TTaIWald “ae a THE © OMPLETE Comese | behTranaiated! trom tha Spanish by Mara Constanza Guemén and ‘Olga Martin Library of Congress-in-Publication Data Available 2466 097 5 1 Published in 2003 by Stering Publishing Co., Inc 387 Park Avenue South, New York. NY 10016 Crginaily published in Spain in 2002 under the ttle Furciarnertos del Dibujo Avtistico by Parramén Ediciones. §. A londa de ‘Sant Pere 5, 4th Flaor, Barcelona, Spain 08010 Copyright © 2002 by Parramon Ediciones, S. A Engh Transtaton © 2003 by Stertng Publishing Co,, Inc. Distruted in Canada by Storing Publishing a Canadian Manda Group, Suto 105 ‘Toronto, Ontario, Canada MBK SE? Distributed in Great Brtan by Chrysalis Books ‘64 Brewery Road, London, England N7 ONT DDistibuted in Australia by Caprica Link (Austrata) Pay Lic PO. Box 704, Windsor, Australia NSW 2756 Printed in Spars All rights reserved Stating ISBN 1-4027-0932-3 ne‘A Linear Landscape: Controliing the Stroke, 94A THEME: SELECTION AND COMPOSITION, 96 Factors In Selecting a Theme, 98 ‘Composition and Blocking In Shadows, 100 Using Perspective in the Preliminary Outline Sketch, 104 Calculating Proportions, 108 Drawing with Gnds, 112 ‘The “Lorrain Method" Marmery in the Composition, 114 Point of View: Transformations in the Model, 116 ‘Composing Outline Sketches: Balancing the image, 118 Balance and Riythm: A Visteal Order. 120. LIGHT AND ATMOSPHERE, 124 - ‘Tonal Techniques, 126 ‘Shading, 128 How to Shade: Staine, Tones, and Hatchings, 132 How to Control the Quality of a Shading, 134 [Dividing Areas: Controling Shadows, 136 ‘The Importance of Tonal Gradation, 138 ‘Tonal Backgrounds: Drawing on Colored Paper, 140 ‘Contrasts and Volume Ettects, 142 [Blocking In.and Modeling, 144 Light and Ambiance: Iitzrinating the Atmosphere, 148 ‘Chigrosoure; Maximum Contrasts between Light ‘and Shadow, 160 Blending Techniques, 152 ‘Stumata: Smooth Contours, 154 How to Use-a Paper's Texture. 158, ‘Correcting without Erasing, 158 Depth Effects In Drawing, 160 Perspective: Basic Notions, 162 Drawing with Atmosphere Perspective, 168: ‘The Coulisse Ettect: Successive Planes, 170 ‘A Contrasted Foreground, 172 COLOR DRAWING, 174 Colored Pencil and Pastel Drawing, 175 Conventional Techniques with Pastels, 178 How to Mix Colors, 182 Colored Pencil Techniques, 184 Mixing with Hatching: The Optical Etfects of Cotor, 186 Feathering and Whitening Techniques, 188 Scratching and Spratfita, 190 STEP BY STEP, 192 Drawing a Nude, 194 A Stil-ife with Sanguine, 198 Erasure Technique; Drawing Highlights, 200 A Landscape on Gray Papi. 202 ‘An Interkar with the White-on-iVhite Technique, 204 ‘The “Throe Color” Technique; Drawing with Pictorial Gualities, 208 ‘The Blending Stump Technique’ Just a Blurred Stain, 212 A Landscape with Chalk Powder, 214 ‘Sketching wittia Charcoal Pencil, 216 ‘A Stil-Hle with Chiaroscuro Effects. 218: White Chalk Highlights: An Explosion of Light, 222 ALandseape with Graphite, 224 ‘A Flower with Abundant Water, Fluidity, and Sinuasity, 226, ‘An Interior Patio in Wash, 228 ‘A Rural Landscape in Washes and Line, 230 Metal Point Drawing: Texture and Hatching, 234 ‘The Rood Pen and Its Effects, 236 Drawing on Colored Paper with White and Black Inks, 228 ‘AStill- fa with Colored Inks, 240 CControling the Line: Hatching, 242 ‘4 Dog with Colored Pencits, 246 A Girl in Watercolor, 248 ‘The Dry Pastel Technique on a Tonal Background, 250 ‘An Urban View with Oil Pastels on a Tonal Background, 252 Index, 254Introduction training the Artist's eye Doawirg stows us to representa three-dmensional mage on a cne- dimensional surface by using basic elements of form such as composi- tion, propartion, and volume etact, Drawing is tha fundamental basis for all types of artistic works, Sculpture, painting, architecture, ancl even film and photography use drawing as the intial medium to con- ceptualize, understand, and develop the various. components that will Work together in the final project, Drawing is many tmes.an original work in itself, giving us the ability to reproduce Gur surroundings and ‘enwironments. |AS is the €a8e for any art