lemons are also colored with yellow, with care taken to leave the lighter areas un- painted. 5. The modeling of the lemons is intensified with a darker yellow and ochre. A darker tone of gray is used to define the Tablecloth's folds. The shadows projected by the lemons are also darkened.

4. The folds of the cloth that hang over the table are suggested with a light gray color.

6. The same crayon is used to soften the tablecloth's shadows and to create an overall harmony.

7. A white crayon is used generously to rub the highlights thoroughly.

8. The background is darkened with more black, and the tablecloth is lightened with additional white. 10. The effect of the rubbing is visible. The texture of the background created by optical mixing strongly contrasts with the rubbed part: The tablecloth begins to acquire the look of true fabric. 9. Rubbing is done only on the representation of the tablecloth. In this instance, the line that represents the corner of the table is rubbed.

11. A last application of white crayon balances the values of the table- cloth.

12. With a little rubbing and a few final touches, M. Brunstein con- cludes this still life with lemons. SHORT LINES TO Wax Crayon Lines for Texture CREATE TEXTURE

Many short lines end up creating an optical mixture The richness of large surface area can be colored by placing one line next to execution of the type of texture cre- A another, and a texture can be applied to create an atmos- ated with this unique method is ob- vious. It is very common to choose a pheric effect, modeling, or anything else that the artist wishes. specific direction for the lines, as in As a group, these lines cre- this case. The vertical stroke is eas- ate optical mixtures. ily seen in the sky, the buildings, the reflections, and so forth. This verti- cality is only interrupted by the few horizontal lines of the buildings.

This urban landscape of Bilbao (Spain), with reflections over the Nervion River, will serve to illus- trate the technique of coloring with short strokes.

1. The most important lines of the drawing are made with white crayon on colored paper.

2. The sky is represented with a combination of short lines using an as- sortment of blue and white crayons. A general gradation is achieved through optical mixing: darker above and lighter below.

3. The same line-texture technique is applied to represent each structure with its own colors.

4. Artist Gabriel Martin colors and checks the effect, constantly intensi- fying the tones, darkening and highlighting the work. The repre- sentation of the reflections in it conveys a strong feeling of depth. THICKLY APPLIED The Special Touch CRAYONS of Wax Crayons Applying crayon colors in thick layers presents some difficulty. It is rayons, despite their transparency, important to practice with different C can also be used to create more papers and to study the results for each color. The artist may discover opaque effects. An exercise that illus- that some papers accept this thick trates this consists of painting heavy layer better than others and that black paper. The final result is very there arc color crayons that offer unique. When the crayon is white, it more covering power than others. Another difficulty stems from the must be applied thickly so the colors fact that the crayon fuses when it is that are painted over it stand out. The applied in layers, and rather than stained glass effect produced by this intensifying the effect, does the op- will inspire many to paint pictures. posite. This problem can be solved by using fixative for the layer under- neath. This view of Lisbon offers a very complex urban landscape, which is approached as a color exercise of great synthesis.

If we compare the effect of a set of colors on white paper and another on black pa- per applied over a layer of white crayon, we can see how they resemble stained glass, which creates a very special look. It is a good idea to practice the techniques that are going to be used.

A cardboard frame is cre- ated on which to rest the hand when drawing, ena- bling the artist to work without having to worry It is necessary to attach the about smearing on the pa- frame to the paper with per. masking tape. 1. The entire surface of the paper is painted with white crayon.

2. Blocks of bold colors are created, beginning with the sky. The drawing progresses as the col- ors are applied.

3. The areas of light art-applied at the same time as the shadows. 5. Rubbed with the fingertips, the textures become more defined and rep- resentative of the shapes and the perspective.

4. All the buildings are painted, always with an effort to synthesize the colors.

6. A sgraffito tool is used to describe the outline and the dark areas more precisely.

7. Not all the details are outlined with sgraffito, only those required to convey the feeling of an urban landscape. 8. Then, the artist can color over the painting to lighten or darken it as needed, "forgetting" about the original color of the paper.

10. M. Braunstein leaves the sgraffito effects for the end, along with the redraw- ing of a window or two and the recovery of some of the details hidden by the rub- bing of the colors.

9. When color has been applied repeatedly over the same area, it begins to resist adhesion. To solve this problem, a thin layer of latex can be applied and allowed to dry completely. Samples of the different pigments used to make Chalk color chalk.

hite chalk was first used to high- W light charcoal and sanguine drawings. Black chalk was used as well, to darken sanguine without hav- ing to resort to charcoal. Later on, more colors of chalk were manufac- tured. Nowadays, chalk is often called hard pastel, but the number of avail- able colors is never as large as that of

COMPOSITION FORMS

Chalk, is a calcarcous Chalk is normally rock, white or gray, available in square sticks which was formed in that are at least 21/2 layers during the Cre- inches (6.5 cm) long, and tacious period. Contem- the sides vary from1/5 porary recipes call for inch (5 mm) to 1/4 inch lightly cooking a paste (7 mm) or even more. that is left to dry in But there are so many molds for square cray- products on the market ons. In the beginning, that these dimensions arc chalk was limited to only references. There white, black, sepia, and are also cylindrical sticks sanguine. Much later, of chalk." more colors of chalk Thick cylindrical were created by adding leads about 1/5 inch (5 pigments. mm) in diameter and with a point on one end are sold in all the tradi- tional colors plus a few more. The leads are used The range of chalk colors is not with lead holders be- as wide as that of soft pastels. cause they break easily However, a box of 24 sticks is enough to achieve good results when pressure is applied when drawing and coloring. to them. They can be used directly for coloring lightly. Chalk pencils are basically hard pastels. The lead is thinner than those manufactured without a wood case. It usually measures about 1/8 inch (3 or 4 mm) in diameter.

Although the square stick is the most common, there are also cylin- drical sticks. Apart from the differ- ent grades of hardness and quality, the sizes of the stick can also vary considerably. MORE COLORS it may be homogenous or an optical mixture of the Because there is not as two colors used. large a selection of color On an interesting note, chalk as there is of soft it should be pointed out pastels, it is worthwhile that it is possible to make to create new colors by a stick from powdered mixing the powder from chalk by simply adding a two sticks of chalk. This binder and baking it in a powder may or may not home oven or a kiln. be well mixed, however, and the color of the mark It is common practice to create made from two assortments of grays, one with cool tendencies and one Professional grade chalk, with warm. which can be purchased as individual sticks, is laid out for use according to personal preference. The THE RANGE BOXED OR black and white ones are OF GRAYS INDIVIDUAL STICKS usually set apart, and the warm and cool colors are White and black Chalk is available in clearly separated. constituted the simple boxed assortments of range of colors in the 12, 24, or more colors. beginning. Little by An assortment large little, all the shades of enough for drawing gray were added to the without limitations assortment. Nowadays, should include at least there is a wide range of 24 colors. Professional gray chalk of various grade chalk is also sold tones and qualities. A as individual sticks. It is drawing can be made a good idea to create with warm grays or your own palette once cool grays, further con- you have begun to mas- tributing to the options ter drawing and paint- of this simple color ing. range.

Chalk colors arc usually mixed on the paper by using one over the other. But it is also possible to make mix- Without a doubt, the gray range is the most extensive. There arc so many shades that tures by scraping two or more colors, in this case blue they can be distinguished only by placing them next to each other. and carmine, and mixing the powders, in this case making violet. Pastel

astel can be used for drawing and painting at the P same time. It is no surprise that so many prefer it. Before the advent of pastel in the seventeenth cen- tury, chalk was the medium habitually used to color drawings that were made with charcoal. However, af- ter the development of pastel, it became the medium used for painting full-color masterpieces, and it is fa- mous for its marvelous chiaroscuro.

STICK AND PASTEL semihard pastels. Because PENCIL COMPOSITION of their hardness they are also available as square Pastels are sold in The composition of a sticks, so they can be used Boxes with a wide stick, form. Generally, the pastel basically consists of to draw very fine lines on assortment of pas- soft and semisoft pastels pigment for color and gum the paper. tels arranged in are cylindrical, and the arabic as an agglutinate, or protective trays are available in stores. hard pastels are formed binding agent. Soft pastels A WIDE into square sticks. arc pigment with only a ASSORTMENT The soft pastels are small amount of aggluti- nate, and are therefore available in several sizes. The good professional very fragile and crumble The typical round stick is brands of pastel offer a quite easily. 2-3/4 inches (7 cm) long. wide range of colors, es- Hard pastels and artist's Its diameter ranges from pecially in the soft pastels. ² chalk are manufactured 2/5 to 1/2 inch (1 1.3 This is because the ability from chalk, and they re- cm). Semi-soft pastels are to mix colors with pastels quire a short baking time usually thinner than soft is limited to the use of dry to make the stick harder. ones. techniques like blending This is why the hard pastel Extra thick soft pastels or rubbing clean and di- sticks are thinner than the are made for coloring the Gum arabic is used as an rectly applied colors. It is soft and surfaces of large supports. agglutinate or binder in a good idea to have many They are very useful for pastels, and chalk is an colors from which to sketching and coloring ingredient in all the light colors. choose the most appropri- samples for decorating or ate tones. advertising. They measure about 1-1/4 inch (3.5 cm) in diameter. The pastel pencil has a much thicker lead than a typical wax-based colored pencil. It measures at least 1/8 inch (3 mm) in diame- ter and has the same com- position as hard pastels.

The large amount of pigment used in the manufacture of pastels explains their intense colors, especially the soft ones. There is a very wide selection of pastel colors, so it is a good idea to begin with an assortment of 40 to 50 colors.

PRACTICAL PROTECTIVE The wrapper can be both- It can be useful to make your own pastel powder. Afterward, the different ADVICE COVER ersome when drawing. It can be partially or entirely colored powders may be mixed well or left unmixed. Making your own powder To keep pastel sticks in Not all brands of pastel removed according to the is a good technique for creating color- good condition, it is nec- sell their sticks with a requirements of the draw- ful streaks. essary to store them in protective wrapper, but it ing. compartments where they is a common practice. will not touch each other. This protective wrapper They are basically sticks fulfills several functions. IMPORTANT made of pigment, and the For one, it keeps the stick soft ones crumble quite from getting dirty. It also Special care must be easily. Whenever two allows the pastel to be taken to avoid drop- sticks come into con- tact, used without smudging ping or jarring all they smudge each other the artist's fingers. And soft, semisoft, and with their respec-tive col- finally, the wrapper helps hard pastels as well ors. To avoid this, they are to bind the pastel dust on as pastel pencils. kept in separate compart- the outside of the stick. The sticks will break, ments. If it turns out that a and the broken lead stick has been smudged in a damaged pencil Pastel slicks arc often protected by another color, it can be will be exposed as by a paper wrapper printed with wiped off with a clean the pencil is sharp- cotton cloth. information about the color. Boxed assortments of pastels are usually protected This is very useful when replac- ened. with foam padding. If you buy pastels individually, you ing used-up colors. However, should provide similar padding to keep them from the paper must be removed as bumping into or touching other colors. the stick becomes smaller from drawing and coloring. There are special lead holders for different lead Graphite sizes: thick, medium, and very fine, 1/64 inch (0.5 mm) in diameter. efore graphite was invented, B metal points were used for drawing. The gold, copper, and sil- ver points made a warm mark, whereas the line made by a lead point was gray. The use of metal points declined with the discovery of graphite in the seventeenth cen- tury and the recipe for using it as a drawing medium.

STICK, LEAD, eter in the form of a There are a wide AND PENCIL pencil, and it can be variety of widths of the same size as a leads; the thinnest for There are many normal pencil. A thick drawing is just 1/64 shapes of sticks, plastic wrapper usu- inch (0.5 mm) in di- among them a hex- ally protects the solid ameter. Graphite pen- agonal shape, with a lead pencil and must cils are cylindrical point at one end. It be removed as the leads with a protective measures as much as pencil wears down wood case. The thick- 3-1/4 inches (8 cm) in from drawing and ness of the lead de- length and is nearly shading. There are pends on its hardness. 2/5 inch (1 cm) thick. other leads, about 2- The diameter varies There is also a cylin- 3/4 inches (7 cm) long from about 1/8 inch (3 drical stick sharpened and 1/5 inch (5 mm) mm) in the case of a at one end. Some in diameter, that can very soft lead to 1/16 companies offer this be used to draw as inch (1.5 mm) in the Sticks of graphite can be either cylindrical or thick lead of about 1/3 they are or inserted in case of a hard lead. hexagonal. inch (8 mm) in diam- a holder for thick leads. Leads come in cylindrical form with a point on one end, that is, sharpened. COMPOSITION Some lead holders have an internal sharpener at one end to make a point on the Graphite can be found in lead. a natural form or be created artificially. It is crystalized carbon, and it has the ap- pear ance of a greasy sub- stance with metallic reflec- tions. The forms that we know today² stick, lead, and pencil² are natural powdered graphite mixed with clay and baked. The hardness of the different sticks, leads, and pencil leads varies according to the amount of clay in the mixture and the baking time. Pencils, like graphite sticks, have different grades of hard- ness, and it is advisable to test the various gray and black marks they make.

There is a special pointer or sharpener for thin A graphite pencil with SHARPENING leads. a hard lend will make a very fine line, which When sharpening a makes it easy to see the solid graphite stick, first textures of the three remove the rigid plastic different drawing sur- faces. cover with a knife. Sticks and thick leads can be sharpened by rubbing them on a piece of sand- paper to shape their points. A pencil can be sharpened with either a pencil sharpener or a craft knife. A small di- ameter lead pointer is used for thin leads. Some lead holders have a built- in pointer or sharpener. It is used by first extending the lead a little from the holder, then removing Always use a well-sharpened tool. If the blade is dull, the from the end of the wood ease will not be cut cor- holder the metal cap that rectly and the lead will be dam- is pressed to load or aged and end up breaking. move the lead. Inside is a HARDNESS lines; they are always gray. small cone-shaped file The artist has a large into which the lead is The characteristics of assortment of grades of introduced and then Thick graphite sticks usually have a thick plastic ² covering that must be cut off when sharpening the graphite that should be hardness to choose from turned to shape the point. important to the draftsman up to nineteen are avail- graphite, since it can ruin a drawing by rubbing Finally, the cap is re- or making unwanted sgraffito marks. are good quality and a able. Each pencil has a placed and the lead is grade of hardness that is letter on the end to indicate adjusted so it can be used appropriate for the drawing how hard its lead is: the B for drawing. in progress. A soft lead means that it is a soft pen- pencil makes a very intense cil; the H refers to a hard black; the lead wears down one. There are numbers quickly and the lines do not along with the letters; the stay fine very long no mat- soft leads range from B to ter how often the pencil is 8B (the softest); the hard sharpened, Conversely, a leads start with H and hard grade pencil draws range to 9H (the hardest). very fine lines and leaves a There are also medium- light mark. A hard lead hard pencils, HB and F. does not shade well nor dose it make intense Colored Pencils,

a Full-Color Medium

olored pencils arc a direct medium just C like the other dry media. But the charac- Assortments of pro- fessional quality col- teristics of colored pencils allow them to ored pencils are sold make full-color drawings with a lot of detail. in boxed sets. A set of The appropriate format must be chosen for 48 colors is recom- mended for making this medium. It is best that the drawing al- quality drawings with ways be small, given the difficulties in creat- a range of hues. ing intense tones and the limits in line length and precise hatching.

