ARTC1330: Drawing 2

Graphite and Gesso Subtractive Drawing

From Drawing Essentials by Deborah Rockman, pg. 77.
Another version of subtractive drawing utilizes a less traditional approach but has the potential to yield
beautiful tonal results. The process begins with the preparation of the paper surface. A heavier weight
paper works best. Tape all edges of the paper to a firm surface, such as a tempered masonite, to help
minimize rippling. Apply a generous coat of white acrylic gesso to the paper surface. Use a relatively
stiff brush to create visible brush strokes in the gesso. You can brush the gesso in random directions. Or
brush vertically or horizontally. The resulting brushstrokes will be visible in the end result.
Allow the first coat of gesso to dry thoroughly, and then apply a second coat, again determining the
character and direction of the brushstrokes you want. A third coat of gesso should not be necessary as
long as your paper is thoroughly covered. Allow the second coat to dry thoroughly and you are ready
for the next step of paper preparation.
Using a broad, soft stick of graphite, generously coat the entire surface of the gessoed paper with
graphite by laying the stick on its side and, with firm pressure, dragging it across the surface. Stroke the
stick of graphite in a variety of directions to deposit as much graphite as possible. Dampen a soft rag
with mineral spirits (make sure you have adequate ventilation) and rub it into the surface, dissolving the
graphite into a rich, uniform gray-black tone. If your first dissolved coat does not provide a deep value,
apply more graphite and again dissolve it with mineral spirits. When the surface of the paper is
uniformly covered with dissolved graphite and the mineral spirits are dry, you are ready to begin the
drawing process.
You can begin the subtractive process with or without linear guidelines. If you want to sketch your
composition on the prepared surface, you need to use a white or light drawing tool so your lines will be
visible on the dark surface. White charcoal or white conte or white pastel will work. You will use the
sandpaper to remove the graphite and expose the underlying gesso to describe the areas of light that
you observe on your subject matter. Fine sandpaper will yield more subtle results, while coarser
sandpaper will produce a rawer surface.
Begin by sanding lightly with a small piece of sandpaper, pressing the sandpaper against the surface with
the tips of your fingers. Dampening your fingertips will help you to hold on to it. As you continue to
sand the surface, creating areas of light, your sandpaper will begin to fill up with graphite. Wipe your
sandpaper on a rag or on your jeans or some other clean surface to remove the excess graphite, and
continue to sand. When your sandpaper wears out, you can use a new piece. For a very subtle removal
of graphite, you can use some medium grade steel wool. It will not create a strong area of light, but it is
good for creating some subtle atmospheric effects.
The more you sand a particular area, the lighter the value will become as you remove more graphite and
expose the white gesso beneath. But be aware that if you sand too much and reach the raw paper
beneath the gesso, the sandpaper will begin depositing graphite back onto the surface rather than
removing it. If you desire to work back into your drawing to sharpen an edge or reestablish a value that
became too light, you can use graphite pencils or an ebony pencil, both of which are compatible with
the dissolved graphite surface.
There is often an issue with glare when using this process. Graphite tends to create glare, especially
with very dark tones. Spraying your drawing with a matte spray fixative will reduce the glare, but be
sure to carefully follow the instructions for using the fixative.