form. drawing can be learned: itis not a. special talent that only a few possess. Like writing, which begins with letters that form words, which in turn form phrases, drawing begins. with a succession of points that form lines, which create shapes, shades, and stains, The secret of any drawing dass not ie in one's abit- ity to apply a certain technique, but rather in one's ability to learn how to observe and analyze a theme, create the drawing's outline, arrange its composition, and calculate its proportions. Therefore, training the artist's eye is the first step in any artistic work. The trained eyo pre- cédes the drawing and helps create what may be called a drawing of the drawing that is based on a set of both abstract and schematic apr proaches {0 better understand a model, establish a relationship be- ‘tween the seemingly disorderly gesture and the clarity of the structure, Since we aro aware that the lack of this basic knowledge is the ‘greatest obstacte a beginning artist may encounter, this book is intomday. ed to provide all the necessary information needed to begin drawing. We explain clearly and methodically each of the processes and tech- niques that professional artists. often apply instinctively. in addition to . - these, you wl find information about other Important aspects, such as ‘ training the hard, controling the stroke, composition, and volume at {fects offered by various mediums, tools, andi materials I is essential to understand and master these basic lessons in arder to draw confident, hare Aish Compositin ant sinucire arathe basis af anyUrheberrechilich geschiitztes Materialfriction. [D_. . elieve it or not, but just a bit of friction Will start you on your drawing course. When a paper's surface (s scratched with any pigment medium panicles are left behind ‘These particles leave an intense, yet delicate stroke. A simple touch with your finger and the stroke wil vanish as charcoal dust. Due to its delicate properties, charcoal is the ideal medium to begin drawing with, since mistakes can be easily comected. ‘Although an artist has considerable amount of freedom regarding how he or she chooses to apply various techniques, the inherent characteristics of mediums and materals and how they are Used cannot be ignored and must be learned. Anyone interested in drawing and in obtaining the most benefit from a given material should know and follow its “rules.” Each tool and material gives specific and unique results that no other medium can duplicateOraphite: line, G— The-shape ofa granite stick’s point and how itis positioned ‘on tha paper aro essontiain controfing 2 sroke'= qual: Different effects can bo obtained with (A) a sharp Point, (8) a Gta pownt oF) tha S109 of the paint. control, and properties Ghaptite is one of the most popular drawing mediums among both art students and professionals. Compared to other media, itis durable and very easy to handle. Graphite is the most immediate, versatile, and sensitive Grawing medium that is suitable for quick sketches as well as for detalked Work. Graphite is fragile, ily, and soft to the touch, and corns in several forms: sticks, pencils, and powder. It can be used on almost any kind of sur- face. Due to its olly texture, its marks are permanent and do not require a f- al fixative, although in some cases it might be advisable to do so. When Used for shading, graphite has a smooth, velvety appearance, which can appear sharper and moee intense when the point is pressed directly against the paper. The artist has great line control with graphite, since it can be erased and redrawn as many times as necessary. Itis.@ good idea to expedient with graphite sticks and ‘poncis that have diferent cegrees of harahess he praphte sticks below have various degrees of hardness. The-hardest tks produce @ sot stroke and are commoniy used in praimnary sketches. The sohest “Sticks provide a thicker, mora nfense stroke and are used for sketches wih movement and tonal properties.