KING COUNTY LIBRARY SYSTEM

2000300927

All about the media

All about the equipment

All about techniques

All about color

All about methods

All about pointers

and practical advice
All about themes and
subjects

ABOUT
niques m

BARROKS
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DATE DUE

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A^'9'5"
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Demco, Inc. 38-293

MERCFP APR 4 -2000

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ALL
about techniques in

DRAWING
ALL
about techniques in

DRAWING

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BARRON'S
KINGCOUNTYLIBRARYSYSTEM
Contents
Preface Pastel and similar media 86
Drawing w ith Pastel 86
Materials and tools 6 Dra\^ing with Sanguine 88
Graphite 6 Drawing with Chalk 90
Colored Pencils 8 Still Life 92
Charcoal 10 Landscape 96
Pastel and Similar Media 12
Ink 16 Ink 100
Other Media 18 Drawing with Ink 100
Brushes 22 Drawing with a Reed Pen 102
Drawing Papers 24 Highhghting \\'ith a Nib 106
Other Supports 28 Combined Techniques: Ink and Gouache 108
Complementary Material 30 Nib and Colored Ink no
Graphite 34 Wet techniques 114
Graphite Techniques 34 Wet Techniques 114
Value and Modeling 38 Sketching with a Brush 116
Perspective 42 A Monochrome Wash 118
The Value of the Line 44 Combined Dry- Wet Techniques 122
The Sketch 46
Drawing with a Range of Grays 48 Drawing with wax crayons 126
Oil- Based Media 126
Colored pencils 52 Drawing with Wliite and Black Wax Crayons 128
Colored Pencil Techniques 52 Colored Wax Crayons 132
Color by Strokes 58
Color Drawings 60 Felt-tip pens 134
Drawing and Color Ranges 62 Drawing with Felt- tip Pens 134
A Sketched Figure 136
Charcoal 66 A Full-Color Drawing 138
Drawins with Charcoal 66
Blending and Strokes 68 Topic Finder 142
Modeling 70
Surfaces 72
Seascape 78
Still Life 82
It is possible to paint with watercolors without ever The comparatively shorter sections dedicated to other media,
having painted with oils, but no artistic medium can be ranging from India itik to the latest combined media tech-
used properly if one has not mastered the basics of drawing. niques, in no way signifies that they are less important than
Oil and watercolor are painting media, whereas drawing is the most commonly used media. All the techjiiques shown in
not as easy to classify. this book are given the attention and detail required to be of

A drawing is considered to be anything that is created use for both the novice and the professional. The extensive
with lines of a single color. But this definition omits a host of variety of media and tools available to today's artists (which
works of all styles and periods that are created by combining increase day by day) are covered virtually in their entirety in
various tones of chalk and pencil or by means of shading. the first section of the book, and are accompanied by infor-
Nonetheless, such works are included in the drawing sections mation about their characteristics and usage. This section
of the world's most important museums. In fact, no one provides the reader with an exhaustive guide of the drawing
thinks of works created in colored pencil or India ink, or a materials, from the most convetitional to the latest innova-
sketch drawn in pastel or with colored markers as paintings. tions available on the mai'ket. The next section offers numer-
They are all types of drawings, hi the same token, a drawing ous practical demonstrations, divided into subsections for
cannot be defined according to the support used. It is true each basic technique, its thematic possibilities, as well as
that most drawings are done on paper, but there are count- specific procedures used with each drawing medium. The
less examples of drawings on wood, canvas, metal, or even advice included with each one of the graphic examples
stone. Drawing knows no boundaries because, to a greater provides the reader with useful guidelines to follow that cati
or lesser degree, it forms an essential part of all artistic be immediately applied to his or her own work.
media. No book can expect to cover everything in such a vast
This book has been compiled to provide the reader with a subject as the one dealt with here. The practical nature of
wide range of drawing possibilities, based on experience and this work renders it the most thorough and accessible
common sense rather than theoretical principles. This does compendium designed for professiotial artists, fine arts
not imply that this book is in any way less rigorous. We students, and amateur artists.
believe that by laying down rigid rules on the subject we
would limit its potential. Throughout the pages of this book, David Sanmiguel
the reader is introduced to the broadest and most up-to-date
range of drawing techniques and materials. Given that we
could fill a volume of this size on each one of the techniques
included, priority has been given to media such as pencil
and charcoal, which are accepted by a wide range of artists.
Graphite

_l
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_i Graphite is the substance from wiiich the lead inside pencils
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are made. It is the simplest and cleanest drawing medium.
LU
Pencil drawings can be done on any type of surface and,
because graphite is a greasymedium, they are very durable
and do not require the application of a final fixative, though
this may be advisable in certain cases. Pencil can be used to
produce hne drawings and works built up by shading. Its

leaden gray color is always the same in any t\'pe of graphite,

the only variation being its intensity: lighter in the hard type
of graphite and darker in the softer type. Graphite can be
Pcnijfino {1445-1523), Maid's Head. Brirish Miisciim.
combined with other drawino; media in the same work, Loudon. A drairiuji made with a silver lead. Metal leads
(lead,jfold, or silver) are the forerunners of the modern
provided tliey are compatible with its greasy nature. graphite pencil.

a greasy substance wixh (^allthree producing

COMPOSITION metallic reflections. brown lines), or lead
Graphite pencils are also (gray lines). Lines could
Graphite is crystal- known as lend pencils. be drawn \er\' accurately
lized carbon, present in This name comes from using this substance
natural deposits but also the metal nibs that w ere and the tone would
obtained artificiall\ . It is used as drawing instru- sometimes become dark-
ments before the dis- er as a result of the
covery of graphite. oxidation of the metal in
These nibs were made contact with the air.
from gold, copper, sil\er This technique required
a suitable surface: paper
primed with bone dust
and glue on which
corrections could not be
made.

Ranjfc of 15 different hardnesses of

graphite pencils. TJjcsc pencils are
seldom all used in the same work,
but the artist can choose the most
suitable assortment.

ORIGINS
The first graphite deposits were discovered in

1654, Cumberland, England. This substance

in

eventually came to replace all the metal nibs used

in Europe, which were more expensive and
awkward to use. Graphite in lead form as it is
known today was an invention of Nicolas-Jacques
Conte (who named his discovery after himself),
toward the end of the eighteenth century. This
new material was a mixture of powdered natural
graphite and clay, which was then fired in the
shape of a lead pencil and sheathed in a cedar
wood cylinder. By varying the firing time, a wide
variety of solid tones could be obtained. This is
still the type of graphite used by today's artists.
Graphite

_i
Pencil and graphite case by
WATERCOLOR exactly the same as O
Faber-Castell. TIjisset
those of normal soft
O
includes a complete raujfe of GRAPHITE
quality pencils and graphite graphite.
sticks that can be adapted to Watercolor graphite Lines and shading
the requirements of most is a recent develop-
<
produced with this
draftsmen.
ment that includes a t\'pe of graphite can be _l

small amount of gum retouched with a

<
arable in its comp- brush, blending the LU
HARDNESS osition, which makes it lines and creating
AND QUALITIES soluble in water. The different tones, which
quality of its lines is are lighter as more
The different inten- water is added.
sities of the hnes drawn
with graphite pencil
a
depend on their hard-
ness: The softer the
lead, the darker and
more intense the line.
In superior quality
assortments of pencils average harciness and graphite leads, \\hich
the major brands, such
( suitable for writing. are sold loose. These
as Faber-Castell, Staedtler, Out of this entire leads are of different
Rexel, Koh-i-Noor) range, the most com- thicknesses (from 1/2
there are some 19 monh' used for drawing to 5 mm) and are
different degrees of are the average hard- inserted into a mech-
hardness. These grades nesses (B, 2B). For anical pencil. Many
are specified by an quick sketches and artists prefer these
alphanumerical indi- notes, the natural lead varieties because it
cation marked on the to choose is the softest, saves having to sharpen
tip of the pencil. The such as 4B and 5B. pencils. Those artists
"letters B and H indicate Hard leads are more who use these leads
their respective degrees suitable for planning generally use only one
of hardness ( B for soft elaborate drawings and hardness (usualh' 2B
pencils and H for hard for the preliminary or 3B for making
)

pencils). The B categorx shading, while the soft- sketches or preparatory'

contains 8 different est are used to emph- drawings.
hardnesses, from B up asize the darkest areas.
to 8B (the softest). The
H category- ranges from GRAPHITE IN LEADS GRAPHITE
hardness H up to 9H IN STICKS
(the hardest). Between
these two categories The same degrees of Graphite in stick
HB and F
there are the hardness used for form can be used for
lines, which are of pencils are also used for large-scale works that Watercolor graphite is soluble in water to produce lines and
require large shaded areas that are then blended with a brush.

areas. Some of these

sticks are pencil shaped
and the tips can be Graphite in stick form can
sharpened; they are be used to produce quick
shadinjjs and I'ciy thick lines
coated in plastic to
by rubbing the stick on the
prevent the artist from paper.
getting smudged hands
while drawing.
Artists use the stick
forms for sketches
because they produce
strong, thick lines.
Most of the thicker
r\pes do not ha\'e a tip
and are designed for
drawing with the edge,
in a similar way to
chalk or pastel sticks.

Graphite in leads of different thicknesses saves the artist the

trouble of sharpening the pencil. Tljere are different degrees
of hardness for each thickness.
Colored Pencils

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Colored Pencils
_i espite their childlike associations, colored pencils have
<
D great potential as a drawing medium. Their colored lines

define forms and color at the same time, with a delicacy

and subtletN^ that other media are incapable of achieving.
Combining and mixing colors with pencils requires a special

process and technique. In addition, colored pencils can also

be an interesting complement in mixed-media techniques,
that is, combined with other drawing methods.

Eugene Delacroix {1798-1863), Seated Moor, 1814.

Private collection.

COMPOSITION CHARACTERISTICS
The essential char-
acteristic of colored
The leads of colored
pencils is their ease of
pencils are composed
use and imnnediacy.
of pigments bound
They are used in
together with a claylike
exactly the same way
substance called kaolin,
as graphite pencils,
which is then mixed
though their finish is
with wax. The pig-
much less greasy than
ments are the same graphite, which is
ones used to produce
softer and more satiny.
color in all the other
They do not require
pictorial methods any accessories or
(watercolor, oil, pastel,
equipment other than
and so on). But colored
paper and the pencils
pencils have less cov-
themselves. This is a
ering power than these
medium suited to
other methods because
small format works, as
kaolin, necessary for
the intensity of the
sharpening and adding
tone and the covering
resistance to the lead,
power is much less
prevents the pigment than other media. The
from extending freely advantage of these
on the paper. Thus the characteristics is that
pencils can produce highly detailed and
only colored lines.
elaborate work can be
drawn, the marks are
long-lasting, and the
colors are inalterable.
Mixing colors is
rather difficult with
colored pencils because,
once the color has
been drawn, it cannot
be altered unless it is
erased. For this reason,
manufacturers offer
very wide ranges of
colors so the artist can
find the exact tone
Professional i-aujjes of needed without having
colored pencils produce
to resort to color
quality work, comparable
to that of any other mixtures.
drawing medium.
\
Colored Pencils
if)
_i
VARIETIES AND O
WATERCOLOR o
PRESENTATIONS PENCILS QUALITIES
The quality of colored
Colored pencils for <
pencils depends on the
school use are generally
&Y'1^c Some major manu- c/)
quality and quantity of -J
sold in cases containing facturers otfer a special
the pigments used in <
8 or 12 colors. They are Box variety of colored
their composition. School-
very limited in range containinri pencils that are water
84 wntercolor use low-
quality pencils
and are not usually sold soluble. The tech-
crayons, from qualitypigments and a
loose. Major colored Caran niques for using these
smaller amount of
pencil manufacturers d'Ache. pencils are exactly the
pigments than the
such as the Swiss same as for con-
higher quality ranges,
company Caran d'Ache, \entional pencils. The
and a little wax is
the English companies difference is that the
usually added to con-
Rexel Cumberland or color can be spread out
ceal their lower covering
Berol, the German com- by applying water w ith
power.
panies Faber-Castell or a brush. This almost
High-quality pencils
Schwan, or the U.S. completely removes
produce opaque, in-
company Prismacolor the lines from the paper
tensely colored marks
offer multiple assort- to produce a result
that are slightly earthy.
ments. Exerxthing trom similar to a watercolor,
They can be sharpened
cases containing 12 although it lacks the
to a very pointed tip and
colors to deluxe cases COLORED LEADS latter's brilliance and
the cedarwood used to
containing ail the luminositx'.
sheath the lead is soft,
different tones that
yet resistant at the
appear on the manu- suited to works of a Most major manu- same time.
facturers' color charts: professional standard, facturers sell aquarelle
"72 in the case of Rexel as they can be made or watercolor crayons
Cumberland, 100 Faber- sharper and remain in their entire range of
Castell, or 120 Caran sharper longer; semi- colors. Because they TJjc lines drawn watercolor pencils can be
In'
d'Ache. .All these pen- hard pencils there are
( are in the form of bars blended to produce a finish similar to that
cils can be bought no truly soft-colored or sticks, they can be of true watercolor.
loose after consulting pencils) are handy for used on works of a
the manufacturers' covering rather large larger scale than usual.
catalogues. areas with a uniform Faber-Castell makes
Some manufacturers color. fine color leads, 0.5
offer pencils with two mm thick, to be used
different hardnesses. in mechanical pencils.
Hard pencils are most The adxantage of these
leads is that they
produce a fine, even
Assonmetit of 140 colors •<
line that conventional
from Caran d'Acbe, which
come in three trays inside a
pencils could draw
wooden box. only if kept constantly
sharp. These leads
come in cases of 10
and cover a range of 17
colors.
Tm Charcoal
CO
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Charcoal
C/)
_i Together with the graphite pencil, charcoal is the most
<
cc widely used drawing medium. It is extremely pure and
direct and highly versatile, and it offers great creative
potential. As with pencils, charcoal drawing requires no
auxiliary media; unlike pencils, the results are more pictorial
and spontaneous, and can be achieved on all types of formats,
from small works to large-scale compositions.

COMPOSITION
charcoal produced by VARIETIES AND
the traditional method; PRESENTATION
many are now made
Charcoal sticks, known from powdered willow Charcoal is sold in
as vine charcoal, are charcoal, which is com- different thicknesses, Leonardo da Vinci (1452-1519), Study for the Right Arm
of Saint Peter, 1503. Windsor Castle Library.
thin, knot- free twigsof pressed in molds to from thin sticks barely
willow, lime, or walnut imitate the irregularity 2 mm
in diameter up to
that have been specially of natural twigs. The sizesalmost 3/4 inch
selected and then burnt. qualit)' of these sticks is (2cm) in diameter. and evenly carbonized. 25 to 40 sticks. Certain
The size and thickness virtually identical to The price depends on The major brands firms, such as Taker
of the twigs determines traditional ones, with tlie thickness, while the such as Koh-i-Noor (Spanish), sheathe half
the size and thickness of the added advantage quality of the charcoal (Austrian), Grumbacher the stick in aluminum
the final charcoal sticks, that they do not contain depends on selecting (American), or Lefranc foil so it can be held
which are more expen- any of the small, hard, the finest twigs, which (French) sell high- without staining the
sive the thicker diey are. lumps that
cpy'stallized should be as straight as quality charcoal in all fingers.
It is becoming increas- can occasionally be possible and free of thicknesses, both loose
ingly difficult to find found in burnt twigs. knots and completely and in boxes containing

Charcoal is the most

ancient ofdvawinri
methods, and it still
enjoys unanimous Charcoal pencil case, charcoal, stump, and compressed
acceptance by charcoal sticks from Faber-Castell.
contemporary artists.
Charcoal
CO
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O
CHARCOAL PENCILS CHARACTERISTICS POWDERED CHARCOAL O
Charcoal is dry to the
touch, leaving a very
Some manufacturers, Some artists like to <
dark gray, almost black,
such as Conte or Koh- use powdered charcoal CO
matte finish. It is made _l
i-Xoor, offer charcoal to create subtle blends
of fine carbonized par- <
pencils, slightly bound and gradations in
ticles, enabling it to be
to make them con- large-format works. LU
applied directly to a
and able to be
sistent The most common
surface (generally paper)
sharpened. They are application is to rub
and allowing all kinds of
very useful for small some over the paper
blending and gradations
format works that re- w ith a finger or with
The
of different grays.
quire fine uniform a piece of cotton.
result of a made
drawing
lines. These pencils are Powdered charcoal is
with charcoal depends
generally used together sold in jars, although
Charcoal sticks are sold in different sizes to suit different greatly on the type of
formats and styles. Here are six examples, ran^injjfrom with com entional char- the artist can make it by
paper that is used. The
1/12 inch to 3/4 inch (2 mm
to 2 cm) in diameter. coal sticks. grinding fragments of
rougher the paper, the
charcoal sticks so fine
more intense the lines,
Natural charcoal is certain clay content that they can no longer
because more particles
not cheap, so be war)' under the name "Pitt.'' be used for drawins.
will be embedded in the
of offers that are These sticks are stan-
irregularities of the sheet
too low-priced as they dard sized, 1/4 inch 7 (

of paper. Charcoal a
usually consist of char- or 8 mm in diameter,
)

totally natural product,

is

coal of such low quality" and are an intermediate

one that does not incor-
as to be virtually useless. medium betw een pastel
porate any binding agents
Recently, however, and charcoal. They
to give it cohesion. Thus,
press-molded charcoal produce lines that are
It is necessary to apply a
sticks made from pow- darker, denser, and
fixative to the drawing Powdered charcoal is used
dered charcoal have more velvet)- than tra- in larjje-scale works that
so that the particles do
appeared on the market. ditional charcoal, and require softly blended
not loosen over time.
They are of excellent come in three different areas. Tlie powder can
hardnesses. The softest be applied directly by
qualit) and considerably
hand or with cotton.
less expensive than produces a tone of black
traditional charcoal that is so deep that it
sticks. can only be compared
to those of pastel black
Charcoal pencils can be
(made from pigment, used alone or tojiether with
COMPRESSED not charcoal). This t\pe charcoal sticks.
CHARCOAL & BINDER of charcoal can be used
in the same way as
Faber-Castell manu- traditional charcoal, but
factures special com- because it is denser, it is
pressed and bound not as easy to blend or
charcoal sticks with a erase.

ORIGINS
Charcoal is simply burn: plant matter and dates
back to the very origins of art. Cave paintings were
made using powdered plant charcoal (slightly bound
^J^m with saliva, probably) as the main pictorial medium,
«- and their survival to the present day is the best sign of
the permanence and unchanging nature of this
Compressed charcoal sticks are made drawing medium. Since then, charcoal has been a
from powdered charcoal that has been universal drawing medium for both sketches and
finelyjfround, bound, and mixed with clay. finished works.
It produces very intense and velvety lines.
Pastel and Similar Media
C/)
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Pastel and
CO
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< Similar Media
Pastel and its methods and drawing
derivatives are pictorial
media. They all use the same method to achieve their
effect: bound colored sticks are rubbed on paper to produce

lines and patches of color. They can, to a certain extent, be

blended and mixed. They are also direct media that are
simple to use and, like charcoal, have no drying time and can
be superimposed and blended in many different ways. Also,
as with charcoal, the final result of the work depends to a

large extent on the type of surface the artist has chosen and
its roughness.
Antoine Watteau (1684-1721), Two Studies of the
Female Figure, 1716. Private collection.

PASTEL A the background to as paintings. Toward the since that time have color within a limited
DRAWING MEDIUM pastel has been its use as end of the seventeenth used this medium on range that is more tonal
a drawing medium. century, pastel con- the same footing as the in nature than chromatic.
The discussion as to During die Renaissance, solidated its position as a other pictorial media. This book cannot
whether pastel should artists would use col- pictorial mediumthanks Artists now use all t\pes expect to cover all the
be considered a dra\\ing ored sticks to enhance to the works of the great of pastels to enrich their pictorial potential of
medium or a painting sketches that were ne\er portrait painters of the drawings while main- pastel, yet neither can it
technique is a moot conceived or displayed court, and many artists taining their essential ignore its enormous
one, as both points of drawing quality either potential as a drawing or
\'ie\\' are based oh good by making great use of painting medium. The
arguments and no lines or of patches of aim of this work is not to
definite conclusion impose limits on the
could ever be reached.. artist, for it is up to each
-.w *••»>;; •
••
ji -^ --^
•^rir'"i^r artist to decide where
• '

Historically speaking.
his capacity as a drafts-
man ends and his work
as a painter begins.

Pastel is a medium with

great potential for both
drawing and painting.
Tlje variety of pastels and
pastel pencils can be
adapted to almost all
drawinq styles.
Pastel and Similar Media
CO
—I

COMPOSITION
enormous range of O
intermediate tones, O
which originate from
Pastels are com- these pigments and are ORIGINS
posed of pigments mixed with white Chalk is a form of
<
05
bound together with pigment. Thus the soft limestone of
gum arabic. The anist does not have to organic origin that is <
hardness of the sticks use pure white to white or gray. It was LU
depends on the amount lighten a tone. during the fifteenth
of gum arabic included century in Italy that
in the mixture. In top- artists began to use
quality pastels, the pxjwdered chalk, bound
amount of gum arabic and molded into stick
is very low, meaning shape to allow them to
they crumble easily. include white highlights
This allows manu- in their charcoal or
facturers to sell pastels blackstone drawings
of varx'ing hardnesses. (clay slate) on colored
Pastel becomes more opaque when blended as the particles of
Low-quality pastels paper. White chalk was
CHARACTERISTICS pijjment penetrate into the^rain of the paper, covering it
include a certain entirely.
mixed with different
Of all pictorial media,
amount of plaster, iron oxides to obtain
pastel is the closest to
which makes the colors brick red chalk (known
pure color, without the
lessopaque and less as sanguine), sepia,
use of any element
intense. Chalk has a sienna, or ochre.
other than pigment. It
similar composition The first paste!
can, therefore, produce
but it is harder because colors appeared at the
deeper, more saturated
it contains a substance start of the sixteenth
colors than other century. They were
similar to plaster.
pictorial media. The
Soft pastels are those made from bound
colors have a dense,
with the largest pigments without any
velvety quality and need
proportion of pigment; chalk, and were softer
a fixative to be applied
that is, they are of than chalk sticks.
to make them durable. Today, there
higher qualit)- and are is virtually
As a drawing me- no difference between
manufactured in cylin-
dium, soft pastels are chalks and hard pastels.
drical sticks that
too brittle for drawing
crumble easily when
lines that require a
rubbed on the paper,
certain uniformity. Ar-
leaving behind an
tists generally choose
opaque, intense color.
harder pastels or sticks
The\' go a long way, as
of chalk for most of Pastel can be used to
the large amount of superimpose tones and. to
their colored drawings.
pigment they contain a certain extent, to mix
can be applied with colors. Tljc wide variety of

one's fingers on the hues available however,

,

makes most of these color

surface of the paper. mixtures unnecessary.
Manufacturers such as
the prestigious French
company Sennelier
Pastel colors produce their
produce a total of 525 best results when used on
different colors made colored surfaces.
from top-quality pig-
ments. The aim of such
a wide range is to
reduce the need for
mixing colors, a tech-
nique that is never
recommended when
dealing with pastel.
Both this brand and
Schmincke (German)
or Talens Dutch manu-
( )
$
w ith
facture soft pastels
pure colors and an
<^

J
Pastel and Similar Media
C/D
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o VARIETY AND WATERCOLOR
o
PRESENTATION PASTELS

< Every firm sells Watercolor pastels,

boxes and assortments like certain varieties of
—I of all kinds. Some colored pencils, can be
<
manufacturers sell soft dissolved in water with
and hard types of the the help of a brush to
same colors; this is the produce results that are
and its
case of Talens half\vay between pastel
Rembrandt and Van and watercolor. They
Gogh assortments, are generally of me-
which are soft and dium quality and are
hard, respectively. Also sold in small ranges,
worth noting among both in stick and pencil
the hard varieties are form. They can be used
the square, not cylin- as a complement to
drically shaped, sticks pastels to create blends
Assortment of hard
manufactured by Faber- of color in particular pastel sticks fi-om Talens.
Castell. areas of the work. Hard pastels are better
suited for drawing styles.

PASTEL PENCILS

TYPES OF BOXES them from blows.

As their name Some manufacturers
suggests, pastel pencils offer special assort-
are pastel sticks in Large assortments of ments for portraits,
pencil form and high-quality pastels landscapes, and sea-
sheathed in cedar- usually come in wood- scapes, which contain
wood, just like an en boxes with one or the colors most com-
ordinary pencil. They more trays for easier monly used for these
are very useful for an use, conser\'ation, and subjects. All these
artist accustomed to transport. There are boxes and cases can be
working with pencils; many smaller assort- useful even when all
the handling and ments that are more the pastels have been
consistency of these economical and come used up and replaced
hard-type pastels make in cardboard boxes, by others, even those
them similar to work- fitted into foam com- taken from different
ing with graphite or partments to protect ranges.
colored pencils. Their
drawback is that they
are difficult to sharpen,
since they are softer
than colored pencils. Pastel pencil case from
They are presented Faber-Castell.
in boxes containing
twelve colors and can
also be bought loose.

Pastel pencils, which

produce finer, more
accurate lines than
sticks, can be used
alone or tojjether
with the latter.

'^^
Watercolor pastel sticks broaden even further the
7'anjje of possibilities of traditional pastel.
Pastel and Similar Media
C/5
_1
and of neutral
a range o
grays, both in stick and
o
pencil form, and as
leads for mechanical
<
pencils.