QUALITY AND HARDNESS

Colored pencil leads are mixtures that incorporate pig- ments as the main ingredient. The pig- ments are bound with kaolin and a small QUALITY AND and the semihard ones Many artists use this amount of wax. This type of water-soluble The colors can be bought HARDNESS are better for coloring results in a lead that large surfaces more or pencil to introduce ele- separately, building an is quite durable, with assortment of special tones Professional col- less uniformly. ments to contrast with the perfect hardness and shades that should be ored pencils are the The leads of the the coloring done with for easily making a arranged in order and in only ones that color water-soluble colored conventional colored sharp point. But the relation to each other. well. Several brands pencils are, without a pencils, which is nor wax in the lead and offer assortments in doubt, softer than the that intense. the presence of kao- two grades of hard- semihard ones. As a lin mean that the col- ness: the hard ones result, the intensity of ored pencils must be are used for very pre- their colors is greater. used for lines and cise drawings, hatching, and color- ing that will not be as intense as that of other media. This operation is re- peated very often, since LEADS the pencil wears down quickly when doing a lot of coloring. There are also colored leads of differ ent widths. Only the thickest can be used without a lead holder. The thinnest, 1/64 inch (0.5 mm) in diameter, can be used for very pre- cise drawings and requires a special lead holder be- Colored pencils are made with different lead sizes. The cause of its size. hard or semihard ones will have a thinner lead and the case will be hexagonal. Water-soluble pencils are thicker Some detailed lines re- and are normally cylindrical. There are also hard pencils quire making the point with very thick leads. Pencils of different grades of with a craft knife, since hardness color lightly. The the point will be longer water-soluble pencil (A) can and stronger than one color quite intensely, the me- made with a sharpener. dium -hard pencil (B) with less intensity, and the hard pencil

ASSORTMENT AND ORDER

If you have a box, it is easy to put each pencil back in its corresponding COLOR limitations of mixing spot after using it to keep SHARPENING ASSORTMENTS colors with pencils. the pencils well organized. the base thicker, so it The professional However, when drawing a will not need to be sharp- Professional brands of Boxed sets of col- brands also sell individ- particular subject or ened as often. ual pencils, as seen in model, you may find it colored pencils have ored pencils contain high quality wood cases from 12 basic colors the catalogues of Caran helpful to choose only the that make it easier to in a small box to ten D'Ache, Rexel Cumber- colors that will be needed sharpen the lead. A times that, 120 colors, land, Berol, Faber Cas- rather than sort through sharpener makes a uni- in the largest assort- tell, Schwan, and Pris- the entire box. They form, conical point, but a ments. A box of 48 macolor. This makes it should be placed in order possible to personalize on the table or in another craft knife can be used to pencils is enough to shape a longer point make a full-color your colored pencil box. This way, it is easier while keeping drawing while avoid- assortment. to select the right colored ing the typical pencil while drawing. idea to practice and get to know the characteristics of Wax Crayon and Oil Pastel each one before drawing with them. It is also important to ax crayons arc cylindrical sticks of color that have a point at be aware of the amount of W one end. This medium is well liked by artists, who are seduced opacity of each color. by the colors and versatility of wax crayons and use them alone or in mixed media. Used correctly, wax crayons can be used to make paintings that are striking in their color and quality. The other FORMS grease-based crayons, oil pastels, have other uses and are more limited if they are used only with dry techniques. Their chromatic Wax crayons are cylindri- cal sticks about 2-1/4 inches and textural potential can only be tapped with the use of solvent, (6 cm) long and 1/5 inch (1 which is a wet technique. cm) in diameter, with a point at one end. The sizes vary COMPOSITION from one brand to another² some as thick as 5/16 inch In the composition of wax ( 1.5 cm) in diameter and Pigments add the color to wax cray- crayons, the pigments arc the longer as well. They usually ons. ingredients that determine the have a small protective paper color, and vegetable oils arc wrapped around the middle the agglutinates. Some colors to keep fingers clean while also incorporate calcium car- drawing; it can be removed bonate to make them opaque. whenever necessary. It is necessary to add ingredi- Oil pastels are very simi- ents to accelerate the harden- lar in appearance to soft pas- ing process in hot climates. tels and are available in There are small variations in boxes of limited assortments. their composition, and some sticks can be softer than oth- ers. It is a good

Colors can be acquired individually, but they should be arranged in order. It is very useful to have a wide range of grays. Many brands sell wax crayons with a protective band around the middle, which can be removed before drawing or if the crayon breaks.

The crayons can be scraped, but this will create flakes, not the powder that results from scraping the other dry media.

CHARACTERISTICS not produce powder, but run out in the middle WHITE OTHER flakes. However, doing this of a drawing. White Any crayon will is a way to create some crayons can be bought TECHNIQUES A lot of white break relatively easily if immediate texture effects. separately or in boxes crayon is used in a it is applied with too of 12. Although this book drawing. White is much pressure to the addresses only dry A BOXED OR used for reserves and paper or other sup-port. media, it is impor- PERSONAL also to lighten the Even a new box will tant to point out that ASSORTMENT tones of colors, and it have pieces and rem- wax crayons, like is important to have nants of crayons after other grease-based several crayons so the first drawing ses- It is very important to The color white is pastels, have an oily use professional quality you will not used often when sion. They should be base similar to that wax crayons. The smallest drawing with wax saved in the original of oil paint and can box has 12 colors, and the crayons. It is a good crayon's slot. idea to buy several be used as a wet The outside of the largest 75. Crayons arc also available individually, sticks, or even a box technique when crayon melts easily of them. mixed with a solvent from the warmth of the allowing the artist to as- like turpentine or artist's hand. In addi- semble a personal palette. mineral spirits. tion, the compo-sition This material is very af- of the crayons will fordable, so we recom- cause two crayons in mend putting together a contact to smudge each large assortment of colors. other very easily. It is The beautiful colors in the very common for this to resulting work of art are happen. Unlike other more than worth the cost of dry media, such as the crayons. graph-ite and colored pencil, scraping a crayon will Paper

aper is the most common support P used when working with dry media. There are many appropriate papers; even papers that are meant for wet tech- niques can be used. The only essential requirement for a paper to be a good support is for the particular medium to adhere well. There is a large-selection of colored papers. Besides the special col- ored papers for dry media, there are wrapping papers and recycled ones that have unique neutral tones and interest- ing textures.

Special drawing papers are sold in the form of sketchbooks and blocks, and paper made for use with wet media can also be used with dry media.

FORMS spiral or glue binding WEIGHT come in several sizes, Taper for drawing but 9 x12 inches (24 x The classification with dry media is 32 cm) can be consid- of paper is based on available in sheets, ered a standard me- the weight of a ream, rolls, and drawing dium size. Graphite or 500 sheets, of that pads. The sheets are 20 and colored pencils particular type of pa- x 26 inches(50x 65 sometimes require a per. A 20-lb. paper is cm) for drawing, and smaller format. On the very light, and without 30 x 44 inches (75 x other hand, dry media a doubt will not stand 110 cm) for dry media. like charcoal, sanguine up well to vigorous Rolls of paper for dry crayon, chalk, pastel, drawing. Progressively media measure 5 x 40 and the grease-based more durable papers feet (1.52 x 10 m). wax crayons are better have weights of 50 lb., Drawing pads with used on large sheets of 72 lb., and 90 lb. Pa- paper. pers for watercolor CHARACTERISTICS paint ing must stand up well when wet, and The format of the they can be quite paper and its dimen- heavy. For example, sions depend on the 90-lb., 140-lb., 300- model and the medium lb., and even 400-lb. that will be used. But papers are typical, and there are several char- quite thick. The water- acteristics that are im- color papers can be portant to keep in used with dry media, mind to help choose since they all adhere the most appropriate well to this kind of paper: weight, texture, paper. and color.

There is a large variety of white papers (A) of different quality, weight, and surface texture. Recy- M. Bramstein drew The cled paper is also useful (B). Shirt with vine charcoal on paper that had been tex- tured with acrylic medium. Some types of cardboard, like mat board, have paper glued COLOR to one or both sides. Drawings can be made on this paper All the manufacturers of professional if the surface allows it. quality papers offer a wide range of col- A wide range of col- ors for pastel drawings; these can also be ored papers is available used with all the other dry media. for drawing with dry TEXTURE on each side. Paper for media. It is a good idea pastels has a heavy tex- to experiment on a sepa- In addition to the ture on one side and a rate-piece of paper with weight, another impor- light one on the other. the different optical mix- tant characteristic of Generally, lightweight tures that result from paper is the surface tex- papers do not have this superimposing the dry ture, which can be advantage. media or colored pencils heavy, medium, or light, Some special drawing over colored paper. and granular or smooth. papers and even some The choice of one When choosing paper for wrapping papers have a color of paper or another drawing it is a good idea texture of parallel lines is based on whether the to establish which tex- that create very interest- goal is to achieve har- ture is best for the de- ing finishes because of mony or contrast. Many sired results. the resulting contrast neutral pastel colored Most papers have effects made by the papers, with either warm very different textures drawing media. or cool tendencies, intro- duce delicate variations that favor harmony and, therefore, are never a risky choice.

Drawing on colored paper re- quires knowledge of color the- ory. It helps to arrange colored papers into warm, cool, and neutral groups. Then, you must decide whether you want har- mony or contrast when choosing the paper color for a specific drawing. Other Supports

here are many other supports besides pa- T per. Among them are posterboard, card- board, corrugated cardboard, foamcore boards, fabric (primed or not), and canvas boards. Sandpaper and even rigid plastic and glass can also be used with oil pastels and certain pencils. In every case it is important to know the material well, because each medium usually has different effects and results ac- Cardboard and foamcore boards an available in many thicknesses. cording to the characteristics of the support.

Nowadays there is a large selection of corrugated cardboard for crafts and CARDBOARDS Corrugated card- SANDPAPER industrial cardboard for board is a variation of packaging. Posterboards come common cardboard. It It is even possible in a large assortment is usually a grayish or to draw with dry me- of colors. Normal brownish color. In dia on industrial sand- cardboard and recy- addition to the types paper, but there are cled cardboard are used for packaging, also special papers on usually gray. How- there is corrugated the market that imitate ever, some cardboard cardboard for crafts, fine sandpaper and has paper glued on one which is available in a work very well. The side to dress it up. wide range of colors. small grains glued to This is also the case of The unique thing the surface of these foamcore board. The about corrugated card- papers easily scrape essential characteristic board is the effect of any dry medium, help- that all the different its texture on the ing it adhere well. The supports must have in drawing. The lines, color of the paper is common is a drawing either vertical or hori- very important to the surface that allows the zontal, become a pic- final effect of the media to adhere well. torial element. overlying drawing.

Some companies offer Drawing on industrial sandpa- an assortment of colored per with vine charcoal, sanguine papers similar to indus- crayon, chalk, and pastel is an trial sandpaper but interesting exercise. made especially for dry media. Wax crayons are an extraordi- nary medium for achieving very realistic decorative effects on Styrofoam. Wax crayons can be used on rigid plastic. If the plastic is transparent, a white sheet of paper Fabric is another option. should be placed underneath. A passe-partout mat Primed fabric is best, pre- and glass are indispensable for conserving the pared for pain ting with oils work executed with this technique. or acrylics. All the dry me- dia that can be used on fabric will contrast with the white primer.

FABRIC OTHER SUPPORTS Rigid plastic and glass glass to better show are other options for the characteristics of Primed fabric for paint- Styrofoam is a very drawing. The surfaces the media and the col- ing with oils or acrylics WOOD interesting material for of both should allow ors of the drawing has a special characteris- creating decorative ef- wax crayons and some made with wax tic; it has a coat of dry It is possible to draw fects. This support is grease pencils to ad- crayon. A drawing paint over which these on wood, MDF ideal for drawing with here. A white sheet of made on this type of paints can be applied (medium density fiber- wax crayons. It is not paper should be placed support requires good directly. Despite the board), chipboard, and necessary to apply much underneath transparent conservation; that is, it primer, the fabric has a plywood. It is impor- pressure, but try to soften plastic and should be matted and heavy, medium, or even tant that the wood fin- the wax with the heat framed. fine texture. Drawing on ish does not contain from your hands, because a primed fabric results in varnish, wax, or oil so the hardness of the me- textural effects from the that any dry medium dium could damage the Canvas boards arc very practical surface of the fabric and that is used will adhere surface of the Styrofoam. the white of the primer. well. supports. They do not give way CANVAS BOARD when drawn on since the board makes them rigid, and they weigh Strokes of vine charcoal, sanguine crayon, pastel, and wax Fabric mounted less and occupy much less space crayons show the textures of a fabric with heavy texture (A) on cardboard is than fabric mounted on a stretcher. and another one with a finer texture (B). lighter than can- vas on stretchers. Most oil and acrylic artists use canvas boards only for unimpor- tant works, sketches, and color notations because the fab- ric cannot be stretched on a conventional frame. However, canvas board is a perfect support for drawing with dry media be- cause it is rigid and easy to draw on. Sketch Boards WOOD A wood sketch board aper, the typical support for dry is the most commonly P media, has to be attached to a used. It should not be too sketch board. This has multiple heavy, especially for functions, giving the paper rigidity, large-scale drawings. It keeping it flat and wrinkle free if at- should be a type of wood tached correctly, and holding the that does not warp easily, although using alternate drawing while it is being worked on sides can help preserve so that it docs not have to be it. The grain of the wood touched and smudged. Many mate- should not be raised, rials can be used as a sketch board, because doing so would so it will be easy for the artist to leave marks on paper that is too thin. A soft graphite find one that is appropriate for his pencil and a light- or her needs. weight paper will show the difference between a smooth sketch board and a textured one.

A lightweight paper on a piece of corru- gated cardboard can be shaded using the lines in a horizontal or vertical direction to create contrast effects.

Sketch boards van in rigidity, surface texture, and dimen- sions.

DIMENSIONS CARDBOARD The dimensions of Very thick and rigid the sketch board cardboard can work should exceed those of perfectly well as a the paper being used sketch board. If you are for the drawing. Space drawing directly on a should be left on all cardboard support four sides around the rather than on paper, a drawing to hold the sketch board may not be sketch board without needed. A cardboard smudging the drawing sketch board can be while working on it. A very handy for small good rule of thumb and intermediate-sized would be about 2 drawings. Drawings can inches (5 cm). If the easily be done in sketch board is too sketchbooks that have a large it will be uncom- thick cardboard back- fortable to work with; ing, which acts as a therefore, it is a good sketch board, and a spi- idea to have several ral or glued edge that These examples of colored pencil (hard and soft) and graphite pencil (hard and sketch boards of dif- holds the paper in the soft) on lightweight paper illustrate the effects created by drawing on supports ferent sizes. sketchbook. with two different textures. TEXTURE OF THE through, so it is not SKETCH BOARD necessary to use a perfectly smooth It is a good idea to board. use a very smooth sup Paper for drawings port to keep a drawing done in graphite or under control, espe- colored pencil does cially in the begin- not have to be very ning. Later, experi- heavy. Besides, the ence will show that lines and details can the characteristics of be seen better with each drawing and the lighter paper. On a paper must be taken light enough paper, into consideration the texture of the when choosing a sketch board can be sketch board. For ex- seen, and it can be ample, a heavy paper used to good effect in will not let the texture the final drawing. of the surface of the sketch board show

Coloring with a blue crayon shows the different textures made by different supports: above, two corrugated cardboards and a smooth one; below, two wood boards and a wall.

WORE SKETCH smooth finish, but it is will show the texture of BOARDS heavy. It is even used the sketch board on the for manufacturing fur- paper, if the latter is suf- niture. MDF boards are ficiently smooth. How- Many appropriate available in different ever, Masonite is very materials are available widths, so a thin one impractical because it for use as a sketch can be used as a sketch tends to warp easily-over board, for example, board. Masonite can time; it is designed to be engineered wood also be used as a sketch glued to a rigid surface products like chip- The sanguine and sepia board, alternating sides that will hold it perfectly board and plywood. crayons reveal the direc- SO it does not warp. A flat. Medium density tion of the wood grain drawing made on the on the sketch board. fiber-board (MDF) is smooth side ensures a product made with that only the texture of glued and pressed the paper appears in the pulverized card-board. sketch. A drawing It is very rigid and made on the rough side durable and its surface has a very

Overlaid hatching with colored pencils shows the direction of the grain of the wood sketch board.

The texture shown was cre- ated by placing a tree leaf On heavy paper, the surface of the sketch board does not show, between the paper and the only the texture of the paper itself sketch board and coloring Easels, Drawing Boards The less portable the stu- dio easel is, the more asels and drawing boards arc very useful tools be- stable. Remember that the rear leg must be very E cause they make the artist's work easier. There is no securely set. set standard, but easels are usually used for drawing with dry media, oil pastels, and graphite sticks, while the drawing board is used for drawing with graphite and col- ored pencils. In reality, it is a matter of being as com- fortable and accurate as possible when making the drawing.

WOOD EASELS Another useful item to set it on. A good table- for making medium- top easel will hold the One way of making or small-sized draw- sketch board securely and drawing easier is to have ings is a tabletop will allow the artist to the paper and sketch easel, for which a work either standing or board well supported on table is also required sitting. The simplest ta- a stable easel that cannot bletop easel is the humble be moved by the artist's bookstand. The drawing motions. This leaves his will tilt back, which is or her hands free for helpful when making making strokes with small drawings, but it more or less intensity. must be held with the hand that is not doing the drawing.

METAL EASELS PORTABLE EASELS

These collapsible ea- The portable easel is sels are very useful for the very useful for drawing graphite and colored pen- outdoors because it is col- cil media. They usually lapsible and easy to trans- must be worked horizon- port. However, portable tally and require a table. ones are not as stable as This is simply more com- studio easels and may fortable because it ensures need to be weighted or This tabletop easel is a better line and does not braced with rocks. In real- very stable for work- require the effort of keep- ity, depending on the me- ing, especially (fit is ing the arm raised while dium, the artist usually braced from behind so that it will not more shading and coloring me- prefers to make quick when it is pushed dur- ticulous and detailed sketches and photographs ing drawing. work. This easel has the of the model in the field, option of leaning back and and make the definitive holding the sketch board drawing in the studio sur- and paper nearly horizon- rounded by all the conven- tal at the height required iences he or she needs. Of for drawing in a standing course, many artists are or sitting position. able to draw-in adverse conditions, without an easel. A steel easel is more stable than an aluminum one, and its ability to tilt to a horizontal position makes it a good holder and support for draw- ing with graphite and colored pen- cils, which require a steady hand.

A simple inclined board is ideal for small-format draw- ings.

DRAWING BOARDS WITHOUT EASEL OR DRAWING BOARD

A good drawing board When going out to or table and a space that is draw from nature, the well organized for drawing artist often cannot carry are essential in every artist's too much because the studio. The angle of the place is inaccessible. board or tabletop should be All that is needed in able to be adjusted at will; such cases are a sketch it should allow the forearms board, paper, a simple to rest and let the entire box with the drawing drawing be easily viewed. media, some material Work can be carried out on for blending, an eraser, a very flat surface or a more and so forth, and a cot- inclined one, from either a ton rag for cleaning the sitting or standing position. hands. A surface that The lighting should not cast acts as a table or a sup- reflections. Direct sunlight port must be impro- on the paper should be vised: a rock, a tree avoided because it is very stump. Once the sketch bad for the eyes. The angle board is well supported, of the board should be ad- the artist can proceed justed for this. In a studio without worry. without natural light, the fixture should be directed so that it will not create irritating reflections on the surface of the paper or shine directly into the art- The drawing table can be tilted to the best angle for ist's face. The drawing hand working. Properly illumi- should not project a shadow nated, it is the best place for over the drawing area be- drawing with graphite and cause it will make the draw- colored pencils. ing difficult to see. Blending Materials he materials used for blending are without a doubt T the most important materials needed when working with dry media. All the dry media²including charcoal, sanguine crayon, chalk and pastels in stick or pencil form, crayons, and oil pastels²can be blended. Colored pencils, in their soft version, and watercolor pencils can also be blended.