-Grapnte sticks come n aiferent sizes and various degrees of hardness. Above are rectareer graphite: sticks. FLAT GRAPHITE STICKS Some types of graphite sticks, such as fat Sticks, are used for large-scale works in which large areas need to-be shaded. They alsa create intense strokes. Flat graphite sticks do not have -a point and are many times drawn on their flat side. Since graphite sticks are not covered in wood or plastic, thelr point configuration is not limited, which means you can draw a large ‘variety of strokes. ‘When held on ther tat sie. graphite sticks are used for crawing wide ‘strokes and for shading sarge areas, & , a % ‘When holt upright, tho = graphite stick’s point ‘createsa thin and ‘intense stroke, Here you can see.a sample of the strokes arcteflects that can be ootaned trom fat graptite sticks: (4) near srokes with the Rat site, (ringlets weth the point nad uaright (0) wil strokes withthe fet sic, anc (DY wade strokes vith the point.Mechanical pencils aro very \ convenient ta use since they can ba camed around easly Lae pares, rafts come ia de rerige of sof and harct fonds, (DEGREES OF HARDNESS The various possibilities of a stroko's intensity depend on the graphite stick or pencil's hard- ‘ness. Ths variztion in hardness allows us to.use Night and car fines to create light oF dark shad ing, & number and Netter, engraved onto the pr ‘i's side, indicates its hardness. Pencils with the letter H have hard leads and make thin, light lines ‘that are commonly used in technical drawing, Pencils with the letter 8 have soft leads ane ‘make strong, dark lines. The number that 8¢- ‘companies the letter also indicates the pencils hardness or softness; the higher the number, the harder or softer the leads it, A good selection to bbogin wth is: $B, 38, 8, and HB, Artists usually ‘use the softer leads because they create intense lines, which makes shading much easier. His ‘iso a good idea to have sore mechanical pencils, so that you have different options to ‘choose trom, Elaborate tinea pure work ean be actieved wet grote parcis. Drave firm strokes with a wer: haspened point. Since fone (shading hatching, cross: hatching! is net bum up inihese types of drawings, ‘isa good ida to havea selection of pencds with Use very 80m pence various Gegress of harchess ih order to obta ciferent _srokes wih cliterant vaes, ” eseeeyee GHAAAAGGROAE AYLINE QUALITY 1M you need to draw wide strokes, we recom- mend using flat graphite sticks. Combining graphite stick and pencil produces fascinating resutts. The graphite pencil gives you a lot of control ofthe line nd! its tone, while the graphite stick's width enables you to cover large areas quickly. Hard leads are used for the detailed ar- (eas. and for the intial shading, while softer iaads. aro used to accentuate tha darker areas. Many artists combine pencils wrth gitferent degrees of hardness to create complex drawings with lines and strokes. ‘Soft pencts aftow you to create continuo gradations (Blond ihm gractations wath your gers or with a banging stump order to exwate an atmosotanc effect: Loak at the diferent shadiogs m the rawr below. The combination of dtterert strokes give variety and aot fo the werk= '‘Gharcoatis one of ne oldest and simplest means of drawing. Because it is carbonized willow branches, charcoal makes a strong and intense black ; £ stroke. The basic difference between graphite and charcoal is that charcoal is dry and graphite is oly. Because charcoal is dry. it dons not stick to the paper vory woll, which means you havo a considerable amount of control ‘aver it and can correct mistakes-easily: Just running your finger over char- ‘coal will erase It; be careful though, because doing so will alsa create gray tones. Blowing on chercoal will lessen the stroke or the shading’s contrast. Charcoal: the oldest medium TONE ‘Ono of the best qualities of charcoal is that it is the oasiost madium for ‘shading, which creates tone. Tone is the degree of lightness or darkness of -a.color—with charcoal the tonal range runs from black to white. With a tle iy £ practice, there is nothing thats more pleasing or fun than making quick l/\ -smuriges, reapplying them, erasing. etc, with charcoal, Because