<
cc

SANGUINE "

Within the group of

chalks, sanguine stancis
out as having its own
personality. This is a
Ran^e ofgray chalks from Cotiti, specially designed for
brick-red colored t)pe
monochrome shaded drawings. of chalk that has been a
faxorite of many artists.
The warmth of its tone
SPECIAL CHALKS and the beautiful
£ ASSORTMENTS *
results when used on
colored paper make it a
Tlje wide range ofpastel colors allows the aitist to select the
Conte and Fabcr- Chalks are relatively drawing medium in its
harmonic tones best suited to the subject.
Castell sell special hard sticks that are own right. Sanguine
assortments for drafts- suitable for line-based chalk can be used for
men, which come in work and gentle blend- line drawing as well as intense black, which ons are currently
metal cases with small ing. The abundant, all t)pes of blending. It combine the adxantages manufactured in four
compartments; they varied supply of all more
lends itself to a of graphite pencils, different hardnesses
contain graphite pen- types of pastels makes work
delicate style of charcoal's potential for and in leads for
cils in four or five it difficult to distin- than charcoal, and large formats, and the mechanical pencils.
different hardnesses; a guish them from produces less dynamic tonal strength of chalk. This is why the Conte
range of chalks in gray; chalks. In fact, most yet melodious results. They can also be crayon, despite the
and colored sticks, manufacturers include The traditional san- combined with the many imitations that
chalk pencils, charcoal chalk in stick form in guine sticks can be above media for \\orks flood the market, is still
pencils, compressed their assortments of complemented with that require softened the favorite medium
charcoal sticks, and hard pastels. Strictly sanguine pencils, which hiehlishts. Conte crav- for many great anists.
natural charcoal. These speaking, chalk colors make for easier line
cases tell us more are limited to white, drawing and shading.
about the tradition of black, sepia, and san- Many artists use
drawing than about the guine (iron oxide). stumps or blending
needs of professional These four colors pencils to obtain all the
draftsmen: They are possess a perfect tonal potential of sanguine's
really a collection of balance that makes characteristic softness.
traditional drawing them specially suited
media that artists for all types of almost
generally buy indi- monochrome drawing
\idually, based on their and harmonic gra-
own experience. dations. The French
company Conte, to- CONTE CRAYONS
A selection ofgray and gether with Faber-
bluish tones (applicable, for Castell and Koh-i- This t)"pe of crayon,
example, to a seascape) taken
Xoor, sell cases of which has been usecH by
from a pastel assortment sold
by the German company chalks occasionally artists all over the
Schmincke. accompanied by sienna w orld for almost 200
years, deserves special Michelangelo (1475-1564), Study of a Male Figure.
mention. Conte was .Metropolitan Museum of Art, New York. A masterpiece of
drawing, in sanguine.
the first to introduce
graphite to the Euro-
pean continent and the
first to combine it with

clay to intensify its

tones. Conte crayons
produce an unmis-
takable mark: sharp,
precise lines of an

TJjetraditional tones of
chalk come in both stick
and pencil form.
-

Ink
C/3
_l
o
o

<
is one of the oldest drawing media, used by Chinese
< Ink
artists almost 2,500 years ago. It is one of the most versatile

drawing media that exist. It is excellent for both minute,

detailed work and for sketches with lines or patches applied
with a brush. Used alone or together with other techniques,
it has unrivaled graphic strength and qualits' and can be
diluted in water to obtain the most varied pictorial effects.
Rembrandt Van Rijn (1606-1669), Figure Surrounded by
Museum.
Trees, 1614. Dirsden

ing.Colored inks do not TIjc reed is a wonderful

COMPOSITION drawing instrument that
protiuce very per- produces spontaneous works
manent colors, so it is of^reat tonal wealth.
Conventional India necessary to protect
ink (also called Chinese them with special
ink), white or black, is fixatives; even so, it is
made from pigments inadvisable to leave such
dispersed in a water works exposed to direct
solution and a special light for too long,
binder called shellac. It because the colors will
is highly adherent on exenaialh' fade.
most t\pes of paper and,
when dr\', is insoluble in
water. Modern colored
inks for drawing and
illustrating have the detail. Different types
same composition as are sold, but an artist
India ink except that can make his own from
REEDS
they contain colorings a dr\' bamboo cane, cut
instead of pigments. The reed is a very in a bevel at one end A traditional India
Other versions of color- rudimentary instru- and with a long slit ijik di-awi?ijf kit

ed inks use gum arable ment but one that starting at the vertex of contain i}i£[ a brush, ink
as a binder, which keeps many artists favor the bevel. Depending tablet, water, and stone for
dissohinjf the ink.
them soluble after dr\ precisely because of its on the shape of the tip
rather primitive effects (sharp or flat), the lines
and its use in sketches will be thicker or
or works that do not thinner. INK IN TABLET FORM
call for accuracv or ORIGINS
In the western hemi-
India ink can also be
sphere, the use of ink
bought in tablet form. dates back to the Middle
This is the original, Ages. The illumination of
solid form of the ink
manuscripts was done
used in the Far East. in gall-nut ink, which is
The tablet is dissolved
very intense and brilliant,
in distilled water by though rather unstable,
rubbing it on a special until an ink called "India"
pan made from rough (so called because it was
stone until the right used in the Far East) was
consistency is obtained. introduced from the
The basic tool for this Arab culture into Europe.
traditional process is This ink was unalterable
the brush. and was made from
black pigment obtained
from burnt twigs and
then mixed with gelatin
Whether pen, reed, or brush
arc used, ink drawings arc and camphor.
always hi£ihly attractive.
Ink
c/)
_i
Rnn^e of colored inks O
COLORED INKS fi-om Taletis. This
O
company markets a
total of 10 different
colors.
<
Talens, among oth- CO
makes bottles of _i
ers,
<
colored inks in a wide cc
range of tones. Most
of these inks are based
on colorings called
which are \er\-
anilines,
intense and opaque.
Colored inks are
designed for use with
airbrushes, though
they also produce
good results when
used brush
in nib or
drawings.They cannot,
PENS AND NIBS each load lasts. Many thick lines, are also
however, be combined modern artists avoid used bv some artists.
with other media, as thisdrawback by using CHARACTERISTICS
anilines stain all types The metal nib did drawing pens with ink The characteristics
of paint, even when not appear until the reservoirs or simply of India ink vary
completely dr\'. end of the eighteenth fountain pens. depending on the
centun*'. Up until that Modern fountain manufacturer. All India

time, artists had used pens, with their special inks are an opaque
goose feathers as tips that provide black, their brilliance
drawing instruments. constant, uniformly depending on the type
The classic metal nib is The ti-aditional nib-pen can of product, and all are
INKS FOR WASHES sold loose and is
be replaced by a fountain
water soluble. Only
pen or special drawinjj pens
inserted onto plastic or distilled water should
such as those manufactured
Inks for fountain wooden handles. There by Rotring. be used for mixing with
pens from Parker, in are a wide variety of this type of ink; the

blue and black, offer nibs on the market: flat usual innpurities in

interesting possibilities or curved, flat tipped water could easily

for wash drawings, or round tipped, break up their black
with a brush. The special tips for tone.They are usually
tones of these inks van,- calligraphy, and dense, very opaque,
according to how so on. Graphos and require a con-
diluted in water they of 70
sells a total
siderable amount of

are, giving rise to a different types of water for diluting to

lighten the tone. Sepia-
range that is rich in nib. Drawing with a
colored ink, or the old
hues. These inks can nib obviously requires
be used both with a the artist to constantly form known as "bistre,"
is a traditional variety of
nib and brush, or even load it from the
Pens (ballpoint, this type. Writing inks
combining both media inkwell, controlling the fine
in the same work. amount and the time point, felt-tip, and so have similar charac-
on) and other writing though they
teristics,

instruments can be are generally lighter

used as interesting and less opaque. Some
drawing instruments, have great potential for
provided the artist the artist's work.

does not expect results

that can only really be
obtained with spe-
cialized drawing in-
struments. They are
useful for notes, quick
sketches, and small,
mostlv linear work.

Colored inks, belonjjinjf to the

Ecoline ran^e, by Talens. These Tliere are different types of
inks are made from anilines, very drawing nibs for obtaintnjj
intense colorings with little different types of lines.

'J resistance to li^fht.

Other Media
CO
_l
o
o

<
Other Media
book on drawing tecliniques should naturally exclude
<
DC
LU
A other pictorial media. But many of the pictorial media are
also used as drawing media. Mixed techniques deserve to be
mentioned because they put many creative possibilities at the
artist's disposal. All these techniques have been brought
together into two large groups: water- based media and oil-

based media. The description of these techniques is accom-

panied by explanations about recent drawing tools, such as

felt- tip pens.

David Snnmisiid (1962), Nou Celler, 1996 (detail).

Private collection. A work usiiifj mixed tcclmiqties,
cojiibifiiujf both wet ajid dry media.

highly stimulating
MIXED TECHNIQUES activity for the artist,
who should, however,
Mixed techniques are base it on his prior
considered to be those knowledge of mixtures
that combine several that he knows to be
different media and compatible.
cannot be classed with
the usual techniques.
Using mixed technique
combines the advan-
tages of each material,
which ultimately en-
riches the work. Con- DRAWING
trasts in texture and AND PAINTING
different finishes are
the most characteristic All pictorial media
feature of this form. can be used for
The limitsof combined drawing. Lines can be
techniques lie in the drawn using all t\pes of
incompatibility' between media, while mixed
certain media. Thus, techniques take draw-
for example, water- ing beyond its usual
based media cannot be bounds into the realm
mixed with oil-based of painting tc^ such an
media, nor can satiny extent that certain
papers be used for monochrome works
drawing media such as take on an unques-
charcoal or pastel. tionable painterly
Occasionally, a mixed quality. In such cir-
technique can appear cumstances, the di-
temporarily stable, vision and the strict
only to deteriorate distinctions between
over time. The best drawing and painting
way of avoiding this is become unnecessary,
to be fijlly familiar with as even pure color can
how each medium become a drawing
behaves when com- medium when used as
bined with others. such.
Experimenting is a

Tljc combination ofdijfercnt media, provided they

are compatible, catijjivc rise to original and hijjhly
creative results.
Other Media
CO
_i
matte, slightly earthy, molecules in suspension, characteristics make O
and opaque; when they which on drying forms them very popular
o
are overlaid, the base an elastic film that is among contemporary
color is completely insoluble in water. In artists.
<
concealed by the new the case of latex paint, Acrylic colors come (/)
_l
tone. the polymer is poly- in tubes and tins in a
<
Watercolors, made vinyl acetate, and in range of tones as wide cc
by grinding pure dry acrylic paint, acrylic as that of oils. Talens,
pigments into gum polymer is used. An- Schmincke, the Amer-
arable and glycerin, are other characteristic ican brands Liquitex
sold in tubes and pans. they share is that they and Golden, and the
Both forms of presen- are both quick-drying Spanish brands \"allejo
tation, in professional paints and both ha\e a and Titan make pro-
ranges, are of the same plastic, satiny appear- fessional quality acr\'lic
quality. Among the ance. Acrylic colors colors.
brands that make high- show great similarities
quality watercolors to oil paints, with the
are Winsor & Newton, added advantages that
Jean Baptiste Greuze (1725-1806), Woman with Child the German brand they do not require
and Dog on a Di\an, 1762. Private collectioji. This nib Schmincke, the Dutch organic solvents and
(irawin£i is enhanced with a dark, watercolor wash.
Talens, and the Span- they dr\' quickly. These
ish brand Titan.
Whether in tube form
WATER-BASED drawing in color, or in pans, they can be
MEDIA creating textures, and bought loose, though
direct drawing using a all brands sell

Water-based media brush. metal bo.xes

are media that are with an assort-
diluted in water. The ment of colors.
most popular of all is WATERCOLOR These boxes
watercolor, but the AND GOUACHE are very useful
term also includes because they act
gouache and, to a Watercolors are as a palette and
certain degree, acr\'lic transparent and lumi- are easily carried
paint. They are essential nous. Thus, they can about. Gouache
media that are
pictorial be overlaid in the form colors are sold in
fast-drying and that of glazes, which are tubes or bottles of
can be applied in successive transparent creamy color in very Boxes of
many different ways. layers that lend the wide ranges of tones to moist
As drawing media, they work a special quality co\er all the require- watercolors
can be very useful for and depth of tone. ments of illustrators, in pans.

preparing backgrounds. Gouache colors are who most use this

medium.

them to be dissolved in
WATER-BASED OILS both organic solvents
and water. Because
Recently, Talens has they are a new me-
launched a range of dium, they cannot yet
water-soluble oil paints. be judged accurately.
LATEX AND Although this may This w ill require the
ACRYLIC PAINT appear to be a con- practice and experi-
tradiction in terms, mentation of different
These two media are these paints contain artists.
(manu-
relatively recent certain resins that allow
factured for the first
Water-based media are those that
time during the 1940s)
hare water as a solvetit. All of them, except
and both use the same watercolor and gouache, are insoluble when diy.
binder in the form of a
polymerized substance,
that is, a chain of

Gouache is excellent for

quick notes and sketches,
working with the tip of
the brush.
jm Otlier Media
in
_i
o very liquid color, to Tintoretto (1514-1594),
o OIL-BASED MEDIA
several days or weeks if Battle on the Taro, 1579.
Museum di Capodimonte,
thick impasto has been
Naples. A
sketch drawn in
Oil-based media are used. Almost all these
< charcoal with touches of oil

CO based on oil or wax and colors are opaque, paint in order to achieve the
various values of bluish
can be used with an although they can be
< ijrav.
organic solvent (tur- made transparent by
LU pentine, petroleum, diluting them with
and so on). The most different solvents.
common oil-based WAX CRAYONS
medium is oil paint,
but this category also Wax crayons are
includes wax crayons usually considered a
and solid variations of OIL STICKS drawing medium for
oil colors. In a book on school use, but the
drawing, we cannot qualit}' of many of them
undertake an exhaus- Oil sticks, also together with their wide
tive stud}' of media that known as oil pastels, range of colors mak€-
are essentially for are a relatively recent them suitable for pro-
painting, but these development that has ducing professional
media in particular an interesting appli- qualit}' works. They are
have great potential for cation in drawing. used in a \en,' similar way
dra\\ing techniques. These sticks can be to oil sticks: They are
Wax crayons are usually
Wax and oil are the used directly on the cotisidercd a drawinji
rubbed on the support
basic binders of oil- support without the medium for school use, yeT and can be mixed or
based media. Colors need for brushes or wax crayons can
qualit}' overlaid quite easily.
are applied directly palette knives. They produce excellent results. Because they are an oil-
onto the paper or other can be mixed and based medium, the\' can
surfaces by rubbing or spread out \vith the aid be liquefied with the
by using a brush or of a brush dipped in help of a sohent.
palette knife; to make solvent. They produce
them more liquid, a thick, highly opaque SOLVENTS
solvent such as tur- strokes and can be AND MEDIUMS
Blendiiiji and
pentine is used. They combined with tra- superimposing colors
are slo\\' drying, taking ditional oil colors. is a feature of wax. The most suitable
anywhere from few
a solvent for oil painting
hours, in the case of a is turpentine. This
solvent is equally well
working with
suited for
wax crayons and can be
used to liquefy the
Oil sticks are used by color for it to run more

rubbinff them on the surface, easily on the support.

in the same way as pastels.
Mediums are different
substances designed to
accelerate the drying
time, to obtain more
brilliant finishes, or for
Oil-based media are those
Becauseit is an oily '

that include wax or oil and

medium, wa.x can be
obtaining base tex-
that 1-equire an organic tures that can then be
dissolved in turpentine.
solvent (turpentine) to
painted over.
make them usable.

CHARACTERISTICS
Oil-based media in general and oil paint m particular have a creanny, opaque
consistency and can be applied in many different ways: from plain, uniform colors to
texture finishes with wrinkles and lumps created by the colored paste. Oil is the
most prestigious of traditional painting media and many modern artists consider it
the finest of all media. Oil paints can certainly be used in ways that are beyond any
other media: The colors can be mixed together without any problems, to produce a
rich and subtle variation of hues. The painting can be reworked, retouched, or recast

an infinite number and the slow drying allows the tones to be perfectly
of times,
graded. Oil paints three different sized tubes, loose, or in assortment
are sold in

boxes. Professionals generally buy their tubes loose, selecting them from each
manufacturer's color chart. The English brand Winsor & Newton, the Dutch Talens,
the German Schmincke, the French Lefranc Bourgois or Blockx, and the Spanish
brand Titan manufacture quality oil paints.
Other Media

_j
A work by Montseirat O
FELT-TIP PENS Mati£ot, drawn with tones are usually fairly
O
watercolor felt-tip pens.
transparent, so these
Working with felt- felt-tip pens produce <
tip pens is the most their best results when c/j
modern of drawing produces completely used on white surfaces _j
<
techniques and is opaque colors and that do not subtract
specially suited for which can be used to from the luminosity' of
illustrations and pub- obtain good results the colors.
licit}' that require clean when working with
tones, sharp outlines, blocks of solid, opaque,
and a quality that can and uniform color.
easily be adapted to
photographic or photo-
mechanical reproduction.
An assortment of 24
This does not mean ALCOHOL BASED permanent felt-tip pens
fi-om Eddinjj.
that pens
felt-tip
cannot be used for Alcohol-based pens
more creative, artistic are used by most
works. The enormous The ink usually
artists.
potential of felt-tip evaporates quickly,
pens on the market allowing it to dry
takes in all styles and quickly. WTien it is dr\',

methods of drawing. the colors are fast and

Felt-tip pens consist of lines) and broad-tip versions of each color: other tones can be
a tip was
that originally pens (the most suitable fine- and broad-tip; superimposed without
felt but now is usually for drawing). The Pantone combines the colors mixing or
polyester, containing depend
colors available both versions in the running. If the artist
very small openings on the manufacturer: same pen, with the fine wishes to obtain color
that allow the ink to AD Marker, an Amer- point on one side and merges and a smooth
flow from the interior ican brand, offers a the broad tip on the finish, however, he
to the tip. The reser- range of 200 colors; other. must work ven,' quickly
voir of the pen is a the Danish brand A professionalgen- without waiting for the
piece of felt saturated Edding has 80; the works with a \"er\'
erally colors to drv. The
with ink in contact English brand Magic wide range of colors to
with the tip; the ink Marker, 123 colors; avoid having to mix
rises to the tip when the French branti them as combining
writing or drawing. Mecanorama, 116 colors is difficult with
colors; the American felt-tip pens. Usually,
brand Pantone, 500 the drawing project
colors; and the Danish itself will suggest
Stabilo, 50. In addi- which colors to use. It
tion to the school should be remembered
types, firms do not that color charts give
VARIETY AND usualh' sell assortments only an approximate
PRESENTATIONS of these colors as it is idea of the real tone, so
usually the artist it is advisable to tr\' the

Almost all brands himself who buys the tone out on a piece of
manufacture both fine- felt-tippens singly. white paper before A box
tippens (suitable for Almost all the above buying each pen. of48
water-based
writing and drawing brands make two and
watercolor
coloi's fi-om
Edding.
A box of 30
WATER BASED
watcrcolor
pens for artists CHARACTERISTICS
from Caran pens can be used for making color sketches
Felt-tip
d'Ache. Water-based pens faster than any other drawing medium. The ink dries
are usually designed
quickly, allowing the artist to control the lines easily
for school use. The
-and obtain a clean, uniform tone when it is necessary
lines take longer to dr)'
to cover large areas. Because the pen contains an ink
and some colors may reservoir,no other materials are necessary. Colors can
alter others when
be superimposed and juxtaposed almost instantly, as
overlaid. Some manu-
they do not run or change tone over time. The finish
facturers sell water- varies depending on the type of ink, but it is usually
based pens with
felt-tip
opaque or semiopaque, with an almost perfectly even
a pigment similar to tone and extremely luminous colors.
that of gouache, which
Brushes
(f)

Except for the dry techniques (pencil, charcoal, pastel, and so

on), brushes are essential instruments in most drawing
techniques. But not all brushes are equally well suited; some
have a specific use and all of them come in different qualities,

with differing degrees of artistic potential.

AN INTRODUCTION brush. Generally speak- elasticity combined

TO BRUSHES ing, there are three with the capacity to
shapes of bristle for recover its original
Quality brushes each type: round- shape after each brush-
consist of natural or tipped, flat-tipped, and stroke, an essential
synthetic hair (which is filbert. The first two factor in all types of
what determines the ones most com-
are the brushes. In addition to
quality of the brush), monh' used h\ artists. this, sable-hair brushes
tied together and maintain a perfect tip,
glued to an enameled allowing the artist to
handle. Around this SABLE BRUSHES control the thickness of
area there is a metal the lines, and they can mixed occasionally Leang K'ai (middle of 8th
ferrule that protects Sable-hair brushes absorb a large amount with other, inferior century), Li Po Reciting a
Poem. Comtnittee for the
and secures the hairs. are the highest qualit}' of paint, for painting in types of hair to lower
Protection of Cultural
Brushes are num- and the most expensixe. masses of color. the cost. They are Property, Tokyo.
bered by size, usually Sable hair has a The high price of this excellent brushes for all
from 1 to 18. The fineness and a strength type of brush means t\'pes of wet techniques,
shape of the bristles that are far superior to they are only made in for ink drawings, and
brush
determines the charac- any other t\'pe of hair. small and medium even for certain oil Tlje is the classic
painting instrument,
teristic lines of the Strength refers to sizes; sable hair is also techniques. though it can also be used
to great effect in drawing.
strong, and the tip is
fairly good qualit}'. Ox-
hair brushes are usually
round and come in
medium or large sizes.
Other more econom-
ical hairs, such as mon-
<
goose, are suitable for
round brushes for
painting large formats,
using flowing brush-
strokes that call for
many patches of color.

Eastern brushes offer jjirat

HOG'S HAIR
potential for drawinfi and
especially for what is known
A collection of Chinese brushes hanging from a traditional as "Japanese wash," in
support specially designed for the purpose. The best quality which the shape of the hairs
hog's hair is obtained is adapted to the subject

from Chinese pigs. It is being painting.

work, especialh' when marble colored, and its
OTHER NATURAL they need to absorb a
HAIRS hardness and elasticity'
lot of paint or apply make it ideal for
Sable-hair brushes large patches of color. working with dense,
are the best instruments Ox hair is excellent for pasty colors, meaning
for techniques, but
\\'et washes, watercolor, it perfect for oil
is
most artists use slightly gouache, and ink. It painting. After a
lower quality brushes absorbs a good amount certain amount of
for a large part of their of paint, is reasonably use, the bristles split
and the brush
improves con-
siderably.
Because it pro-
duces rough
strokes, it is not well
suited to water-based
media (although in
certain cases the effects
'

m^^^ r obtained may be

attractive). It is
ven,'
perfect
for dynamic work on A selection of brushes for working with wet techniques: flat,
s)'nthetic brushes; large round o.x-hair brushes; aJidfine
'^""'^^ ^ supports such as canvas sable-hair brushes.
or wood.

A deluxe case by Escoda, with 6 supcyiuy-quality

sable -hair brushes.
perfect for covering brushes designed for a
SYNTHETIC HAIR
large areas with an even particular purpose:
Tlie Escoda company
manufactures special color. It is the ideal washes in India ink.
brushes for drawinfi with a A recent arrival on instrument for painting The handle is made
tip that allows reiyfine the market, synthetic with acrylic colors. from bamboo and the
lines to be drawn with
hair produces good Synthetic-hair brushes hair is of the softer
abundant color.
results with standard with a round or filbert type, usually deer,
brushes and larger, flat tip produce mediocre goat, or boar.
brushes and all t^pes of results; they split too Japanese brushes
techniques. easily and cannot come in many
sizes and
Synthetic hair can- absorb a large amount. shapes,some containing
not absorb as much \ery few hairs up to
water as soft, natural those that are almost
hair nor can it apply 10 inches (25 cm) wide.
paint with as much JAPANESE They can also be
density and texture as
BRUSHES used for other tech-
natural bristles, but the niques, provided the
flat \ersion is excellent Fude, their name in color is highly diluted
for drawing lines and is Japanese, are magnificent in water.
Drawing Papers

Paper is the universal surface for drawing on and, as a rule, you

<
can paint on virtually any type of paper. But each drawing
technique works best on a certain type of paper, so it is important
to be aware of the various drawing papers available. Regardless of
whether the paper used is smooth or rough, heavy or light, the

end result will vary considerably, as much in the intensity' of the

stroke as in the quality of the finish. Only by knowing these
factors is it possible to choose the correct type of paper.

and all manufacturers papers available, you

DRAWING WITH
PENCIL & CHARCOAL make medium-quality can choose from
papers. High-quality smooth paper, fine-
Wc should distm- papers can be distin- grain paper, medium-
gviishbetween medium- guished by the mark grain paper and coarse-
quality papers made of bearing the name of grain paper. The three
wood pulp along with the manufacturer that latter types of paper
Tlje most renowned manitfnctnrcrs sell a wide variety of
those manufactured by appears on the paper can likewise be used for drawing papers in pads of various sizes.
machine or molds and either stamped in relief drawing with charcoal.
high-quality papers, or in the traditional Smooth paper, with
which contain a high trademark, which can its almost imperceptible suitable for drawing color applied on top; so
percentage of rag and be seen by holding the grain, is compressed with charcoal, as it the paper should be
are made with great paper up to the light. smooth while hot in holds onto particles. absorbent. The ink must
care. High-quality Among the profes- order to heighten its Coarse-grain paper is dr\' quickly, altliough not

paper is very expensive sional quality drawing smoothness. It produces the most commonly too quickly. Further-
a wide range of gray used type for drawing more, in many works,
tones and very good in charcoal. Its special the preliminary sketch
results when lines texture has just the must remain visible
drawn by graphite right degree of "grip" underneath, so cannot
it

pencils or colored to allow the artist to be totally opaque. This

pencils are blended draw fluid and obtain type of paper (sold
with fingers or a good gray tones. especially for markers or
stump. Medium-grain layout) comes in separate
paper is particularly sheets or in pads. These
papers are often used by
DRAWING WITH professionals who work
FELT-TIP PENS in the field of ad\'ertising.
But for normal use, the
The choice of paper water- and alcohol-based
\ pens will van'
for felt-tip pens work fine on white
according to the felt-tip paper (the color that
pens used, be they water- always lends them the
or alcohol-based. The most luminosity) \\'ith a
alcohol-based variety glossy surface, but never
must be allowed to glide with the cuche type,
over the paper, which is because die impemieable
why the paper must layer that covers the
be perfectly smooth, surface makes
it very

without any trace of draw on, and,

difticult to

roughness. The ink must in the case of water-

penetrate the paper based felt-tip pens,
without nuining and, at absolutely impossible.
the same time, remain
fresh enough to be able
V to blend with another

\ TJjerc are many t}'pes of paper for each drawing technique.

should choose quality that isjjunranteed by a
TIjc artist
well-known brand.