The hardest, roughest sponges create harsher blended effects. The very soft ones are used for delicate

SPONGES BRUSHES There is a large Any brush can be variety of natural and used for blending or artificial sponges. rubbing. All brushes² Their most important from the soft ones up characteristics when to the very hardest used for blending and ones²can be used rubbing are their soft- with dry media. A ness or roughness and brush with very stiff their particular tex- bristles must be used Blending sticks are designed to be used for rubbing and blending. But cotton swabs and sim- ple cotton balls trill create somewhat different effects when used for the same purpose. ture. They should be with grease-based me- tested on a separate dia in order to move paper before use on it on the paper. BLENDING STICKS and the side of the cone- COTTON the final drawing to shaped point for larger ascertain the effect The blending stick is Cotton in all shapes areas. The width of the they will produce. a tool that can both blending stick will depend and forms can be used blend and rub. It is a on the size of the area that to blend and rub any of piece of paper that is is to be blended. the dry media, except rolled into a cylinder This tool gets dirty-as for the hard colored shape. It conies in dif- soon as it is used. It is a pencils. ferent widths, from 3/4 good idea to have several A cotton towel is not blending sticks, using one inch (2 cm) in diameter just for cleaning your for each type of medium hands; if used correctly, to the thinnest, barely (charcoal, sanguine 1/8 inch (3 mm). The crayon, and so forth) so it can also be a drawing thickest blending sticks that media will not mix tool. A cotton ball can usually have a point on and accidentally smudge be very useful for work- each end. The thinnest the drawing. ing with powdered me- are usually shorter so dia, and a cotton swab they will be more resis- can be used for very tant to bending and detailed and accurate breaking. They often work. have a point on just one end. When blending, the point is used for details

A cotton towel or a piece of a towel can become the perfect tool for blending. HOW TO MAKE A TOOL

Devising personalized tools specially designed to create a textural effect can be left to the imagination of each person. There are an endless number of materials that can be used for this purpose: straw, a scrubbing pad, Styrofoam, fine twigs, a cork, and so on. Once tied together to use for blending, they can even be attached to With a little imagination The textures created by a handle. all sorts of materials can blending with a hand- be used to make tools for made tool are usually blending and rubbing. very interesting.

All brushes can be used for blending. The soft ones, however, can be used only with dry media.

The hand is the best tool that an artist has for THE HAND blending and rubbing. The hand is the most practical tool of all for blending because it is al- ways available and it al- lows complete and inti- mate interaction with the drawing. All parts of it can be used for blending and rubbing. But in most cases the fingertips, the sides The fingertips air ideal of the fingers, and the for rubbing the colors of base of the thumb are used the straw hat to create a chiaroscuro effect. Complementary

roperly attaching the paper to the sketch P board is an indispensable first step in making a drawing. Erasers, materials for making re- serves, and the mahlstick are used throughout the work session. Products for fixing the drawing medium are used at the end or between ses- A soft kneaded rubber eraser mirks sions. Portfolios and framing materials are im- best, but plastic and soft rubber erasers of any shape can be used portant for temporary or final conservation of with the dry media.

MATERIALS FOR RESERVES ERASING THE PENCIL Masking tape A kneaded rub- can be used for re- ber eraser is usually A pencil extender and serving small areas used for dry media, a point protector are two and the edges of a but good plastic very useful objects for drawing. Paper and eraser is better for A point protector is the drafts-person. The cardboard templates detail work. Either a very practical for extender helps get more preserving the can also be used. soft rubber eraser or use out of the pencil, point of the pencil Liquid masking a plastic one can be which can be so difficult lead. gum is more effec- used with the grease to control when it gets tive for wet media. -based media like too short that it is often However, it is of graphite, colored discarded. The point very limited use and pencil, and wax protector covers the lead often inappropriate crayon because nei- when the pencil is in the for dry media tech- ther will damage the box and when it is being niques. surface of the paper. transported. It is shorter than the extender, but it can also be used to HOLDING THE lengthen the pencil. SKETCH BOARD THE MAHLSTICK A variety of clips and tacks can be used to at- This tool is especially tach the paper to the useful for large-scale Any clip that does not sketch board, as can damage the paper and works where the hand holds it in place is ac- masking tape. An extender is used with must be held steady. ceptable, even if it is graphite, color, and even somewhat smaller than charcoal pencils. The point the sketch board. Even a protector can also be used clothespin will work. to lengthen the pencil a little.

The mahlstick helps to keep the hand steady without it touching the drawing surface. Fixative is used to preserve draw- ings wings made with the dry media, charcoal, sanguine crayon, chalk and pastel, and the It is a good idea to have a pencil sharpener, or at least a grease-based graphite and col- craft knife, which,given its versatility, is indispensable. ored pencils. CRAFT FIXATIVE PRESERVING WORK MAKING KNIFE Portfolios are essential for temporarily stor- POINTS Dry media need to be ing drawings, which must be separated by The craft knife is conserved with a fine sheets of vellum paper. It is good to have Pencil sharpeners, versatile and indis- layer of fixative. Fixative portfolios of different sizes. However, per- pencil pointers, and pensable. It is used is especially recom- manent conservation of drawings means craft knives are neces- for cutting paper, mended for soft graphite framing them with glass, a window mat, sary, especially for scratching, making pencil. It is backing board, and a frame. charcoal, sanguine, reserves from paper optional for hard graph- pastel, graphite, and or adhesive tape, ite and colored pencil. colored pencils. making points on Wax crayons, being a pencils, and scraping grease-based medium, dry and oil-based can be fixed with latex or media. with varnish for oil pas- tels. Drawings should be pro- OTHER tected with a sheet of vellum PRODUCTS FOR or tracing paper before put- WET MEDIA ting them in the portfolio.

Wax crayons and oil pastels can be diluted with turpentine and also It is a good idea to have portfolios of with mineral spirits. different sizes so the drawings will not slide around inside and get smeared. These media are com- patible with oil paint.

Specially made varnish is very useful for fixing oil pastel drawings. Holding the Work here are several extremely important steps T to take before actually beginning to draw. If these steps are not done correctly, the paper will move during the process and become seriously damaged. The paper must be attached to the sketch board and the board to the easel. If there is no easel, the sketch board can be set on a ta- ble or on your lap.

ATTACHING THE holds the paper much a 30-degree angle from the SUPPORT TO better, but care must be- line of the yet-to-be re- THE BOARD taken not to damage the moved tape. paper when removing the Thumbtacks make holes tape. It helps to have in the paper unless they are There arc several tape that has been previ- inserted next to the edge of ways of attaching the ATTACHING THE paper to the sketch ously used on another the paper so that the head BOARD TO THE board; the best way surface, like a table, so holds the paper in place. that some of the adhesive This technique, however, is depends on each The easel should bead has come off. Special not secure enough when drawing. There is a large justed to the height of the care must be taken when making hard and quick assortment of clips that work. The artist's eyes removing the masking strokes, shading, and color- do not damage the paper. should more or less be at It is important to have tape after the drawing is ing. the middle of the paper. some that will hold paper finished. It should be The position really de- removed little by little, that is somewhat smaller pends on the artist, but it is folding the tape back and than the sketch board on a matter of being able to keeping it at about all sides. Masking tape reach the top part of the paper to draw without too much effort. At the same time, the artist should be able to reach the bottom part without bending over. The board is attached to the easel and tilted to the required working angle. All of the nuts and screws must be tightened to avoid unwanted movement.

Every easel has its own tilting mechanism, which can be locked before or after placing the sketch board with the paper. The sketch board at- taches to the easel at the most convenient working height and angle. With this easel, the angle is adjusted after the sketch board with tin-paper has ON THE TABLE ON THE LAP held against a single leg, a footrest can be How the sketch board is Drawings can also be made in used to raise one knee placed on the table depends a sketchbook or on a small- or for a better angle, or the on various factors, but medium-format paper attached sketch board can be whether standing or sitting to a board without an easel or a held as it is when draw- table. the artist should be able to ing standing up. If you are drawing reach all parts of the draw- standing up, the sketchbook ing comfortably. If no table or sketch board can be held -easel is available, the with one hand at the top board can be leaned against and the bottom edge braced a support, like a pile of against the body. books, to raise the top of When drawing sitting the work of art. The sketch down, the board or sketchbook board is held against the should be held against the lap chest with the hand that is with the free hand holding the not drawing, if the artist is top. There are many ways to sitting, or against the stom- do this. The board can be- ach, if the artist is drawing Thumbtacks, clips, and standing up. masking tape can all be used to attach the paper to the board.

When standing, the artist can hold the work steady.

This is how the board is held when sitting.

All the fasteners are double- checked to make sure that the work will not accidentally come loose during vigorous drawing. Drawing with Charcoal With practice you can find out he different forms of charcoal can be at what point a charcoal stick T used together or separately in the same will break. This way you can keep it from happening, at least drawing. Whether they are applied directly or with important lines. indirectly by later manipulation, very differ- ent effects can be achieved. All these proce- EXERCISES FOR dures are based on different techniques, and PRACTICING LINES the results vary according to the charcoal Charcoal drawings arc and the auxiliary materials that are used. AN ESSENTIAL usually large in format. To POINT be able to draw a long line with confidence, you Charcoal can be used to Vine charcoal is very should practice on a 36 x 36 make lines of different fragile. If the point is -inch (l x l-m) sheet of widths, from very narrow to pushed too hard against the wrapping paper. Try draw- very wide. paper, it can easily break. It ing diagonal lines using the is advisable to rest it on a two opposite corners as separate piece of paper to guides. The freehand mid- discover its breaking point. dle lines are done by eye. This will help you avoid To practice curves, draw interrupting a line that was a large square, always free- intended to be expressive, hand, and then draw a circle DRAWING LINES when you arc-working on -inside the square. The di- the final drawing. ameter of the circle should Any part of a vine be the same size as the charcoal stick, a stick of length of the lines of the artificial or natural com- square. pressed charcoal, a lead There is an ideal exer- or the point of a charcoal cise for better control of the pencil can be used to beginning and end of a line. draw on paper or on an It consists of drawing two appropriate support. The parallel lines²call them a resulting line must have a An expressive shadow is and b²and then drawing beginning and an end. fresh looking and sponta- two more, also parallel, that When a lot of pressure is neous, such as drawing with small, broken pieces begin at a and end at b. applied to the tool the of vine charcoal. For practicing curves, one resulting line is intense; option is to draw a circle conversely, when the within a square, completely pressure is light, the line freehand. is light. Lines that are straight, curved, broken, and expressive can be achieved by practicing different movements of the wrist and the fingers. DRAWING AN OUTLINE When drawing expres- Good line technique is essential in sive-lines one must hold drawing the outlines of the forms. the charcoal so that it is The more-expressive the outline, You can develop the ability to fully under control. control straight lines by using the more painterly the final draw- The angle that the two parallel lines to mark the ing. It is a good idea to practice this charcoal is held at deter- ends. type of line. To begin, study the mines the width and model attentively. Once you have length of the strokes. memorized the form, draw it free- hand without referring to the model. Do this again and again until the Charcoal is also very lines look confident and intentional. good for drawing expressive lines. SHADING CONTROLLING THE LINE

Shaded effects can be Since the hand cannot rest applied with juxtaposed on the paper when drawing char coal lines or by because it would smear part of smudging an area of the the charcoal that has already paper. Like line work, been applied, the only way to shading can also be done make a line is freehand. Some- expressively and should times, when a large-format be applied in a crisp, subject requires precision, it is fresh way, indicating the a good idea to use a mahlstick volume or the shape of to control particular lines. Any the forms with-out hesi- long stick will also work. A tant and repeated lines. commercial mahlstick has a Practice and observation ball on one end, which is are best tools for learn- placed against the paper or the ing this. sketch board in the area out- side the drawing. It is held THE EFFECT OF slightly above the paper with TEXTURE the hand that is not drawing while the other hand rests on

the stick, to be held steady Lines have a tendency when making lines. to emphasize the tex- After sketching just a few lines the ture of the paper, and expressive character of the drawing in the case of a can already be appreciated. smooth paper, the texture of the sketch board it is mounted on will also stand out. The lines show the texture of the sketch board on smooth paper.

The mahlstick is a very helpful tool for drawing steady lines.

Charcoal pencils can also be used to draw fine ex- pressive lines. RESERVES

One of the biggest problems of working with charcoal be- comes evident from the moment the first lines and shadows are laid down. It is very difficult to draw cleanly unless certain precautions are taken. Although lightly drawn charcoal is The lines representing the shapes of After the outline has been ad- easy to erase with a the forms should be light until the justed, the lines can be darkened kneaded or plastic figure is blocked in. and made to overlap. eraser, it is a good idea to protect the work before it acci- VOLUME USING dentally gets BLENDING smeared. The paper Simple outlines describe should be covered shapes but say little about Shading can be with a cardboard A frame surrounding the entire work, or a template for the details, are two of their volume, unless the lines blended just like a line, frame to prevent smudg- using a blending stick, a the options for reserving an area of a are made to overlap. Contour ing it with dirty fingers; drawing. lines offer additional infor- cotton rag, or the lingers. the frame allows the work mation, especially if they are The tool need only be to be held firmly without of different widths. The wid- wiped across the charcoal est lines illustrate the out- powder to remove it from not disappear, despite vigor ous the paper. Shading that ERASING MINOR lines of the nearest volumes, SMUDGES erasing. Besides, doing so is not and the thinnest lines indi- has been blended looks good for the paper, because it ruins cate those that are farthest less intense when com- the surface and can wrinkle light- A light line that was away. If the drawing is ana- pared to shading that has weight paper. It is advisable not made a bit too long or lyzed as a representation of been left untouched, and too draw too heavily until you are blending that spilled into different planes, a contour the blended shading sure of the exact direction and some white areas can be line is always wide on the gradually fades to noth- darkness required, so the work will eliminated with an closest plane and becomes ing. not have to be erased. eraser. On the other thinner as the planes recede. hand, dark lines and A sketch may not always shading and charcoal have contour lines because pencil can only be par- of doubts at the moment of tially removed. They will drawing the outlines and concern for the proportions, Charcoal applied to the paper but it is advisable to add can be blended by wiping it them once the lines of the with a cotton rag. which will sketch have been laid down. pick up a large portion of the This will create a greater sense of volume.

Specific effects are possible only if you arc familiar with the character- istics of each eraser. VARIOUS EFFECTS It is important to represent the progressive movement from light to dark seen on the entire surface so that the drawing ex- presses the volume of the forms. The most intense light and the reflections are the brightest points of light, and they are assigned the color of the paper, whether it is white or a light color. It is in these areas that it makes sense to create high- lights. The darkest areas, contrasting with the lightest ones, block in the forms. Creating white areas is not always a matter of trying to re- claim the original color of the paper, however. This technique can be used to create textures or relief that indicate the direc- tion of the light source. This treatment used on an entire draw- ing will give it a rhythm that dramatizes the forms and vol- umes. Here the white lines were created to drama- tize the source of the light.

The kinetic effect that accentuates the sense of movement is very expressive. It is one application of the highlighting technique.

The full width and just a corner of a plastic eraser can be used to create fitted areas.

Only a rigid plastic eraser can be used for thin linear CREATING details. HIGHLIGHTS

An eraser is used to cre- ate highlights on paper. A Pieces can be cut piece can be cut from a off of kneaded plastic eraser to use tor erasers. making a thin, linear high- light; it is less malleable The kneaded eraser is than special kneaded eras- used for lightening ers for charcoal. The latter details and large ar- can be used for creating eas. large areas of white. This technique is a way of re- claiming the white of the paper, or whatever color the paper support may be, when adjusting the light in the drawing. In The Stroller M. Braunstein made use of vine charcoal. The reflections and highlights were left white without the use of paper or tape reserves. The modeling was done with different tonal intensities, applying the char- coal to the paper with more or less pressure.

The blending stick is a won- derful tool for shading with charcoal powder. It is just a matter of rubbing the pow- der into the paper.

OTHER SHADING TONAL VALUES for example, from the lightest TECHNIQUES AND TONAL tone to the darkest. This is how Nevertheless, the somewhat you create a tonal range. It is greasy composition of the important to be aware of the charcoal pencil must be kept Shading can be done with The more pressure you apply differences between vine char- in mind, which makes it a bit more than just lines. It is also to vine charcoal, a compressed coal, charcoal pencil, and com- difficult to combine the three possible to apply charcoal in charcoal stick, or a charcoal pressed charcoal. Charcoal pen- forms of charcoal. powder form. But the powder pencil, the darker the mark it cil and compressed charcoal itself will not adhere to the makes. In the case of charcoal make the darkest tones; vine surface, so it needs some-sort powder, the larger the quantity charcoal, on the other hand, will of help, like the hand and of charcoal on the surface of the not make a darker tone when fingers, which are the artist's paper, the more intense the more pressure is applied. Vine natural resources. They can "black" that is created. Less charcoal is used when a light press the charcoal powder pressure results in a very light range is required. For these into the paper until the mark mark, similar to one made using reasons most artists use two or adheres. a small quantity. more forms of charcoal in the Other tools, like blending It is possible to put the dif- same drawing to achieve richer sticks, a cotton cloth or ball, ferent tonal values in order² and more complex results. or a cork are also useful for pressing the powder into the paper.