of its ver- J i ‘satiity, charcoal is an ideal medium for beginners, since t allows for correc ~ tions and for the treatment gf a variety of themes without requiring too much \, attention to detal. r Aisveryeasy to canine fp rv So lagotes ores, virar,ana fT frases chatcont ‘ia pt c ij aN ‘Above are somo ¢ Ng Pe ‘examples of chareaal \ strokes: (4) wh the Se Sick on wn tne pont held uit? anc eS (C) wan me stick be on : e300, Above ary strokes made by rotating the harcow! stick whe crewing,wall alow you to create abnost any cesred artact. ‘Above ace natural charcoal sticks, which Charcoal wil come off the paper with the ae very fragile and brits Natural sticks Ughtest touch, Bro moro expensive than comprassad charcoal sticks, ‘Sines charcoal does nat stick to the pager vary wel, it can beerased easily However, even when the Partctes are removed, parts of tha strokes remain visible, Charcoal alows you fo skotch or outing quickly, using the stock's point or ts side interchangeably.Dragging the chercoa! stick on is side produces wide strokes. USING CHARCOAL Charcoal can be used in many different ways. ‘The way the stick is held determines a stroke's effect. For example, holding the point horizental= ly or onan angle will create different ines. Also, by turing the point or varying the pressure you place on the charcoal stick will produce elther soft, delicate strokes or bold and intense strokes. Soft charcoal is more granulated and therefore adheres better to the paper than hard charcoal, Which is batter for detail and line work singe it does not erase as easily, Charcoal ckawings no langer hava to be temporary works. Spray featives allow charcoal fo remain on the naper and retain ts classic and nabs reputation,STROKES AND EFFECTS yoy hold tne chareos! stick like @ pene, the strokes will be neater and more controlled by ‘your hand movements. Ifyou drag the stick on its side over the paper, the stroke wil be thin and solid. With the charcoal stick held transversely {onits sido in an upright position), you are abe to create shacings that are as wide a8 the charcoal stick. Drawn with one continuous hand move- ment, trenaverse strokes become lateral ength- wise) strokes. To the nght are te basic eects that can be acheved by mastanng the use of charcoat (A) even shading, (B) diferent strokes and intensities, (Chblencing, and (D) gradation. By loaring these Jour skits, you wil be able o draw ary shape and master any tonal aftect, 9 (Charcoal allows for an (nital schematic approach fo a there wiinout reying an a lot otetone Lechniques with charcoal Ain anist must be much more courageous when using charcoal than when working with a pencil. Charcoal calls for Grawing complete, whole forms instead of bringing out deta! In a.work, which is why this madium is mare ettactiva for large-scale drawings. Appropriately combining different strokes wil allow you to draw seemingly complex shapes. DRAWING WITH STROKES Compressed charcoal pencils are the best medium for draw- ing strokes. These pencils are very useful for small-scale works in which lines prevail over stains. Intense charcoal strokes add greater expressiveness and intensity to a drawing than those produced by graphite. Shadings begin with small strokes, their intensity depending on the dark areas, Pressing the charcoal pencil harder against the paper wil create darker shaded areas. a cx Charo! pent strokes ‘can be blended, ust thay ‘re ocs mateabio thn ‘charcoal stick etre, Abore are some basic blending fects with chercos “Stick, You can see how wolatie this drawing rneckurn ks. ‘Siriaiy natiting your fnger ora blending stump over a ‘smudge oF siake wil quoky blond # (A. and 6. Teatest the plabity of charcoal sticks, craw a ine ora ‘ero (C1). rag a pgynent naise the orco wit your Jngertp to obtan a very base shacing efect (C2). Ts (can become a tana! treatment by blending the charcoal {oment on the paper's Surtace wih your hare with ablondeg shire (03 and CA _- &~»you need to crow neatly defined ‘shapes, eut the eared shapa out of 8 piece of paper arc uselitas a stencil ny Charcoal drawings are