\
Drawing Papers

_i
apply several layers as O
DRAWING IN INK RICE PAPER the grain is almost
O
immediately filled in.
The papers for Rice paper Japa- is Rough paper is harder
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drawing with pen and nese. It is generally used to cover completely, so
_i
ink must not be too for wash drawings with it is easier to apply
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rough for drawing India ink. It is not sized successive layers.
sketch lines; neither very much when it is One of the most
should they be too soft made and is highly commonly used papers
or spong)' that they do absorbent. To remove for dra\\ing \\ ith pastel
not absorb extra ink or any excess dampness is the Canson Mi-
they hinder the move- from this paper, the Teintes type, a qualit}'
ment of the pen. The artist should place a paper containing 65
best papers for this piece of felt underneath. percent cotton and
technique are the Rice paper is sold in with a different texture
glossy variety. Grainy both sheets and pads. on each side. It is

paper can be used for manufactured in a wide

drawing with a reed Ifik wash is best drawn ou variety of colors that
pen, since this pen is rice paper, its most range from the most
traditional surface. It
used by rubbing lightly subtle and grayish
offers a highly absorbent
against the paper surface that hijjhlijjhts tones to solid reds,
rather than allowing it the qualities ofitik. yellows, and blues.
to glide o\er the paper. This paper is sold in
DRAWING WITH two sizes and also
DRAWING PADS PASTEL comes in pads of har-
monic ranges (siennas,
Drawing pads of Any surface on ochres, grays, etc.).
different sizes and which pastel finds a
qualities are an indis- texture that the pig-
pensable tool for any ment can adhere to is
artistwho wishes to suitable. The most
have something on appropriate papers for
which to capture ideas pastel are those of the

ItuHinniii and that will help him

to keep his drawings
medium- and coarse-
grain variety. Fine-
together. Most of texture paper is easy to
these pads are suitable cover rapidly, because
for working w ith both soft pastel runs easily,
dr)' and wet media. but it is difficult to

Tljcre is no substitute for

pocket-sized drawing pads
for sketching.

The Mi-Teintes ranjje, made by the Canson

brand, offers quality papers of various colors,
ideal for drawin^f with pastel.
w

Drawing Papers

_l
o all four sides — proof patches or blotches of
o PAPER FOR WET that the paper has been saturated color.
TECHNIQUES
manufactured sheet by Among the brands
< sheet — as \\ell as in pads. diat manufacture qualir\'
The most commonh' The roughness of watercolor paper are
_l used paper that uses watercolor paper indi- the French companies
< water as a solvent is cates the amount of Arches and Canson,
cc
LU watercolor paper. This water it can absorb. the English brands
t)'pe of paper comes in Good watercolor paper Winsor & Newton and
cold-pressed ormedium has moderate powers Whatman, the Amer-
texture, rough, and of absorption. The ican branti Giiimbacher,
hot-pressed or smooth smoother the surface the German brand
texture and is manu- of the paper, the less SchoUer, the Italian
factured with a high water it can absorb. brand Fabriano, and
percentage of rag, that The smooth surface of the Spanish brand
is, liigh-qualit)' materials. hot-pressed paper allows Guarro. Each one of
Professional watercolor veiT luminous finishes these brands sells paper
paper is sold in separate and plenty of detail, of dift'erent thicknesses
sheets, with the charac- while a rough paper and textures, although
teristic deckle edge on absorb much more
will the grain pattern \aries
water in the form of with each brand.
Tljcjjrain of the te.xtnre of the paper determines the result
of a pastel painting, thus allowing a more energetic or
subtle finish.
HANDMADE PAPER

This t)'pe of paper is \

produced by certain
maiiutacturers in limited
amounts. It has an
irregular distribution
of fibers and tends to
be rougher and more
absorbent than con\en-
tional papers. Each
manufacturer has its
own particular type,
some of them having
Brown wrappin£i paper is a vegetable decorations
cheap support and is very imprinted in the fibers.
appropriate for sketches. It is

sold in sheets and rolls.

Handmade paper can
be used as much for
drawing as for wet
media, but it is advis-
able to test its special
characteristics before

^ beginning a work. Dran'injjs with a reed pen can be e.xecitted on roujjhcr paper
than those used for drawinjj with a nib.

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Te.xture produced by 180^ Basik paper, by the Texture of a sheet 160jj Canson Mi-Teintes, ideal Grain oflOji Canson sketch paper. Tljis paper is

Guarro bran,! Tins is a universal support for for drawinjj in pastel. quite fine and is suitable for pencil drawinjjs
all manner of hy media. and sketches.
Drawing Papers
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OTHER PAPERS O
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Sketches, thumb- Z
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nail drawings, and CO
preUminary drawings
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can be drawn on all
types of papers. These
need not be higli-qualit\-.
•^. *s Brown wrapping paper,
sold in various tones of
Canson Mi-Tcintes watermark. Watermarks jjuara/itee the quality of
gray, is good. Its light
the paper.
texture makes it suit-
able for drawing in
Wntercolor paper (240 (i) For dn media
likecharcoal or pastel, this is a robust pencil, charcoal; and
support that allows enerjjetic finishes. pastel, although it
cannot be gone over
too many times. The
Gemian brand Schmincke
manufactures one type
of paper called Sansfix.
This kind of paper is
especially suitable for
pastel, as its sand-
paperlike texture allows
Injires-type paper, with its characteristic rouffh te.xtwe, is sold by different
the pastel to adhere to brands, hi this case, the watermark on this paper is Fabriano.
the paper, thus pro-
ducing very saturated
color tonalities. Con-
ventional sandpaper
can also be used for
Texture of Ingres paper, ideal for pastel, as long as it is a
charcoal drawings. fine grain, but you
should bear in mind
that the surface of this
paper is very dark.
Recycled paper offers a
cheap and acceptable
surface for drawing in
pencil. Tlje watermark, visible by holding the paper up to the lijfht, of a sheet of
drawin£ paper by the Fontenay company.

Texture of a 180 g sheet of Canson "C d

^raiti. " A
quality paper for all manner
of works in charcoal and in pastel.

Dry mark (in relief) of a

sheet ofSchoeller paper for
drawitijj in ink. Arches manufactures paper i ~or drawing and for
watercolors.

Watermark of a ha)idmadc
Watercolor paper (200 g) produced by sheet of paper made by
Talens. Its medium texture offers many the artisan Aquari Wntcniinrk of the Guarro company, manufacturer of high-quality papers
possibilities for all manner of techniques. manufacturer. for all types ofdiy and wet techniques.
Other Supports
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Other Supports
CO
Although paper most highly versatile support at the
is the
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artist's disposal, some media require a different support to
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simphfy their use. The main support of this kind is canvas, the
surface most used for oil and acrylic painting. These other
supports not only adapt to specific techniques but also open
other possibilities for using different media.

weave. This
ven,' tight essential for the canvas
CANVAS type of can\as is very to be primed before it
expensive. A more can be painted on. The
The best quality economical variety is best idea is to buy it
canvas is made from cotton canvas, which is already prepared, as
linen. This is a highly a little rougher and priming requires a lot
resistant material, ver\' more sensitive to of patience and practice.
stable under variations changes in humidity. The most useful prim-
in humidity and tem- All these canvases are ers are universal,
perattire. It offers differ- sold unprimed or suitable for oil and
ent degrees of textures, primed with a special acrylic painting. Can-
from extremely fine- primer for oil or acr\'lic vases of a certain qual-
textured fabric to paints. This primer is ity can be continually
rough quality. The usually white although worked over using a
David Saniiii/juti (1962), Reading Sanskrit, 1997.
best linen is virtually some primers may be large amount of paint; Private collection. Apaintinjj on canvas prepared with
knot-free and has a srav or sienna. It is thev are also durable an acrylic primer.

Acrylic primers can be used for preparing all types ofporous

swfaces or those that, on the contrary, are too smooth.

and ensure the work Although tradition-

wiU remain unchanged. ally canvasused for
is

Canvas can be painting oil or

in
bought in rolls or acrylic, canvas also
mounted on stretchers produces good results
(wooden frames that when drawing in pastel
tighten the canvas). or charcoal.
These stretchers are
sold in standard for-
mats which range from
Canvas, cardboard, and wood are workable supports for artistic drawing. Most of them are 8 inches to 60 inches
and primed.
sold ready pr: pared (21 cm-I52.4cm).
Other Supports
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Polyester, or rejjetable paper, can be a

f^ood support for all t\'pes ofteclmiques.
Its translucent quality makes it possible
toexperiment with the background color A colorless acrylic primer for dry techniques such as charcoal
on which it is placed. and pastel.

results withcombined tional preparations seal magnificent surface for

CARDBOARD techniques.Some major PREPARATION the pores of supports drawing with felt-tip
brands of paper manu- such as wood or pens, with India ink,
Cardboard of reason- facturers sell special The wide variety of cardboard and provide and even with com-
able quality is a good cardboard for drawing primers for supports a good base for oily, pressed charcoal. Its
support for gouache as with different over- currently available on dry, and wet tech- translucent quality
well as for charcoal and laying and grains that the market allow the niques. In addition, makes it especially
pastel. One of its ad- are characteristic of artist to choose the there are also textured attractive for artists
vantages is that it is traditional drawing type of surface that primers that lend the who experiment with
more rigid than paper paper. best suits the work. support a special rough- combining different
and produces good The different conven- ness. Most of them are media.
designed for oil and
acrylic painting, but
there are certain varia-
tions that, when applied
in several layers, create a
texture that is specifi-
cally aimed for charcoal Oils, acrylics, and
and pastel drawing. pastels can also be
These primers are applied to wood. The
transparent but can be wood should be of
stained with acrylic good quality and
colors. requires a primer to
seal the pores. There
are many types of
primer for wood, some
POLYESTER PAPER of which are very
complicated, but an
Polyester paper is acceptable universal
also known as xegetable primer is gesso, a white
paper. It is translucent, acrylic paste with just
ver\' satiny, and highh- the right degree of
resistant. It is generally porosity and grip to
Different priuiDig media. Some incorporate additives thatjjive the surface texture with used in technical proj- meet the needs of
varying degrees of roughness. ects, but it can also be a different techniques.
TM Complementary Material
(/)

C/)

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of special accessories that

f'ery technique requires a series

#
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can be enlarged if the artist uses sophisticated methods.
Dijferent types of erasers.
'J
These pages detail a series of tools, most of which are TJjc freer the pigment of the
medium used, the softer the
complement the artist's work. All of them form
essential, that eraser should be.

part of the equipment a professional artist will have in his

studio.

made of plastic and soft though abrasive erasers

ERASERS
rubber. These erasers can be used to remove
are also suitable for the surface layer of the
Erasers are not only works using charcoal paper.
a means of correcting and pastel, although
hands of
errors; in the malleable erasers are
an expert artist, they generally used. In all
are transformed into a these techniques, the
true drawing medium only erasers that are
to obtain grays and unsuitable are those
clean tones and to that are too hard, since
create lights and they spoil the surface of
Peticil sharpeners are
shadows. the paper. In India ink
essential injj7-aphite and
The most suitable drawing, it is inadvis- color pencil drawings.
erasers for graphite are able to use an eraser,

PENCIL
SHARPENERS

The most common

pencil sharpeners are
made from metal or
When working
plastic.
with colored pencils, it
is a good idea to have a

table-mounted pencil
sharpener, with a
handle and a compart-
ment for the shavings.
In addition to these
small machines, small
pieces of fine sand-
paper can be used, and
certain types are sold
especially for this
purpose, attached to
small boards so they
can be held in the
hand.

In addition to the drawinjj

media themselves, the artist
requires a larjje number of
complem en ta ry m a te rials
to cam' out his work.
Complementary Material
CO
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O
FIXATIVES STUMPS BOARDS O

In order to conscr\e Stumps are made of BoarcHs are essential

<
charcoal drawings, it is tighth' rolled spong\' fordrawing on medium- c/)
essential to apply a paper, leather, or felt, and large-sized sheets _j
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substance to attach the with a pointed tip at of paper. They should
charcoal particles to
the surface. These
substances are usually
solutions of gum arabic
in aerosol form or in
H each end. They are
used to blend or smudge
pencil, charcoal, or
pastel. It is customary
to use two or three
be rigid, completely
flat, and always slightly

larger than the sheet

you are using, so it is a
good idea to have
UJ

containers in which a -*"^^\"' stumps of different several sizes available.

spray de\ice is fitted.
These fixatives are also
useful for fixing pastel
during the intermediate
stages of the work,
because, if the work is
fixed at the end, some Charcoal and pastel
colors may be altered. pastel sticks clean. In drnwin^is should be fixed to
prevent the pijjmentfi-om
\Mien using an aerosol, wet techniques, a cloth
cominfi away from the
several fine layers can be used to soak surface over time.
should be applied, up excess water from
holding the spray at a brushes, so it is ad- The choice, therefore,
distance of some 8 to \isable to have a cHepends on the artist.

12 inches (20 to 30 number of them at

cm) from the paper, hand when working Different size stumps suitable for paste! and charcoal.
w hich should be held with paint and for
in a \ertical position. general cleanins;. SCISSORS AND
UTILITY KNIVES

CLOTHS CLIPS AND thicknesses for dif-

THUMBTACKS Scissors and utility ferent colors. These
COTTON
knives are \er\- necessan' tools get dirty very
A soft cloth is Clips and thumbtacks whenever paper is the easily and can stain, so Cotton and cotton
virtually indispensable are used to secure the chosen support. Scissors it is important to clean swabs are used to blend
for all drawing tech- paper to a w ooden board should be long and them by rubbing them charcoal and pastel to
niques. It is ver\' useful in order to obtain a rigid comfortable to use, in on \ery fine-grain create effects that are
for erasing charcoal; surface on which to order to obtain straight sandpaper. gentler and more
although it does not work. Thumbtacks take lines. Utility knives subtle than those
erase as well as proper up ver\' little space, but should be used on a obtained with stumps.
erasers, can remove
it they do leave holes. soft, yet cut-proof They are also useful for
excess charcoal without Clips, on the other hand, surface; these types of cleaning pastel sticks to
damaging the paper. It do not spoil the paper surfaces are sold in the remove powder of
can also be used for but they can interfere form of plastic-coated different colors.
keeping hands and with the artist's work. mbber table co\erings.
Paper can be secured to the
board with thumbtacks,
adhesive paper, or clips.
The choice depends on
the artist's preference.

Clips for securing the drawing paper to the board or a folder used as a support.
Complementary Material
if)
_i
o though it
right angles,
o PAPER TOWELS doesn't need to be
H-
Q metallic.
Z
<
C/5
Paper towels, sold in
_l
rolls, are useful for
< removing excess water
from the brush when
CONTAINERS
painting in \\atercolors
or any other water- Containers are
based medium. In necessary for holding
addition, they are the water in water-
useful for cleaning based techniques. They
both tools and hands. should have a large
capacity and a wide
neck so that even large
brushes can reach the
water. Organic sohcnts
should be placed in
glass or tough plastic
It is often necessar)' containers. Generally
A Inrjfc pair of scissors, a utility' knife, a inctal ruler, ci^ood rijjht triniijjlc, and a CHttinji
surface tokeep the work table iujfood condition are all necessary for cutting pieces ofpaper to
to glue paper or pieces speaking, it is a good the ritjbt size.
of paper. The most idea to have many
suitable glues are the different containers on
quick-drying types, hand to make it easier ALCOHOL AND
which are easy to when painting. SOLVENTS
handle. Solid glue
sticks (usually almond The rulers, work
glue) are easy to use table, and different
but not very strong. tools used by the artist
Stronger and equally easily get soiled when
fast are rubber-based working. In order to
glues, which allow the remove these stains
paper to be removed easily,alcohol can be
easily even after a Eachfiliic is used, as it is a strong
long time, though desijined for a solvent and cleans
particular
rubber-baseci glues are type of surface.
almost all t\pes of stain.
cumbersome in large Forjjluinjj Some stains, however,
formats. A modern paper, it is best may be resistant to
version of this glue is not to usejjlues alcohol (oil, acr\'lic, dr\'
that are too
aerosols, which are strong.
rubber, and so on); in
very easy to use al- these cases, organic
though they do tend to solvents such as tur-
end up on the working pentine or acetone can
surface if continuously be used.
used over time. Liquid
glues (provided they
are not water based, as
this would wrinkle the
SPONGES
paper) are reliable and
clean, but they are
more difficult to use Sponges are \en' usetlil
and slo\\er dn,'ing. when working witli a wet
technique. In watercolor
painting, sponges (which
should be natural
sponges) are used both
METAL RULERS for apphing color and for
removing it from the
When using a utility- surface of the paper, as
knife, a metal ruler is well as for dampening the
necessary to prevent paper before starting to
nicking the paper. It paint. In the other wet
should not be too techniques, sponges are
short; a yard or meter used to clean an\- surfice
is the ideal length. A tliat has been accidentally

90-degrce triangle is
and for keeping the bands clean stained during the
Sponges are useful when working with wet techniques artist's
essential for obtaining when drawing in pastel. painting process.
Complementary Material
_i
paper palettes can also ADDITIONAL
O
PALETTES PORTFOLIOS O
be used. Palettes for MATERIAL I-
acnlic painting should Q
Small porcelain pans Palettes tor gouache be completely imper- Paper should always Lecterns are very <
designed for mixing or watercolor painting meable and hard, as be kept in portfolios, useful for tabletop
watercolors, gouache, should be made from dry acrylic colors can never rolled up. It is work. Used as easels,
or India ink are sold metal or porcelain (a only be removed by useful to have a they allow the artist to cc
individually in different dinner plate can also be scraping them off" with sufficient number of work comfortably on UJ

sizes.Pans are also used), with or without a knife; a glass surface different-sized port- small-format works. All
grouped together in small compartments. is an excellent solution folios so that too many artists should have a
metal or plastic palettes. For oil painting, the for this. sheets of paper are not case for carrying their
They are very easy to palette should be var- accumulated in a single most commonly used
clean. nished wood, although one. In addition, port- tools, such as pencils,
plastic and disposable folios can also be used charcoal, chalk, nibs,
PALETTE KNIVES to replace a board as a pencil sharpeners, eras-
supporting surface for ers, and so on, in
drawing on loose addition to a cloth for
Palette knives are sheets. general cleaning dur-
used in both gouache ing w ork.
and oil or acrylic
painting. They are used
to spread the color out
into even patches,
textured or otherwise,
as well as to remove
paint ft-om the surface,
to collect impasto, or
to clean the palette.
Palette knives come in
different degrees of
hardness and are made
Palettes and pansfor wet techniques, such as colored ink, in a tro\\el or knife
watercolor, or gouache.
shape. The knife shape
is the most flexible and
suitable for spreading a
Palette knives are rerf
large amount of paint, useful whenever you arc
while the trowel is working with wet or oily

more rigid and can be techniques, both for

cleaning the palettes and
used to create textures
for spreading out the colors.
or remove accumu-
lated paint.

A tabletop lectern for resting or displaying drawings on.

A portable case for drawing instruments. All artists have Portfolios are essential, both for storing finished work and for conserving all types of drawing
one of these boxes for keeping the most commonly used tools. paper. They can also be used as a support surface for drawing on loose sheets ofpaper.
Graphite Techniques

X
a.
only by using a specific procedure. The way in
<
DC
Graphite Techniques which you hold the
on the t\pe of work you
pencil, shade, or erase

are drawing. This section

depends

Since graphite most immediate drawing

is tlie explains these and other factors that come into plav
medium, it is relatively straightforward. But you when you are drawing with pencils.
should bear in mind that good results are achiexed

DRAWING WITH A How TO HOLD THE PENCH.

GRAPHITE PENCIL m
The best way to draw your hand you can draw
details and lines is by broad strokes with greater |.
holding the pencil like any confidence; this is the best
writing instrument, close to way to begin a drawing. To
the tip; however, don't obtain shaded areas and
attempt to draw the entire intense grays with soft leads,
picture in this way, as you the pencil should be held
will lose track of the work as ver\' close to the tip while
a whole. By supporting the pressing the lead flat against
pencil within the palm of the paper.

TJje artist must hold the pencil in the middle and hold it almost parallel to
the paper to shade in an area with lonpi, medium-tone strokes.

TIjc pencil sbonld be held like a Denser or intense tones are achiered For drawing lonjj lines while inatntainnijj control over the pencil, it must be
writing iiistntmejit to outline by pressing; the tip flat ajjainst the held in the middle, with the end firmly supported in the palm of your hand.
contours and add details. paper.

DRAWING WITH A Blending

GRAPHITE PENCIL

Soft graphite, the r\pe that renders an intense tone, can be

blended with a stump pencil in order to achieve gray areas
and gradations without any traces of lines. Nonetheless, most
artists preferto use a finger for this purpose, a technique that
allows greater control over the results. Another possibilit\' is
to file some graphite and blend it by rubbing your finger over
the tiny sha\ings. This technique produces \er\' dark gradations
without fingerprints.

Graphite can be blended

with a .(tnmpinjj pencil,
althoujih it is advisable not
to overuse this implement
because it tends to make the
result look less dynamic.

B\ blcndinjj with your

Tlie artist ma\file down njirnphite with a knife in order to obtain tiny
.nick and persistinj^, you
finjjers,

shavinjfs that cin be used to stump with. TJjis provides an excellent solution can darken shaded areas
for darkening crtain details. and lines.
r
Graphite Techniques

DRAWING WITH A X
GRAPHITE PENCIL Erasing Q-
<
Graphite is easy to erase separate sheet of paper before ver\- advanced stage, you brush or a fan brush. It is im-
with a rubber or plastic you use it. If you need to should place a piece of paper portant to make sure there are
eraser, which must be as soft erase cletails, the best pro- just below the detail so as no remaining pieces of eraser
as the leads being used. A cedure is to slice off a piece not to aftect the adjacent area. on a finished work because
dirr\' eraser will smudge the of the eraser in order to take The tiny pieces of rubber thev will continue to absorb
paper. This can be avoided advantage of its corner. To that are shed when erasing and erase the drawing, to such
bv rubbing the eraser over a erase part of a draw ing at a must be remoxed with a soft a degree that lines disappear.

To erase tun details witbu,,, adjacent areas, lay a sheet ofpaper

next to the area to be erased.

Remove the tiny particles of rubber left after erasing

on the paper with a soft brush or similar item.

DRAWING WITH A General cleanliness

GRAPHITE PENCIL ^ti

If you plan on doing a lot

of blending with your fingers,
you should w ash your hands
several times during the
session, because the combi-
nation of graphite and sweat
will smear on the paper. The
most commonly used tech-
nique is to place a sheet of
paper under your hand w hile
you draw to prevent your
hand from coming into
contact with the paper and
producing smudges.

To keep your drawing clean, a sheet

ofpaper sljould be placed benveen
your hand and the surface of the
drawing in order to prevent itfrom
touching the paper and smudging it.
Graphite Techniques

X
CL
on lines and shaded patches, drawing that requires a par- we say — creatl^'e construction.
< GRAPHITE TECHNIQUES graphite allows a number of ticular t)'pe of atmosphere or Textures and blended
graphic effects that enhance one in which the realistic gradations are the primar\'
the work with special textures representation of the motif effects on which all graphic
In addition to its fvinction and qualities. These tech- is important than the pure-
less techniques are based.
as a drawing medium based niques can be applied to any 1\' formal elements, and dare —

GRAPHITE TECHNIQUES Gray background .

You can use a stick of texture of this t)'pe of back-

pure graphite to obtain a ground depends on the grain
uniform gray base, over of the paper and its intensity
which the pencil lines will will be greater or lesser ac-
stand out and be harmo- cording to the tone of the
niously integrated into the paper. Generally, the best
background, without having paper to use is the medium-
to rely on the usual pro- grain t\'pe since it provides
cedure of using the white of the neccssar)' texture and The sijanmn of tuc paper provides n^qood base on which you can effect a
the paper as a contrast. The does not have too much of linear drau'inn.
an effect on the subject.

GRAPHITE TECHNIQUES Textured background

A textured base or background can be achieved by rubbing

the stick of graphite against paper that is placed on a rough
surface. The grain and texture of the surface determines the
t)'pe of texture the paper will display, and all manner of
effects can be obtained: linear textures (against corrugated
cardboard), undulations (against a piece of ven,- dr\' wood),
granulated (against a wall), and others. In the example
included here, the artist has used a mat to obtain a texture
akin to the ripples on a ri\ er or a lake.

^i^v

Wc can obtain a
hackjjroiuid by
placing the pa per
a/jaifist a textured
surface and
rubbing a stick of
graphite over the
surface.
Tlie pattern obtained here could be used fur a number of different subjects.

GRAPHITE TECHNIQUES Direct blending

You can create all manner Havinjf spread the

graphite over the paper,
of shapes, lights, and shadows
we bejjiii to dra \v the
on a treated base by blend- outlines and blend the
ing with your finger, shaded areas. TIjis
without shading beforehand. procedure requires the
artist to calculate the
The result is very^ subtle
result of the technique
thanks to the homogeneous beforehand, otherwise
gray tone that merges all the any insistence or
light and dark hues. A work accumulation will ruin
the texture of the
of this nature requires the
backjjround.
artist to plan the effects he
wants to achieve beforehand;
in other words, he draws
sketches in order to design
the work.
^Si
Graphite Techniques

X
GRAPHITE TECHNIQUES Shadows on watercolor paper Q.
<
Rough-grain watcrcolor greater pressure to the stick
paper provides a surface on so as to obtain the various '''-'-' w
which the artist can draw tones of gray. The texture of
large patches of graphite the paper integrates the
(using a stick of pure graph- lights and shadows.
•ry\ - :'- , - .V. '"»
ite) to obtain an atmosphere
that integrates the work. In
this example, radicr than draw-
A j^raphitc base on roujjh paper
(watercolor paper, for instance)
ing the fishes with contours, provides an ititerestinff texture on
the artist has simply added which to draw. ^Ife^feii^i^y^S^^^

GRAPHITE TECHNIQUES Blending

To attain subtle effects, in blended effect, be it to model pears have been made Blcndinjj on paper that contains
which theblended areas a shape or to create a tone entirely by blending with shaded patches should be carried out
very softly to obtain a delicate finish.
perfectly merge with the for it. This example shows cotton.
white of the paper without you how the shapes of prickly
leaving any traces of lines,
the artist should stain several
pieces of paper with graphite
and then rub them against
the paper. This method does
not allow the blending of
the more intricate parts of a
drawing but it can be used
in broader areas, such as the
sky or the water, which
require an especially soft and
delicate treatment.
A
piece of cotton covered
in graphite can be used on a Cotton is better than a stump for brinjjitijj out the softest and most
gray patch to obtain a soft continuous shadows.

.'-. :;ir:-av.-,v-..v.?

GRAPHITE TECHNIQUES Turpentine

Since graphite is greasy it you can obtain darker patches

can be diluted with turpen- that lend an impressionist
tine. Only a tiny amount of eflfect to the work.
turpentine should be applied
because graphite lacks suffi-
cient consistency to be used
in the same way as other
pictorial media, and the
result can turn out dirty. By
adding a few drops of sol-
Turpentine can be applied to
certain areas of the drawing. Tins is
done by applying a few drops of
turpentine to a piece of cloth. TIjc
r
vent on a cloth and applying end result is a series of dark patches
it lightly over the drawing. that can heighten a shaded area.