Charcoal powder can be made by rubbing a charcoal stick on a sandpaper block. A blending stick charged with powder can be used to draw dark lines, create hatching, and make textures. Several tools were used to blend and rub this drawing: fingers, a cotton rag, and blending sticks of different sizes. Drawing by Throughout a drawing or quick sketch the different tones arc Gabriel Martin. approximated so that the range will serve as a reference. The placement of one against the other creates the depth. FIXATIVE IS ESSENTIAL You will notice how easily the powder comes off of CREATING DARKER the paper almost as soon as you begin drawing with TONAL VALUES charcoal. All you have to do is blow on it or lightly TONES BY wipe a fingertip over some shading to see how fragile AND VOLUME OVERLAYING this medium is. The drawing must be fixed to prevent While observing the disaster or to prevent the charcoal from coming off Pressing harder on vine model, the artist applies and losing its contrast and vitality. Although there are charcoal, a compressed light charcoal tones to the bottles of liquid fixative on the market, the most charcoal stick, or a charcoal areas that arc well lit, with common and simple form is the aerosol spray. pencil will create a darker progressively darker tones tone. But you can also Spray fixative is applied 6 to 8 inches (15-20 cm) as the light diminishes. The darken a tone by adding away from the paper with circular or zigzag motions darkest tones correspond to another Layer of shading. to cover the entire surface with a thin layer. An even the areas hidden in dark- When superimposing coat should be applied, taking care not to allow too ness. This system of assign- charcoal you must consider much liquid to accumulate in one area. If there is any ing tonal values allows us to the saturation point of the doubt, it is best to let it dry completely and then give rep-resent the volume of paper and that of each form it another spray. forms. Therefore, it is im- of charcoal. It is good to test It is a good idea to practice with the fixative, be- portant to develop tonal the saturation level on a cause using it incorrectly could damage a drawing. ranges that can be used as separate piece of paper and the basis for model-ing then establish the value forms with depth. range-based on the darkest tone that the paper allows.

A cotton ball is ideal for apply- ing a tone to a large area.

Charcoal is so volatile that it should be fixed not only when the drawing is completed but even between sessions. A fine coating of the fixative is applied from a distance of about 6 to S inches (15-20 cm) in a well-ventilated space. Sanguine and Modeling anguine crayon and sanguine pencil can S be used for drawing and coloring. A drawing made with a single color is mono- chromatic. White chalk can also be used for making highlights. However, greater contrast can be achieved by using regular sanguine along with sepia for blocking in the shadows and making the modeling more dramatic.

These are the darkest times that can be achieved with sanguine.

DRAWING AND COLOR- SANGUINE PENCIL FOR ING WITH CRAYONS COLORING AND Any part of the crayon may be Coloring without leaving visible used for drawing. It is common lines requires good control of the practice to break a piece off for pencil, making lines so close to making wide lines (the width of the each other that they give the im- line is the width of the crayon). To pression of not having used a pen- color large areas without leaving cil. It is easier to use a crayon for lines, draw with the side of the coloring large areas. crayon, making circular or zigzag On the other hand, a sanguine motions. The intensity of the marks pencil can be used to draw very varies depending on how much good hatch lines. Although the pressure is applied to the crayon. A sanguine crayon corner of a crayon may also be can a make lines used to create the same texture, the ranging from very lines end up being somewhat wider thin to very wide. OUTLINES WITH CRAY- than those made with the pencil. ONS AND PENCILS

A sanguine pencil can be used to make very descriptive lines that cannot be much wider than the diameter of its lead. The sanguine crayon, with its sharp edges and peculiar hardness, can also make very fine lines, as well as expres- sive lines of varied width (as wide as the crayon is long) and intensity. In this sense the crayon is more versatile than a pencil lead.

The sanguine pencil can be used to draw fine lines and make hatching with parallel lines. But it is possible to color areas that are not very large without leaving visible lines. SANGUINE COLORS MODELING FORMS AND TONES IS THE GOAL Applying the medium to the paper Sanguine drawings with considerable pressure creates the attempt to represent vol- darkest sanguine tones. In sonic ume by applying a tonal cases, coloring over another layer of value system, just like color can create a darker tone. But at charcoal drawings. This some point it is no longer possible to can be done with the tonal color anymore because the paper ranges of sanguine on the becomes saturated and will not take color of the paper (white, any more powder. cream, or a bright color). A tonal range for sanguine can be Nevertheless, white chalk created by taking as references the highlights, or outlines and white of the paper as the lightest tone shading with sepia, black and the darkest shade of sanguine-as chalk, or charcoal can the darkest tone. It is a matter of increase the values. pressing lightly on the sanguine SKETCHING WITH SANGUINE crayon or pencil to make a light tone, AND WHITE CHALK and making progressively darker ones by pressing harder and harder.

The same is true of sepia. Some Sketching life-model studies on small and artists combine vine charcoal, san- medium formats and making brief notes that re- guine, and white chalk in the same solve the essential issues will help you become drawing, and they use the different familiar with sanguine. These studies should be volatility of each medium to achieve outlines of the figures with potential overlapping diverse effects. Others prefer to use lines and a couple of mid-tones, and include sanguine and sepia. Some only re- white chalk highlights. When a colored paper is quire white chalk to highlight the used, it also plays an important role as a light sanguine. There is also the possibility tone that is an addition of using sanguine with black chalk to the value scale. and white chalk since the media are completely compatible.

Here the goal of the artist, M. Braun- stein, was to draw the folds of the hang- ing cloth so that the cloth would be im- mediately recognizable. A system of tonal values created with lilies and col- oring techniques was used for this artis- tic rendition.

In a quick sketch, the aim is to obtain an outline adjusted with fore- shortening that consists of approximate lines. On a colored paper That already suggests skin tones and plays the part of a light color, Flowers, like these sunflowers, can be rendered with expressive lines, which all that is needed arc a few white chalk highlights for the most in- in this case are pencil. The challenge is to capture the rhythm of the forms in tense areas of light and a couple of sanguine tones to express the a loose and free manner. CONSISTENT GRADATIONS COLORING

Some areas of the drawing can To make a light gradation with be colored consistently. When a sanguine crayon, the artist col- using a sanguine crayon it helps ors the paper by barely applying to color with the side so the mark pressure to the crayon and sweep- is even. Practice making consis- ing up and down to cover the tent light areas, and darker ones, desired area. Begin with a very too, by pressing harder with the light tone, darkening it with each crayon and going over the same pass, without forgetting that the area several times. desired result is a light and con- Very consistent results can be sistent tone. Pressing harder on achieved using a sanguine pencil the crayon will create darker gra- to make very close lines. The lead dations. is pressed lightly on the paper For The sanguine pencil is ideal light coloring; several layers, for making light gradations with- Pressure, the direction, each in a different direction, arc out abrupt changes of tone, by and the tool create differ- applied for dark and even color- drawing lines in the same direc- ent effects when blending. ing. This creates darker and tion without leaving white spaces darker results. in between. For darker gradations The most consistent color ing, it is a matter of pressing harder very often used for making back- from the beginning. Another op- grounds, is done with sanguine tion is to overlay even coloring BLENDING OR THE EFFECTS powder and the help of a cotton on light coloring, or gradated RUBBING? OF BLENDING ball. In this case, the effect is very coloring over light. These last different from coloring done with two techniques must respect the Blending consists of The effects resulting a crayon or a pencil, since apply- order of the original gradation² spreading and removing from blending depend on ing the powder to the paper with that is, whether it goes from dark color with the intention of the tool that is used, on the the cotton ball is one of the blend- to light, or vice versa. reducing its intensity. Rub- amount of pressure that is ing and rubbing techniques. bing focuses on evening out applied to it and above all, or reducing contrasts. These on the intention of the art- techniques are closely re- ist. There are many reasons lated, because you do rub for using this technique, when you are blending. In like reducing contrasts, either case, it is the artist's introducing shading, eve- intention and the resulting ning out a mixture, and so effect that define the proc- forth. ess. Both blending and rub- bing can be done on evenly colored areas and grada- tions.

With the model in front of yon as a guide, yon can see if there arc large ar- eas that can be repre- sented using gradations, like the shadow projected here.

A sanguine crayon, a sanguine pencil, or sanguine powder can be used to create a consistent color. The powder requires rubbing. Very light gradations can be made with a sanguine crayon or a sanguine pencil. More pressure is applied to the drawing tool or color is overlaid to make darker gradations.

EVEN OR GRA- ANOTHER EFFECT WITH becomes lighter as the DATED COLOR? SANGUINE POWDER powder is used up. This forces the artist to work from dark to light. This question implies The subtlety of gradations made that you have analyzed with sanguine powder and a cotton the tonal value system ball is very attractive. It is a way of and established a rela- using sanguine and sepia without tionship between the abruptness, greatly softening the con- tones and the corre- trasts of the texture. A consistent sponding areas where The spontaneous grada- color is immediately created with this tions made with a cotton they will be applied. technique. But it is a good idea to Attention should first be ball are finished with lines, practice gradations. The cotton ball, delineating the forms care- turned to the gradations charged with powder, is used first for fully by creating contrasts that will be created to the darkest tone, and the color between the blending and represent the back- the outline. ground and sky. This coloring covers a large part of the work of art, and helps give the draw- ing a sense of space. Small light touches arte applied now that the cotton ball has less pow- der.

The shadows are blacked in with sepia color powder and a small cotton ball. THE FIRST FIRST LIGHT COLORING LINES The first marks for represent- Only an experienced ing the light and shadow, how- artist is able to approach ever light, should begin to ex- an accurate and expres- press gradations. In the first ap- sive drawing without proximation it is better to fix the reference points and intermediate tones, to ensure that blocking in. To draw the everything that is applied at the figure with sanguine, it is beginning can easily be cor- necessary to begin draw- rected. ing the essential forms All coloring is treated as ei- with very light lines. ther gradation or an even tone Lines and reference from the beginning. points are used for The direction and intensity of blocking in the model. the coloring should correspond to All of these should be the modeling needs. There will able to be erased, or at always be a straight or curved least be light enough that line that best describes the vol- they will barely be seen ume of the form. A good way of against the final lines. determining the direction and length of the coloring is to ana- lyze the form according to the principles of perspective. Simply After a careful observation of the locating the horizon line, the van- model's pose, the figure is blocked ishing points, and the vanishing in on the sheet of paper. It is impor- lines can be very useful for color- tant to correctly place the most ing accurately. important parts so that the drawing is not distorted. SANGUINE AND THE FIGURE The blocking in of the figure serves as a guide until outlines The subject that makes best defining the forms arc added. use of sanguine's potential is, This can be done on a piece of without a doubt, the human fig- scratch paper or on the final ure. The tonal range of sanguine drawing itself. or sepia on white paper, or even on cream-colored paper, is capa- ble of creating the chiaroscuro effects that are required to ex- press the volumes of the figure's forms. On white paper the differ- ent tones are seen as semitrans- parencies, while colored paper has the added effect of optically mixing the tonal range with the color of the paper. When the paper has a heavy texture, the sanguine color is really an optical mixture that highlights the paper's color. But blending and rubbing reduces or The first coloring removes the effect of the texture. is light and re- sponds to the need for locating the areas of light and shadow. The can be done over the lightly drawn sketch or directly on blank paper. INTERPRETATION AND STYLE achieve the constant goals of form and tonal Expert draftspeople eventu- value. ally develop a style that is ap- In reality, when an propriate for them. They have a artist is capable of sub- particular way of approaching stantially and deliber- their work, a special touch in ately modifying the rep- their coloring, a way of apply- resentation of a model, it ing blending and all the other is a clear indication of effects and techniques. his or her know-how, the A personal style does not result of a lot of practice. always result in an interpreta- tion; it can also be applied to a very realistic rendering. Be- sides, an interpretation does not require developing a personal style, because the rendering can be modified to

Esther Olive de Puig, in her per- sonal and emphatic style, offers us a version of the model's pose using rounded forms.

Forms are blocked in by darkening the tones.

IS BLENDING FIRST CONTRASTS NEEDED?

When the color is first Why does an artist de- applied, contrasts between cide to blend? We know the tones and the color of that there are several rea- the paper begin to appear. sons, but it is also possible But strong contrasts are to complete a drawing with- created only by coloring out using the technique. darkly. When making a Although there are vari- dark, consistent tone or a ous reasons for the choice, generally dark graduation it it is good to take into ac- is important to know ex- count this point of view: A actly where to put it. The drawing that is not blended first light-colored areas, in is perceived as clean and which the risk is not too precise. As soon as blending great, are good guides or takes place, the drawing references. begins to look dirty. If the decision is made to blend, the technique must be used to achieve good results. Blending should be applied only where it is really needed to ensure contrasting textures. Drawing with Chalk

ull-color drawings can be made with F chalk. However, it is important to un- derstand drawing techniques and how to use different colors to model the forms being represented. An assortment of col- ored chalk, always smaller than that of soft pastels, is a good place to start. Ac- tually, chalk is basically hard pastel, the perfect entry-level medium to use before The achromatic value system relates different tones of charcoal; with chalk, both tones and color systems are required. moving on to more involved work with soft pastels. MONOCHROMATIC DRAWINGS DRAWING WITH CHALK AND COLOR CHARCOAL Another simple way to be- come familiar with chalk is to Line is the primary tech- It is recommended that one investigate the possibilities of nique tor drawing with learn to draw with vine char- drawing with a tonal range based chalk, and the same is true coal because it is an achro- on a single color that is high- for charcoal and sanguine. matic medium, and then move lighted with white. Any part of the stick will on to sanguine, which is This consists of the tonal work for coloring. Some monochromatic. Complica- range of the chalk's color on the chalk is softer than others, tions increase with chalk be- paper, the tonal range of the and drawings made with cause we progress to full-color white, which can be seen only on chalk look more powdery. challenges. colored paper, and the tonal Since chalk is a hard One way to understanding range between the selected color Chalk can be pastel, it does not have the this level of complexity is to and the white in a mixture or used to make expressive same amount of pigment as do part of the drawing with overlay. soft pastels, and it leaves vine charcoal, trying to repre- lines. The Blending and rubbing tech- width of a less color on the paper. sent the greatest number of niques will increase the tonal single line However, working with different possible tones. When ranges. can be varied chalk is cleaner, since the moving on to coloring with by simply light lines can be com chalk, you will see that be- twisting the pletely eliminated with an cause the colors are flat the THE USES OF STICK crayon put- eraser. drawing will progress rapidly. AND PENCIL ting more or But when it is a matter of ex- less surface in Applying different colors of pressing shades, the value sys- contact with The pastel pencil has a hard chalk will immediately show tem becomes one of colors and the paper. the chromatic possibilities of pastel lead, and is therefore a tones. any quick sketch. chalk pencil. The crayon or piece of a crayon can be used to evenly color a dark or light area. On the other hand, the pencil is better for making hatching, the simplest kind being parallel lines that color an area of the paper. Besides consistent coloring, gradations can easily be made. Because of the ability to control the pressure of the medium on the paper, it is easy to make gra- dations of different intensities. Gradations done with pencil can be made light or increasingly darker.

It is also possible to create very light and dark gradations with a stick of chalk.

A seascape is a very attractive model for working with chalk powder.

A quick sketch with blue and white chalk on a light blue paper shows the pos- sibilities of depicting a subject with perspective. Drawing by M. Braunstein.

CHALK POWDER INTRODUCING CON- FOR MODELING TRASTS

Chalk powder can be Lines over a drawing that was applied with a cotton ball begun with powdered chalk cre- or a blending stick. In this ate a clear contrast to the color of case, the effect that is pro- the paper. With a crayon or pen- duced is quite different cil, very suggestive hatching can from coloring with com- be drawn to differentiate between pressed chalk, whether in the foreground, middle grounds, The highlights are reserved from the first application of color. crayon or pencil form. and background. Chalk is composed of a Creating a highlight is a good small amount of kaolin technique for returning to the that allows the particles to color of the paper. When the pa- glide easily, much like per is white, it can best express talcum powder would. the brightest point of light, and when it is colored it will correct some intermediate value. Either Chalk in stick or pencil way, erasing chalk is much easier form can be used for color- than erasing charcoal and san- ing and hatching. guine. Then, some forms arc blocked in with a pencil, and batching is applied to contrast the texture and the rubbing and to make the rocks look more natural and realistic. Exercise by Oscar Sanchis. You can make direct chalk draw- Two-color gradations are made by ings using colors from the box laying one gradation over the other² without mixing them, as in Gomis for instance, to darken the lighter Street, by M. Braunstein. one. This is an example of painting two such colors.