built up by superimposing many juxtaposed lines on top af one another, which are later erased and corected as the work progresses. This accumulation of erased lines, or “ghost lines,” produces an intoresting tonal affect ‘on the background. Mary times these lines add Lnear charcoal strokes produce strong, axprossiva more emotion and variety to the drawing. A oflects,Iis enpartant ta kia i ated tha Kd OF 900d outline of an object is one that is intense strokes that you wil aoa in each arwe in order to and fer. create Getintion andt contrast,2 ‘'SFUMATO. ‘Charcoal enables us to create a drawing simply iby blending strokes, which gives the drawing an atmospheric effect. This technique is called sfu- ‘mato. Lightly blend the charcoal strokes when using the sfumato technique s0 that you retain the paper's texture, The only problem with this: technique is that due to the absence of defined lines and strokes. which give pictorial effects, the ‘drawing could appear artificial, (hn these two sequences you can sae how an atmospheric effect can be created just by running your hand or a piece of cloth over the charcoal strokes. The ‘malloabilfy of this modeum enabies you to mnacsty tha surface several times, ‘Sturnate is used to create pictorial andl ‘atmosphere effects.USING A PAPER'S TEXTURE TO YOUR ADVANTAGE (One of the most interesting characteristics in charcoal drawing is how well it adjusts to a paper's texture. If you draw on a highly textured sheet, the strokes will have a granulated appearance, an even semitone elfect that will make the drawing more interesting. The rougher the paper, the more intense the strokes will be, given that the sheet will hold the charcoal particles. Tha [pressure you apply on the stick will determine the darkness or ightness of the drawing. in the clwhoet areas, The sides ofthe walls and comers are shaded wan fored gradatons Interesting tonal fects ‘Compressed eharcout stots ard natural ‘harcoa! stk osfor sila effets, but ‘comprassed sticks give ‘more intense anct contrasted strokes Even shading & usid for tha was af tha house,NAN NDNA DI NNNG artists’ Chalks: warm and opaque We appearance and consistency of artists" chalks, also called conté crayons, are similar ta those of pastels, but they are harder and more cclly, Artists’ chalks have a warm and opaque ap- pearance and offer the same blending possibill- ties as charcoal. However, chalks are more stable and can be used alang with charcoal and with compressed charcoal pencils. COLOR VARIETY Strictly and traditionally speaking, artists’ chalks are limited to the following colors: white, black, sepia, bistre (dark-brown), and sanguine (red- brown). Their color tones pertactly balance each other and make then especialy suitable for monochrome drawings, which relie on harmonic shadings and gradations. Artists’ chalks are idea! for medium-toned and dark-colored papers, Artists! chaks are available in various colors and are perfect for creating blended shackes. Thor bost resus ara soon when appled on medium: toned. neutral-colored paper:Shading with the fat side ofthe chan DING Blending the sinactes with ‘Being that antsts" chalks are soft, they blend Tee: ‘oasiy and croate beautiful color combinations by ‘either rubbing the strokes with your finger, a piece of cloth, or a blending stump, Because ‘they are less powdery than charcoal, they can be “mixed by laying one color over ancther, allowing ‘the colors underneath to show through. This. technique will enable you to find different values of gray tones more easily—it needed, the two: ‘tones can then be blended by lightly rubbing the ‘strokes with your fingertip. Directly mixing two colors. Thera are two ways to intensity chalk tones: (1) increase the pressure on the chalk stick or (2) direct moxng, which 5 fo caw Over a previously laef down color ant (press until both Colors are blended into a mexaxt cote. The blenating stun lends two shades into a ‘smooth color transition,EFFECTS WITH ARTISTS! CHALK Since artists’ chalk is more delicate than char- Cal, the strokes it produces are slightly fess in- tense and