GRAPHITE TECHNIQUES Dissolved in water

Watercolor graphite is are to be included. If you

soluble in water and can be plan on using the brush in
used to obtain effects akin to many areas, it is advisable to
wash. The most recommend- work with thicker paper than
able procedure is to first you would normally do for
draw with abundant shading. drawing in pencil.
Then a wet brush is applied Watercolor graphite can be touched
to the areas where specific up with a brush wetted with water
effects of light and shadow in order to blend the lines together.
\ alue and Modeling

used. In this section of the book we will show vou

the basics so that you can identify value and
modeling in all of their applications as thev appear
throughout the rest of the book. These
introductory exercises are based on rudimentarv
shapes so that the concepts of value and modeling
two concepts of value and modeling form are clearly explained to the reader.
The
the fundamental base of the construction of
forms regardless of the methods and procedures

means of shaded areas, dis-

NOTION OF VALUE tributing correctly the differ-
LIGHT AND SHADOW SIMPLE SHAPES
ent values that compose it.
The values of the drawing To speak of light and The best way to illustrate
are the various intensities of shadow to speak of value
is the concepts of value,
a single tone that lighten and modeling. The highlights modeling, and shading is to
NOTION OF MODELING
and darken an object that and shadows of a drawing work with simple shapes:
has been drawn and shaded are its values. The
brightest cylinders, spheres, and prisms.
in. In the case of graphite, If the artist has correctly values are the highlights and To a certain extent, all
the color is gray, so these executed the values of the the darkest ones correspond objects in nature are made
values are lighter and darker motif, the forms can be said to die shadows. The transition up of a more or less complex
tones of gray. The extremes to have been correctly mod- from light to shadow from — combination of simple forms
of the intensities of this eled, possessing all the neces- one value to another is the — of various sizes. Using these
value are white (the color of sary' volume and relief. In resultof modeling. The con- shapes we will carr\' out
the paper) and black (the other words, the artist models tours or profdes of a shaded exercises to practice the art
darkest possible tone obtain- the subject by imitating in drawing define the limits of of obtaining value and
able with the medium being two dimensions what the contrast between a light value modeling by using shaded
used). The artist builds up sculpture does in three: lend and a dark one, without any areas of graphite.
the shape of the drawing by presence and body to the transition between them.
subject.

VALUE AND MODELING A SPHERE """'^**^^^^

iSBsm
This white sphere has a
ven,'cursed shadow at either
end. This requires the artist's
undivided attention in order
to attain the correct tonal
value and draw a perfectly
smooth surface. The difficult}'
of drawing the outline can
be overcome by making tiny
modifications as the object's
surface is o;radualh- shaded in.

1. A square conies in I'en' handy for 2. TIjc initial shaditifi must he f.v- 3. TIjcshading should bejjradual, darkeninjj little by little all of the values
drawing n circumference. Markinjf trenicly faint. TIjc interior shadows until a convincinjj modeled effect is achieved. TIjc outline of the sphere is
the central points on each side are impoitant, as they allow the created by the internal shadows, and these are the ones that provide the white
provides j^ood reference points for lighter values to be made out (as values of the most illuminated areas.
sketchitijj the outline. well as the lijfhtest of nil, the white
of the paper) to represent the areas
in direct lijjht.
—
Value and Modelino;

X
VALUE AND MODELING A CYLEST)ER a.
<
A cvlinder can be drawn Using this construction, you
bv means of an elongated should study the model in NOTE
rectangle with a curved base order to draw the different
The modeling of an object
and an ellipse at the top. values of light and shadow
must be carried out very
from the lightest to the
—
darkest that are located on
faintly and very gradually,
always avoiding pencil lines
the surface of the object.
and intensifying the values by
means of new applications of
faint shading.

2. Tlje shadows sliotild be shaded in

gradually, be/fiuninjf with the
darkest values, and thus
continuing toward the lightest.
Don't press down too much on the
pencil at the start so that yon can
apply darker layers later.

1. Be^in by drawinjj the contours in

their correct proportion. Ton can
also draw several faint lines to
mark in the ed^es of the lijfljtest
and darkest shadows.

3. TJjccentral shadow is the darkest, 4. We hare managed to represent

while the lightest value —
the area the volume of the cylinder with an
that receives direct illumination-is accurate relationship between the
located on the left. At the edjje of the values, achieved by a smooth
right-hand side, the value becomes transition from one torie to another.
lighter again due to the effect of All that remains is to intensify the
reflected light. shadows. 5.Since we are dealing with a dark-colored cylinder, the values of the
modeling must be dark. Tlie final result achieves the effect of illumination
over a curved, dark-colored surface.
jM \ aluc and Modeling
tu
H
X
< VALUE AND MODELING A JUG
CC
(J The shape of this object is values among the dark ones
further compHcated by the are the result of a reflection
sphere. It is, however, more or highlight, rather than a
theoretical a compUcation mistake or accident. These
than real; because its shape is tiny highlights can be resohed
more irregular than the latter, by obtaining a correct dis-
it provides more reference tribution of highlights and
points for defining its contour. shadows using the same
The shininess of the jug's procedure as in previous
surface an additional factor
is drawings.
in modeling and obtaining
the value of the work: Light

1. TIjc shape ofthejittf can be

enclosed within a square. Tlien, by
jnaikinji in the points where the
object comes into contact with the
square, you will see how easy' it is to
draw the object's outline. Forget the
sphere for themoment until you
have successfully drawn thejujj.
Then you can erase the area
that is hidden.

2. Rcjfnrdlcss of bow dark certain

shadows arc, don't tiy to represent
them in their true intensity from 3. Thanks to thejjradual
the outset. Tljc work ofdarkeiiinjf darkeninpi of all the shadows,
the shadows must affect all of them, the barely touched pans stand
from the lightest to the darkest ones. out as hijjhli^hts. Fuithermore,
Only by following this procedtire is the reflection of the curve of the
it possible to achieve a conrct adjacent sphere can be clearly
modelinjj and credible hijjhlights. made out due to its color.

VALUE AND MODELING

Draper}- refers to die

dra\\ing of folds and creases of
a fabric. To capture these
aspects of fabric is a traditional
exercise in all art schools.
Folds and creases are much
more complicated to draw
than any of the shapes \\'e
have practiced up to now, but
they can be rendered by
applying the same criteria.
The curxed shapes of drapers-
may be shaded in the same
way as simple forms, except
that the\' ha\-e less uniforniit\-.

J. Tlie preliminary drawing is 2. New shaded areas are added

no more difficult than the that darken the values and thus
previous ones. Without hijfhlijjht the brijjhtest areas. Tlie

inclndinpi unnecessaiy details, folds are now^iven more details.

the artist should bejjin by

sketchitijf thejjeneral outlines
of the folds, compai-injf the shape 3. It is important to lijjhtly shade the
and the position of the nanower surface of the table so that the fabric
form above with the wider fold is conrctlv represented in its context

below. From the outset, the aitist and also so that the hijjhliffhts acquire
should be/jin softly shadinjj tin- their correct value in relation to the
darkest shadows. hijjhlijfhts and shadows of all the
forms in the picture.
Value and Modeling
UJ
H
X
VALUE AND MODELING The whole CL
<
CD
To conclude this series of such the artist must consider
exercises, we will create a all of the values in relation to

picture using all the subjects one another. The procedure

drawn in the exercises within to follow is the same: a prelim-
this section. By incorporating inan,-drawing, the gradual
them into a larger drawing, shading of the relevant areas,
thev become groups of and then the darkening of all
\alues within a whole, and as the shadows until the correct
modeling has been achieved.
mm /r
'%
\

-<^
^P
-"•^

V/ /
— -

2. Tlje work ofjfrndually shaditijj all the shadows and objects should be
~

simplified to the utmost. At this point the drawinjj combines the most inte?ise
hi/jhlijjhts and shadows.

1. Tlje preliminary drawing

requires only the lines that define
the position of each one of the
objects. No attempt need be made to
outline the elements exactly.

NOTE
Hard lead pencils can be
combined with soft leads
throughout the entire drawing
process. The former can be
used to add tiny variations and
nuances in tone.

3. The unitary effect is achieved by

workinjf the theme as a whole. Each
element has its own hijjhli^hts and
shadows while, at the same time,
forming part of a composition
that harmoniously integrates
everything together.
Perspective

X
Q.
important to know the basics of perspective in
< order to represent depth, a feature that is present in
of drawings. This section concerned
Perspective all t\'pes

the fundamentals that will arise in subsequent

is \\'ith

works in this book, regardless of the subject matter.

Two essential concepts to have in mind are linear
his book will not deal with the subject of perspective and intuitive perspective.
T perspective however, it is
in all its aspects;

PERSPECTIVE Linear perspective

We could include the can be identified

in the scene not ruin the believabilit)' of
theon'^ of perspective in all (rooftops, the train on the the representation. This is a
its aspects, but it would be a There are a num-
track, etc.). good example of the treedom
highly summarized version ber of exceptions to this the artist can allow himself
ot all the points that need to basic rule, but it can be ap- to break the rules with only
be taken into account. In plied tomost pictures. The a minimum knowledge of
order to draw a picture in accompanying exercise dem- the theorx' of perspective.
perspective, the objects must onstrates this theoPi'.
be reduced in size in accor- This path lined with palm
dance with the distance they trees provides an excellent
are from the obser\er. The example. The path, the tips
correct size of each object in of the leaves, and the building
perspective is obtained by on the right determine lines
means of receding ''\ anishing" that will conxerge at the same
lines. For instance, we can place on the horizon: the 1. TJjis is a dia/jrain of the
obtain a "vanishing" line by vanishing point. In fact, the pcrspectire of this drawing: a
horizou line and a series of
joining the highest points of position of the horizon line,
dinjfonnl lines rcpresentinfi the path,
two posts of equal height which cannot be seen in this the palm trees, and the biiildinjf.
seen in perspective. If, in scene, is indicated by the van- Tljeoretieally, all these lines

front of this row, there is ishing point. These elements converjje at the ranishinjj point,
but one of the lines has deliberately
another parallel to it (some- allow the artist to reconstruct
been altered in order to demonstrate
thing that tends to happen an image whose "real" per- that it is not essential to apply the
with the tracks of a railroad), spectixe can be altered with- theon' ofperspective to the letter to
the "vanishing" lines ob- out atfecting the apparent obtain a convincin/f representation

tained from this second row naturalness of the drawing: of the subject.

of posts meets the previous one of the boundaries of the

line at a point on the path has been deliberately
horizon, called the vanishing altered and no longer con-
point, as well as all the other \erges at the \anishing point.
lines of parallel elements that Nonetheless, the effect does

m
4. TIk shadows
and the various
details help to
conceal the
2. To achieve
the desired effect, it 3. Now that the main elements have perspective lines

all boils down to raisinij the row of been situated, the artist adds the and lend a
palm trees to the heijjht details and shadows. natural
of the
vanishing lines, while considering appearance to
the scene.
the distance betrveen i.rch tire.
Perspective k
X
PERSPECTIVE INTUITIVE PERSPECTR'T Ql
<
Rather than theoretical tive using his intuition: the words, issues that are directly Vanishing points would not O
principle, this form of per- large being close by and the related to the artist's techniques. be able to resolve the space
spective is based entirely on small being far away. To These v>\o public statues between the two figures. In
sight and experience. The demonstrate this w ith se\eral form part of a large monument this case, each statue must
artist requires no knowledge useful techniques, we are with steps leading to the be draw n in a different way
of perspective to represent going to otfer an exercise in top. By going up and down and the relationship betw een
the spatial distance that sep- which perspective does not the steps the artist can dis- the values of the highlights
arates the components in depend on vanishing points cover a variet}' of interesting and shadows must be treated
most subjects. The artist can but on modeling, shading, points of view that give rise with caution.
- understand and draw perspec- —
and proportions in other to more unusual perspecti\es.

1. From the outset,more importauce must bejiiven to the fixture in the

forejjrouiici, by means of the intensity of the line and the inclusion of more
details.

< 2. Jlje values of the shadows must be

darker in the closest statue so that it
appears to '"approach^ the spectator,
learinfi the other statue free of stark
contrasts.

4. Tlie shadows and modeling of the figure in the fuii^, .;.. .: ^ ...::.: intensity than
3. 1 iji MJii^ii of the statue iii ItJi UtlL Ktl /

means of more general shadinji; thefyure in the foreground the one in the background, fins effect makes the former appear much closer to the spectator.

requires a wide variety of highlights and shadows in order to

intensify the details.
The Value of the Line

artist's aims: It may be used to represent shadow,

(J The Iblue of the Line to model the motif, to obtain a value, or merely to
add a descriptive or ornamental element. This
section shows you the possibilities the pencil line
qualit}'^ of the line plays a
pencil drawing, the has to offer, depending on what the artist wishes
In
making graphite an expressi\'e medium.
vital role in to achieve.
The function of the line varies according to the

THE VALUE OF THE LINE Shading by strokes

In a pencil drawing, the and darken those

certain areas
brightest highlights are repre- inshadow. To shade correcdy
sented by the white of the by means of lines, it is essen-
paper (if the paper is not col- tial to draw all the lines in the
ored). Therefore, in order to same direction, as this allows
attain a sensation of light and )'ou to express the direction of
shadow, the artist must tone the light over the surface of
the forms.

TIjc complexity of the interplay of

hijjhlijjhts and shadows in the leaves
of the plant can be resolved by
shadin£t areas with lines in various
directions, according to their
undulations.

1. Tlje preliminary drntvin^ must 2.By holdinjj the pencil with the
be a schematic outline of the motif, end inside the palm, it is easier to
its size, and the arrangement of the control the direction of the strokes.
plant's leaves. TIjc contours should Tlje direction of the lines must
not be closed up, as this would ruin conform to the shape and
the transitions beuveen the areas in inclination of the leaves defined iji

li^ht and those in shadow. the preliminary drawinei.

3. Once all the values of the hi^hli^hts and shadows have been obtained, you 4. Even thoujfh we have not included all the details of the subject, the result
should £10 around the outlines of the most prominent leaves with continuous provides a^ood example of how the combination of strokes ^ives rise to a rich
strokes, holding the pencil as ifyou were writing. interplay of transitions between li^ht and shadow.

m
The Value of the Line

X
THE VALUE OF THE LINE Modeling Q_
<
Lines in subjects that do not
require such great contrasts
ber\\een light and shadow,
but rather a description of
the \olume through the chiaro-
scuro technique, demand more
precisionand subtlet}'. It is a
question of knowing how to
make undrawn areas of the
paper appear to form part of
the same surface as the
shaded parts. To model the
subject in this exercise we
have to ensure that there is a
correct distribution of cur\ed
lines of various intensities.

1. Tlje outline has been drawn in pencil, in order to obtain

a line of uniform thickness. Tlie work of the face itself can be

Tfje subject is a version of Head of drawn with a thick lead inserted in an automatic pencil,
a Young Girl, by Jean Baptiste since the tone is more important than the line in order to
Greuze (1725-1806), a drawing attain the effect through subtle cross-hatching. Tlie lines are
based on subtle pencil work most releratit under the chin in order to indicate the change
ntodelin£i that expresses with utmost of the head's plane with respect to the neck.
precision the volume of the face.

S:r=\-
jP^-^^^^-^g^

••"l^vi;

needs to be especially careful with the direction of the lines

2. Tlie artist
drawn roundness of the neck. In this case, the diagonal and
to express the
curved crosshatched lines that are drawn faintly in the part mostly in
shadow follow the direction of the neck's natural curvature.

NOTE
Drawings that require abun-
dant tonal contrast should be
drawn with an automatic pencil
loaded with a thick lead, which
can produce a wide range of
intensities. It will allow the most

subtle of shadows as well as

the darkest ones.

3. The most intense contrasts are

located in the nape and the
uppermost part of the shoulder.
TIjese two areas require a dark tone.
which in the hair has been obtained
by drawing curved strokes while the
area of the shoulder has been drawn 4. All the areas we have shaded in have obtained the same result: Vw
by superimposing a series of rapid volumes of the head, neck, and face have all been brought out while avoiding
lines in all directions. the stark contrasts of chiaroscuro and respecting the unity of the form.
The Sketch

an unrepeatable and spontaneous movement that

cc
CD The Sketch I compels the
To
artist to use the minimum of implements.
capture a characteristic gesture or a shape that
Technically speakmg, a sketch is an abbreviation expresses much with very little is what makes sketch-
of the techniques of shading, modeling, and ing a difficult and extremely satisf\'ing art form.
obtaining \'alues, all characteristics of a pencil drawing. The exercises presented in this section provide an
The aim of a sketch is to capture a fleeting moment, analysis of the technical factors entailed in this
artistic practice.

THE SKETCH

The quickest and best way topical of this t\pe of sketch, when the artist must con-
to capture a fleeting view of possess a characteristic dyna- centrate on capturing the
a subject in movement is mism that is the product of a movement at the same mo-
with a Unear sketch. The speedy execution. There is ment it is happening.
tremulous and abrupt lines. barelv anv time for shadins;

TJjis exercise reconstructs the process

of a sketch bv the aitist Charles
Nicolas Cohin (1715-1790) called
Study of a Man. TJjis work, with
all probability; was drawn fivm
nature and probably conceived for
a paintinjj. Of course, the process
shown in this photographic
sequence does not reflect the
speed of the real work.

1. Tljc first part involves jicttinri 2. By ivay of direct observation and

down the most sifinificnnt outlines, the use of details seen durinjj the
those that best enclose tbejjetieral instant of the action, )ve can
movement ofthefi/jure. Normally include intpoitant elements, such as
is not time for much else, but
there the characteristics of the clothing or
this basic outline is more than the folds they produce.
enough for adding the rest of the
represen ta tive elem en ts.

NOTE
The sketch requires no preliminary outline, since the object of a
sketch is to obtain an outline. It is advisable, nonetheless, to begin
by mentally calculating the sizes and proportions of the subject.

3. A few faint lines are enotfjjh to

indicate the facial details, the hair,
and the creases of the shirt. Tliere is
hardly any need to look at the motif
to draw these kind of details
because they can be worked out
from theftjiurc'Sfieneral outline.

4. Tljc experienced ani.n's hand

willhave jjonefi-om one to the ne.xt
phase nimbly and without time for
reflection. TIjanks to this t\pc of
analysis we can perceive the
technique and process involved
in the linear sketch.

c:
The Sketch

X
THE SKETCH Sketching volume Q.
fcja--rv i?i»»j>,- -s>«T.' <
cc

The aims of a sketch may iD

be ven' \aried. We ha\e seen
how the linear sketch captures
above all else movement,
gesture, and the moment
itself. But the artist may be
more interested in capturing
the corporeity' of the subject
than the stor\' of the
moment. In such case, he
can opt for a t\'pe of sketch
based on strokes that model,
lines that create \olume,
patches of light and shadow.

A sketch bv the Austrian painter

Oska r Kokosebka ( 1 886-1 980).
titled Model with Her Back
Turned, is an ideal sketch for 1. TIjc (general outline and the first shaded areas to model
learn inji how to draw this t)'pe of the subject are carried out simultaneously. TIjc shadows and
sketch in which the volt t me of the volumes that require definition durinjj this first sta^qe are
figure is summarized before the su^ested by the general outline itself they are deduced
precise characteristics of his pose. without the need to look at the model.

2. The general shading by lines are as much a form of

volume as a general shadinjj of the drawing over
e.vpressitijj
which the most impoitant areas can be darkened. TIjc
volume is obtained by sketching almost intuitively, applying
greater or lesser pressure to the pencil over the paper.

3. TIjc general outlines are lost under the abundance of

strokes, making necessary to go over those where there
it is a
fold or a vety shaded area.

4. Tin result is a figure with open areas in which the

lines do not enclose it completely. Ihis technique allows
the power of the masses to be highlighted without
actually having to draw them in their entirety.
—
Drawing with a Range of Grays

heightened further still by using graphite sticks.

O Drawing with a These drawing implements are used to create

patches of gray with speed and without leaving
large

By combining we can
Range of Grays_ traces of lines.
obtain works in which the value of a patch of gra\'
these tools

is as significant as a purely linear drawing or one

he weahh of gray tones that can be produced by effected by shaded areas of lines, with the resulting
T using various hardnesses of pencils can be enrichment of the drawing's final result.

T]jc sculptural jjronp of Miguel

torial composition if these
PICTORIAL EFFECT Blny (lS66-W3d), titled El Frio, is
\alues are interpreted as colors. a perfect motiffur the present
The present exercise will exercise. Tlie lijfhtitig is directed in

Although we are dealing be drawn with the following n way so as to briti^ out the wealth
of^ray tones and half-tones that
with drawing in graphite, in graphite pencils: an HB and
can be resolved by means of linear
this exercise we are going to a 6B as well as a fine 2B lead shading and ^ray patches applied
demonstrate how to achieve and another thick lead of 5B with the graphite sticks. Tlje
a pictorial effect through an hardness, inserted m automatic chiaroscuro and the modelinjj are
factors that determine the
atmosphere created with pencils, and an all-lead pencil teelmiquc employed in order to
gray tones. The forms are and a stick of graphite (which draw this work.
not enclosed, but rather can be substituted for a
they relate to and blend hexagonal stick). You will
with one another in need a utilit)' knife
specific areas, creating / to sharpen die tliick

a sensation of a
whole and a unitar}' U^ \ i^» c^fi- rubber
intonation. A mono- eraser.
chromatic drawing can
also suggest color by
means of different values
of the same tone and
the relationship among
them. A work correctly
1. TTje purpose of the
executed with a range of
preliminary drawing, effected with
grays can produce a pic-
an HB pencil, is to provide the
artist with a^uide. Tlje forms have
been situated in their correct
proportions and the provisional
outlines of the subject are in place.

^,'./-

2. Usin£i the automatic pencil loaded with a hard lead, we carry out a 3. Bv npph'in/i thejjrnphite stick on its edjje, the shaded areas are darkened,
preliminary jfeneral shading, all with the same intensity of^ray, filling; which have straijjht outlines (those of the bench and the pedestal) and also a
in the most important dark areas and ensuring that the relief of the forms couple of the shadows on the elder man's feet.
looks suitable.
Drawing with a Range of Grays ^^
LU

X
Q.
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-S^' f-

4. The soft lead loaded

in the thicker
automatic pencil
allows us to darken the
interior shadows that
model the most
prominent muscles.

5. The excess details of the preliminary drawinjj can be erased in

order to work the hi^hlijjhts and shadows better.A preliminary'
drawing that is too elaborate always hinders the shading.

6. With the new

graphite stick, the
backgrou7id is
darkened slijfhtly. Tlje
tone is an essential
reference point for
lendinggreater or
lesser intensity to the
V shaded areas of the
As they are
figures.
gradually darkened,
the back£[round,
against which they
stand out, must also be
shaded in.

7. Using the soft pencil,

*
we go over the eages of
the white and the
pedestal, to provide the 8. Tiiewhiteness of the marble that is directly in light can
angular shape of these only be highlighted by contrasting it with a very dark tone.
elements with relief. Tlje background requires much more darkening in the
illuminated area.
jM Drawing with a Range of Grays

<
CC
(J

9.Byshadiiijj the backjiroiiud, thf fijfuns an defined more 10. TIjc facial features must also be construe tai ; ::::.t us of tiny contrasts of shadows.
important to remember that the contours are
precisely. It is Tljc eyes and the nose are tiny volumes and therefore must appear as such, and not as
defined by the interplay ofhijjhlijjhts and shadows rather drawn planes.
than In lines.

11. Tlie child's features are much softer and more rounded. It is best not to
overwork them and leave them for the final phase of the of the work, when
they can be finished with some retouching in accordance with the general
feelinjj of the drawinjf.

12. Tl)is is one of the most

difficult areas, because the
NOTE shadows are faint and the forms
The details should be left for are somewhat complicated (hands
the lightest parts. Shadows clasped tojjether andfinjjers
crossed, etc.). Here it is a question
distort details so adding details
ofsimplifyinjj and seeinjj details
in such areas will only lead to in accordance with the whole,
an overloading of the drawing. lijihtly model inji the drawinji
only where an important detail
has to be distinjfuished.
Draw ing \\ ith a Range of Gra\ s

X
Q.
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DC

14. The final phases of the

work are taken up with
drawing in details like the
feet and ftnisinng off
shading very lightly certain
v*^ areas tiiat help to highli^n
relatively undefined areas,
such as tix top of the pedestal
on which the feet ofUre
figures are resting.

13. Different types ofAadows, some ligffter than

others, are combined and superimposed in the
white area. The work siwuld be drawn with care
so that the interplay ofshadows does not appear as
bulges or cracks in tix marble, but as though the
Aadows are cast over aflat surface.

r-'JL

15.The figures are virtuallyfin islted: tlx only

remaining task is to finish off the background
tone.

the 1/. i /,': -iii.i. r:Mi^: i.i.tr.i iiimufiiirau: iijii: ^iru^iftu cm oc uhh :v rmatr a n-tatnj or iotia. Tlrisisa
.1 the gray drawing in which the artist has obtained the right values and painstakingly modeled and adjusted alt
-. ...y .; ;-. ^,, .- ..uethe the forms.
appropriate semidark atmosphere for this subject.
Colored Pencil Techniques
CO

o pictures, rather than large-format ones, and

cannot be used to obtain the great creative effects
Q
UJ produced by charcoal, pastel, or ink. It is this
cc
O
_i hmitation that makes the colored pencil medium
O
o interesting, as it forces the artist to work with care,
delicacy, and sensitivity. The following technical
Compared with all other drawing media, colored guidelines explain the characteristics of this
pencils should be used on a small scale. They medium.
offer the best results when used to draw small

DRAWING WITH Lines and colors

COLORED PENCILS

Drawing with colored of lines may be fluent and Soft tones are
pencils is also coloring. The rapid or premeditated in the produced with
lijjht strokes that
appearance of the color form of superimposed diagonal
air not applied too
depends, therefore, on the cross-hatching (appropriate closely together.
type of lines used. Subtle for a uniform of texture).
t)'pe
colors are produced by means Even though with this
of hatching or cross-hatcliing, meciium the colors never be-
but whatever technique you come ver\' saturated, it is
use, it is important not to possible to fill in an area by
cover the entire surface of applying the lead flat against
the paper. The accumulation the paper.

In the case of
graphite, the
pressure
applied to the
lead
determines
the intensity
of the stroke.

JJjc color mixtures can be

of the optical type, that is,
they may be based on the
superimposing of lines
that from a distance
appear to blend
together into one.