COLOR THEORY AS magenta and cyan will make A REFERENCE dark blue; and yellow and cyan make green. Mixing two primary colors ata one-to-three When working with ratio will make tertiary colors: chalk, you must use basic A lot of yellow with a little color theory as a guide, magenta make orange; a little remembering that mixtures yellow and a lot of magenta of primary colors create will make dark red; a lot of secondary and tertiary col- magenta and a little cyan will ors. It is also good to keep make violet; a lot of yellow in mind how to mix neutral and a little cyan make yellow- colors and how to use com- green; a little yellow- and a lot plementary colors. Al- of cyan will make blue-green. though the mixtures do not turn out as well, from a chromatic point of view, as manufactured colors, the DARK COLORS theoretical part is essential AND GRAYS for deciding which colors and which technique should The most important be used to "mix" them. complementary colors are The secondary and tertiary colors begin to appear when the primary colors yellow and dark blue, ma- arc overlaid. With chalk, the results cannot be compared to the equivalent genta and green, red and manufactured colors. PRIMARY, SECON DARY, AND TERTIARY cyan. Each pair creates a maximum contrast. It is COLORS known that mixing equal The three primary colors parts will make a very dark are the closest to the yel- and dirty color, a "black." low, magenta, and cyan On the other hand, using used in the graphic arts. two complementary colors Mixing two primary colors in very unequal parts will in equal parts will make a create the so-called secondary one: Yellow and "neutrals," delicately magenta will make red; grayed colors that exhibit the warm or cool tendencies Red is lightened by all the colors that of its dominant color. are lighter than it, whether they are other reds or related colors. On dark colored paper, white chalk brings out the other colors, but it also A good exercise for starting out is to work with a single color of greatly contrasts with the color of the paper. chalk and a gray tone for shading. HOW TO WORK WHITE CHALK AMD THE WITH CHALK COLOR OF THE PAPER

Chalk is used the same White chalk lightens all way soft pastels are. Always chalk, but it gives their colors choose the manufactured a gray tone. It is helpful to color that is closest to the lighten chalk after it has been color that is needed. Then applied on white paper. How- adjust it with another color ever, on colored paper the that lightens or darkens it. white becomes quite visible The lighter colors of the same because of the contrast. hue will make it lighter, and so will light colors of other CHALK GRADATIONS hues. For example, a dark red is made lighter with a light Creating a gradation of Blending requires that the color be red, or with oranges, yellows, one color of chalk on either MIXING BY OVERLAY- and ochre. To dark-en, use light. However, mixing by overlaying white or colored paper is requires fusion, an effect that is car- ING AND RUBBING colors darker than the origi- done the same way as with ried out by rubbing. nal color, like a dark carmine, sanguine, which is explained A light color is shaded but blues, neutral colors, and on previous pages. A grada- simply by very lightly apply- grays can also be used. tion can also be created with ing a second very light color. When darkening a color, two colors²for example, by a gradation. It is just a Dark colors are approached you can choose to create a darkening a color with gray. matter of selecting the in the same way. But great contrast or a lesser one. In addition, because so many appropriate colors. A "mixing" two dark colors Different results come from colors are available, it is pos- finished gradation with a requires fusing the overlaid mixing with a light blue sible to develop a very rich varied color palette al- particles. rather than with a darker one. and colorful gradation using ways represents depth Fusion is best achieved by many of them. The same better. rubbing, which in the case of process can be used to darken chalk is usually done with the fingertips. Using several colors can enrich gradations.

The most appropriate blue tone must be selected for darkening a color. THE POSSIBILITIES A bright model like this one is OF WHITE CHALK very appropriate for the exer- cise with white chalk on gray paper. It is good to explore the possi- bilities of drawing with white chalk alone. To do so, it is neces- sary to choose a colored paper with a noticeable contrast. The final drawing will van' greatly depending on whether you use a chalk stick or chalk pencil; the stick lends itself to drawing solid or gradated areas of color, whereas the pencil is more appro- priate for creating hatching.

THE VALUE OF GRADATING

A wide range can be created with white chalk on colored pa- per. Gradating, with its great potential, creates the volumes of the forms. Using a colored paper changes the reference. In such a The impressive potential of case, the darkest color (if we chiaroscuro, using just a white discount the black used for chalk stick on gray paper, can sketching, which is eliminated as he seen from the first marks. the drawing is developed with the white chalk) is the color of the paper. All the tonal values are created based on whether the The most intense white chalk application of white chalk is lines arc used for the brightest heavy or light. The light layers, areas. The gradations repre- as well as the opaque and gra- sent all the values from light to dated ones, should be applied dark because of the semi- with purpose and confidence. transparent chalk on the gray They are not repeated. This is the paper. only way to create a clean, fresh drawing.

HATCHING AND PER- SPECTIVE WITH PENCIL

A model that depicts a view in perspective requires Always make hatch lines in creating a framework to the same direction as the dramatize the depth and em- perspective lines. When phasize the view. working with several layers It is very important to cor- of hatching, the resulting rectly construct the sketch to optical mix should also match the point of view of echo the direction of the the perspective. These lines perspective lines. are essential and should not The same guidelines should be drawn inaccurately when be used when creating gra- the artist is creating the dations and solid areas of framework. They should not color. be drawn without clear guide- A work drawn with only a lines, nor should any coloring white pencil will have less be done before the artist's contrast than one created exact intention is clear. with a stick of white chalk. MODELING AND NEU- The direction of the lines should TRAL COLORS always try to reinforce the sense You can work with a of depth. In this case, the refer- pure color and adjust it ences are the perspective lines and darken it with colors that indicate the scat of the sofa. that will produce neutral colors. However, if you begin with a manufac- tured color, the chro- matic richness and deli- cate look of the neutral color is always assured. It is interesting to ex- plore the possibilities of ochre because it is a good point of departure for both plant subjects and human figures.

The sketch lines drawn in pencil should follow the perspective of the model.

ATTEMPTING A FULL -COLOR DRAWING

Using the full potential of the colors of chalk means being aware of many more possibilities for overlaying colors than com- mon sense would tell you. It is important to experiment with the colors on a separate piece of paper. A good exercise is to Here, the delicacy of the grada- gather all your colors and choose tion made using colors that create a few of them: a base color, a neutrals by mixture is evident. The base color is ochre. shading color, and colors that It is necessary to draw several hatched will progressively darken and areas to create gradations or solid vary the base color. blocks when forms arc being modeled. Drawing by Gabriel Martin. THE FIRST MARK M. Braunstein used several grada- After experimenting and de- tions and rubbing to create this 30- ciding on the assortment of col- minutc sketch based on a life model. ors that will be used to represent the most important forms in the drawing, each area colored with BUILDING UP its respective base color. Sketch- COLOR ing can also be done with a sin- gle color if it will blend in with The light coloring can be dark- the rest. ened by adding a second layer of Begin by drawing lightly. the same color or using colors se- This means coloring without lected while experimenting with covering the essential lines of the darkening and detailing. sketch, since they are the only Keep referring to the values of reference until the color and to- the model that you are drawing. nal values are established. The light colors and tones belong in the bright area and the dark col- ors and tones in the shadowed area. No coloring should be done with- out identifying the area it is being applied and adjusting its intensity beforehand. Chiaroscuro with Pastel halk can be used to make a full-color drawing, but soft C pastels gradually increase the possibilities of the paint- ing. These sticks of color are almost pure pigment, and their adhesive abilities turn any work into a true explosion of color. They can also create incredibly delicate paintings based on harmonious and pastel colors. The techniques are the same as those used for chalk, but the results offer greater contrast and chiaroscuro effects of higher quality.

LINE AND STROKE between the thumb and the index and middle fingers. Like all dry media, pastels The line can rely on line technique. You can draw a wide line or a narrow FIRST MONOCHROMATIC be light or SKETCH dark. one, a light one or an intense one, with a stick of soft or me- The line can be as dium pastel. Any part of the To become comfortable with wide as the side of stick that is not wrapped with the properties of soft pastels, it the stick. the protective covering will is a good idea to begin with a leave a mark on the paper. A sketch made with a single color. very wide line can be made by Develop a range of different breaking off a piece of the stick tones, and experiment using and dragging its side across the your fingertips and the pastel's paper. When making long lines, ability to adhere to the paper. It the artist can hold the stick in is important, as always, to lo- several ways according to the cate the highlighted areas and direction of the area that is to be those that move into shadow covered. When drawing details with the appropriate tones. and outlines one usually holds it

This is how the pastel is held to make a long line. The pastel is held so that it can be fully controlled when drawing details. Pastel Powder can also be used for drawing.

It is preferable to make the first Larger areas of color contrast pastel drawings using a single THE LITTLE PIECES ARE strongly with the paper's color. color. ALWAYS USEFUL As soon as you begin draw- ing with pastels, especially A MINIMAL PALETTE THE COLOR OF color paper would give the best the soft ones, you will no- results. THE PAPER tice how fragile they are. There are so many colors In the beginning, it is best They accidentally break available that we recommend The color of the support to choose white paper. You when coloring vigorously, starting with a selection of about plays an important role with all can begin with neutral colors and they can be broken on thirty. The sticks should be ar- the dry media but especially and later become more dar- ranged in groups to make the with soft pastels. There is a wide ing with darker papers and purpose when a piece is work easier. Intermediate colors range of colors of special papers colors that create greater needed to create a line with can be placed in between the for this medium. When begin- contrast. special proportions. After pure colors or set apart. The ning a drawing, the artist should just a few sessions you will have pieces of all shapes point is to always have all the immediately think, upon seeing To keep from getting confused at sticks within reach. the beginning, it is a good idea and sizes. It is a good idea to limit your selection to about to save them, since any 30 colors. piece, no matter how small, can still mark the paper, and more important, these pieces are ideal for making powder.

The small pieces of pastel that break off the sticks should he kept in a sepa- rate box or with the stick they came from. One color carefully applied to a white paper creates a perfect gradation, from dark to tight. This group of gradations shows the chromatic qualities of the soft pastels.

GRADATIONS WITH GRADATIONS WITH RUBBED VARIEGATED COLOR SOFT PASTELS TWO COLORS GRADATIONS You can make a background that is nei- Semihard and hard pastels do Gradations between two soft- The contrast between two ther homogenous nor not create such spectacular ef- pastel colors can be created very colors is much reduced when gradated by using the fects as the soft pastels. The quickly. A semi-transparent they are rubbed where they are powder from several options arc gradation of each gradation is made with the first in contact with each other. In color by applying it lightly over color, then a gradation is made fact, since you are creating a paste colors. The pow- the color of the paper, grada- with the second color in reverse. small gradation, the effect der is not mixed be- tions between two colors, and At one end of the band we have achieved is that of a progression forehand because you gradations of several carefully a lot of one color and little of from one color to the other. This are trying to create an chosen, related colors. Soft pas- the other. At the other end, the is a very useful technique to optical mix that will tels can be used to create a true amount of each color is re- apply in every situation where it have an atmospheric chromatic display. versed. This example is just a is necessary to reduce a very look. The more irregu- guideline, because each time the strong contrast between comple- lar the layer of pastel intensity of the pressure is var- mentary colors or between two the better, as this will ONE COLOR AND ITS ied a different gradation is cre- tones of a slightly different add more depth to the GRADATIONS ated, which opens up endless shade. main subject. possibilities. Gradations of one color are made with semitranspar-encies on the color of the paper, pref- erably white. It is also possible to make more opaque gradations by putting one color over white pastel; both gradations can pro- gress from dark to light and back to dark, or not, according to the effect that you wish to create. The gradation can be light if all of it has been made light, but the gradation can also be very dark in its darkest part. It is possible to cover a back- ground with variegated color using powder from different colors when neither a homoge- nous nor a gradated ground is desired.

It is possible to create very rich chromatic gradations using different colors. WHEN MANY COLORS Gradations that are not re- On this dark ARE USED touched produce a very dra- color paper you matic effect. When they are flat Rubbing will create a very can see the con- and pure, these colors do not trasts that can be rich and colorful effect with reproduce the chiaroscuro val- created by small, juxtaposed marks that ues. Chiaroscuro is created choosing the create a tonal range with clear when the colors are rubbed or appropriate color and no gaps. The chro- colors. blended, creating an atmos- matic effect is only limited by pheric feeling in which figures the number of colors that arc and still lifes seem to appear used. from nothing. Several contrasting comple- mentary colors will create a striking gradation on the paper, but the texture and the contrast USING GRADATIONS: between the marks will be di- A SKY minished. The possibilities of soft pastels are infinite and per- Marvelous gra- dations appear mit very daring work. The first example of a grada- when rubbing tion that covers a large area will the colors with a be the creation of a calm sky, GRADATING AND fingertip, one without clouds, on a clear day. RUBBING ON more example of You will make gradations of the the potential for COLORED PAPER blues seen in the landscape that creating chiaro- is used as your model. Different scuro effects An appropriate color paper tones and shades must be ap- with soft pastels. with dark pastel coloring can plied to represent the atmos- create a strong contrast, al- phere and the depth of the sky. though the colored paper is not always necessary. What is nec- essary is that the colors that are applied can be easily distin- guished on the color of the pa- per.

1. The first layer made with blue is quite even. 3. A second layer is applied by "scribbling " over the first with a lighter blue.

2. Blending and rubbing with the fingers reduces the contrast. 4. Rubbing both blues will create a gradation that shows how a sky can be created. The sketch will serve as a guideline for the colors.

COLORING THE TONAL GRADATIONS BACKGROUND OVER FOR THE THE SKETCH BACKGROUND To represent this model with pastel, we create the background with a gradation and use dark colors to indicate the foreground in silhouette. It is important to have Only careful observation a clear idea of the coloring of nature can train the artist sequence from the begin- for distinguishing between ning. The sketch, which is colors and shades. In a sunset done with light and basic the sky does not show the lines, is without a doubt same orange color all over. In the best guide. By analyz- fact, all the colors and shades ing the model carefully, that can be created with yel- the artist can plan the se- lows, oranges, and red are quence for the procedures present. The order is not acci- that he or she needs to dental, cither. The reddest carry out. It is important and darkest part is located at to use a general approach. the bottom portion of the Later, the details will be model, while the brightest applied area by area and and most yellow color is shape by shape. found at the top. The simplest approach The red is darkened with a for a typical subject is one small amount of carmine, The rubbed colors represent the sky very accurately. that uses a tonal gradation which, in turn, is lightened for the background and a with orange, and the orange few contrasting elements with yellow. This way we on the foreground. create a color gradation that, after being rubbed, will rep- The dark lines and resent a luminous and realis- colors of the tree tic sunset. create a strong contrast against The details are added, differentiating the gradated between the trunk and the upper background. branches. The yellow point of light is added to represent the sun. Exercise by Trail Mas.

To create tonal gradations, orange is used to darken the yellow, red for the orange, and carmine for the red. CONSTANT FIXATIVE TO AVOID MIXING EVALUATION Often a fixative can be used to prevent two superimposed colors from mixing. Sometimes A pastel artist applies overall col- the purpose of this is to avoid accidental mix- ors, introduces shading, lightens con- tures and other times to preserve the crisp and trasts, creates new ones, draws out- clean outline of a colored area. lines, makes touch-ups, corrects, adds The fixative is sprayed over the color and highlights, and so on. It is a process then left to dry out completely. This way, when of constant evaluation to make sure the next color is applied over it, the colors will that each color that is introduced cre- not mix with each other. ates the desired effect and to decide if It is important to remember that the fixa- further work is needed. tive should be applied in thin layers, sprayed quickly, without stopping in one particular area. The carmine color provides a CHOOSING A The fixative should dry thoroughly, because greater sense of depth and COLOR PALETTE wet paper is easily damaged. Finally, fixative contrast when it is used to should be applied only where it is needed, leav- darken red or to adjust sepia. Although the subject suggests ing a last, general application for when the the pastel colors that should be drawing is finished. CONTRASTING used, it is normal to introduce a different contrasting color that is FORMS not present in the model. This is The bottom layer was not It is easy to represent a done to enhance the drawing. treated with fixative; there- building, a boat, or a figure An exercise that demonstrates fore, the colors are mixed. that stands out as a silhou- the unlimited possibilities of pas- ette against a lighted sky. tels consists of forming small Sepia is a very dark color groups of juxtaposed colors. Lin- that complements the warm ing up pastel sticks and pieces tonal range of the sky in this shows the colors and tonal con- sunset. To create a lighter trasts that arc available; the artist mixture, we simply combine can decide if a color should be this color with burnt sienna, darkened or lightened with another which is also a neutral color. one, evaluate the effect of pure The bottom layer A strong contrast is cre- colors against neutral ones, and was treated with ated by painting with sepia ponder their contrast and defini- fixative, so the second color over the gradated colors of tion. Going back to our model, this does not mix the background. A few ex- with the first. pressive lines are sufficient exercise helps with the selection of to represent the bare trunk colors beyond the obvious ones, note of color, and enriches and branches. But the details since some can only be created by the work; using pastel draw- of the treetop need to be gradation and blending, a result ing techniques, the artist can rubbed to spread the dark that may not be so obvious. The create the colors that are color that will create the presence of these colors creates found in the model. The colors that form these columns impression of a different contrast, adds another are proof of the unlimited number texture. of combinations in which colors can be arranged to create either con- trast or harmony. Graphite Techniques

he basic techniques of graphite are line T and shading, with or without visible hatching. Other approaches can be used as To draw a small de- well, such as pointillism or divisionism, and tailed outline, hold the even scribbling. These techniques are not all pencil the same way as used at the same time in the same drawing; for writing. the artist must decide which technique best suits his or her vision. DRAWING WITH very thin line without ever THE GRAPHITE STICK being too dark. Graphite sticks arc espe- The line technique is usu- cially suitable for very light ally reserved for drawing out- and very dark wide lines. lines. The result depends on the When the artist learns how to presentation. Therefore, it is go from thick to thin, from important to practice with the dark to light, and so on, the graphite pencil and stick until outlines can be very repre- their respective properties have sentative of the forms. been mastered. Lines created with a Graphite pencils can be graphite stick are similar to used to draw detailed outlines those done with charcoal. and very thin lines. A soft lead However, the characteristics can produce lines that are of a soft graphite stick are its darker and somewhat thicker, typical shiny finish and the A very soft graphite pencil can be A graphite stick produces but a hard lead can maintain a very dark tones, which do not used for lines ranging from light wider lines than a pencil docs. smear like charcoal, resulting to very dark. It can be used for light to very in a much more stable draw- dark lines as well. ing.