much subtler. Like charcoal, you can Use the whole chalk stick to draw, laawing Shades and strokes are combined to create forms: is strokes that can be easily modified and blended. best to bexgn practeang with simple subjects or mods. Before beginning to draw, break the chalk stick to the desired size. Then, begin to make strokes, holding the stick lengthwise. Use the point to Graw the cutie of the model. Finally. run your finger over the contours to blend the strokes. re ‘As you can s00, chaik stmkas cover the papor more encely han charcoal. Ta the right is (A) shang, [Bt Intense strokes, (C) gradations, and (Dh white chai : cuttings on dark shading. e D Whon erawang with chats, ‘important to maintain a continuous: siroke and fo ary the pasion of the s1ck on ihe paper.For the best res ony chak on colored paper: 41..When drawing with chalk. begin by outlining the tonal areas. Here, shaciing was completed with the fat side of the stick in an abstract manner, 2, Litte by lit, the initial shape is completed Until the dorsal profile of the female figure can be distinguished. '3. The best technique to use when drawing with Chalkis to apply continuous shades with the stick held lengthwise, then to combine them with Intense linear strokes.Sanguine: a a classic medium Arrvong artists" chatks and chatk ponets, san- guine, dus to its unique characteristics, is the most commonly used color, Somewhere be- tween brown and terracotta red, sanguine is made of iron oxide and endures as a favorite and classic medium among artists. The popu- Fanty of sanguing is due to its warmth and sen- sitivity to the paper's texture. in combination with other mediums, sanguine is at its best, Sanguine offers a huge variety ot drawing treatments: 1A) naturalist, wh set shacirg, (8) structural wth th ‘tick hold longttnse, (6) hatching, enc! (2) expressionist, wi lively humied stokes.BETTER WITH STICKS Like artists’ chalks, sanguine combines the best of pencil and charcoal in that it produces line and also texture in a single stroke. It is better to work ‘wth sanguine sticks than with sanguina pencils, since the sticks offer a broader, more dramatic stroke than pencils, Like charcoal sticks, you can ‘draw lines with the end or cover large areas with, ‘the flat side of the sanguine stick. Sanguine, fhe charoost and chats, comesin sticks, which are weed for medium to large scaled drawings. Familiarize yourself wth sanguine sticks by creating ciforont atfects on various textures and papers. Above are examples of (1) a sanguine stick shading, (2) sanguine perc! shading, (3) sanguine stick shading, (3) ‘Sanguine stick shading an raugh paper, (5) sanguine Perel hatching, and (6) sanguee pene crass-raiching,= DRAWING LINES AND STOKES sinatee In order to achieve the best stroke or line from @ Sanguine stick, draw a.continuous line without ting the point from the paper. =a and vary the art seers fede Wises ist ean ‘same with a sanguine stick not ‘sensitivity to texture, sa kel Gn used ©n very rough papers because the strokes will be fragmented. Ais6, try 10 joned areas. Loan to craw in a sitgle stroke, bray iting tho ‘sanguine stick tom the paper. Modify the line's wish and quality by tuming the stick or varying the arnoent of sure you ay Pl SEP ee ae Nn CARRE: ny eens ne S oe LR‘Sanguine is also availabie as eo (or mechanical pence, ido! for smal-scale works or for those int which ine and texture comerate. ‘Sanguine panel fs easy 10 control and offers arch variety of tonal gradabors, as ca be sen in tis landscape sketch. A tay good landscape crawing can be achieved By iterating betweon three or four valves (tones) of sanguine. The contrast among the caterer! planes increases the lect of death. les MaterialM the lending stump: _ many possibilities B vrencing stumo is made trom a so" paper tet that is double-ended and pointed, Its used for rubbing and blending. Blending stumps come in different degrees of thickness. Use the point for darker tones and the blunt end for lignter tones. BLENDING STROKES ‘Bionging stumps are very usetul tools for the ‘artist because, as the name