DRAWING WITH Color mixtures

COLORED PENCILS

Rather than mixing, we orange (a mixture of yellow ings that do not require condition
visible, a necessary
should speak of superimposing and red), green (a mixture of some superimposing of colors for obtaining the desired
tones, as the physical mixture yellow and blue), and purple in order to produce a third color mix. If, for instance,
is never absolute with this (a mixture of red and blue). one. This type of work must we paint red over yellow, the
medium. The colors that result Artists always use broad color be carried out in a specific resulting color will be the
from superimposing tones ranges (to a\'oid too many order: The light color must same red with a slight
follow color theory: When color mixtures), among which be superimposed over a orange tone. If yellow is
combined, the priman' colors both the primar)' and sec- dark one, since light colors superimposed over red, the
yellow, blue, and red pro- ondary colors should be in- cover less and allow the under- orange tone will be more
duce the secondary colors cluded. There are few draw- hing layer of color to remain prominent.

w
The li/fhtest colors
^^L do not possess
sufficient
^^^
^^^ intensity to The color mixture must be
affect darker carried out in a specific order:
^^^
I^B colors in a TIk lijjhtest color should be
^^^ m applied over the darkest one,
and not the contrary.

IE!
Colored Pencil Techniques
if)
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DRAWING WITH O
COLORED PENCILS Blending gray or white z
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Q.
Colored pencils have a Q
HI
unique characteristic due to cc
their composition. We are O
-J
referring to the possibilit)' of O
blending strokes with a light o
gray or white over other
colors. The slight waxy
consistency of lead, together
with the weak coloring power
of white or gray tones,
makes strokes blend together,
so that the gray or white are
barely noticeable. Certain
tones not only blend but
become darker when covered
with gray. This technique
comes handy for all
in vet)'
By applying a white pencil By applying white over
types of works with colored
with a determined intensity, patches of various tones, we
pencils. we can darken and blend the can blend the tones and
lines of a previous color. thus unify the color.

DRAWING WITH Color reserves

COLORED PENCILS

The artist can outline reserves ensure a lustrous

shapes by using a darker finish,provided you do not
tone, reser\'ing the color in go over or superimpose lines
the same way he would in a with new applications of
watercolor painting. This color.
procedure requires the artist
to foresee the final result,
knowing that the base color
has to be quite light in order
to maintain the tonal richness.
Regardless of the many light
tones we may use, by out-
lining shapes on a dark
background, there will barely If we apply a dark color over a light
one, we can create forms by
be any alteration in the tone reserving the background color and
of the original color. Color superimposing another tone on top.

DRAWING WITH Mixing with watercolor pencils

COLORED PENCILS

Although drawing with and obtain the desired

watercolor pencils almost chromatic result. Whenever
verges on the category' of a you work with watercolor
painting medium, it is worth pencils, especially when you
mentioning in this section. want to obtain a result similar
Watercolor colored pencils to that of watercolor, you
add a new dimension to will have to choose a thicker
typical drawing techniques in sheet of paper than the one
which tones are superimposed usually used for drawing,
on one another. This method because when the paper
consistsof combining pigments absorbs water it has a ten-
by dissohing the color in dency to warp. Fine-grain
water. With watercolor pen- watercolor paper is the ideal
cils the mixtures are not support for this purpose.
carried out on the palette,
but are done directly on the
Watercolor pencils can be worked
paper. After painting the
with a brush atid water, thus
colors, the artist adds water achieving results akin to
in order to blend the strokes watercolor painting.
Colored Pencil Techniques
if)

CJ the wealth of intensities of than superimposing colors-. of the paper itself, while the
z TONES each tone, more than the At this stage, colored pencil shadows are obtained through
LU
Q.
brightness and variety of is a drawing rather than a shading. In this case, the
Q colors. The artist models the painting medium. In drawing, shadows are achieved with
LU
DC
One of die most interesting shape by softening or inten- the maximum highlight is the same color.
O
_l aspects of colored pencils is sifying the strokes, rather obtained through the white
o
o
TONES Orange tones

The variations within a 1. Tlje preliminary drawinj}

single color can be obtained begins with a red outline. The
contour is virtually definitive,
by applying the pencil softly
but it can be altered as we
or hard or even b)' working paint within it.

with two or more pencils of

produce
different colors that
a singlepredominant color.
This orange-colored tomato
cannot be drawn with just an
orange pencil. It requires red
and yellow pencils. These
two colors can be used to
obtain all the necessan*' hues, Both the color and the modelitijj of
which can be used to model this tomato can be carried out at

the volume of the tomato. the same time by combifiinjj a

yellow pencil with a red one.

X' \. 2. We bejfin by painting the

/ areas in which yellow appears
unmixed, or almost unmixed.
Tlie work must always be
carried out from light to dark,
given that the orange tones will
be produced by superimposing
red over yellow, and not the
other way around.
which represent
3. Tlje oraneic tones,
the predominant color of the
tomato's surface, emer£ie out of the
red patches shaded over certain
yellow areas. By intensifying the
stroke of the red pencil, we obtain
the volume and relief of the
tomato's buljjes.

4. The entire stnface has been filled

in except for the stalk and the tiny
leaves. More yellow has been applied
over red in certain places in order
to lessen its intensity and to unify
the modeling of the subject's
round shape. 5. Tin- inclusion ofgrccn is purely anecdotal and is limited to the stalk. With this
last detail now added, the drawing is complete.

IC'
Colored Pencil Technique *

c/5

Red tones

In this drawing \\c w ill use Tlje red colors of this pepper contain Q
onl\" red pencils —carmine, different hues and intensities that
can be resolved by usinjj various
LU
QC
O
magenta, and \ermilion. TTiese _l
colors of the same ranjje.
\\ ill be combined and super- O
imposed to heighten the com- o
plex shape of this vegetable,
using the white color of the
paper itself for highlights. The
procedure is identical to the
one we ha\ e demonstrated in
NOTE
the last draw ing, the only dif-
The color must be applied
ference being that there is no
from light to dark. It is
need to use the pencils in any
impossible to create new
particular order.
tones or hues over a solid
color, therefore the first
stages of work should be done
with faint strokes.

Jj^l*
1.Just as we did in the last exercise,
the outline of the subject is drawn
before any color is applied. It is
important obtain a faithful
to
representation of this uneven form.

2. The preliminary dmding is

J
done
to test tfje color in order to search
for the lightest and darkest areas of
the pepper. Tljis way we are able to
obtain a general modeling of the
slmpe.

3. Once the color has been adjusted

in the different areas, we intensijy
the darkest parts and soften the
strokes as they reach the lightest

4. The combination of reds has

allowed us to model the pepper's
protrusions. Tlje white of the paper
can now be seen as highlights.

5. The final touchconsists of

coloring;the^reen stalk and
shading with light ^ray the areas of
the pepper that come into contact
with the table. Tfjis defines the
pepper's position with respect
to the viewer.
—
9 Colored Pencil Techniques
(O

o colors than in the contours. possible to achieve reduced included in this section
z SOLID COLORS Colored pencils do not allow areas of "solid" color to illustrates the procedure for
us to draw significant color cover the paper by applying producing relatively solid
Q
LJJ
effects in the same way that linear shadings and colors by means of tonal
CC There are motifs whose we can with oils, acr\dics, or intensifying tones through contrast.
O
_l interest lies more in the even watercolors, but it is contrasts. The exercise
o
(J

SOLID COLORS Fruit

We have chosen this bowl the entire harmonic range.

of fruit as our motif because Thanks to such strident
of the vibrant color contrasts, contrasts, the limited cover-
the yellow lemons, the ing power of colored pencils
orange mandarins, and the is compensated for and the

—
deep blue almost violet visual impression of the
bowl. Violet blue is the colors becomes more striking
complementary color of and solid.
yellow, making it one of the
strongest contrasts within

Tljiri: lemons and a mandarin in a 1. Tljecontour of the subject is 2. Tlje first shading seii^es to adjust
blue bowl is the subject we airjjoinjf drawn injjray without includinff the tonality of the colors and to test
to use in order to danonstrate how any shading. The artist must out the contrast beUveen the
colored pencils can produce concentrate to ensure that the elements.
intense and solid colors. curvature of the bowl and the
shapes of the fruit are correct.

3. We begin to mo'iel thelemon using two yellows: The lighter one is applied in 4. The yellows produce a more compact color, which will be heightened by
the center, where t. lemon receives most light, and the darker is used to shade the contrast with the rest of the elements.
in the rest. This cotnbination already begins to produce the effect of volume.
Colored Pencil Techniques

/' #» LU

5. TJje color of the bowl is obtained by 6. Usinjf a ^ray pencil,

we blend some of the blue 7. TJjanks to the intensity of the blue, the color of
superimposiiiff two blue colors and violet. The strokes, thusobtaining a continuous color surface the lemons has acquired more ''solidity" and their
hi^hli^hts are left virtually untouched. that perfectly expresses the bowl's volume. shape now looks rounded.

8. The orange tones of the mandarin have been drawn by

shading with oranjje and ochre. Tlie latter color has been
applied to the darkest areas ofthefi-uit.

9. The tablecloth is shaded in with crisscross strokes until a 10. Tlie final touches are for the surface of the table, which isjjiven a_gray value, shadinjj in
uniform area of color is obtained. the shadow with a bluish jjray and contrasting the backjjround with a combination of blue
and black. Tlie end result shows you how the stark contrasts ofthefi-uit and the bowl create
the effect of the solid color we were searchin£i for.
Color by Strokes
(/)

u white of the paper. This allows the artist to obtain

Q
LLI
Color by Strokes very rich chromatic effects that can be adapted to
the characteristics of the subject. This technique is
cr
O
_i Colored pencils offer the possibilit)' of coloring a one of die most suitable for this medium, but certain
O shape in a very precise way by applying an
u subjects are less suitable than others for this type of
accumulation of short strokes, alternating diverse treatment. This lake scene with ducks provides an
colors and the intensit)'^ of the lines in relation to the excellent example to demonstrate this technique.

of the paper and the in-

PLUMAGE AND WATER tensity' of the stroke. The
white of the paper itself must
An animal theme is be taken into account
especially appropriate for throughout the process,
this exercise. The plumage shading it in some parts and
of birds can only be leaving other parts visible
rendered with tiny touches between the strokes.
of color in different
directions and with abrupt
changes in tone, charac-
teristic colors of these animals.
Colored pencils allow highly Both the plumnjje of the ducks mid
realistic the
results, with the ripples on the surface of the
water form an ideal subject for
added advantage that they
practicing one of the most effective
can be used to tone delicate colored pencil techniques: drawing
highlights by using the color and shadifijj with groups of lines.

2. The darkest areas of the

plumapie can be drawn in,
since these areas will not be
superimposed with color nor
will they be touched up.
'^
t

1. TIjc first lines should define the contours and situate the
most outstandinjj features oftheplumajje without ^oinjj
into detail.

'>^
3. Thejjreen tones of the head emerjfe between the black shadows. 4.The body is softly modeled with a series ofveiy short jjray and sienna parallel sU-okes. Tins
By combining these two colors we obtain the characte)-i.mc work method requires well-sharpened pencils in order to draw precise strokes.
iridescent effect of the plumage of this part of the duck's body.

E(
Color b\' Strokes
CO

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z
LU
NOTE Q_

Always make sure

your pencils are well- QC

sharpened if you are

O
_l
going to add details o
while you are coloring.
u
"•^ Pencils with a round tip

^ do not color as well

and cannot be used to
draw precise outlines.

5. With brown, jfray, sicnnn, and black, we can draw the 6. TJje white pans of the duck must be left untouched,
detail of the plttmajje of the uppermost duck. TJie crisscross adding the barest touches of color. By drawinjj the water
lines used to model the plumage make it look very realistic around this resented area, the duck acquires form and
and convincing. volume.

7. TJje work on the water must be carried out reryjjradually 8. Tljc color of the water
and methodically, bejjinninjf with faint strokes and then alonjf the flanks achieves
gradually adding evermore intense color. Tlje direction of the tiecessar)' effect of
these strokes is very important because it represents the plane Another aspect
flotation.
of water on which the ducks are floating. that must be taken into
account is the distortion
of the shapes of the legs,
due to the ripples of the
surface of the lake.

9. TJjc of the water should be

color
drawn from the legs outvmrd.
superimposing dark gray tones and
blues to tone the green and to
adjust the tone of the water, taking
special care to create natural-
looking ripples on the water.

10. Tlje impact of the intensity of

the color of the water is highlighted
by the pure white ofplumage, as
well as several pf n' clear reflections.
TIjanks to the methodical drawing
process we have followed, consisting
of lines and dark patches, you can
see the possibilities that colored
pencils offer when they are used to
color with strokes.
3M Color Drawings
CO

u
z BOTANICAL GARDEN
LU
Q-
Q
LU
Color Drawings The subject selected for
CC the present exercise contains
o
_J is important to bear in mind that colored some palm trees in a botan-
O It garden, which boast
O pencils proxide the best results \\'hen the}' are used as
ical
branches of long leaves that
a drawing medium rather than as a painting medium. If almost begin at the trunk.
The leaves can be seen
the maximum form of expression in a drawing is the
individually. This is a perfect
line, the richness of a work effected with colored pencils motif for a color drawing
executed by means of colored
lies in the interplay of colored lines. It is not easy to list
pencil lines.
subjects that are most appropriate for this technique, as

most objects, in realit\', are three-dimensional and ha\'e

mass rather than being groups of lines. But it is possible

Althoiuflj the subject may look
to find subjects that can be drawn exclusi\'ely with lines. complicated, it many
will not pose
difficulties. Tlje ajtist will have to
By drawing an example of one, you will see the special pay much attention to the
directions the leaves droop and
attraction of colored pencils w^hen used on a subject make sure his pencils are sharpened
before commencing.
that is tailor-made for them.

1. In the preliminaiy drawing we

concentrate only on indicating the
linear directions of the subject: the
diagonal lines of the i-oof the
vertical lines of the trunks, and the
arch formed by the palm leaves.

branches are drawn over the faint-colored backjjround of the

2. Tlje
cjiormous marquee. This color must be applied from the outset using a pale
pink and a gray for the folds that form in the uppermost part.

3. Tlje details of the roof are simplified. Tlje pencil should be held lightly over 4. Tljcmost separate leaves can be drawn individually, having checked beforehand
the paper so that the details are only insinuated. Tlje artistmust take care their directionand on which pan of the bi-anch they are located. Tlju does not
not to confuse the lines and colors of the backgroinid with the branches. imply copying each kaf, but ratha- drawing them in s^tithesu with lines naming
in a similar direction. It is advisable to study them brfore starting this task.
Color Dra\\'ings

_J
(J
nearest pahn tree
5. Tlje
looks like this now that all
Z
LU
its branches have been Cl.

drawn in. TJje direction of Q

the leaves is determined by LU
cc
the curve of the branches
and their position. The
O
_i
branches facing us do not o
allow the leaves to be seen o
individually, so they are
drawn with more patches
of colors than lines.

0. TJje rest of the palm trees

must be drawn more
roughly in order to produce
a sensation of distance.
I

77;- >,w..;w, ,.....:..,,.:.;....,......- .-;-, ::al_ffnrdc!i should be colored

7. Vie trunks are shaded in with brown, bringing out the
a
more)ofiiv7o'that the\ reaUv look distant from the place where the
palm trees are ^ttjiated.
spaces betireen the bark with a darker color. Just as we did the foreground. The
with the palm leaves in the distance, the furthermost trunks The blackish bushes create a separation between the background and
must be drawn roughly, without detail. final task to complete the drawing is to darken the ground.
Drawing and Color Ranges

_J
U modeling the subject within a limited harmonic

Drawing and range ot grays, bluish grays, bro\Mis, and greens.

is tar easier to model \\'ith a range containing few
It

(J

he
Color Ranges
last dra\\'ing we are going to do with colored
_ tones than
colors.

and dark
it

Modeling
is when drawing many

areas, instead
is based on obtaining the form
of the subject through tonal values, highlights,
contrastive

of through pure colors.

T pencils will demonstrate the possibilities of This subject suggests such a treatment.

The artist would have to fill excellent example with

AN OLIVE TREE in a large area of the paper which to practice the present
with fme strokes and the technique. The crown cannot
Colored pencils have their result would be crude and be drawn leaf by leaf, neither
limitations when it comes to childish. The narrow long can be modeled as if it
it

modelina; larsie \olumes: bodv of this olive tree is an were volume. It must
a solid
be treated with tin\' contrasts
of light and dark areas of
color, alwa\s working w ithin
the same tonal ranse.

Hie shape of the tree is clearly

outlined ajjainsta clean
background and the only shadows
present are those cast by the tree itself.
TIjc study ofthefoiin takes priorit}'
over any other pictorial elements.

1. TJje contour of the trunk is drawn is inipoitant not to close up

injjray. It
the outline, as the definitive shape will be produced by the patches of color.

TJjese are the pencils we are

jfoinjj to use. Tlieyare situated
ne.xt to the areas where they are
most prominently used. Many
of them will also be used to
brinji out other details in the
drawing. shaded areas lend more definition
2. Tlie first to the volume of both the
trunk and the leaves.
Dra\\ing and Color Ranges

esplanade situated
3. TIjc
behind the olive tree is
painted pale pink wltich, in
later phases, trill be
intensified witij
applications ofottier colors.

4. TJjejirass must be worked

in stages. First, trc diade ttje

area with yellow and pale

£ireen, over which tiny
strokes of a darker
green arc applied.

NOTE
When G'5/. '5 a

picture with colored

pencils, it is advisable
to begin shading in the
shadows with a pale
color before adding the
definitive color, once
the different tones of
the subject have been
added.

5. Tlyenext stage in TIk texture of the grass is

coloring tlie grass consists achieved by superimposing colors
of darkening tijc tone by and a series of minute strokes that
means offiirttier tiny

1
evoke tix small leaves.
strokes that lendmore
density and color to
this area.

6.In the last stage of the

work on ti)e grass, we
darken the sljadow cast by
the tree, taking care not to
outline it too much. TJje
edges of the simdow must
remain sofiso that it
appears to be cast over
grass rattier tlian a
smooth surface.

7. Tlie background is
prepared by drawing sofi
strokes ofbluisljgray. Tltese
strokes outline the slmpe of
the tree, leaving the areas
that we will now color in
untoucfjed.
§SM Drawing and Color Ranges

o
z
LU
Q.
Q
LU
DC
O
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u
\k;
]^^^'

branch on the njjht has the darkest shadow. This

8. Tljc 9. J}}e leaves are drawn with dense patches of color that gradually build up the crown by
cannot be modeled because it covers the diameter of the means ofsuccessive contrasts of lighter or darker £rrayish or intense £ireens.
trunk and barely has any tones to brin^ out the volume.

These are the pencils used to draw the crown of the olive tree: earthy greens, 10. The fine branches of the olive tree can be drawn with patches similar to
combined with brown and^ray. the ones employed in the central mass, althoujjh thinner and lonpfer, bending
outward.

11. We turn our attention

back to the background to
finish it off. The^lass wall is
executed with straight
vertical and horizontal
strokes that contrast with the
irregular lines of the olive
tree's crowtt.

12. The volume of the crown

is defined interiorly by
successive applications of
green that continually build
up detail in the complex
foliage. Tl^e exterior part of
the contour is defined by the
surrounding gray
background.
Drawing and Color Ranges
C/5

NOTE
o
It is advisable not to
press the pencil tip down
too hard against the
paper, otherwise you will
end up creating grooves
that hinder shading and
will remain visible in the

final result. Only during

the final stage of the

work can you apply a Ujese are the pencils we have used
little more pressure. tomodel the trunk: browns, ochre,
and^ray.

13. To model the trunk, the artist The vertical and horizontal lines
must darken the ed^es in order to of the back_ground provide a con-
brinjj out the volume, especially vincing rendition of the glass, in
in the parts where the branches addition to producing a contrast with
undulate. the treatment of the tree, made up of
lines leading off in all directions.

14. Using the palegray, we blend certain tones of the trunk, 15. In the final result, we can appreciate the realistic effect produced by the modeling process
so that the color is continuous without abrupt changes. as well as the free pencil work applied to the thick foliage.
Drawing with Charcoal

o range of tones (from die most subde gra\' to black).

Drawing with Ciiarcoai Charcoal can be spread, blended, and manipulated wixh
(J your fingers. Without doubt, this is a "dirt\'" medium
Because the charcoal medium more covering
has and, therefore, should be used on larger formats dian
po\\'er than pencil, it can be used to create more those used witli pencils, and more care has to be taken

effects than the latter, at the same time conserving \\'hen handling charcoal. This part of the book is

its possibilities for drawing considerable detail. An concerned with some of die most interesting charcoal
important characteristic of charcoal is its wide tecliniques that can be used with the charcoal medium.

DRAWING Blending
WITH CHARCOAL

The fact that charcoal can in the resulting intensit)' when

be blended with a stumping charcoal is applied with lesser
pencil or with a finger opens or greater pressure over the
up a wide range of pos- paper. It should be pointed
sibilities. When the artist aibs out that the possibilities for
charcoal, its tone liglitens. Tliis stimiping are much greater
is almost tlie only way to when you use natural sticks
achie\e gradations, as there is of charcoal or compressed
barely any percei\able change charcoal.

A brush is also njfood implement

for bleudiujj, as it is much softer
than the stumpinj) pencil, and it
A^radation of tones that can /'.
lightens the tone much more as well.
achieved by blending ranjje fron
the virtual black color ofnaturai
charcoal to the color of the paper. It
you use white paper, you en:.
fjrndate to white by usinjj a piece o-
white chalk

Whether you use your finjjers or a

stumpinji pencil, fjradations
multiply the possibilities of charcoal
as a drawing medium.

DRAWING Erasing
WITH CHARCOAL

The limited adherence of restoring the color of the

charcoal makes it ver\' easy to paper after ha\ing drawn over
erase. The kneaded eraser is it. This t\'pe of eraser also
an indispensable tool, since allows you to draw with it:
not only is it used for erasing, tones can be lightened, details
but also for opening up white can be drawn and the bright-
areas within a patch or a est parts of the model can be
gradation, in other words, for illuminated.

The eraser can also be used like a

rubber stamp, by molditijj it into a
form and repeatedly applyinj) it to
a dense application of charcoal,
thus creating textures.

Used as a drawing
^
accessory, the eraser can be used to define completely
straight boundaries by rubbing it along a strip of paper.

Tljc kneaded eraser is also a drawing implement: not only can it be used to

rectify orors, but also for lightening and even drawing white lines, which
makes it indispensable for modeling forms.

wef
Drawing with Charcoal

DRAWING Masking with paper O

WITH CHARCOAL \.

In works that demand the interior of the form, the (J

neatness and ven' clear effects, artist can obtain a com-
the artist can cut out a piece pletely uniform tone and
of paper with the desired ver\' precise contours that
form and use it as a mask. By cannot be attained in any
drawing and blending within other wa\'.

2. Tfjccharcoal patch is rubbed

from both sides toward the center so
that the particles of charcoal do not ^^
fjo over the limits of the mask.

1. First M'c cut out the shape of the 3. The final result is a shape colored
paper we want to resei-ve, that is, in a completely unifortn tone with a
that we have left undrawn. Tljen perfectly delimited contour,
the paper is placed over the support something that is impossible to
and filled in with charcoal. achieve by any other method.

DRAWING Textures
WITH CHARCOAL

In addition to the texture create patterns. By the same

of the paper itself, we can token, we can substitute the p.' ;^
obtain textured bases using underlying paper with any
papers placed underneath rough surface.
the drawing paper. By
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holding a stick flat against Ifyou work on fine paper, you can
the drawing paper and rub- place a sheet ofpaper underneath
and then draw with the stick held
bing, the underlying paper
flat against the paper to obtain
leaves its imprint on the lines and angles that can produce
drawing paper in the form of an interesting base texture.
lines and angles that can

DRAWING Fixing charcoal

WITH CHARCOAL

Charcoal must always be By dipping the charcoal stick into

litiseed oil, it is possible to fix the
fixed when the drawing is
<;, strokes without the aid offixative.
fmished. The tiny charcoal
particles are not adhesive
and slowly release from the
paper. An old technique was
to spread linseed oil over the ^^'-^J
stick before using it to draw.
The oil, on dr)'ing, fixes the
charcoal permanent!)' in
place. This method only An aerosol fi.xative prevents the
works on drawings in which i
# iiii ip d w mniiiiiiiiiiii niir i nwr-rrr- charcoal from falling off the paper
the charcoal has not been and protects the work.
blended.

DRAWING Natural and compressed charcoal

WITH CHARCOAL

By using natural charcoal Blended areas and broad

patches air best obtained with
with compressed charcoal natural charcoal, while more
you can combine patches precise and intensive lines are
and strokes of \arious more easily drawn with
compressed charcoal.
intensities. Natural charcoal
is much easier to use for
creating large patches and
for stumping, while the little
sticks of compressed char-
coal allow the artist greater
control o\er the line.
Blending and Strokes

opposed techniques on two very different subjects.

The atmospheric landscape demands blended

O Blending and blurred open lines, and suggestions of form
strokes
rather

than precise contours. The human figure, on the other

and Strokes hand, is a subject that requires greater precision of the
artist: resolute lines and shading by lines. These t\\ o
very subject requires a particular treatment. In these very different subjects and techniques are, at the same
E pages we are going to demonstrate two diametrically time, ver}^ characteristic of charcoal drawing.

BLENDING AND STROKES Landscape

The blending technique is renderings of each trunk and

excellent for creating atmo- rock. In such cases shaded
spheres by merging values areas tend to link the
together. In a sketch or a different values into a co-
landscape painting, the view- herent unit\'.
is more important than exact

2. In order to attain an atmospheric effect, the stick of charcoal is applied

flat against the paper over the areas that require sotne general shading.

By reconstructing this pauti t u y 1. The most important elements

Corot (1 796-1875), we can of the landscape are drawn

examine the way in which we can with simple charcoal strokes,
draw and blur successively determining sizes atid proportions
through shadin£[. as well as several shadows that lend
body to the trunks and brushes.

3. The previously applied areas of shading; are rubbed with the fingers. Those 4.The result is a landscape in which only the most relevant parts are
areas that need further shading are gone over with the stick. brought out, leaving the rest enshrouded in an ethereal atmosphere.
Blending and Strokes

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BLENDING AND STROKES Figure a
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This classical figure gives ^, (J
us an opportunit}' to practice
shading by lines. This tech-
nique is normally carried out
with a charcoal pencil, as the
little sticks of charcoal pro-

duce a stroke that is too

thick and imprecise. The
execution of the figure on
colored paper is complemented
with highlights of white chalk.