HOW TO HOLD THE FIRST LINES THE TOOL At the beginning, it is hard to The way the tool is held draw long lines with one continu- is indicative of the results ous stroke. Insecurity forces the desired. Therefore, to create artist to draw small short lines a detailed outline, hold the that together show the right direc- graphite pencil the same tion. It is important to practice way you would for writing. with several exercises to become However, to draw a longer proficient at handling the pencil line, hold the pencil by and to be able to draw a continu- pressing the four opposing ous long line with confidence. fingertips against the thumb. The index finger exerts the pressure that guides the pen- cil. This way of holding the Some long lines are more easily tool is similar to the way a drawn by holding the pencil with charcoal bar is held to make all the fingers and the opposing long lines. thumb. The end of the pencil is directed toward the palm. The first lighter lines define the most important elements. The subsequent fines, now heavier and drawn with Realistic results can be confidence, define the artist's interpre- achieved by drawing free- tation by creating a relationship be- hand without preliminary tween the shapes and the spontaneous sketch. and suggestive scribbles.

IN SEARCH OF THE OUTLINE RHYTHM

When the lines are pre- Rhythm is not always cise yet artistic and the style obvious in an object. A is realistic, the representa- model can suggest it only if tion will look like the the artist looks for analo- model. There is no room for gies. But certain models, the imagination. The artist still life in particular, can be must practice doing de- arranged in a way that em- tailed sketches to achieve phasizes this aspect. Ovals Even though this drawing shows different this result. But a suggestive are usually preferred, al- intensities and an attempt to convey some representation can also be though vertical and horizon- rhythm to this composition, it was created with achieved with an informal, tal lines are also useful. A a single, continuous line. scribbled drawing. For best composition with variations results with this technique, includes some element that it is important to study the breaks the monotony of model and to try to repre- repetitive forms. For exam- sent it from memory, asso- ple, it is interesting to find ciating the lines and curves among several oval forms mentally, combining them some contrasting straight to create relationships and lines that cause a change in to discover a rhythm. rhythm. A very interesting exercise that helps produce such results is to attempt to cre- ate a drawing with a single line, without lifting the pen- cil from the paper at all. The idea is to repeat rounded forms. This artistic ap- proach gets away from strict copying to discover the many interpretative possi- bilities of graphite. USING GRAPHITE IN STICK FORM

Graphite is without a doubt the ideal medium for shading large areas. The artist only needs to break off a piece of graphite and to shade by pressing on its side. The application will be as wide as the stick itself. The shading done with the tip will be as wide as the thick- ness of the stick, and the line can be light or very dark. This is the approach used for very large draw- ings that do not require detailed work.

Another option far shading is to draw a series of parallel lines by holding the pencil almost flat against the paper. SHADING WITH A possibilities and characteristics GRAPHITE PENCIL SHADING of the shading vary depending A graphite pencil can also be on whether the graphite is in Forms can be modeled by used for shading, but the intensity pencil or stick form, and on the shading the areas of the of the tone will depend on the particular interest of the artist. drawing that receive less hardness of the lead. A very soft These derails are worked out light. The way to shade with lead can produce either light or before the artist begins to graphite is by drawing a se- very dark shading. A hard lead, on draw, when the artist is plan- ries of lines, which seen all the other hand, does not provide ning the organized sequence of very dark shading. The darkest events. tone possible is gray, as opposed to the intense black of a soft lead.

A graphite pencil can produce very realistic details, such as the curls and waves of the hair. Each series of lines is shading with all the lines going in a specific direc- tion.

A pencil can be used to create shading without leaving any spaces between the lines, resulting in a block of color where the lines are not visible at all. However, using the point of a pencil is is also pos- sible to draw very thin lines that will remain visible in the shading.

This sample of different shading ef- fects shows only a few of the many possibilities of hatching. THE CONTRAST A POINTILLIST BETWEEN DIFFERENT APPROACH HATCHING A dot is an element that can be used to fill out an entire area when Although hatching can be cre- it is required. It can be drawn ated with graphite in stick form, lightly or heavily, with a soft or this technique is usually reserved hard lead. It can be as small as for work done with a pencil. There 1/65 inch (0.5 mm) or as large as a are many hatch ing styles. A series thick lead. This opens up an array of parallel lines can be drawn in of possibilities. different directions. Lines can also When the pointillist drawing is resemble ringlets or scribbles. dense, the color is darker, even Even zigzag strokes are suit- though the dots may be light. On able. the other hand, a pointillist draw- Different types of hatching can ing that is not very dense but be used in the same drawing to where the dots are large and dark create contrast. They can also be has a tone resulting from optical used to draw different planes and mixing that must be incorporated to create a feeling of depth. with the rest of the areas of the drawing. A pointillist approach makes CONTRASTING TONES use of the various tones that can be created by shading with dots to Light shading without visible produce clearly defined forms and lines produces a particular tone, planes. and working it lightly creates a soft tone, The harder the shading is applied, depending on the hardness CHOOSING A TOOL of the lead, the darker and more It is extremely important to intense its effect becomes. A tonal range can be created by arranging know how to shade with the tones from lightest to darkest any type of graphite tool and vice versa. and to decide which one is When the lines of the shaded most appropriate for the area are visible, the tone is estab- desired effect. It is not un- lished according to the intensity of usual to alternate the stick A landscape can be created using the pointillist the lines and the density of the and the pencil in the same technique. The greater the number of dots, the hatching. By arranging the tones drawing. Even using graph- darker the tone. Larger dots contrast with smaller dots, this is how the different planes arc created. within the hatching itself, the artist ite in powder form can be Drawing by Gabriel Martin. can create a tonal range. By com- interesting. paring two different hatched areas, the artist is able to determine which one is lighter or darker and thus establish a wider tonal range with both. Large areas can be shaded with a piece of graphite stick placed flat on the paper. The graphite stick can be alternated with a soft graphite pencil to create contrasting shading techniques that outline and define the objects.

Shading can be done by drawing with very visible When shading is done with gradations, a perfect feel- ing of volume is achieved.

To create a gradation that covers a very large area of the paper, the application can be as wide as permitted by the stroke. Then a second lighter shaded area is drawn right next to the first, darkened by shading repeatedly until it resembles the first area.

GRADATIONS AND light and shadow using chiaro- GRADATIONS WITH A gradation may or may RUBBING GRAPHITE scuro. The effect of the gradated GRAPHITE not show visible lines. In that tones is enhanced by rubbing, case, it progresses from the which evens out the graphite, lightest to the darkest tone To model the volumes, the A gradated effect is repairing tonal gaps and adding gradually, without sudden to- artist can create gradations with achieved by progressing new values. nal jumps and without visible graphite and rub them as needed. from a light tone to a lines. Graphite, either in stick or pencil, darker one in several steps However, a gradation made is an ideal medium for creating without gaps between with visible lines is perceived gradations that represent the them. through optical mixing, which forms with their respective areas Each graphite tool pro- is a function of how close to- of duces distinct characteristic gether the lines are drawn. results. Since the darker The contrast between dif- tones are obtained with soft ferent gradations is another leads, the darker overall element that can be introduced gradations are created with to model forms and to differ- soft graphite in stick or entiate planes. pencil form. The harder version of the graphite, on Tonal gradation means creating shading that goes from light to dark without any tonal gaps: with a stick (the overall tone is intermediate), with a soft pencil (the tone is more the other hand, produces intense and can be darker), and with a hard pencil (the general tone is light). lighter gradations overall. GRADATIONS THAT COVER VERY LARGE AREA

A very large area can be covered with a single grada- tion using a stick of graphite. To make the shading process more comfortable, the artist can break the stick into pieces and apply more or less pres- sure as needed until the desired tone is achieved. A graphite pencil can also be used for shading a large area. It is a matter of establish- ing a gradation size that is easy to control, so that the lines of

Gradation can be created with a Interesting effects can he created with small pencil by drawing with visible hatch- gradated areas using graphite powder. ing. Graphite powder applied with the finger- tips can produce gradations and blended shades that are ideal for representing a cloudy sky.

Using a cotton cloth to blend two shaded areas created with a stick or with a soft and a bard pencil darkens the tones. GRADATIONS WITH GRAPHITE POWDER A gradation is the best RUBBING GRAPHITE RUBBING RESULTS IN technique for describing TONAL CHANGE volumes, and graphite pow- When the artist layers one der is the ideal medium for shaded area over another, the A light tone looks dirtier and also creating ethereal textures. graphite particles are mixed, darker when blended. A dark tone The artist only needs to ap- creating darker and clean- the gradation can be visible appears a little darker and dirtier, ply a larger amount of looking tones. or not. To enlarge this but is more consistent after it has graphite powder to shade However, rubbing is done shaded area, another grada- been blended. The tonal range is over a shaded area. When a the darker areas. Shading tion is drawn next to the increased with shading of differ- gradation is involved, the with a cotton ball is done by first one. This procedure is ent textures. Therefore, one of the result of rubbing repeatedly moving it in circular mo- repeated by using the lighter effects that is created in a grada- with the fingertip or with a tions that become increas- tone as a reference point. If tion done by blending is an over- cotton cloth creates a very ingly wider. This way, the the second area of shading all darkening effect of the tone. even-looking blended area darker area will correspond does not match the tonal without any tonal gaps or to the center of the circle, value of the first, the artist contrasting lines, but the re- becoming lighter as it has only to continue shad- sult has a smeared look. moves outward. Gradations ing until the line between the two areas disappears. created this way are very delicate. They are a result A blending stick is used to of using a cotton ball and spread the graphite, but in the process it also rubs the parti- varying the amount of cles, creating delicate effects graphite powder to create in the background and intro- lighter or darker areas. ducing new tones.

The drawing incorporates soft gradations, which illustrate the distance. THE QUALITY FROM LINES TO COLORS Drawing OF THE LINE A graphite pencil with a good Lines drawn next to each other point is essential for drawing eventually cover an entire area of with Colored lines. The tip can wear down and the painting and create a block of lose its shape very quickly. color. With practice and a steady Therefore, it is important to find a hand, it is possible to make colors way to create a more resistant where the lines are not visible. Pencils point that lasts longer. The same One color can be applied over is true for colored pencils. another area of the same color to olored pencils arc the ideal tool for A defective sharpener easily make it darker. creating colorful work. The basic breaks the tip and should be dis- C carded. Besides, a point that has technique is the line, the same as with WATCH FOR WRINKLES been made with a sharpener has ON THE PAPER graphite, although shaded areas are re- an even, conelike shape that placed by colored areas. But the effects wears out faster than a tip sharp- ened with a knife or with a blade. A blunt tip or vigorously drawn produced by colored pencils go well be- This irregular point can be left lines can leave wrinkles on the yond the possibilities offered by mono- thicker at the base, which makes paper that can become more no- chromatic drawing. Colored pencils can it more durable. It can also be ticeable with subsequent coloring sessions because the most raised produce richly colored work, which can made longer so it will not have to be sharpened as often. parts absorb all the color and the be an exact rendering of the real model indented areas none at all. This or modify and even improve on it. effect, when it happens by acci- dent, can ruin the results of the drawing; therefore, it is important A pencil sharpener whose to avoid it. As a general rule, it is blade is dull or damaged better not to apply too much pres- should be avoided because it sure on the paper; it is preferable can easily break the lends of to layer the colors if they need to the pencils. be darkened.

Sharpening the pencil by hand lets you shape the point.

The point made with a sharpener looks very regular, but it is short in comparison with the one sharpened by hand. Applying colored pencils lightly and darkly produces very effec- tive and colorful results. Work by Vicene Ballestar.

Coloring can also be done with the powder from the colored pencils; however, because this is not a volatile medium, much pressure has to be applied. In this case, the fingertips are used.

COLORING WITH plan of the drawing demands THE POWDER OF an ethereal, broken look, the COLORED PENCILS entire process can be carried out with light coloring. If the The surface of the paper preference is for strong color can be colored with the pow- and texture contrasts, then der from colored pencils by the application should be rubbing the particles with the more vigorous. A work cre- fingertip, although a cotton ated exclusively with intense cloth can also be used. Enough colors has a very realistic pressure should be applied to effect. leave a mark. Being in direct contact with the powder allows HOLDING THE the artist to be spontaneous PAPER IN PLACE and to direct the cubbing wher- ever he or she wishes, obtain- ing immediate results. The When coloring is vigor- greater the pressure and the ously applied, the paper should amount of powder, the greater be held in place with fingers the intensity of the color will surrounding the area that is to be. be colored, even though the general rule cautions against LIGHT OR INTENSE impregnating the paper with COLORING the natural oils of the fingers. Coloring vigorously with a pencil Colored pencils, even water- requires holding the paper on both Contrasts between these color pencils, which are softer, sides of the area that is being col- two kinds of colored areas are are much harsher on the paper ored, adding to the stability offered very obvious. If the overall than other dry media. There- by the board or the sketch pad. fore, it is important to under- AVOID DRAWING stand that pressing on the pa- WITH A BLUNT TIP per with the pencil may pro- If a blunt pencil is duce ridges, and scribbling used, or one whose point vigorously may cause wrinkles is worn down, the wood or even make holes on thin of the case can scratch paper that has not been held in the paper. In such cases place with the fingers. the line technique does not produce the desired results. The line looks unfinished; it is rubbed by the pressure of the wood, producing very un- sightly results. In addi- tion, the paper will probably get wrinkled or torn SINGLE COLOR GRADATIONS WITH TONES COLORED PENCILS Pressing softly on the paper To create gradations using with the pencil produces a very colored pencils, apply the pen- light tone. As more pressure is cils lightly and intensify the applied, the color becomes color gradually until it be- more intense. By arranging the comes darker, avoiding tonal various tones of a color in or- gaps in the process. It is possi- der from lighter to darker, the ble to produce a gradation that artist can create a tonal range. is light and others that are It is possible to create a more intense. tonal range of any color. It A gradation can also be should be laid out with black darkened by layering it with a as the tonal reference, just as color that is applied either with charcoal or graphite. An evenly or with gradations. In achromatic range is used to the case of a gradated layer make drawings with values upon another gradated layer, it A template serves as a resent that allows coloring evenly without that create a perception of is important to remember to going beyond the desired area. depth, and the same is true for keep the lightly applied areas a monochromatic range. together as well as the more CONSISTENT TEMPLATES AS It is possible to make pro- intense areas. COLORING RESERVES gressively darker tones of a When the area to be color by superimposing more colored with a gradation is With colored pencils, the Colored pencils are the per- layers of the same color. With very large, you should proceed artist can produce homoge- fect tool for drawing perfectly each layer, the tone becomes with smaller blocks of color neons areas of color by simply defined outlines. In this sense, more intense. The sgraffito that can later be connected to drawing lines of the same in- templates can be very useful as technique can then be used, cover the entire area. The first tensity next to each other until reserves. Coloring is done by which consists of removing the gradation is a guideline. The that area of the paper has been covering the entire area of the waxy pigment from the paper second area is colored next to covered. With practice, the paper that is exposed. This with a sharp object. It is a very it, using lighter applications process becomes taster and way, no lines go beyond the involved process that requires as a starting point. If the color even larger areas can be col- boundaries of the template, careful work to avoid scratch- needs to be intensified, a sec- ored. The difficulty lies in and the colors create a clean ing the paper. ond layer is added. The idea is stopping the coloring at an and perfect outline. to avoid a seam line. This exact point. process is repeated as needed. The problem in coloring large areas is that line length is A color can be intensified with the limited, making it difficult to application of successive layers draw parallel lines of the same of that same color. intensity.

A tonal range can be created with any color. It is important to relate it to the tonal values of the monochromatic range. THE SECRET OF MODELING The gradation technique guarantees a volumetric ex- pression. As we have seen earlier, the most illuminated area is represented with the white of the paper and the lightest gradation. The shaded area, on the other hand, corre- sponds to the darker gradation. A gradation where the lines are visible reinforces the feel- ing of depth because the direc- tion of the lines is used to en- hance the dramatic effect of the vanishing lines of the forms and volumes. For vol- umes with flat sides, straight lines that converge at the van- ishing point can be used. Arcs The texture of the pa- per adds an important arc suitable for cylindrical artistic element to the shapes, and circles for the coloring process be- spheres. This effect can be cause it produces a created with monochromatic The volume of a cup is repre- dramatic gradated tones when a single color is sented with evenly applied colors effect. combined with gradations and used. A one-color gradation some lines. can be darkened with black, or COLORED PENCILS AND COLLAGE as will be seen later, the result Drawing with colored pencils over a collage pro- can be enhanced with a full- duces outstanding results. The layering of different color drawing. In any case, the papers has defined the planes and the outlines of basic technique is always the It is possible to create gradations the forms; colored pencils produce dramatic effects gradation. with any soft, medium, or dark by creating textures that introduce contrast and op- color tone. tical mixtures. Each colored paper with its particular texture introduces nuances, which become a source of enrichment. This type of drawing lends itself to gradations or the use of solid colors, and to practicing line tech- niques, with outstanding results.