suggests, they allow us to transform the drawing through the use of ‘Soft gradations and blendad shadings. Blending allows you nat only to integrate strokes but also ‘to eliminate the white areas within them. When ‘tha tones are graciated, a perfect representation ‘of the object's volume can be achieved. The blending stump can be held in any manner; however, using it excessively wil reduce a ‘stroke's vibrancy, Blencing olbses the paper tooth compiotaly, tuning an rrequer shading Bioncing the strokes with a blending stamp gives vole toa fue and safer the tanstion betwen Kant sand dorkPabbing ito sturre ora stoke or hatching wil ‘smooth fone wansitons. When, after blencing (nna dark araa, you move toward a ightar ‘area, clean the aturip (on a seperate piece of clean paper, 0 That you do not arty the crawing oF tha (tis a.good ea to have. sovoral bonding stumps af various wiaths. This wil alow you fo work vith efferent colors and with tage or smal areas, atthe sere wma,To daw wan @ bioncing stip, start by Then saturata the ekamp's end wan the Draw strokes on the paper, The rubbing the charcoal sick with ough sad chavecal powder mere charcoal on tha slum, the ager to make charcoal pone. ‘more intense the stokes wal ba : me, “ORE DRAWING WITH A BLENDING STUMP: ie Blending stumps can also be used as drawing tools. To do so, rub the ° stump's point in charcoal powder until it becomes saturated. Then, draw with the blending stump. For darker tones place more pigment onto the point, less pigment for fighter tones. The final result is a smooth crewing without defined lines. ‘There arg two basic blending techniques with the stump: (1) use tha point for intense strokes: of profiles and (2) use the wide, blunt end for wide aregs. Your hand movements should follow the direction of the model's texture. Hf working on an undefined background or plane, use circular movements. Your hand can aso be very usetul fo ‘blond, shadio ant stan. The upper part ofthe pais eal for applying wide stains with even tones, whereas the dngerts ‘are normally used to blond an shacke Blending stumps give an evanescent, atmospnenc offoct fo ony drawing. Since iis an effect fochrigue, the drawings do not require a high degree of defiion.With soft strokes and without 2 great dal of tonal ‘contrast, a blending stump wil produce a arawing wet (C. Son shacing the mumnated strvet arvas (0. Erasures:for mora grapic eftocts E Intenso hatching on the church ball tower Gross-hatahing on the building's fagac G.ntense tones in blended dark arvasErasers provi artista with a icin creative ‘eraser can be used toclean an area, blend a .a-darker color, or draw erasures on top of previously laid colors, EFFECTS FROM AN ERASER ‘The eraser offers a wide variaty of effects, all of which are not particularly ‘complex. For instance, with the tip of the eraser held at a slant, wide strokes ‘can be obtained; if held upright, you will create fine strokes. ‘The eraser can also be used 5 a drawing tool in itself, a medium to. produce line and tone quality. With charcoal, you obtain different tones of ‘whiter the erasure mark will be on the paper. When lightly rubbed over a tone, a light blend is created. the Craser: a very versatile tool How you hold tha erase: the amount of pressure you \axort on tho eraser andthe your holt your hand wil it ‘contre! the evaser marks,PRACTICING YOUR STROKES In order to practice and observe the different effects an eraser offers, cover @ paper with the fat side of a charcoal stick. Than make different ‘eraser marks, alternating the position of your hand and the pressure you exert on it to see the results. Senter to graghito pened wark, diferent hatching ‘combinations with a mechanical eraser prowl an ‘teresting variety of shacing and textures, (A frwadabie eraser wil gve you an interesting range of effects, (ypes of eraser Soft erasers ava tho best for grape pened works and kneacable erasers 270 idea! for charcoal works,Given that charcoal drawings rely on erasers, ‘more than graphite drawings, itis extremely im- Partant that you know how to use them corractly, ‘Whon