This foreshortened figure (drawn

from an unusual point of view) is a
work by Franfois Boucher
(1703-1770), Study of Male
Figure, drawn with white chalk
highlights.By reconstructing^ it, we 1. The contour must be left open,without joining up the
can understand the process of lines completely to allow the shadows to finish off the
shading without blending charcoal. modeling of the form.

2. The shadows are created with short lines of different

intensities. The darkest parts are an accumulation of
series of lines.

3. The left arm is drawn with soft shading, which is mainly 4. The drawing is finished off by adding highlights in the chest, shoulders, and knee with a
situated in the forearm and elbow. The shading must be little piece of white chalk.
applied in this area with very short strokes.
3 Modeling
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drawings illustrate other techniques of rep-
harcoal is extremely versatile for modeling resenting relief and volume in human figures using
C forms, especially for lending volume to the the eraser in the first and gradations in the second.

MODELING Torso

We will refer to a classic

subject drawn bv Titian
(1511-1576) in order to
study how to model form
with a kneaded eraser. The
eraser allows the artist to
open up whites, lighten a
tone, and establish the
volume of forms. By com-
bining this technique with
shading, the various forms
that comprise the torso can
be represented.
AlthoHjfh the artist did nut use an eraser in the 1. As always, the preliminaiy drawing is used to situate the
orijjinal, the result can be reconstructed by erasing forms in their correct propoitions and establish contours to
parts ofthejjradations. contain the main volumes.

3. The previous lines are

blended with the fingers
without wonying much
about the real volume of
the torso. Tlje volume will
be defined by erasing with
the kneaded eraser.

2. The artist draws lines, which will later be smoothed and

blended, in order to brin^ out the loins of the torso. These
lines will also sei-ve to establish, after a roujjh calculation,
thefi£[ure's proportions.

4.Openinjj up spaces with the eraser.

The kneaded eraser is used as a drawing instrument. By
erasing parts of shaded areas, we can remove part of the
charcoal to create highlijjhts that, in contrast to the darkest 5. Tlje result is a soft and clearly modeled body, achieved with a technique especially suited to

areas, model the volume of the figure. smaller formats when little sticks of charcoal cannot produce vety precise strokes.

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Modelins;

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MODELING Head u
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One of the most pre- O
dominant features of the
head of this young man is its
mass of hair. Its dark form is
an important part of the
contour of the profile, which
determines the natural relief
of the facial features. The
face is achieved by modeling
with intense strokes criss-
crossed by subtle blending.

Tins forcsljoitcHcd bend by Paolo 1. TIjc outline is the most

Veronese (152S-158S) is the model impoitant aspect of this drawinji,
for prneticin_q the next modeling as it describes the facial features
technique based on darkeninjj lines and situates them in coirect
and blending. proportion with respect to the larjfe
volume of the skull.

3. Blended strokes are added to the TIjc nvo pictures were drawn with
shadows where the 7nodelinjj must these tivo implements: vine charcoal
be more delicate, in the cheeks and and a charcoal pencil.
applied with the
2. Tin- lines other areas of the face.
charcoal pencil must run in a
determined direction, follotvinf; the
gesture of the head.
TIjc work of darkeninj^ is
produced by ititertirininjj lines that
render the facial features and
situate them in correct propoition
to the larjjc volume of the skull.

4. New intertwined strokes are drawn to emphasize the part 5. Tins result has been achieved by cnnyntj] out several rectificatiotis in the profile, adjustinjf
of the shadows where the blending has softened the volume. the volumes obtained by shading. To summarize, our drawinjf has been /jiven an energetic
treatment hi^ghli^hted with dark tones.
Surfaces

The surface of an object can be smooth or coarse,

matte or shiny, fine or rough, and so on. The
representation of these properties is as important

certain subjects, the shape is merely one more as the drawing of the contours and the volume.
In
aspect of the object. One aspect is not enough to The versatility of charcoal allows us to convex-
determine character; other factors need to be some of these subjects in a convincing manner. We
included. The most important of these is very have chosen a selection of subjects to practice
often the materials that lend volume to a form. drawing over the next few pages.

SURFACES A SHINY SURFACE

A black metallic lamp is a

particularly easy subject to
practice drawing with char-
coal. Its surface has a dullish
shine that can be rendered
by blending and touching up
in white chalk, working on a
sheet of colored paper. The
most important aspects are
its tonal gradations and the

triangular-shaped highlight,
in accordance with the con-
ical shape of the lamp.

Tljts is a very common

type of lamp. Its simple
geometric shape atid 1. The beginning is important iii this type of drawing. A
attractive shiny black seemingly simple shape like this one should be drawn by
color make it a perfect studying it with utmost attention, as any irregularity
subject for this exercise would be immediately visible. Tlje contour must be perfect,
in representing surfaces so any imperfection should be erased and drawn again
in charcoal. until it is completely correct.

2. The first charcoal patches are applied in the darkest

areas, although no attempt is made to delimit their size.
For the moment the only task is to accumulate the
charcoal where it will later be rubbed and blended.

3. TIjcdarkest shadows arc appro.ximately in place. There is 4. Using a stinnpiiig piiicil wc begin to blend, extending the patches and working in the
still to begin to model the motif as we are
no need same direction as the highlight, that is, rubbing the stumping pencil toward the edge.
concertied only with covering the darkest shadows.
Surfaces

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5. TIjc first stnjjc of the blending and shadirijj is at an end. We have

managed to situate the values oflijjht and shadow in their respective
areas over the lamp V surface, thus correctly renderinfj its conical volume.

that the charcoal will have extended over the ed^es of the
6. It is loriical
object. Tljcreforeyou will have to erase any exterior patches andjjo around
the outline of the lamp once ajjain.

7. Once the interplay ofhi^hli^hts

and shadows is considered definitive,
we apply white chalk in the broadest
part of the hijjhlijjht.

NOTE
Make sure the eraser has a
clean tip each time you use it.

The best way to clean dirt

accumulated when erasing
and stumping is to mold the
dirty part inward until you
obtain a clean tip.

8.Finally, the patch is rubbed and

blended into thejjray tones of the
charcoal. Ifyou study the
trianjfular hijjhlijjht carefully, you
won V have much problem in
obtaining a convincing finish.
Surfaces

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special kind of shine com-
prising highlights and
reflections. This helmet by
Titian ismagnificent ex-
a
ample what can be
of
achieved with charcoal when
drawing this kind of metal.
It is important to study the
changes in the highlights
and shadows, as they are the
factors that con\'ey the shape
and cunature of the hel-
met's surface.

77;/.f Study of a Helmet by Titian is a peifect subject

for studying the teclmiqne ofrenderitig burnished

metal, using charcoal and light touches of white
chalk. In order to make the highlights visible and 1. TIjc drawing should be based on an oval shape, which
effective we air going to draw on a light gray sheet forms main piece of the helmet. Around the oval we
the
of paper, a tone that combines harmoniously with the draw in the dijfercnt parts that curve in accordance with
tones of the charcoal drawing. the maiji shape. A charcoal pencil is used for this purpose in
order to better control the lines.

2. Now that the contours have been

drawn, the lines indicating the
shadows cast on the helmet should
begone over and shaded in,
particularly the shadows cast by
the visor and on the inner corner 3. We continue shading in, without blending, 4. TIjc flanks of the visor reveal a slight depression that can
of the visor. the areas that most make the volume of the whole be drawn bv means of shadows blended in the middle.
stand out.

5. It is important to pay
closeattention to the
shading. Since we are
dealing with a burnished
surface, the gradations
will begin and end
independently of the
surface's logical volume.

6. TIjc visor must be shaded

a way so that it truly
in
looks like a groove above an
empty space. The shadow
cannot be completely black
but should be slightly
lighter at the bottom.

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7. Now that the surfaces have been blended, it is 8. TJje hinjje of the visor must be drawn with 9. Hjc hitijje should appear to jut out from the

time out the hijjhlijihts of the ed_ges

to brin/j and eare, defining its shape with the chat-coal pencil body of the helmet. Tins effect is attained with
the solderings with the kneaded eraser. (marking in the contours that form a rosette) and pencil hi/jhli/ihts and "eraser strokes.
opening up hi^hli^jhts with the kneaded eraser.

10. Once the hijfblights of the visor

have been drawn correctly, we can
add the small details, such as the
^roup of holes in the front, which can
be drawn with charcoal.

Tljese are the tools used to draw

this picture: a small stick of
charcoal, a kneaded eraser,
and a stick of white chalk.

11. Tin- white chalk must be used sparifijjly, without 12. TJje final result is achieved by alternating soft blending with stark dark accents, all of

exa£igeratin^ the highlijfhts, drawing only in the places that which is toned with light touches of chalk.
are hit directly by the li^ht.
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Surfaces

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a SURFACES Chromium-plated surface
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are considered ver\' difficult zone may be adjacent to a
to dra\\', but with charcoal, it dazzling highlight. By study-
ispossible to obtain a ver\' ing the limits of these zones,
convincing result, using white we can achieve a good re-
chalk to draw the brightest production of this chrome
highlights. The contrasts of plated teapot.
chrome are ven- harsh. There
are no siradual transitions

TIjis chrome-plated teapot is an ideal subject for practicinjj the technique

demonstrated in this exercise. Tlianks to its simple and rcffular shape, the
hijfhlijfhts and reflectio7is are arran£ied in a simple order that can be
studied and drawn with relativeease. As always, when drawing simple
shapes, the preliminary drawing must be drawn with£reat care.

1. TJje truncated cone-shaped teapot has a handle that forms

a perfect circumference. TJjc combination of these two basic
shapes must be drawn in their best possible dimensions.

3. The tone of this shadow is intermediate. To adjust it correctly, we blend 4. The center of the teapot is lighter and brilliant, so we are compelled to use
the charcoal applied in the last step. white chalk to achieve ma.ximum li^ht.
Surfaces

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white area has been filled in, we blend the entire patch to
5. Nojj' f^rtf the 6.The tiny screws alonjf the base of the teapot cast a slight shadow, ihcy are
obtain a uniform texture. rendered with the charcoal pencil.

7.Some of the screws are in shadow, but in a

lijjht one. To make them stand out, you
fairly
can draw in some dots of white chalk.

8.The result is convincing! thanks to the bold

contrast bettreen the larjje patches of shadow
and lijiht that alternate over the surface
of this chrome-plated teapot.
M Seascape
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Charcoal allows as many possibilities with land-

scape scenes as it does with any other subject.
Nonetheless, there are certain differences that
must be taken into account. The vegetation and
mountains cannot be treated with detail, but
merely as generalizations, leaving certain elements
suggested and abbreviating the immense number
of details in a synthesis of lights and shadows.

Jlje combination of natural forms (the sea and rocks) next to man-made
forms (the lijfhthouse sttiToiindcd by bitildinpfs) is one of the main
The difference in treatment attractions of this view. TIjis seascape will be drawn accordinr/ to classical
THE SEA AND THE ROCKS
of these aspects constitutes charcoal drawinjj techniques.
one of the fundamentals of
The surface of the sea is a drawing, not only seascapes
subject which, rendered in but any landscape subject.
charcoal, is obtained through
a number of shaded areas
without too many brusque
changes in tone. The rocks,
on the other hand, require an
abundance of contrasts, 1. Tljc preliminaiy drawinjj is
profiles, detailed edges, etc. made up of simple sketch lifies with
which the artist tries to adjust the
The seascape we are going to
sizes of the different forms of the
paint requires both factors: seascape and lend proportion to the
blurred and detailed forms. areas of the sea and sky.

Tliis drawing will allow us to study

the dijferetit realistic effects that
can be obtained by bleudinji with a
stump, shaditijj, hijfhlijjhtiuj! in
white chalk, and usin^p the eraser to
remove tiny pans oftljf charcoal.

2. Xe.xt wc L.xuiid .'.!;j)i p.iuhcs of charcoal to obtain 3. Now we must blend the previously applied patches so
the first values. Tljcse patches are especially veiy dark in that each area adopts a tone that harmonizes with all
the lower part of the rocks, where the shadows are most the others.
intense.
Seascape

4.After the prelimtuan' bleiidtttjj, the first most prominent masses of the 5. Tlje successive applications of charcoal, with their correspondinji
landscape begin to take form. We continue to model the areas that until jfradations, begin to bring out the different volumes of the rocks, making
now were merely patches. some parts appear to jut out more than others.

6. Once we have
accumulated enough
patches of charcoal, we use
the stump to model with
greater precision, bringing
out the nooks and crannies
of the different rocks. TJie
process should always go
from the most general to
the most specific.

Wljen you move the

stumping pencil from a veiy
dark zone to a very light one,
it should first be cleaned to
ensure that the paper is not
diitied more than is

necessary.

7. Once again, we use the stick of charcoal ;/ detail to the S. 1 the lock also require the use of the eraser to remove certain
edges that have been blurred by the stumping pencil. edges in order to reveal the underlying color of the paper again.
^!{IM Seascape

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9. ^crcrai sttinic shndcd areas war aria dcTaii to t'dc coiiipic.x frrticnirc of the 10. Tlje biiildinjjs hare been j)ircti njiuish in accordance wnij the other
rocks arc drawn with the charcoal pencil. parts of the drawinjj and are suitably integrated with the rocky area.

11. TJje stripes on the lijjhthoitse arean essential detail, since they lend
interest andvisual jjracc to the picture. Tlje cliff tops that flank the complex-
from behind are defined by soft strokes with the charcoal pencil.

12. Once ajjain, the charcoal pencil is a vcn' useful aid for modelinjj the 13. Now It ts time to highlight the stripes of the lighthouse tower with white
curved facade at the vei-y edge of the cliffs with intcrtivined lines. chalk, which is applied in the intermediate stripes betiveen the black ones.
Seascape

Tlie chalk can be sharpened with a

utility knife to obtain a point that
will allow fine strokes.

14. Chalk is also ver^ handy for

of the most
hijjhlijjhtinji the crafjs
illuminated rocks and to heighten
the abruptness of the rocks.

15. Harinjj added considerable detail to the buildings and the rocks, the sea
can only be conveyed with synthesis. After blending the shadows cast by the
rocks, we use the eraser to suggest the effect of the waves.

16. The eraser has allowed us to obtain a distinct texture for the surface of
the sea. Tliis texture must be toned through the stumping pencil in order to
achieve the desired effect.
Still Life

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and black tones, gradations, and shading
Gray
take on a different appearance when charcoal is

applied to canvas. The grain of the canvas is very

different from that of paper, and its coarser and
less absorbent surface lends the tones a cooler as-

pect. This can favor certain subjects, such as the

elements in this drawing: a collection of old metal-
lic receptacles. The consistency of the canvas will aid
Tlje preparation of the subject is as important as its execution. The artist
the artist in achieving the textures of the different has tostudy dijfcrent arrati^ements, always searching for a harmony of the
whole, before choosing the definitive one.
metals.

rounded ones and between

ARABESQUES angles and curxes unifies and
integrates each element widiin
The harmony of the subject a unit)' characterizedby die ara-
resides botli in the qualities of besque. An arabesque is like a
the metal and in the rich curves rh\tlim, like a decorative stroke
of the contours. The contrast that links each part, establish-
between flat surfaces and ing as much the shapes that
enclose them as die spaces be-
tween the objects themselves.

Wc arcjjoifijj to draw
the still life with sticks
•arconl and a
coal pencil,
ther with a
tnpinjj pencil, on a
dard canvas.

1.In the preliminary phase of the drawinfi, the most important task is to

< -' and situate them in a way that they appear

block in the objects
harmoniously proportioned.

^*^
2. Drawing! on canvas means we can completely erase the drawiiiji with a 3. Tljanks to the traces of the original lines, wc have managed to draw in
rag. In this case, we erase in order to give the form more detail, as the the outlines of each form and the linear harmony of the whole.
original strokes, although erased, have left their mark on the canvas, thus
providing us with aguide to continue the work.

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Still Life

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5. The first general shading is enough to convey the basic volumes of each one
of the elements.

carried out in charcoal, blendinjf the lines and

4. Tlie first shadinjj is
cleaning up ceitain areas with the eraser, as this work is more difficult to
control when workinjj on canvas.

7. Once wc have achia^ed the optimum modeling, the drawiti/j is lightly

fixed so that the successive blending does not alter thejfeneral values.

6. Going over the initial shading,

we continue sketching and
smoothing over the darkest areas
and those that require more intense
modeling.

8. Working overfi.xed patches, we

can darken the tone without
altering their placement. This work
is done with compressed charcoal,

which has a darker

tone than charcoal.
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Still Life

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p. Thanks to the nwrk carried out with the compressed charcoal, the elements on the left of 10. The shadow on the fallen receptacle is achieved with
the composition appear more compact, with more detail in their relationship to lijjht and strokes of compressed charcoal that are then rubbed in the
shadows. convergent direction of its planes.

11. It is essential that the decree of elaboration of each object be more or less
the same, so that none of them is too sketchy or, on the contrary, too
darkened because of excessive shadin£[.

"•wfei.

12. The hijfhlijjhts on the object on the rijjht convey a metallic surface
that is dijferent from the rest. It is important not to fall into the trap
ofdrawinjjf mechanically. Tlie quality of each surface must be
drawn accordingly.

To obtain the values of the plane of the table, we shade in the area with
13.
a of charcoal, and then blend the strokes, takinjj care to achieve a
stick
harmonious tone over the entire surface.

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Still Life

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14. From moment on, the work involves integrating all
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the objects into a common atmosphere, creating values of O
li£[ht and shadow over the surface of the table and the
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17. Having darkened the plane of the table and also the base of some of the objects, the composition has acquired weight and credibility.
Drawing with Pastel

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LU a wide range of tones. The aspect that distinguishes
cc pastel from charcoal is the color, although there are
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other particularities between the two that must be

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The pastel medium is very similar to working witli understood in order to work with it correctlw The
charcoal. Both media can be applied as lines or following pages will introduce these factors and show
patches, which can then be blended, and they produce you how to get the most out of them in practice.
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H
DRAWING WITH PASTEL Blending

When pastel is blended, adhere to paper, pastel can finger, a stumping pencil, or
the color is extended, press- be applied in successi\"e layers, a rag). But in contrast, hard
ing all the tiny particles into even over pure unblended pastels allow more precise
the pores of the paper, thus colors. This is what most dif- lines than chalk. Their sharp
making the line disappear. ferentiates pastel from other contours can be used to out-
With high-quality pastels, drawing media, as it is not a line forms and sketch lines, a
blended areas do not lose question of light and shadow, fact that relates them closer
their original intensity, but of color contrasts. to those media that we usu-
although they do lose some The effects of the blend- allydetine as dra\\ing media.
texture, as the layer of color ing \an' signiticandy according Soft pastels offer a more
takes on a smoother and to whether you are using saturated color and have
more uniform appearance. hard pastels or soft pastels. greater covering power, but
Regarding tools, pastel stumps Hard pastels and chalk, they do not produce good
are no different from the above all, cannot be blended lines since they have a
t)'pe used with charcoal. In too much; the stroke remains tendencv to crumble.
terms of the color, due to its in place (it doesn't disappear
greater oiliness and abilirs' to so easilv when rubbed with a Wljen blending, colors almost
completely mix to^jcther.
Nonetheless, the best results are
obtained by mixing colors that
belong to the same ranjfe.

Dra wing with pastel and chalk

can combine both lines and patches
of color.

Pastel can be nibbed with your

finders or a cloth. TJjc second Blending with the fingers allows
option is the most recommended the anist to create uniform patches
when workinjj on Ia r^c formats. from lines. Hard pastels and chalk
Tlie cloth or rati should be made of must be blended much harder with
cotton and must be replaced with the fingers because the line is more
another one once it is dirty. permanent.
^^^wg?aa^
Drawing with Pastel

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DRAWING WITH PASTEL Working with color

Once the pastel pigment factor for mixing colors. A White pastels
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disintegrate very easily
has been spread over the patch of saturated color is
and leave a large
paper, it can be Ughtened rather difficult to darken amount ofpigment on
CO
and darkened by means of with charcoal. Color should the paper. It must be Q
successive layers of white be darkened \\hile the layer rubbed with moderation
so that the aceiimiilation
and black. The artist can of color is still thin.
of loose pigment particles
then draw over this and, to a Pastel color can be mod-
does not dirty the
Any eled easily with colors of the CO
certain extent, erase it. drawing.
erasing must be done with a same range. The choice of
kneaded eraser. Hard erasers colors is wide enough to
are not recommended, since carr\- out continuous gra-
they can damage the paper dations of var\'ing intensities,
and their reduced absor- ranging from a light tone to
bencv dirties the tones a dark one without the need
(especially if they are com- to use black or white to
posed of various layers). darken or lighten, but rather
Pastel is much denser than using lighter and darker
charcoal and this is a decisive tones of the same range.

White can be used for

both lightening a tone
and covering it
completely. TIjc second
option can only be
achieved completely in the
case of light colors, given
that dark colors will
always remain visible
under a white patch.

The combination of hard and soft pastels or chalks

and pastel pencils opens up a wide range of
drawing and coloring. While sticks
possibilities for
are ideal for coloring in patches, pencils can be
used to draw and add details on top of them.

The eraser can be used

during the first stages of
a pastel drawing. Once
a significant number of
color patches and lines
has accumulated, the
eraser tends to dirty the
Modeling with pastels allows the artist to execute continuous shaded volumes,
tones already applied
without lines or cutoffs. This factor permits a diversity ofpictorial results
to the paper.
with the pastel medium.
%Km Drawing with Sanguine

Drawing with Sanguine

Q anguine, often referred to as "red cliaik," is a very
S interesting monochromatic color. Its range of tones is wide, but
as a chalk it is much softer than charcoal and also more luminous. It
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is the principle color of Conte crayons. The best results are achieved

when drawing human figures. Here we are going to reconstruct

partially and completely two classic works in sanguine. Two \^er\^

different styles are demonstrated with this drawing medium.

DRAWING Two FIGURES

WITH SANGUINE

This exercise involves

studying and reconstructing
a drawing bv Giovanni de Tins Renaissance drawing by Giovanni de Pordenone
Pordenone (1484-1593), (1484-1593) is constructed using oval-shaped forms which,
Study for the Death of Saint due to their arraiigement, situate the position and the
Peter the Martyr. E\'en / proportions of the figure's limbs. Tins method of calculation
is rough and is comtnotily used in this type of sketch, a
though this n,pe of subject is conception for a future painting.
not common among today's
artists, the technique used is
ver\' interesting and reveals
much about the possibilities of
sanguine for drawing figures.

1. Tlje artist begins by drawing a

seriesof oval-shaped forms that
suggest a movement atid provide
the figure with its basic proportions.

2. The sanguine pencil can be used

for shading. The accumulation of
lines darken the areas in shadow.

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3.With a stick ofsanguine chalk, 4.The previous lines are blended to 5. Tlie end result of the work is two figures that are considered more in terms
we can also shade with strokes, achieve greater clarity betiveen the of their volume and movement than their contours. Tlje intense modeling
although in this case they will be light and shadows, and to make the does not look too overdone thanks to the attractive tonality of sanguine.
blended shortly. figure's limbs appear more solid.

B
Drawing with Sanguine
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DRAWING Combinations
WITH SANGUINE
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Sanguine Conte crayon or 1. Tlie preliminary drawing, done in charcoal, is charactnized

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chalk can be combined with by its speed and unfinished appearance. TIjc drawing's sole
purpose is to situate the figure on the paper and capture its
other drawing mediums.
/jetieral movement. Let us notforjfet that tins sketch was drawn
Artists commonly use it in from nature and so it was executed with the utmost haste.
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conjunction with charcoal or
pastel. This drawing demon-
strates ho\\ it can be com-
bined with charcoal and CO

white chalk, an excellent

choice that allows us to
shade and highlight in order
to create an attractive chro-
matic harmony.

Wif have chosen a drawin^f by Edffnr

Delias (1834-1917), Woman Drxing
Herself, to study this combined
drawinjf technique whose main color
is sanjjuine. Tl)is sketch is one of
many of the same subject that the
£reat master drew from nature.

2. The first sanguine patches are 3. TJie combination

drawn with the stick held flat of charcoal and
against the paper, looking for sanjjuinejjives rise
halftones, less intetise shadows, to a rich and dark
and the volume of the curtain color that is suitable
in the foreground. for the areas most in
shadow.

white chalk highlights the areas ni direct Itjjht and

4. Tlje 5. Ihe nude has been modeled by bringing out the white chalk highlights with hardly any
also delineates certain contours thathad been blurred blending, superimposed over gradations of sanguine Conte crayon and charcoal.
during the hasty sketching session.
uIm Drawing with Chalk
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with a stumping pencil, blended, superimposed,

< Drawing with Cliall( and can cover the paper

of pastel. In this
much as any other t)'pe
as

section, we are going to use

CO Classified as hard pastels, chalk is better suited in white, sanguine, and black chalk to draw these
Q pictures in which the more importance
line has exercises. These three more than
colors are
than color. Even so, chalk should in no way be enough to draw sketches and works that do not
considered inferior to soft pastels. It can be shaded require so much color.

DRAWING WITH CHALK A STATUE

White and black chalk are of pearl gray colored paper, a Statues and sculptures are always a
jjood subject to ciraw: They are
all we need to draw this tone that harmonizes with — —
static and by atid larpie mono-
stone statue. This drawing the subject's white and cool
chromatic. Such motifs jjenerally
how to shade
will illustrate colors. display an interesting interplay of
and model with chalk, super- lijfhts and shadows. The most
outstandinjj aspect of this li^ht-
imposing tones, blending
colored stone statue of Neptune is
lines, and building up the
the outline of the trident that
form by means of patches. creates a contrast typical of a
Even though this is a fairly drawinjj.

quick drawing, it does bring

to light highly interesting
technical solutions. The paper
1. The preliminary drawinjf
chosen to draw on is a sheet
consists ofapplyinjj strokes of black
chalk to establish the figure's pose,
without addinjf details. TJjc lines
are drawn softly, as the white that
is to be applied later must not be

dirtied.

2.The first touches of white chalk

are also applied with care. There is
no need to fill the paper in so soon
without havinjj in mind the delicate
interplay oflijihts and shadows of
the statue, llu- chalk lines illumi-
nate the figure's lightest parts.