A drawing can be done over a collage with colors, lines, and gradations; the drawing enhances the forms and creates a feeling of great depth. COLOR THEORY AND TONE AND AMOUNT Choose the time colored pencils that are closest COLORED PENCILS to the yellow, magenta, and cyan used in graphic Producing secondary and arts. The color theory can be tertiary colors from primary used as a reference tor super- colors requires the application imposing colors. Only three of one over the other. The tone colors are needed to put this is the only reference that we theory into practice: yellow, have to gauge the amount magenta, and cyan. But the needed of each one of the col- wide range of colors that are ors involved in the mixture obtained provide an endless If the same amount of each array of combinations that can needs to be mixed, then they be created by superimposing are applied one over the other them. with the same intensity. This produces combinations ranging USED AS PRIMARY from very light to very dark. If, on the other hand, the COLORS amounts required are different, From the wide range of the layers involved should colored pencils available, the have different tones; that is, three closest to yellow, ma- one should be darker than the genta, and cyan of the graphic other. The proportion of one to arts are chosen as primary col- three is gauged by eye, be- ors. These colors can be ap- cause we know what the re- plied very lightly or very in- sulting color should look like. tensely, and gradations of each We need to adjust only one of of them can be created on the colors to create the desired white paper. combination.

You can develop gradations with pri- mary colors on white paper: yellow (1), magenta (2), and cyan (3).

An intermediate tone is chosen for each primary color, which can be mixed by coloring one over the other in the com- mon area, thus creating the Secondary colors: red (4), dark blue (5). and green (6).

Tertiary colors are created when an in- tense primary tone is colored over an- other light primary tone. The proportion is one to three. The intersecting areas become orange (7), violet (8), blue-green (9), dark red (10), violet-blue (11), and yellow-green (12). RED, DARK BLUE. WHAT DO ALL THESE AND GREEN COLORS SUGGEST?

The secondary red color is If all the primary, second- obtained from yellow and ma- ary, and tertiary colors are genta. Dark blue is made from properly arranged, three im- magenta and cyan. Yellow and portant color ranges are re- blue produce green. Because vealed. Yellow, orange, red, there are several kinds of yel- carmine red, and magenta rep- low, carmine, and blue, other resent the spectrum between tones can be used as primary yellow and magenta. Carmine, colors. Superimposing them violet, violet-blue, dark blue, will produce different colors. It and cyan form part of the color is interesting to see that they range between magenta and also produce red, dark blue, cyan. Yellow, yellow-green, and green, but it is simply a green, blue-green, and cyan matter of a difference in make up the range between shade. yellow and green. By modifying the propor- TERTIARY COLORS tion of each color a little bit, INCREASE THE more colors and shades are OPTIONS obtained in addition to the sec- ondary and tertiary colors. How bright does a primary This is just a sample of the color need to be to produce a endless color combinations tertiary color.- It is a good idea that can be created. to begin with the lightest color and then add the second, darker, primary (among light, MANY OTHER medium, and dark, the last is chosen), which is applied over An artist can also make use Any model can be a good subject the lighter primary to obtain an of the large number of colors for a successful color drawing. intersecting area that becomes that are available. The colors the tertiary color. can be darkened and shaded by Therefore, with a large adding another color over amount of the first color and a them. The interesting fact is small amount of the second that one can predict the result one, new colors are created: of the mixture by simply re- with yellow and magenta, or- membering the proportion of ange; with magenta and yel- the primary color needed to low, carmine red; with ma- create a particular combina- genta and blue, violet; with tion. cyan and magenta, violet-blue; with yellow and cyan, yellow-green; and with blue and yellow, blue-green.

To be able to create the range of pinks needed to color the petals and to give them a feeling of depth, a light pink, as well as a darker pink, carta inc. and magenta were used. Work by M. Braunstein. WHITE

The technique for coloring with white involves the application of white over an area of color. The result is a fusion between the two; the resulting effect lightens the tone, provid- ing a unique satiny patina. CREATING BLACK MANY MORE COLORS: of the layered colors, the over the other. Remember that THE COMPLEMENTARY cleaner the resulting color will When three primary col- red and blue are the comple- COLORS be. The tendency of the color ors²yellow, magenta, and ments of each other; so arc obtained by mixing reveals cyan²are layered one upon magenta or carmine and green; A very dark color close to undertones like yellow, pink, the other with the same inten- yellow-green and violet; and black can also be created by red, earth, violet, gray-blue, sity, a grayish color that is not orange and violet-blue. It is superimposing a pair of com- gray-green, browns, and so quite black is produced. It is important to practice with plementary colors that have the forth. When the colors are ap- possible to create a darker them because two colors that same intensity. plied very lightly, the result black with colored pencils by are not direct complements of When the three primary appears very luminous against mixing carmine, Prussian blue, each other can also produce a colors are combined with oth- the white paper. and sepia. Another possibility very dark and dirty color when ers of less intensity, the result- Pairs of complementary- would be combining carmine, they are layered with the same ing colors look grayish or colors can produce neutral sepia, and dark green. Burnt intensity. dirty. The greater the differ- colors when one is applied umber can also be substituted ence between the intensity USING ONLY THREE for sepia. To mix "black," the COLORS three colors must be applied with equal intensity. If we add the range ob- tained with the three primary colors to the range created by mixing two primaries (yellow with magenta, magenta with blue, and yellow with blue), it becomes obvious that it is pos- sible to draw in full color by using only the three primary colors. It is true that the result- ing effect is not the same as that of a full palette. However, it is possible to create a sense of volume, even when the dark colors may not be dark enough.

COMMERCIAL NEU- TRAL COLORS The gradation used to rep- resent the wall in the back- With a commercial neutral ground gives a sense of color, the need for mixing is depth to the composition, greatly reduced and the color and at the same time de- needed is easily obtained. It is a fines the areas of light and matter of exploring the possibili- shadow. ties of ochre, earth tones, browns, greens, grays and so on. The color obtained from mix- ing a commercial neutral color with any pure color will also be neutral. With this approach, the desired shade is very easily ob- tained and a light application of the color will produce the de- sired effect immediately. In ad- dition, these colors can be inten- sified by additional application until the appropriate tone is achieved. Shading can be created with The range of colors pro- a gray pencil, which, as with duced from commercial white, must be applied over an- neutral colors and the neu- other color, fusing with it and tral colors created by layer- darkening it to represent the ing go very well with the areas of shade. blue tones. WORKING THE PALETTE The neutral color technique demon- In addition to using com- strated by Oscar Sanchis is based on mercial neutral tones, it is bet- the use of complementary colors and ter not to layer primary colors optical mixing. to make "black." A black col- ored pencil creates a very dark black that cannot be repro- Although orange and duced by superimposing col- violet are not direct ors. It is a good idea to use it complements of each for introducing heavy con- other, they contrast trasts. strongly. Layers of sepia or Prussian blue can be used instead of magenta and cyan to obtain the darker colors more easily. However, these are not the only options available; we recommend working with the palette to become acquainted with it.

CREATING HARMONY WITH COLORED PENCILS The three most impor- tant harmonic ranges are warm, cool. and neutral. Therefore, commercial col- ored pencils are also di- vided into three groups: warm, cool, and neutral. Layering warm colors re- sults in warm colors as well. This indicates that working exclusively with a single group guarantees complete color harmony, which can be warm, cool, or neutral. To introduce a certain variation or to establish in- teresting contrasts, cool colors are used opposite warm colors, for example, or warm colors against a mainly cool palette, as well as contrasting a warm with a cool broken spectrum. And there are many other possibilities that the artist may want to introduce that are visually pleasing.

When the color of the paper is yellow, Blue and yellow are comple- blue and carmine look very dark. mentary to each other, and together they create a strong visual contrast. Possibilities and Limitations of TONE AND AMOUNT Producing secondary and tertiary colors from primary Wax Crayons colors requires the application of one over the other. The tone he chromatic potential of wax crayons encourages experimenta- is the only reference that we T tion. Even though they have some intrinsic limitations, the pos- have to gauge the amount sibilities are limitless. It is a very versatile medium that can be used needed of each one of the col- ors involved in the mixture for several different techniques. The medium's mark is quite wide If the same amount of each because of the crayon's characteristics and form, but line tech- needs to be mixed, then they niques are often used. However, coloring, gradations, and rubbing are applied one over the other are the basic techniques. Sgraffito takes on a spectacular dimension with the same intensity. This produces combinations ranging with wax crayons and deserves a separate chapter. from very light to very dark. If, on the other hand, the You can make use of the amounts required are different, enormous chromatic poten- the layers involved should tial of wax crayons by using have different tones; that is, the exact color needed from the large assortment avail- one should be darker than the able. other. The proportion of one to three is gauged by eye, be- cause we know what the re- sulting color should look like. We need to adjust only one of the colors to create the desired combination.

A heavy line cannot be corrected with a rubber eraser or by rubbing with a cotton ball or a cotton rag. On white paper, how- ever, a light line can be corrected quite well.

WAX COLORS ARE pare a light line with an intense PERMANENT one, you can see that there is no good way to erase. Although a It is advisable not to make a light line is almost completely The same is true for heavy lines removed with an eraser, a cot- drawn on colored paper. But when heavy line if you are not sure the line is light, its traces are more of the direction it should go. ton ball, or a cotton rag, an in- tense line just spreads and visible because the wax creates an The mark left by wax cannot optical mix with the color of the be erased except when it is smears the surrounding area. paper. very light. Errors must he- On colored paper the results avoided so that you will not are worse because the color of have to make corrections and the paper is added to the smear the paper. smeared wax and even a light Wax colors can first be tried line leaves visible traces. on while paper. If you com- A BURST OF OPACITY AND ALWAYS AVOID COLOR or a lighter one. The crayons TRANSPARENCY SMEARING also are ideal for making flat Wax crayons will areas of color. And because of The tremendous chromatic Each wax color has a differ- color more than paper. their versatility and the way that potential of wax crayons out- ent amount of transparency. It Your hands will become they can be rubbed, they are the weighs their limitations in is worth finding out which impregnated with an perfect medium for chiaroscuro. making corrections. This is colors are more transparent Works done with wax cray- oily substance when because it is possible to draw and which ones have more ons offer a wide range of inter- they come into contact or paint with heavy applica- covering flower. A more pretations: in value studies, full- with wax crayons. The tions that cover changes and opaque color can be used to color paintings, and even ab- layer of grease will ac- last-minute modifications of cover colors that have been stract color and form exercises. cumulate on your fin- the initial layer of color, as previously applied. Generally, gers as you handle long as they are the same color light colors like yellow, or- more crayons, and the ange, ochre, and so forth, will paper will become not cover other colors like blue, green, and carmine, even smeared and messy when touched with your White wax crayons arc often if they were applied lightly. used, in this ease for creating dirty hands. This can be highlights and making colon avoided by cleaning tighter. your hands very often, rubbing them with a clean cotton rag. There is also the option of protecting the work with a heavy paper frame that can be touched without worry.

Gradations express the volume of forms.

Rubbing wax cray- M. Braunstein painted Still Lightly applied wax does not com- ons spreads and Life with Pears on white paper pletely cover the paper. mixes colors and with a rough texture, using a tones. heavy impasto technique. BASIC WAX CRAYON EASY COLORING TECHNIQUES The crayon is held like a The entire side of the writing instrument when The basic techniques for crayon can be used for color- drawing details, but the end ing. In this way, it is very easy is directed toward the palm wax crayons arc line and col- of the hand. oring. It is important to be- to cover large areas of paper in come used to the size of the a short time. Because of this, crayons and to practice holding wax crayons arc the ideal me- them for making lines and col- dium for making large-format oring. If you wish to make posters. light lines or areas of color you The crayon can be broken apply only a small amount of for coloring with narrower pressure to the paper. To draw strokes. The applications of more intensely, you must press color arc made using circular much harder. motions, or using strokes that follow the direction indicated The crayon is held this by the perspective (horizontal, way, lea ring the whole vertical, lines of perspective). point free for coloring a CHARACTERISTICS Many repeated lines in the large area, so that the OF THE LINE same area create intense color- fingers do not interfere with the strokes. ing without visible lines. Thus, The crayon is held like a it is easy to make flat areas of writing instrument to draw- color, which is, without a details with short strokes. doubt, one of the most widely These outlines, however artis- used techniques. tic, have their limitations, be- ing thicker compared to lines To make a long line, the made with other media. This The long side crayon is held between the characteristic influences the of the crayon is thumb and middle finger, results and limits the medium's very useful. while the index finger abilities to create a representa- controls the point and tion. keeps the crayon from Consequently, the resulting breaking. works are always a synthesis. This requires the artist to ana- lyze the model to eliminate superfluous details because they cannot be represented. On the other hand, the artist can decide which details are essen- tial to the drawing: which de- tails can be represented with crayons using a few lines and especially with coloring that defines the forms. Long lines are made by holding the wax crayon be- tween the thumb and the mid- dle finger, supporting it with the index finger. The pressure must be controlled when draw- ing so that the crayon will not break.

The strokes of carmine color add defi- nition and contrast, while the light and dark coloring contribute to the explo- sion of color in this work. Lines of different widths can be drawn according to the position of the crayon.

ALWAYS KEEP THE WAX CRAYON CLEAN Although caring for your art materials is normal procedure for all media, it is especially important to keep your wax crayons clean. When they come into contact with each other, they get dirty. Streaks of various sizes are visible on them, A WIDE RANGE OF ALTERNATING LINE caused by contact with crayons of other colors. POSSIBILITIES These color streaks will show up on the paper if AND COLORING you draw with a dirty wax crayon. It is a good Light and fine lines can be Lines are usually used for idea to keep the crayons clean and avoid unnec- drawn with wax crayons, at outlining forms, and coloring essary smudges that will ruin the drawing. You least as fine as the medium for filling them in. However, it can easily restore crayons to their original color allows. The harder the wax is is not a good idea to make-too by wiping them with a clean cotton cloth. pressed on the paper, the wider much use of lines that tend to and more intense the resulting be wide. Artists usually color It is not a good line. The line will be narrow if directly and decide later which idea to color with the point or the corner of the lines will be important and a dirty wax crayon opposite end is used. When necessary. because it will more of the crayon is in con- Some light coloring that ruin the drawing. tact with the paper, a wider allows the paper to show line will be the result. through is used as a contrast to When drawing a dark line more densely colored areas. or colored area you must press It is also possible to leave hard and continuously on the spaces completely white; when crayon while dragging it, with- compared to the wax colors out causing it to break yet these white spaces seem trans- making sure it marks the pa- parent and in this way intro- per. When used to draw very duce more variety. dark lines, the crayon is used up more quickly.

The wax crayon can be cleaned easily with a cotton cloth.

A wax crayon will make lines of different intensi- ties. The more pressure you apply, the darker the tone will be. The sample shows a light tone, a me- dium tone, and a dark tone. THE TONAL RANGE OF WAX CRAYONS This blue tonal range was made by applying increasing pressure Constructing a wide tonal to the crayon to darken the tone. range can be done by simply- applying lines of the different tones in order. For a light tone, you press lightly on the paper; for a darker one, you press harder, and so on. This range, perceived be- Adding white over each tone cause of the semi-transparency will lighten this tonal range. of the crayon over the color of the paper, is quite large. The range is smaller with some colors, as in the case of a very light yellow. It is also possible to estab- lish a lighter tonal range based on one color, this time an opaque one, by using the white Gradations are based on coloring crayon to lighten the tones. that flows from a light tone to a The challenge is to overlay just dark one, including several inter- the right amount of white re- mediate tones, without abrupt quired to maintain the order of jumps. the range.

A light tone or a dark one can be rubbed with the fingertip, and so can a gradation. The resulting effect is darker and less transparent.

To orate an opaque gradation you need only apply white crayon over a grada- tion of another color. there is much less darkening of the tones and of the grada- LIGHT GRADATIONS RUBBING WAX tion in general. AND OPACITY CRAYONS By rubbing, a directional effect can be created. This is To create a gradation, begin This technique is without a useful when indicating rays by applying a light tone to the doubt one of the most striking be- of light or the folds of fabric. paper, then adding intermedi- cause of its effects. The oily wax When it is a matter of creat- Two light tones of one ate tones until arriving at the medium melts and spreads with the ing an area of consistent color where the white most intense. This is a semi- heat of the fingertip and friction. color, you should rub with has mixed with the over- laid color can be rubbed transparent gradation, since the small circular or up-and- Rubbing light and dark tones with the fingertip to tones are perceived because of causes them to darken. down motions, going over create an even more the white of the paper. The effect of rubbing is in- the same areas several times. intimate fusion. An If you wish to construct an creased when used with an opaque For example, to indicate a opaque gradation of opaque gradation, it is enough gradation made with white crayon. prominent area on a pitcher, white and another color to apply an even layer of white This is because the particles of the you should rub the area of can also be rubbed. crayon over the gradation. overlaid colors already have been the reflection with a circular somewhat melted. The rubbing motion. completes this fusion and A tonal range, a gradation, and the results of rubbing on color paper.

A quick sketch of this model by M. Braunstein, using black wax crayon and two gray values.

A tonal range and a gradation made with blue and white on color paper.