used with charcoal, the eraser allows you to add details and introduce light areas. Hard erasers damage the paper surface and smudge much more than kneadable erasors. Preferably, vse soft, malleable erasers when working with chalks and charcoal. Kneadable putty erasers are particularly convenient because whan tha tip gets dirty, it can be turned inward and roused. Asi6e fom beng used to make white marks, erasers 880 make excellent Blending tools. Wit the eraser yoxa can 00 fend centours anal work on stains and tonal vales, ging the rang a rove pictoviat1. This sequence follows the ‘eraser technique. First, white marks are made on an even- ‘shaded background. +2. Strokes with a graphite stick -are added to the light areas: these strokes will finish outlining the ‘shape of the pitcher and fruit. 3. Finally, the light areas are shaded and gradated, giving ‘volume to the objects. Abways clean the eraser before resesing at Simply ni ton a ‘cloan proce of papercolored \/encils: a love for cetails ‘Cored pencis are clean, practical. and easy to camy around, which make them an ideal medi- tum for drawing outdoors. Colored pencil lead is made of pigment, a filing —usually chalk, talc, or kaoin—and an agglutinant, usually a celuiose um. Colored penis are handled just like reqular pencils, but offer a less oily, smoother, and glossy finish. Colored pencils alow you to work with the Precision of a graphite pencil, while at the same time adding color to a drawing, They are soft enough to create delicate shadings and can be sharpened to draw intense and inear strokes. Coiored pencits are pert far optical eiing. (Colored pencis can be purchased as single pencils or inbaxed sets, nts Dook, we oxexd Artists" gusty colored pencisOPTICAL MIXING The most significant characteristic of colored pencils is the subtie optical blends that they pro- duce. This medium relies on the rich intensities of color tones and an the ability to mix colors. To optical mix, a lighter color is placed on top of a darker color. The resuit is a glaze—a colored film that gives the etfect of mixture. Remember to al- ways put down the darker color first and the lighter ones on top. Light tones cover less and allow the base color (the darker color) 16 be visi- blo, which is necessary In order to achieve a thoroughly mixed coior, The colored pene hampered pont a produce N as wa There are several kinds cf colored pencis. whos cléferences reside n their kad compositons. Although percentages vary a wany penci's pigment is ted wath kacte (a type OF cay) and me. ON -omnTon and are avalabe n Pere softest alow you to color the and soft ad FINE AND THICK Leaps: There are two types af colored penci leads availe able: 3.5 mm, which are used for special works that require a fot of dotail, and 4 mm, which are thicker and ideal for wide and intense lines. and strokes. ‘Soft and wide leads. are recommended whan you are contrast nice poveeequce, Th proce wis Ines, which sr eolored backgrcurd. ij fWATER-SOLUBLE COLORED PENCILS Also called watercolor pencils, water-soluble colored pencil leads are made ‘with coloring pigments that are agolutinated with waxes and varnishes. ‘They havea soluble ingredient which enables them to dissolve when water is added. Watercclor pencits were created for graphic designers and illustra- tors, and only recently have they been incorporated into the Fine Arts. Even ‘though watercolor penclis combine two techniques into-one, they are; nonattieloss, considered a mixed-media technique. [Drawing with watercolor pencils is just ike drawing with contention pencils. Because of their waxy composition, conventional pencils do not dissolve when they come in contact with water; they resist it. Watercolor pencils, on the other hand, explode with color when water is added. Hatch- ing wil vanish after a wash is applied, but hard strokes will still be visible. Additional colors and details can be added after the wash dries. If you add them while the paper is still damp, they rill blend into the paper. pigment cissoves, creating a stan that ‘brings washes and strokes together