3. Some of the white strokes 4. The statue now appears precise

superimposed over the blacks and the details of the robe and the
become dirty. It is essential to anatomy can be made out with
bear this in mind in order to greater clarity, thanks to the
take advantage of it when shading modeling carried out with the 5. The final result is a drawing with an evident pictorial intensity: The

and modeling the volumes. black and white chalk. black and white values, due to their density, evoke chromatic tonalities.
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Drawing with Chalk E

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DRAWVING Wrm CHALK A .MUSIOAN
The of chalk for
suitabilin draw on cinnamon
dark I. The dmmimg is b^nn with a
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drawing fast sketches «iU be colored pap>er, which will be piece efsepia-cahrcd cbalk. This
color can be bUnded with the oAer
demonstrated in a drawing highhghted with white and CO
chalks without creating any
of a musician performing in harmonized with tones of discordant rtsnlts. The drawing is o
an orchestra on a Sunday sanguine and sepia. dccuAed with sfccd, getting down
morning. This is a perfect an appnximate ontline.
subject: The model does not
move much, the double bass CO
has a beautihil volume and a
vePi- adequate color for NOTE
drawing in chalk, and the The color of the paper,
scene has a graceftil air about when drawnig with a sanguine
it. Subjects like these are color,has an effect on the final
most appealing to an artist result.It should be medium-

who enjoys representing real tone, never too dark, which

life scenes. We are going to would hinder the correct
application of the touches of
color.

The harmoniousfitrm eftbe douMe

bass, which constitutes an element
tfsurprise and attraction, makes
dtis a very promising subject.

2. The lights, shadows, and

hi^Mg^ eftbe baA eftbe
double bass are resohed by
Mending sanguine Conte
crayon with sepia strokes.

3. Tbe^ray oftbcjiuket is obtained

modeling its Ampe with
by first
Mack, so that it can then be emend
with white. Once it bos been 4. Ik :'rdertctone . 5. The figure u finished. The important dctailt, like the bands and the face,

covered, it is blended and the areas that are too ligin, we can add have been obtained by means ofa sanguine-colored base and wbitt chalk
initial Uaeb modeling becomes a several black strokes that can then with a few touches ofUack to gray the color.
ligbtgray. be blended.
Still Life

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Q The elements of this still life have been chosen for

the way in which their tones create a harmony
within the whole. In general, the tone of the
colors subdued and muted, comprising a wide
is

range of values from light to dark. The color base

is located in the grays mixed with sepia and
sanguine, along with blue and cream-colored
tones. This drawing is an exercise in interpreting
all these colors. It requires the artist to take them
to the ranges that have been used up to the
present but with some important enhancements. El tema estd dominado por los^randes volutnenes de las dos vasijas de la
dcrecba. El resto de los elcmentos son mucho menores; sin embrajfo, mantiene
en cotnnn con los anteriores la rejjiilai-idad de lasformasy el suave
sombreado que los destaca.

THE RANGE

The color range to be

used in this drawing includes
sanguine, sepia, black, white,
and ultramarine blue. The
combinations of these colors
produce muted tones that
are highly suitable for model-
ing and shading by means of
the same procedure used for
drawing in charcoal.

2. The first patches are drawn in

1. Charcoal an exemplary mcdiiini for obtaininj)
is order to achieve a prelimitiary color
form without the need to add details, by applying application without concerning
shaded patches to the paper, sketching some guidelines, owselves with the exact positions of
and appraising the sizes and positions of the objects. the objects.

3. The color of this vessel is a mixture of sepia, black, and white. It has 4. Tljeblue isn 'tjfoi>i_0 to be used as a pure blue. It tsjjutJiji to be mixed with
a warm^ray tone that can be modeled in a wide ran^e of values, from other tones. In this case, the blue is beinji combined with black over the vessel's
off-white to black. lar£e surface on the left.
Still Life

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5. Tlje excessive dnrk>iess of the lar^e pot means tt must be Itjjhteiied with 6. To reduce tijc snTuraTion ufsau/funic, we apply
white. TJie result will be a cool bluish gray tone, modeled with little contrast strokes of charcoal which, once blended, will tone
between the higihlijfhts and shadows. the color.

These are the drawing implements

used in the drawing: sepia,
sanguine, and black
sticks of chalk,
a stick of charcoal,
a kneaded eraser,
and stumping
pencils.

7. Blending allows us to check the chromatic effect once the color has
acquired a certain amount of unity and the tonal contrasts have been
brought out.

8.The drawing acquires

more detail as the color is
adjusted. Tins is one way of
creating a pictorial result
obtained by a multitude of
contrasts.

9. The contours are drawn

withcolor, searching for a
contrast to define them
rather than a line to
enclose the object.
Still Life

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if)

C/5

10. TIjc stump is used to ensure the unity of the tone over the larjje surfaces, like that of 11. Ihe part of^ the tablecloth within the shadow cast b\ the
the tablecloth. Tlje stunipinjj pencil extends and models the color by blendinjj the darkened by drawing a line with charcoal that
biji vessel is is

hijjhlijjhts and shadows. then blended.

NOTE
In order to darken chalk or pastel with charcoal,
the color must be applied first and then the charcoal.
The greater covering power of chalk and pastel
makes them sensitive to darkening or graying when
they are superimposed by a medium with less dense
covering power, such as charcoal.

12. B\ the same token, the stumpinji pencil is used to

achieve a uniform tone over the vessel, which, until this
moment, appeared too modeled, with abrupt contrasts
ofliijhtanddark.

13. Tin- stems of the dried Jlowers are outlined with the edge of one of the sticks of chalk. Since 14. Hi^ghlights and shadows can be obtained simply by
we are working with hard pastels, it is easy to draw precise lines. drawing with the little stick applied onits beveled edge.

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Still Life K
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15. ThfJJuishiiijf stnfics involve brinfjin^ out the intricate forms of these dried flowers. Tlie 16. Some of the irregular contours of the flowers must be
color used isjjray toned with sepia, lightened with abundant white. hijjhlijjhted to make thctn stand out ajjainst the tablecloth.

17. Finally, rve have achieved both a rich and sober harmony at the same time. Each color incorporates a little £iray that harmonizes it with the rest of the
drawing. The work is somewhere betiveen a monochromatic and a multicolored drawing.
Landscape

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Landscape
Q pictorial effect in pastel can be achieved with
A very few colors. The rich chromatic qualities of

1-
a landscape can be obtained by heightening the
range of a monochromatic drawing with two well-
chosen colors. The work we are going to paint in
this section is based on a combination of charcoal,
light green, pale pink, and sky blue. The subject (a

pathway through a park) has been chosen with a

limited color range in mind. This is a landscape

with a stark chiaroscuro in which the simple forms
are outlined and create an attractive view in

perspective. To highlight this effect, \\'e will draw

the picture on a sheet of dark green paper, a perfect Parks offer the artist numerous interesting views. They combine regularity
with diversity and the lines of their avenues and pathways arrange the
background color for creating abrupt contrasts. richness of trees, flower beds, bushes, and plants in general.

BACKLIGHTING

The
eftects of backlighting
in landscape always pro-
a
duce a chromatic vibrancy by
highlighting the contrasts of
light and dark. The large
masses of vegetation that
look like columns lend stead-
fastness and solemnity' to the
composition, highlighting its

volumes against a diffuse

light of a cloudy day.
Tlicscare the tones chosen to draw with on this sheet of dark 1. The preliminary drawitijf can be drawn with
jjrccn paper. We can obtain intense natural contrasts, pink or blue. The aim of these basic tones is to
leaving areas of the backjfround uncolorcd or only arrange the composition and center the point
partially filled in. of view.

2. Li^ht patches are spread over the paper and are then stumped in order to 3. Tin- larjje white areas ofthcjjround and sky enclose the composition and
create the basic structure of the motif. ensure its symmetry and the characteristic order of the subject.

bJ
Landscape
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of the backffroitiid provides nn invaluable aid for drawing the

4. TIjc color 5.The facades in the backjjroutid air blurred by the distance and the effect
volume of the bushes in few lines. Tlje eharcoal hi^rhlijjhts thefcelinjf of ofbackli^htinjj. Tins can bedrawn with £;ray tones that su£i0est the forms
volume while barely introducing/ hues or alterations in the patches of color. without including details.

6. Once the buildi)ijjs have been shaded in, the outline of the roofs are drawn

in with pale blue lines that profile andjjive detail to the drawing. With this
stafje at an end, the sensation of space is much more elaborated.

7. Tlie ffrass tones can be drawn as

lijjhtjfreen patches, while always
respecting the outline of the bushes
atid the shadow they cast.

8. Now we have to create a natural

connection beuveen the forejjround
and the back/jround by making the
^recn tones of the jjrass penetrate
within the dull^iray tones.
•'•* Landscape
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05

9. By this stajjc, the work contains numerous spatial sn_([0csTions. With a 10. i-roiii here on, we will concentrate on the effects oflijjht. Tlje lijjht forms
controlled use of the color and blended areas, we have achieved ajjood clear outlines ajjainst the masses of vegetation in strong contrast with the
definition of distances and the positions of the elements of the landscape. depth of their darkest parts.

11. Tljc shadows cast air

letijfthcncd over thejjround.
TJjcir tone is created by
blendinjf strokes of charcoal.
If the charcoal doesn V
adhere well over the pastel,
it can be erased in the areas
where the shadows are
lengthened.

12. The tone of the shadows

must be uniform, without
internal changes that can
be interpreted as undulations
over thejjroufid. So, the
artist must smooth these
strokes in order to remove
any trace of them.

gm^ 'M

Vje trunks and branches of the trees are reference points that define the
.:^

13. At this point, the work looks ah-eady finished, since all that remains is to 14.
add the trees that stand out a£[ainst the winter sky. sizes and distances beuveen the elements of the landscape.
Landscape
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15. It is important to study the shapes of the branches and the way each one
of them drawn. It is these kinds of details that can make a promising work
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lose all credibility.

16. In order to achieve precision in the branches, we should ft.x the

background so that the different strokes do not blend together.

17. Usinfi sharpened charcoal, we

draw the entanjjlement of branches
that droop fi'om the uppermost part
of the rijfht-hand side of the
composition.

18. Ihe final detail: The corner ofthejfrass mthe lower rijjht-hajid corner
of the paper hijjhlijjhts the forejjrottnd and rounds off the intense suggestion
of the space within the work.
WM Drawing with Ink

result can range from a meticulously detailed work

Drawing with lnl( to spontaneous effects such as patches, washes,
and lines. When applied with a fountain pen, ink is

a drawing medium, ink can be used in several one of the simplest and cleanest media, ideal for
As ways depending on the instrument used to drawing all kinds of sketches from nature. Its fine

apply it. The nib is the most common of these, lines make it superior to any other medium for

although it is also possible to draw with a reed smaller formats, although this same property
pen, a brush, or any normal fountain pen. The makes it unsuitable for larger works.

CONTROLLING place for approximate lines, tures: blurred, semitransparent

THE STROKES trial strokes that will later be lines resulting from a lack of
erased or coxered widi hea\'ier ink. Whereas a nib will sud-
Whether you are drawing final lines. As a result, ink denly stop drawing when the
with fountain pen, nib, or
a strokes need confidence and ink runs out, a reed pen
reed pen, the resulting stroices control, which can only be leaves an increasingly fading
are much finer than with any obtained through continuous line that can be used to
other drawing medium. The practiceand a thorough produce certain eflrcts. These
strokes are also more per- knowledge of the possi- include medium shadows
manent: With ink there is no bilities and limitations of this resulting from an accumu-
medium. The first point that lation of parallel fadeci lines,
should be emphasized is that sketched contours, and transi-
ink strokes var)' only slightly tions between a blank sec-
in width. The width of the tion of a drawing and
line does not depend, as another dark section caused
with other mediums, on the by an accumulation of bold
pressure applied but on the strokes. This technique can
type of nib or reed pen em- be used whenever it occurs
ployed. In the case of nibs, naturally, that is, when the
the line keeps a constant
width regardless of the
amount of ink the nib holds,
pen begins to run out of ink,
or it can be produced by
using up the ink on a piece
-4
unless of course the nib is of scrap paper until it WheJi there is little ink left on the
pen, the lines bejjin to fade and lose
pressed so hard to the paper produces the desired effect.
coverinjj power. TIjc artist can use
When held like a normal pen, the that the point opens up, These properties make the this circumstance to create shadows
reed pen draws lines of n constant with the resulting loss of reed pen one of the most and riray areas. TIjc ink can be
width, which varies dependinjj on
ink. The same can be said of versatile forms of ink draw- used up on a piece of scrap paper, or
how sharp the point is. Tins width the artist can wait for the process to
can he varied slijihtly by applying most fountain pens or other ing, especially well-suited to
occur naturally during the course
more pressure so that the tip opctis conventional writing pens. the techniques of the mod- of his work.
sli_ghtly and lets more ink out.
On the other hand, a reed ern artist.
pen can produce a line of
variable width depending on
which side of the point is
pressed to the paper. If the
reed pen is held like a
fountain pen, it produces a
thick, continuous line that
can be varied slightly by
increasing or decreasing the
pressure. If the point is held
to the side, however, the
line is reduced to about half
its usual size. The stroke is

also less stable, any

since
change in the angle of con-
If the tip of the pen is applied tact results in a larger section
sideways to the paper, the resultinjj coming
of the edge into
line is finer. TJje width cati be easily
varied by chanjjinjj the atijjle. TIjc
contact with the paper, with
strokes can also be affected by the the resulting increase in
accumulation of dried ink on the width. This combination of
tip, so it is a flood idea to clean the TIjc possibility of conibininjj
thick and thin lines can
point before usinjj this technique. different types of strokes makes the
alternate with another of the reed pen one of the most versatile
reed pen's characteristic fea- tools for drawinjj with ink.
Drawing with Ink pB

COLORED INK AND linesand brushstrokes. The

COMBINED TECHNIQUES brushstrokes can use satu-
rated colors directly from the
When used for drawing, bottle or ink that has been
colored ink has the same watered down. When ap-
possibilities and limitations plied with a brush, colored
as India ink. Working with ink has a transparent qualit)'
colored ink requires a more similar to that of watercolor,
orderlv approach, however. but with much more tonal
Although ditferent color inks saturation and less resistance
can be mixed, the results are to light. The transparency of
not usually attractive, since colored ink contrasts with
the tones usually have a the opacit}' of gouache,
murkv, messy appearance. which can provide a colored
The only really acceptable base to work on with a nib
mixtures come from com- and ink, sketching in details
bining difterent colored strokes Tlie combined technique offjotiache and colored ink on colored blocks. Gouache
allows the artist to draw clean lines on patches of solid
directly on the paper. In can also be dissolved in
color. Tljc jjoitache should always be completely dry.
order to keep this process water and used like ink by
clean, it is essential to use at dipping a nib into the
least two nibs, which can be solution. Drawings that use
used to switch between light this technique can be altered
and dark colors. Both nibs later by going over them
can be alternatively inserted with a brush dipped in
into thesame handle. water, which blurs the lines.
Using colored ink also A similar effect comes from
permits the combination of drawing with a nib or reed
pen on wet patches, or using
brushstrokes of water on ink
lines that are not completely
TIh' combination of nib strokes and dr\'.In both cases, the ink
brush patches canjfire colored-itik extends randomly, creating a
drawings an appearance
mists', richlv toned eftect.
similar to water color.

When the ink strokes are still wet,

we can obtain a blurred, richly
toned effect by passinjj over them
with a brush dipped in water.

1. Gouache can be used like colored ink if it is 2. A

drawinjj made with dissolved gouache can Wheti a reed pen dipped in India ink is used on
dissolved in water until it is liquid enouffh to be retouched with a paintbrush dipped in water. a patch ofwetjjouache, the ink spreads out to
dip the nib in. TIk strokes will dissolve even if they are produce a spongy, jjrndated effect.
completely dry.
JjH Drawing with a Reed Pen

pattern of lines. This medi-

RURAL LANDSCAPE um provides ample pos-
Drawing with a Reed Pen .\lthough any theme can
sibilities for this subject:
lines of differing width,
be drawn with a reed pen, shading by lines, and solid
Despite its rustic appearance, the reed pen is a the special characteristics of black patches.
this medium (like most of
highly versatile drawing tool. Its strokes are
those based on India ink)
softer than a nib's, with more variets^ of line width. make it especially suitable for
with
essentially linear motifs,
It also allows the artist to control the intensity of
clearly defined silhouettes.
the strokes by using up part of the ink on a piece In a word, these motifs are
more like drawings than
of scrap paper before starting to draw. Moreover,
paintings. Backlighting often
the greater width of the lines makes it easier to tavors these characteristics.
In this subject, the leaves of
create black patches and to produce sketches that
the plants stand out sharply
are considerably larger than those drawn with a against the luminous back-
ground, and the stems create
metal nib.
an interesting and attractive

With the bright background of a

window, the leaves of the plaiit are
reduced to silhouettes of dijferinff
intensity; an excellent subject to
draw by means ofpatches of shaded
lines ofvaiyin^ intensity.

i. Before starting any ink drawing, 2. Tlje firststems and the outlines
it is essential to make a
pencil of the leaves are sketched in fine
sketch so that we are sure that the strokes with the edge of the reed pen.
dimensions and proportions of the
subject are correct.

3. Once the outlines of the first 4. The pans of the leaves facing the 5. As the shading of the first leaves nears completion, the outlines of the rest

leaves are complete, they can be sun should be shaded in softly, using of the plant should be gradually added.
shaded with strokes of varying the edge of the reed pen to obtain
density depending on the darkness fine lines.

of the silhouette.
Drawing \\ith a Reed Pen Pft

6. Vety soft shndifiji can be obtniiicd by previously usinjj up the ink on a piece 7. Some contours have a sliffhtly darker appearance than the rest. TIjis effect

of scrap paper until the strokes become veiy light. can be achieved by usinjj the edjje of the reed pen to produce an
accumulation offine strokes.

9. Tlje remaininjf leaves at the

base are located farther away NOTE
than the rest, providifijj a
After dipping the reed in ink,
chiaroscuro contrast with the
closer leaves and stems. it good idea to try out a
is a

strol<e or two on a piece of

scrap paper. This will prevent
8. the draivinjj already has a fairly finished appearance. Thanks to the
Here spots on the drawing caused
constant variation in the intensity of the shading, the bunch of leaves takes by excess ink or an accumu-
on a three-dimensional aspect, with each leaf occupying a different position.
lation of dried ink on the tip.
J3 Drawing with a Reed Pen

makes the flower pot look i^ety dark, especially in the

10. Tlje backlijjhtinjj 12. Tlje table is a veiy light platie. We can make it stand out by darkening
middle. Tins tone can be obtained by an accumulation of broad strokes with the surfaces that surround it.

a lot of ink.

11. The flower pot has not been turned into a completely black silhouette. The 13. TIk window fi-ame has been shaded in using loose, dispersed strokes. Tljis

crossed strokes suggest its volume, much in the same way as the treatment of element adds a certain spatial precision to the drawing,
the group of leaves.
Drawing with a Reed Pen BB

14. nis is the first stajjc ofshaiiiiijf the lower pan of the table. Crisscrossed,
dispersed lities create the initial general shading.

15. Details like the legs of the chair

stand ant in black against the
shadows of the lower part of the
cotnposition.

NOTE
During the drawing process,
it may be necessary to clean
the tip of the reed with a rag to
remove the accumulation of
impede
dried ink, which can
both drawing and absorbing ink.

16. Ihe final touches include

finishing the shading of the window
fi-ame and sketching the railing of
the balcony. Once this is done, the
scene is completely drawn.
ra Highlighting with a Nib

z
a detailed calculation of the desired effects.
Watercolor and ink are related media that many
artists combine in various ways. Here, watercolor
nib allows a wide range of is used as a background for the ink dra^^'ing, which
Dra\\ing with a

combinations ^^'ith other media. Although these is used mainly for highlighting and adding detail.

combinations can be considered combined tech- Thanks to the watercolor base, the ink and nib
niques, they do not require complex procedures or work can be limited to its most essential use and
exhibit the elegant properties it possesses.

and precision of the nib is

LEOPARD suited to this purpose like no
other medium.
This animal was chosen
mainly because of its coat.
Its beautiful pattern of spots
is enough to suggest its
volume, the cuned contour
of its back, and the folds of
Zoos arc full of interesting subjects
its legs. If we pay attention
for the artist, but few other animals
to the distribution of these provide as many opportunities to
spots, we can create a com- take adrantaffc of the precision
plete image of the leopard available fi'om a nib and ink.
Here, India ink and sienna ink
without having to revert to
give expression to this
shading or an accumulation fascinating subject.
of strokes. The simplicity

-4 .^-

1. Although the previous watercolor wash is simple, it should be applied with 2.A second wash ofbluishgrcen surrounds the first, suggesting the animaFs
care so that the varying intensities of color do not contradict the animal's surroundings. Again, the color has been dissolved in a large amount of
anatomy. Tlic color should be very watered down and should be applied water to obtain a pale tone.
without worrying about details.

3. Another wash for the ground. Here the artist has used a sienna color 4. A
few finishing touches to suggest the softness of its coat and prepare the
slightly tinged with blue to create a shaded gray tone. base for the subsequent ink drawing.
Highlighting with a Nib Pffc

be drawn are
5. Tlje first spots to
those on the leopard's head. Tins
is a procedure, since mistakenly

placed spots will distort the effect

of volume.

NOTE
The nib highlights should
only be added when the wash
is completely dry. If the wash
is still wet, the ink will spread,
and the sharp point can easily
tear the wet paper.
6. Tlje next spots drawn are on the opposite end of the animal: the tail. Tfje
spots here are larger, although attention should still be paid to detail and
location.

7. At the same time as we draw the spots, we can start to model this section
of the body. Tlie shaded parts are darkened with small strokes of sienna and
black ink. On the feet, sepia-colored lines help dcfi)ic the position and shape
of the claws.

combination of sienna-colored details and black spots rounds out the

8. Tlje
volume of the leopard's body. TIjc ink-drawing has now defined the anatomy
where the watercolor had otily sujifjested the shape.

9. Tin- final
touches consist
ofaddinjf
definition to
the tree trunk
that the
leopard is

resting on. A
few cracks and
some shading
are enoujjh to
give the scene
its final form.
—
Wi Combined Techniques: Ink and Gouache

that justifies artistic freedom,

CARNIVAL and the combination of
Combined Techniques: Some themes require
gouache and ink is an ideal
technique for trying out new
realistic treatment, while approaches. The sketchy ink
others seem more suited to
lnl( and Gouaclie other st\'les. The parade that
drawings center the attention
on the motif, whereas the
inspires this drawing cries gouache creates small
out for freer pictorial st)'le. patches of color that con-
Like watercolor, gouache combines well with ink The movement, and
color, trast with the lines. No com-

drawing. While gouache is based on patches charm of this scene would plicated media is necessary^
be lost if they were frozen only reed pen, India ink,
a
and flat colors, ink is a linear medium. As a result within a conventional real- and three colors of gouache:
the t\vo are complementary, and the only question istic st\de. This is an occasion blue, red, and burnt sienna.

is how each can bring its best to a drawing. Lines

tend to delimit shapes, whereas patches tend to
extend them past their boundaries. In this example
of combined techniques, both of these factors are
combined to create a work that is more illustrative

than realistic. The st}4e allows a freedom that owes

a great deal to the techniques that are being
combined. The result is a piece that is a free

interpretation of the festive scene, rather than a

rigorous reproduction.

Much of the vitality of this scene comes from the pronounced contrast
betiveen the foreground and the figures in the background. This kitid of
contrast is a dynamic element that the artist should take advantage of. The
combination ofgrays and bright colors adds a chromatic liveliness that can
be captured by correctly combining the ttvo techniques.

& -^
2. Tfje red tone of the costumed
child the chromatic key to the
is

Painting it first gives us an

scene.
1. After the initial pencil sketch, the important point of reference.
essential lines are drawn in ink.
Only the most significant features
of the characters and their
surroundings are necessary, even if
the result borders on caricature

3. As a counterpoint to the red, the

other characters' clothes are
painted in saturated blue, which is
slightly lightened at the parts that
are more exposed to light.

4. Tljc main figure has been drawn

in an almost cartoonlike style. Tloe
proportions have been slightly
modified to accentuate the
carnival atmosphere of the scene.
Combined Techniques: Ink and Gouache WFIR

5. IJje rest ofthejiroup is depicted ifi a more approximate style. A

few 6. TJje background is done in a similar style to the supporting figures. The
patches of blue are enoti^h tojfire an expressive contrast that sn^ests the backjjround color creates a setting that is not intended to be descriptive but
movement of the tunics. to evoke an atmosphere.

NOTE
When combining
techniques, it is essen-
tial to allow the ink to
dry before applying the
gouache or watercolor.
This keeps the lines
from getting blurred,
unless of course this is
the effect you are
looking for.

7. A li^ht^ray wash on the^round is necessary' to^ivc a

8. Tlje patterns on the
reference point for distance. It also serves to unite the
costumes arc an important
foreground and background in one plane.
motif in the scene. Tljeyjfive
it life and help to create a
festive atmosphere.

9. Tljc figures are almost finished. The informal

approach fits in nicely with the simplified
representation of the sunvundinjfs.

10. Tlje final touches focus on the pavement,

withfi-ecly sketched pavinjj stones and
additional shadinjj in the foreground Tljc .

decorations carried by the

brijjhtly colored
characters in the backjjround add a
final festive touch to the scene.
3 Nib and Colored Ink

A CAFETERIA TERRACE

This theme is full of light

and color effects, and the
various contrasts and details
make it an ideal subject for
nib drawing. The surfaces
consisting of one solid color
When ink is applied with a nib, it is exclusively a
have to be dealt with as
medium for drawing, relying completely on combinations of lines, and
the white of the paper can
lines and combinations of strokes. By employing
be used whenever possible
different colors of ink, we open up new possibil- to reproduce lighting etfects.
The slight shadows will play
ities of contrast, combination, and tone without
an important role, since they
leaving the field of drawing. While ink does not are especially well suited to
line patterns. /\ gray wash of
allow us to mix colors in the strictest sense of the
India ink can create a
term, it is possible to combine strokes in different background which will ser\-e Ill orticr to vcproducc the cjfccts of
to highlight the colors and shadow mid li^ht in the scene,
colors to obtain similar effects. This drawing certain areas of the paper should be
shapes of the scene.
sharp contrast
left white. Tlje
combines different colored inks with black ink,
bcnveen the direct lijfht and the

which is used to darken the shaded areas of the shadows in the backjjroitnd can be
created by blank areas set ajjainst
drawing and provide a contrast with the more half-toned sections drawn with
superimposed strokes of color and
colorful illuminated areas. dark black strokes in the areas of
deepest shadow.

1. The initial pencil drawing

should be complete enoujjh to
avoid hesitation during the
subsequent statics. Tljc contours
should be well defined and
sufficiently detailed.