THE SAME TECHNIQUES COMMERCIAL TONAL ON COLORED PAPER RANGES

When the tonal range and the It is not difficult to find sev- gradation are semitransparent, the eral tones of the same color color of the paper plays an active made by a manufacturer. They part in the optical mixtures that are can be applied heavily to make produced by the colors of the wax an opaque tonal range without crayon and the paper. the need to use white. One very But when it is a tonal range or useful tonal range is that made gradation of an opaque color made by using black and some related with the addition of white wax that gray shades. This range can be contrasts with the paper, there are no used for drawing with the same optical mixtures. techniques used with charcoal As with chalk and soft and semi- and white chalk highlights. hard pastels, the choice of the color The tonal values easily corre- of the paper is very important, spond to the tonal range of colors whether working with light or and can be applied to the differ- opaque colors. Let's look at some ent areas of light and shadow examples. A blue wax crayon on when representing a model. yellow paper creates green tones This range is very practical when the light coloring mixes opti- for making notes and quick cally with the color of the paper. sketches that can quickly situate Also, although you may attempt to the most relevant aspects of a create a contrast by drawing, with model: the outlines and their red on a dark blue paper, the result- tonal areas. ing color will be very dark (however, as we will see, we can work with opaque colors if white wax crayon is applied before using conflicting colors). Superimposing two different colors GRADATIONS BETWEEN produces a mixture that becomes A gradation is created between two TWO COLORS OF more evident when rubbed. different colors by applying one WAX CRAYONS from light to dark and the other from dark to light. For all media, color theory is useful as a guide to what colors should be selected, but it is better to use all the possible colors from the wide assortment of crayons. A mixture is produced when two different colors are super-imposed, but this practice demonstrates that the clean and luminous qualities of manufac- tured colors are far better. The most luminous colors are created by using the ideal technique for wax crayons (the same as for dry pastels), that of direct gradations. Two colors are put next to each other and one dragged over the other. With wax crayons, the rubbing action combines them, making it an indispensable color- ing technique.

THREE RANGES BASED ON THE PRIMARY COLORS

Color theory with wax cray- ons is based on the three primary colors: yellow, magenta, and cyan. Mixing two of them in equal parts creates the secondary colors: red, green, and dark blue. A light color mixed with a very intense one creates the six terti- ary colors: orange, dark red, vio- let, violet-blue, yellow-green, and blue-green. However, these applications are heavy and can- not be used as light colors. By comparing the manufactured equivalents of mixed secondary and tertiary colors, you can see that the former can be lighter and look cleaner. NEUTRAL COLORS It is possible to mix any AND WAX CRAYONS manufactured neutral color with another color and obtain a color that is also neutral. The result of superimposing Examples of such neutrals are two complementary colors is a ochre, earth tone, and olive very dark, gray or brown color, green, to mention a few of the darker when the two colors are many neutral colors available. of the same intensity. How- It is a good idea to try the ver- ever, light layers of these col- sions of gray wax crayons that ors create interesting effects. create immediate effects by toning down colors.

The use of ochre is essential for creating these green tones. Drawing by M. Braunstein.

Gradations between two primary colors permit three important ranges to be developed: yellow- magenta, magenta-cynn, and yellow-cyan. Here the three graduations are seen after being rubbed with the fingertip.

DIFFERENT RESULTS

The difference is obvious when comparing manufactured colors to the secondary and tertiary colors mixed by the artist. Using the wide range of wax colors will produce cleaner and more trans-parent colors, and allow more versa- tility in techniques, besides the dirtier colors that result from mixing, an outline that is mixed requires two overlap- ping lines, which lessens their artistic expression.

GRADATIONS BETWEEN PRIMARY COLORS

In a gradation with two primary colors, many inter- mediate colors also appear along with the secondary and tertiary ones. If the lightest color corresponds to the most illuminated area, the progres- sive movement toward a darker color will indicate the movement toward the shad- ows. The potential of wax crayons is especially evident in the splendid effects of rubbing the gradations. At the beginning stages of drawing with wax crayons it if advisable to The sgraffito technique can be used with dark and heavy layers build up light layers of color, so the effect of each application can he of wax, where a layer is removed with a spatula. evaluated.

PROCEEDING WITH In some cases, it is interest- ing to use the sgraffito tech- Although wax crayons work nique to correct heavy coloring well when used for intense col- in a dark layer, although this oring, it is better to begin by action has its limitations. coloring lightly. When mixing colors by superimposing two lightly applied colors, the sub- The same sgraffito technique tleties can be more easily appre- using a craft knife also exposes ciated and tones can be cor- the paper, which always retains rected by darkening them later. traces of color unless a white The appropriate crayon crayon was previously applied. should be selected for each line and application of color. It is a matter of finding the color clos- est to the one you wish to create THE SGRAFFITO from among the large assort- TECHNIQUE ment. This manufactured color is the one that will be worked The sgraffito technique, with after it is applied, either to which is also applicable to adjust the tone with the same colored pencils, creates great THE WET WAX TECHNIQUE crayon or to use other colors to results with wax crayons. It is The oil-based wax medium can be dissolved with lighten or darken it. It is the a matter of scraping off a essence of turpentine or with paint thinner. For ex- same process we have seen with heavy layer of color with a chalk, soft pastels, and colored craft knife, a spatula, or a ample, a brush charged with one of these liquids pencils. wood stick, among other tools. can be wiped across a wax line or colored area The Proceed with care so you will result is very expressive and reminiscent of the use of thinner in oil painting. nor damage the surface of the The oily base of wax cray- COLOR APPLIED IN paper. The paper is carefully ons allows them to be dis- HEAVY LAYERS scraped with the flat side of the solved with essence of tur- blade, as seen in the picture. pentine or paint thinner. Only after you are sure of The craft knife can also be your line or coloring should used to make fine lines. The you apply it heavier and spatula, which is not as sharp, darker. The more opaque wax is less aggressive toward the colors cover well, even cover- surface of the paper and very ing light colors. But colors practical, although it has less under very transparent crayons control over the space that is can be perceived even when being scraped. heavy layers are applied. COLORING ORDER THE TEXTURE OF SGRAFFITO When the drawing is exe- cuted with the sgraffito tech- The idea of sgraffito is to nique in mind, the order of the expose a large area of color, colors should be carefully making the incision wide or planned and the artist should very narrow. But thin sgraffito know exactly what effects he lines can produce strong con- or she wants to create. trast if applied with a hatching The color that is revealed effect. The same guidelines for with sgraffito is the one that is drawing are applicable to cre- applied first. If the artist ate a sgraffito hatching effect. wishes to expose the white of The scratches or markings the paper, a reserve with white should be descriptive of the wax crayon should be made in object's shape and should be that area before any other color able to represent perspective is applied; this creates perfect and foreshortening. reserves. Therefore, the first step is to apply white reserves if needed. PAPER AND The colors that the artist SGRAFFITO Applying wax crayons with the intention of using the Sgraffito technique will ultimately want to reveal later requires the areas of color to be organized using the sketch as a With the sgraffito tech- guideline. are painted next. And finally, the entire surface is covered nique, the entire surface of the with a single color. This top paper is covered with wax layer should contrast with the crayon. Sgraffito makes it easy underlying colors and cover to compare the characteristics them. Black is normally used of each paper. Some papers for the strong contrast that it allow the pigment to be re- creates against very light and moved very easily; these pa- luminous colors. The colors pers are nonporous and have a are usually light on the bottom smooth finish. In others, how- layer and dark on the top. ever, the oily media penetrates the surface and the color stains the paper. Only the bulk of the wax can be removed, while the residual stain color will persist.

The colors that arc applied first arc those that will be exposed when the sgraffito technique is applied to the second layer, which is the black color.

Figueras paper has a texture and a finish that imitates fabric. These prop- erties make it a very suitable medium for painting with oils, and it provides The result after sgraffito. The black layer makes the sgraffito difficult to a satiny finish that makes it possible to expose the white areas without the do, so the work can be easier if lighted from behind, for example. Work need for white wax crayons. by Marta Bru. Dry Techniques HOW TO TELL PASTELS APART

with Oil Pastel When two drawings are compared, it is difficult to ven though oil pastels are not only a dry technique, they are know which is wax and which E worth mentioning for their usefulness for creating sketches in is oil pastel. But wax crayon situ or for applying the first colors in an oil painting that will be con- smear a lot easier than oil pas- tinued in the studio. The most common techniques for this medium tels when rubbed with a finger. The colors of oil pastels are are lines and coloring, which can be applied evenly or through grada- much harder to blend. tion, and blending. Oil pastels are not used as the end procedure; At first sight, lines or instead, they are part of a phase that will ultimately require the use blocks of color created with soft or semisoft pastels have a of mineral spirits, which can be applied in conjunction with all the powdery finish that is very techniques derived from oil painting, such as impasto, glazing, and different from grease-based rubbing. pastels like wax and oil. The six colors on the left are oil pastels. Their lines are not that much different from each other. The red stick is an oil WHAT TO DO WITH pastel, the ochre is a wax crayon, and the OIL PASTELS blue is a soft pastel. Oil pastels can be applied from very light to very intense, either by coloring evenly or through gradations, for which white is needed. Also, two- color and overall gradations can be created by using several colors that chosen among a selection of a few values The sample shows that colors in- tensify through blending. In fact, the same techniques used with other pastels can be used, although the results arc less showy.

As with soft pastels and wax crayons, oil pastels can be ap- plied lightly or intensely.

This orange color is an exam- Two-color gradations, like this yellow and ple of a light gradation. orange, can also be made.

A gradation can also be created with several colors to model an object. All the tonal aradations, like this blue and green with blue, can be blended, thus intensifying the tones and creating colorful effects. OIL PASTELS WITH done when the artist wants to MINERAL SPIRITS create the background of a paint- ing that will be finished later with oil paints. With two grays, three blues, Moistening oil pastels with The colors are selected based and of course white, a very mineral spirits or with essence on the model. Small color ranges realistic cloudy sky can be of turpentine produces a spe- are required² only the colors created, like the one shown cial effect. The color is diluted below. necessary for darkening a color to create delicate glazing ef- with shading. The addition of fects when the color is lightly white pastels is essential. The applied. When the color is clouds are defined through grada- opaque, the solvent produces a tions and opaque blending. pasty look in a thick layer. Gradually, the depth of the at- mosphere becomes more appar- A CLOUDY SKY ent. It is a matter not of creating a WITH OIL PASTELS completely finished drawing but of applying the most important gradations because the subse- This is a very good exercise quent work with mineral spirits for becoming familiar with the and oil paints will eliminate the characteristics of oil pastels. It details. is also very useful because it summarizes what should be

OILS PASTELS AND OIL PAINTS Try to erase oil pastels. Rubbing vigorously produces a very thick paste that is hard to work with. However, sim- ply adding turpentine or mineral spirits turns this paste into something that resembles the oil paints that come in a tube. Both media, oil pastels and oil paints, are per- fectly compatible because both have a similar oil base. This is why a first layer of color can be applied with oil pastels. One needs only to thin the pastel base with min- eral spirits to apply a first, crude background for oil painting.

Oil pastels can be A sky created with oil pastels can be the perfect base for worked as a wet medium continuing with oil paints. by using essence of tur- pentine as a solvent. A more elaborate sketch, Objectives of Charcoal which illustrates the use of several contour lines. Drawing efore you start drawing with charcoal it is im- B portant to define the effect you are looking for. There are many possibilities, which can range from a quick sketch, a note, or a shaded sketch to a complete chiaroscuro study representing the fig- ure alone or with its surroundings. The purpose of the drawing and the shading are very different in each of these projects. It is interesting to compare them from the standpoint of their purpose and ap- proach.

THE LINE AND A QUICK SKETCH A SKETCH WITH APPROACHING THE QUICK SKETCHES OF PEOPLE CONTOUR LINES FIGURE

In a small sketch, the width These two figures should be Quick sketches constitute a The first exercise approach- of the charcoal line plays an drawn together and the ges- good exercise for practicing ing the figure is define some important role. The texture in tures toward each other should contour lines. The shading is tonal value: Three or four dif- this case can be used to inten- look credible. A way to create done very softly²just enough ferent value are enough to ap- sify the shaded area. a sketch of this type of subject to reinforce the impression of proximate the volume of the is to block in both figures si- these contour lines. figure. multaneously and shade them with lines that are drawn in the same direction, defined by the light that shines on them. The The movement or the pose unity in the shading process represented by a drawing creates a visible relationship. composed of two figures must be coherent.

This drawing of a figure shows a Depending on the size strong chiaro- of the sketch, just a scuro, yet not few charcoal lines many different drawn with as many tonal values. strokes are enough to fill in the shaded areas. EXPRESSION WITH CHIAROSCURO

A much more complete study of a figure incorporates gradations, which help model the volumes. Abrupt tonal changes are avoided whenever possible by blending and touching up.

ADDING THE FIGURE'S SURROUNDINGS

To achieve depth in a draw- ing, the figure is modeled working it together with an appropriate background and employing one of the most conventional elements for framing: the drapery. This drawing of a nude figure seen from the back shows bow important it is to know bow to work around the figure to make it stand out. A drawing by Marta Bru is shown here with the atmos- DARKENING THE TONES pheric effect and the drapery. No matter what technique is chosen, it will undoubt- edly incorporate an element of personal interpreta- tion. Intensifying the tones requires the use of wide and decisive lines to apply shading.

The chiaro- scuro in this figure seen from behind illustrates complete mastery of tonal values.

Applying shading with large strokes produces a very dramatic effect. First Exercise Using Charcoal ne of the most common themes when learning to draw O with charcoal is still life. This particular still life consists of a single object: a cloth. Although simple, it allows the artist to work on the modeling of the cloth and its folds, to practice to- nal values and the continuous balance between the space that surrounds the object and the object itself Mercedes Caspar draws with charcoal on sketching paper using basically her hands and a cotton rag. THE NEED FOR CONTRAST BETWEEN THE BACKGROUND AND THE OBJECT

Specific tonal gradations are needed to represent the cloth. For the modeling work to stand out, the object must be surrounded by a background A hanging cloth is a good exercise to whose shading is not the same practice modeling, particulary the folds all the way through. and the way it hangs.

3. The shading around the cloth enhances the perception of volume.

7. When the basic lines have been established, the artist be- gins shading to define the form.

2. The charcoal is rubbed and blended with a cotton rag. 4. After each tonal value has been established, it is simply a matter of intensifying the tones.

5. The last step consists of establishing white areas to define the most illumi- nated parts.

6. Finally, a few tones are intensified to better show the trajectory of light. Drawing Expressions with Charcoal harcoal is used in large and medium-sized work, and it is C ideal for developing proficiency at drawing the expression. Drawing a dog's head, for example, provides a good opportu- nity to practice expressive lines. The shading conveys a realis- tic feeling of the fur and captures the animal's expression, which is centered basically in its eyes and the space between the brows. To highlight some of its features, in addition to charcoal sticks and pencils, white chalk is used, which is very useful for creating tonal values on the fur.

Sometimes, a ring's expression dictates the use of vine charcoal mixed with white chalk for highlighting, and charcoal pencils for intensifying the shadows. CONTRAST WITH CHARCOAL PENCIL AND WHITE CHALK HIGHLIGHTS Very dark black shading is created with short charcoal pencil lines, which are easy to identify from the vine char- coal lines of the basic drawing. A few touches of white chalk are sufficient to enhance the reflection in the eyes and to 1. the sketch is better represent the dog's ex- drawn freehand, pression. The same procedure using only a few is used to create the volume of references to es- the tongue and the reflections tablish the size. 2. The intensity of the first shading is very of the wet snout and mouth. moderate. The color of the paper, a dirty white, enhances the white chalk lines used to draw the texture of the dog's hair.

3. As the draw- ing progresses, now more deci- sively, darker rallies arc intro- 4. Rubbing a shaded area with a fin- duced. gertip establishes intermediate values and models the forms. 5. The drawing after all the shading 6. Areas of darker has been applied. Rubbing and shading are defined blending decrease the intensity of until the appropri- the overall tone. ate contrast is achieved without the use of too much layering.

7. A charcoal pencil is used in some areas, especially where a very rich black color is required.

9. At this point, after an overall evaluation of the values and the general feeling of the hair has been checked, M. Braunstein con- siders the drawing completed.

8. A few touches of white chalk convey the ex- pression of this animal, as well as the shiny areas and addi- tional details. Landscape with Charcoal Powder BLENDING STICK TECHNIQUE

and Blending Practically anything can be drawn with a medium-sized he soft look is, without a doubt, the most outstanding character- blending stick. One has to get T istic of a drawing executed with charcoal powder and a blending used to charging the stick with stick. Landscapes lend themselves perfectly to this procedure be- the right amount of charcoal to cause the definition of the planes and the texture of the vegetation apply a specific type of shade. Simply by modifying the pres- can be achieved quickly and without too many contrasts. The materi- sure and direction on the char- als needed are a heavy paper with slight texture, which is ideal for coal powder, the artist can applying the powder with a blending stick, and an eraser for making create consistent gradations highlights. and shading. AN ERASER FOR DRAWING A landscape like the one in the pic- ture is ideal for drawing with a When the shading is fin- blending stick and charcoal powder. ished, yet not necessarily ap- plied consistently, an eraser can be used to reestablish areas of light in the representation.

2. The important volumes are defined with darker lines.

1. First, it is important to shade the entire paper by spreading the charcoal powder over the surface with the blending stick. 4. To create contrast, the shaded areas are darkened using charcoal powder and a blend- ing stick.

5. This illustration shows the array of possibilities offered by this technique. Drawing by Esther Llaudet.

3. White areas are created by erasing; this defines certain parts of the building that are more illuminated.

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