2. Tlje shadiiifi on the jacket

of the central fijiure is
sketched with sienna-colored
ink. Tljc overall tone comes
from widely separated lines,
whereas the folds are drawn
with an accumulation of
short strokes.

NOTE
You should use more than one nib so that the
colors do not mix with one another. Two nibs are 3. JIjc hair is drawn with
usually enough: one for dark colors and another for lijiht strokes oforanjre ink,
light ones. The nibs can be inserted alternately into with a sienna tone used for
the darker areas. Tlje strokes
the same handle.
should follow the direction
of the hair.
Nib and Colored Ink

.i:^->>.

4. Tfjc jacket on the figure on the ri^ht is too liffht 5. Hie dark shadow of the inside of the chair 6. The outline of the jacket (in halftones) is
to be colored in completely. It will be enough to isdrawn with a combination of^reen, blue, defined by darkening the contours. Tins shows
color in the shaded areas in^reen. and black strokes to achieve a densely woven the folds in the figure's back.
dark area.

7. When shadinjj in the figure on the left, the shapes of the glasses and bottle 8. A wash of India ink that has been diluted in ajfreat amount of water
on the table have been left blank. serves to hijjhlijfht the outlines of the figures and add atmosphere. Tl)e wash
has been applied with a synthetic-fiber brush.
Nib and Colored Ink

9. The shadows on the pavement are drawn with lon^ strokes of black ink,

leaving the more illuminated areas blank to take advantajjc of the white paper

10. Tlje features of the figure on the left take shape thanks to fine strokes of
sienna-colored ink for the lips, nose, and eyelids. TIjc beard is shaded in with
very light strokes of the nib.

« \ I

11

11. The glasses and bottle are of the umbrella

12. Tlie light shape
completed using yellow, green, in thebackground is highlighted by
and sienna-colored ink spread out darkening the outside of its upper
in small patches. Tlie strokes are edge with light strokes of black ink.
filled in and areas of solid color
are created.

13. As with the central figure, the woman 's hair is drawn with parallel 14. Tljc drawing is now at a ven advanced stage, withthe figures almost com-
strokes of black ink that follow the direction of the hair. pletely dcfi}ied."V)e surroundings have been highlighted with the transitions
betivcen light and shadow suggested by the use of washes and soft shading
with black ink.
Nib and Colored Ink

15. Tlje woman's features

should be drawti in simplified
form so as not to add too much NOTE
detail to a drawing that is Mistakes in ink drawings can be
already fairly detailed.
corrected by covering them with a
same paper used for
piece of the
the drawing. The paper can be
stuck on with glue and drawn on
again.

17. Now we can redo the part of the

drawing, taking care to make the
strokes coincide so that there is no
noticeable break with the original.
18. The correction is perfectly concealed and the drawing is now complete. The colored ink predominates in the center
of the drawinji, whereas the surroundings are drawn in shades of£irayfrom washes and strokes of black ink.
Wet Techniques
C/D

o drawing on a wash base or pastels dissolved in

u Wet Techniques water. The brush

in these techniques.
is the most frequently used tool
The reason for including these

Wet techniques is the frontier between drawing techniques in a book on drawing is that the brush
and painting. Wet techniques consist of any is often used to define detail with Unes and
method that uses water as a solvent, such as patches, and the work is usually based on black
watercolor, wash, or gouache, or combined and white or only a few colors, characteristics that
techniques that use water solutions, such as are typical of drawing.

SKETCHING other procedure. The flex- essence of the subject strokes. An extremely fluid
WITH A BRUSH ibility of the tip gives the quickly and directly, with medium, watercolor,
like
lines a variable width that only a few strokes. It is allows the forms to take
The brush is especially allows us to speak of real always possible to start with shape quickly, as the artist
well suited to drawing all brushstrokes rather than a pencil sketch consisting of connects one stroke with
kinds of sketches from nature. lines. Sketching with a brush a few light lines to ensure another and reduces the
The lack of precision inherent requires economy andsyn- that the motif is correctly shapes to spontaneous out-
in its strokes is compensated thesis, there is no
since composed. However, once lines in an almost cursive
by the freshness of the result. possibility of correction, and the brush sketch has begun, style.Denser media imply
Brush sketches possess an an accumulation of lines it should be quick and with- more separate strokes and a
incomparably fresh and spon- would result in a messy, out hesitation. The density more sober, angular st^'le.
taneous feeling that is overcrowded look. The artist of the chosen medium will
impossible to get from any should strive to capture the determine the fluiditv of the

SKETCHING Sketching with monochrome watercolor

WITH A BRUSH

Brush sketching usually Subjects like this one are frequent transparency. Each phase of
involves justone or two in brush sketches: motifs that are this process should be carried
like snapshots and make the artist
colors. Any more would pro- important
out quickly and confidently.
look for symthesis. It is to
voke mixtures on the paper pick out only the most essential Between each phase, the
that would confuse the contours and lines of the scene. artist can study the desired
outlines of the shapes. The effects and xxy to predict the
limited number of colors can final result. It is essential to
be compensated for by tonal start with light shades before
variations depending on how progressing to darker ones.
much water is used to dilute The first strokes should be
1. Tlie first strokes provide the basic
the color. Saturated colors light and schematic, and then
outline of the tnain volumes: the
are used for the outlines and boat a7id the two figures. Tlie progress to more saturated
shadows, whereas lighter watercolor is heavily diluted, and tones. The shadows and con-
contours can be sketched the lines are fluid and light, which tours, which should stand
is the correct treatment at the
with colors that have been out more, can be added at
initial stages of a sketch.
diluted to a point of near- the end.

2. Patches of highly diluted color are used 3. TIk waves, plants, and general
for the lighter shadows. These patches shade surroundings are sketched in quickly.
in certain details without providing a This type of abbreviated work is t}'pical
detailed description of the scene. of brush sketching, and is one of its main 4. TIjc finaltouches consist of adding a few soft patches to
virtues. The work as a whole should define the contours. TIjc background is limited to a few
maintain this synthetic look without light washes of watered-down color to add depth to the scene.
corrections or excess detail.
\Vet Techniques
C/)
UJ
SKETCHING 3
WITH A BRUSH Ldces and patches g
z
When sketching with a X
to the surface. The thick
The step from dramti/j to painting o
brush, the change from Unes strokes that are created can is immediate with h-iish sketches
LJJ

to patches is only a matter of be changed into patches bv and wet techniques. Lines can be
changing hand gestures. simply rubbing the brush quickly changed into patches
With the tip of the brush, wx dependin/i on the pressure applied
against the paper. This almost
to the tip. On the other hand.
can even ciraw fine Hnes that immediate transition from working with the tip of the brush.
are almost comparable to lines to patches is one of the we can create lines that are similar
those of an ink sketch. The properties most character- to nib or reed-pen drawings.

harder the tip is pressed to istic of brush sketching and

the paper, the wider the line what makes it a borderline
becomes, and the pressure technique between painting
brings more and more paint and drawing.

SKETCHING Dry brush

WITH A BRUSH

The brush technique

dr\' details in gouache drawings
consists of working with a when the work is nearing
brush containing a large completion. Opaque touches
amount of concentrated color are usually added o\ er dried
to create an irregular effect patches of color. However, it
that reveals the texture of is also possible to make
the paper. Since this dr\- sketches directly with a dn,'
'S;
paint effect is difficult to brush, without any previous "^^,

achieve with watercolor, preparation. This results in

gouache is the most common an energetic and approx-
medium for dr}' brush imate effect that gives the
Wljen usinji a brush with thick, concentrated color, the roujfh^rain of the
drawing. Dn" brush is us- drawing a rustic or primitive paper is revealed. Tlie brush slides effortlessly across the paper, leaving a

ually employed to create feel. sketchy, rustic look.

GOUACHE Covering power

fffffrtmr
Along with watercolor, water would dissolve the since it is a medium that
gouache ismost com-
the underlying patch. If we work doesn't have much body.
mon medium for drawing with thick colors, we can be This procedure should create
with wet techniques. Unlike sure that each new layer a matte effect with clearly
watercolor, howexer, gouache covers the preceding one. It defined colors and little
is an opaque medium with is essential to find the proper tonal variation.
high covering power. Once balance, however, since an
dr\-, the patches and strokes excessively past)' patch of
of gouache can be com- color may crack when it
Gouache is medium withjfreat
a
pletely covered with new- dries. Texture and thickness coverinjf power. Dr\ patches can be
patches and lines. To obtain is impossible to obtain with covered with new tones, and by
usinji brushes ofvatyinji
a clean effect, the covering gouache. In any case, it is
thicknesses you can obtain
patches should not be difficult to obtain too much opaque, matte colors.
excessively wet, because the thickness with s;ouache.

GOUACHE Combined techniques

Gouache is one of the of watered-down color can

most common mediums allow the pigments of the
used in combined-technique pastels to mix with the
drawing. Gouache colors can gouache and meld the r\vo
be mixed with almost any media. Graphite pencils,
other drawing medium, both colored pencils, charcoal,
wet and dr\'. It is usually ink, and chalk can all be
combined with pastels, since combined with various wet
the rough surface of the techniques, esp>ecially gouache.
gouache patches favors the
adhesion of the pastel
particles.
Dn' patches ofjjouache provide a jjood adhesive surface for pastel strokes.
The inverse procedure is
TIjc combination of various backjfround colors, painted injjouache as a
also pHDssible: E.\tensi\e washes subsequent base for pastels, is an extremely useful procedure, which
explains wlty this combination of techniques is so common.
Sketching with a Brush
CO
LU
D us to capture movement, Hght, and atmosphere
a
o Sketching with a Brush simply, and with the fewest possible strokes. The
LU result may appear sketchy, but it possesses a st)'le

sketching the most common of the wet that confers the air of a finished work of art in its
Brush is

drawing techniques, and sketches from nature own right. Brush draw ing is also excellent practice

using washes represent one of the favorite uses for for the artist. It exercises manual skill, observation,

this type of drawing. The brush possesses an and retention and promotes the essential abilit)' to
incomparable faciUt)' for quickly capturing the see and understand shapes instantaneously and

essence of a scene. It is a drawing tool that allows transfer them to paper.

CITY STREET ^A
^
Streets the main
are
source of subjects for the
artist looking for sketches
from nature. The primary-
purpose of any sketch is to
capture a moment of light or
movement. The atmosphere
of this street, however, can- .0^-
not be captured in just a few
well-placed brush strokes.
The strokes must perform
various functions: placing
and die main shapes,
clarifk'ing
establishing the distances of
the scene, and suggesting
light, among others. This can-
not be achieved b>' forcing
the medium to do what it is TIjis urban scene features 1. While a previous pencil sketch is not 2. Tlje dark silhouette of
not intended to do, but radier which is especially
backlijjIjTinjj, absolutely necessaiy, it always helps to themain fifjure can be
by letting the brush move suited to brush work. TIjc shapes place thefifjures correctly on the paper. defined from the outset by
can be reduced to silhouettes, and Once the composition is clear, we can means of a single patch of
naturall}' and taking ad\antage
the dark and lijjht volumes will be sketch the basic contours of each object saturated color.
of the random effects that enoujjh to complete the scene. in a diluted, neutral tone.
may occur along the wav.

f
N

3. The of the silhouettes are filled in usinjj

rest 4. Tljcse slijjhttonal chanjjes already bejjin to 5. Usiiijj the tip of the brush, the contours of the
the same which has been watered down to
color, sujiflest mid atmosphere of the scene.
the space leaves air sketched. Loose strokes are enoujfh to
obtain a lighter effect. This makes them appear Tlje fijjurcs should not be made more precise, sujiflcst the shape without strivinjjfor ajjreat

farther away. since this would destroy the atmosphere. deal of ir a I ism.
r
Sketching with a Brush
CO
UJ

NOTE g
When sketching using X
wash, it is essential to control U
the wetness of the color.
Patches can only be defined if
the brush has enough color to
create the silhouette with one
application. At the same time,
the amount of paint should not
be so much that the wash
creates puddles.

7. The distant bnildin^is should be

sketched with very little detail and
in lijjhter tones than the figures in
the foreground.

6. Tlje first patches should be done in a li^ht tone in order to

control the final effect of the composition.

8. The trees are shaded in to create a screen against the sky. 9. Just a few brushstrokes are enottjjh to surest the particular lijfht of this day. Tins effect

Tliey are defined by contrast. helps define the atmosphere surroundinjj the city street.
3 A Monochrome Wash
CO

O composition comprised of simplified and detailed

shapes are elements of drawing. A monochrome
o technique was chosen to study these elements. To
transpose a motif from nature to a scale of grays is

a process of abstraction. It is an abstraction of

color as well as an abstraction of shape, which

Although it is not exactly a drawing in the adapts to the tones and intensities that can be
strictest sense of the term, this monochrome created using just black and white. A successful
exercise, painted in wash, contains many drawing monochrome rendering emphasizes the principles
techniques hidden behind its more painterly appear- of modeling and shading to define the forms in

ance. The outlines, the tonal changes, and the the composition.

these factors reveals how to

LINES AND MASSES approach the subject, taking
its light, shadows, and
Creating a monochrome volume as a whole, and how
drawing such as this one to move away from a flat
reveals the relation bet\\een
drawing to a subject con-
the drawing of the outlines
ceived as an arrangement of
of forms and their volume or \'olumes within a given space.
mass. Changes in tonalin'
can not only define distances
but can also be used to Tljnnks to the liiminosit)' of this
subject, it is possible to rcdnce the
define outlines or, in other
color to a limited ra>i/je ofjjrays.
words, to draw. This subject The basic contrast is produced by
has been reduced to outlines the hull of the boat, a contrast of
that define the contrasts black and white that can be
between grays, whites, and developed in the other elcjncnts
present in the motif.
blacks. The masses and
volumes are defined by the
1. Tlje artist begins
hues of each of the painted by usinjj a fairly
areas or by their texture. diluted, medium
These factors create the jjray tone to situate ^^ "^T^
the essential »
sensation of corporealit\', <
contrasts in the
and if they were to be composition: the
omitted, this monochrome hull, its shadow on
drawing \\ould appear flat. the water, and
several other
The relationship between
darker details.

- 1 ?
r
/

2.
W
In addition to the first contrasts, the most important
3. Tliese initial stafjes
already include the
reflections on thewater
which help to define the
spatial sensation of the
outlines are defined by the boat and the shaded areas that
composition.
appear in the background of the dock.
A Monochrome Wash
LU

u a
z
X
*

f ^
s.
t
4. By intcnsifi'iiipi the basic contrasts, it becomes easier to/}raduate the scale
of^rays to be developed later.
IIMV

5. As more tones ofgray are added, the first details can be defined.

Shadows, details, new hues ofjjray are gradually introduced into the
6.
work, taking care not to clutter up the composition nor subtract from the <^y WL^f
contrast of black and white on the boat's bull.

7. The red of the chimney can be expressed by this flat, plain gray tone, while
its cylindrical shape is suggested by the dark ring of the neck.

8. Tljebuildings, trees, and other details that appear in the background

create a black backdrop against which all the elements situated on the boat's
deck stand out.

\
7m a Monochrome Wash
en
LU
D
a
X
a

9. The artist applies a pale gray wash over the entire sky area in order to 10. The artist uses the tip of the brush to draw the lines representing the
highlight the tones of the composition. JJjis wash should be uniformly applied, masts and rigging, with the hanging line of small lightbulbs and banners.
without any changes in tone or brusque transitions fi-om light to dark. Tlje details of the handrail arc also added.

11. The cotnposition now reveals the

tones. Gouache colors such as these
can still be worked on, deepening
the tones, overlaying details, and
developing the work until it
contains a large amount of detail.
For this stage, the color should be
applied more heavily.

NOTE
Once you have begun to
work with thicker colors, the
density of the paint must be
maintained. If diluted color is

applied over a thick color

(even when dry) the moisture
will dissolve the gouache and
cause it to mix with the new
ayer of paint.

12. In order to lend the boat body, thick gouache is added to the darker 13. Tljc people strolling along the quayside arc painted using small touches
area, applying it with a dty brush. This creates a texture reminiscent of old of thick color that conceal the previous colors and suggest movement and
metal. animation.
A Monochrome Wash
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14. As the artist develops the details on the deck, the shapes^ain in 15. Tlje last touches are made to the decorations hanjjin^fi'om the masts of
definition and appear correctly situated. the boat, the handrails, the ropes, and other small details.

16. A final rectification: the white of the hull,

which until now had appeared ''flat," can be
altered by applying broad brushstrokes of thick white
paint.

17. Thanks to these white brushstrokes on the hull, the work possesses graphic stren^h while
expressing the body and volume of the objects in the composition.

\
Combined Dry- Wet Techniques
C/)

a examples of this method. This exercise is based on

different versions of gouache and pasteh soft and
o hard pastels and pastel pencils. Gouache is used in

a fairh' diluted form so that it does not form lumps

when mixed with pastel. Another interesting
feature of this technique is to dilute pastel Hnes

techniques are characterized by using with water, which shows pastel's ability to adhere
Combined
different media. The combination of dry and to a surface even when it has been diluted. The
wet techniques is a common one in contemporary advantages of each medium are used to create a
painting, ahhough there do exist many earher unified, overall effect.

RURAL LANDSCAPE

The chosen subject is a

view of a rural village that
has an interesting com-
bination of architectural and
natural elements. The planes
and edges of the buildings
combine with the irreg
ularities of the tree branches,
with the margins and the
green of the wood. The
tones are softened by the
light that filters through the
cloutHs.This calls for neutral
colors, tending to\\'ard grays
and earth tones. Sanguine, TIk structure of this view comprises 1. Tlje overall layout is based on 2. Tliick pastel lines arc
siennas, tile reds, greens, and larjje vertical and
horizontal broad brushstrokes of diluted superimposed over the preliminaij
grayish blues are the tones masses, enlivened by the inrjjular- gray colors, which establish the colors. TJjese air the green tones of
ities of the vegetation. Tljc tones call overall chromatic orientation the vegetation. Tlie artist has chosen
to be kept in mind.
for a soft, progressive treatment of the entire work. softgiren tones with an earthy hue
that develops from ncutraljjrays to consistent with the planned
the most vivid colors. chromatic layout.

3.The effect produced by a

combination ofpastel and
wash marks is interesting
even iji this preliminary
stage. The reds in the
foreground herald the
range of colors that are
going to dominate the
center of the composition.

iS
Combined Dry-Wet Techniques
ifi
LU
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O
o

4. Usinjf n sepin-colorcd pnstd poiiii. ujl h i tst bijjhlijihts the cdfjcs of the
i 7. Tins is a continuation of the previous sta^^c: pastci iints. then diluted with
roofs and the tree branches that take up the center of the composition so as the moistened brush so as to blend the color.
to better define the areas to be colored.

8. Tljejjreen pastel marks in the marjjin hare been diluted to brinji the tone
closer to that of the herbs and bushes that^row at the foot of the wall.

^^^^P -^^ JJJ

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6. Asa result of the different colors and lines that the artist has included, the
composition begins to become better defined: it now contains the basic
9.
Tljis is topical
^^^^K^Hivte^^^^^^i^^^
saK-^^v
After each dilution, it is necessary' to define again the profiles and edges.
of a combined technique: one technique enriches and modifies
W
!
indications for continuing the work of defining the forms through cobr. the other.
Combined Dry-Wet Techniques
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10. I he artist uses a charcoal stick to darken certain details so as to create 11. Some of the treetops in the back^roiDid are represented with a simple
contrasts that will break up the monotony ofthejjray tones. charcoal-pencil shading.

12. Charcoal pencil lines can also

be diluted in water. In this case,
the moir visible lines of the treetops
should be blended together to make
them less distinct.

13. Afte: /y.. , ,/wi intensified the

colors anddetails of the houses in
the village, it becomes necessary to
intensifi' the tones in the foreground
so that they are not lost in the
cojitrast.

14. Tlie latidscape is almost

finished and it now becomes
obvious that the sky requires
fuller treatment so as tiot to
appear as a roujjh,
white surface.
Combined Dry- Wet Techniques
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16. Once the sky has been

painted, the composition
takes on a more unified
harmony. Tlie contrast
between the many
different hues in the sky
lend the paifitifijj a more
solid feel.

15. Tlje artist covers the

entire surface of the sky
with a pale blue pastel,
without p7rssinjj down
too hard, which would
produce too saturated a
color. Usinji a flat, wide
brush, he spreads water
over the pastel painted
a rea . Tliis dilutes and
softens the color.

NOTE
Diluted colors should
always be completely
dry before charcoal,
chalk, or pastel are
applied over them;
otherwise, the surface
of the paper could be
easily spoiled by the
friction of the stick
or pencil.

17. The work is almost

finished. Tlje last touches
have been added to the
fuirows in the foreground
and to the vegetation.
Oil-Based Media

z
o medium half\vay between pastel and Wax
> oil.
<
u Oil-Based Media crayons are a true drawing medium and have
X characteristics similar to those of pastel sticks or
<
bound by colored pencils. Wax crayons mix easily, are highly
Oil -based media are all those that are
organic substances such as wax or oil. Oils are opaque, and their texture allows them to be
the most well-known medium of this type; modified after being applied to the paper. Like all
o
medium, it falls outside the
essentially a painting oil-based media, wax crayons can only be diluted

< scope of this book. The most common oil-based in organic solvents such as turpentine or paint
Q medium in artistic drawing is wax crayons, a thinner.

DRAWING WITH But as with any other (provided they are quality these characteristics, however,
WAX CRAYONS dra\\ing medium, wax cray- crayons), produce strong have their drawbacks. Wax
ons can produce highly color mixtures, and go crayons get dirty easily and
Colored wax crayons are creative results when used further than most similar require great care to keep
usually considered school with true artistic intention. media, with the exception of the colors clean and
material, for they are easy to Wax crayons are the most high-quality pastels. They uniform. In addition, they
use and produce saturated opaque of all common draw- can be rubbed until all the never dr)' out completely, so
colors. They are vividly ing media. Because they are tones have blended together work done with these
colored sticksmade up bound with an oil-based entireh', and can be retouched crayons must be protected
entirely of bound color, substance, they contain a and modified after being by a special fixative.
without any type of coating. large quantit}' of pigment applied to the paper. All

DRAWING WITH Mixtures

WAX CRAYONS
Wax
crayons can be mixed as a resultof the physical act Wax crayons arc easily mixed to By rubbinjj the mixtures
in wide variet)' of ways. of mixing them but also due produce clean, saturated colors with the fifijjers, the results
a
irrespective of the order in which are even more homo£fenous
When one color is applied to the wax being \\'armed by
they are applied: lijjht over as the colors are completely
over another, the colors the friction. This can be dark or vice versa. blended together
blend sufficiently well so as done to produce continuous on the paper.
to produce a clean color. transitions from one
Whatever color is applied color to another,
over another, the result without any sudden
hardly varies: A light color changes. When using
drawn over a darker one diis technique, be
produces approximately the carefiil to clean your
same result as if they had fingers before each
been applied in reverse mix so as not to
order. To produce even smudge the resulting
more homogenous mixtures, color.
they can be smoothed with
the fingers to produce a true
blending of tones, not only

DRAWING WITH Dilutions

WAX CRAYONS
As with all oil- based and oil-based media in general
media, wax crayons can be are bristle brushes, although
dissolved in organic essences softer-hair brushes can also
and solvents. To obtain the be used. Synthetic -hair brushes,
best results, these dilutions however, should be axoided.
should be made on patches
of thick color. If the layer of
color is too thin, the solvent
will affect the surface of the After the color has been applied, it
paper and stains may appear is rubbed with a brush dipped in

or the paper may start to rot turpentine so as to spread out the

color and finally mix it in other
over a long period of time. areas of the drawinjj usitijj the
The most suitable brushes brush. The thicker the layer of
for dissolving wax crayons color, the better the results.
Oil-Based Media

z
DRAWING WITH o
WAX CRAYONS Covering one color with another
cc
o
The highly opaque and
X
oily nature of wax crayons <
make them capable of cre-
ating interesting effects when
superimposed and scratched.
After painting over a color
with another tone until it is
o
completely concealed, the
second layer can then be <
DC
scratched to reveal the base
color through the scored
Q
lines. When attempting this
effect, it is important not to
press down too hard when
applying the second color;
otherwise, the colors would
mix. The best results are
obtained when a dark tone is
applied over a light one, as
1. Whi'fi covering over a color, you tnust avoid pressing 2. Tliesuperimposed layer of color can be scratched with
dark colors tend to be more the crayon downhard over the base color or both
too a)iy pointed object to createa drawing or engraving
opaque. colors will be mixed. Ajfood result isj^itaranteed ifyou that reveals the light, underlying color.
apply a dark color over a lighter one.

DRAWING WITH Resists

WAX CRAYONS
Not being water soluble, When a colored
wax can be used to mask wash is applied
over white wa.x, the
areas in water-based tech-
wa.x remains
niques such as watercolor or unchanged, like a
gouache. If a colored wash is white mask in the
applied over wax, the wax center of the color.

remains impermeable while To achieve a clean

result, do not press
the paper surrounding it too much
over the
absorbs the color. White wax wa.x with the brush
crayons are generally used to toavoid the brush
picking up any
though
create these effects,
wa.x which would
any other colored wax can make it more
also be used. difficult to apply
the wash.

DRAWING WITH
WAX CRAYONS
Wax crayons melt so easily
that they can be used to
apply drops of wax on the
paper. This method pro-
duces a wide variety of
mottled effects. These effects
can be explored further by
drawing with the crayon on
the hot wax or even using a
hair dr\'er on the drops of
wax to create different
blends of color.

1. The crayon can be heated with a lighter. In just a few 2. Tlie hot crayon can be applied to the drops of wax on
seconds it begins to drip. Care should be taken that the the paper or they can be reheated using a hair dijer.
crayon does not melt entirely bettveen your fingers.
Oraw ing w ith White and Black Wax Crayons
CO
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O soft blueof the table and the
> BRANCHES AND FLOWERS
< vase are reduced to gravs,
U
X
Drawing with Wiiite The color of this subject is
altered by the effect of the
shadows. Even the chair is a
< overshadowed by the clear dark, almost black, silhouette.

& Blaci( Wax Crayons contrast between tones. In-

deed, the different greens of
the lea\es form a dark mass
It is a subject
interpreted using a mixture
of black and white, with
that can be

that stands out against the

transitions between gravs
a pale tone of the wall; the
Wax working
drawing medium
is a that is better suited and contrasts of chiaroscuro.

< to with masses of color rather than

Q with lines. Lines drawn w ith a u ax crayon are thick
and uneven and are darkened when other colors
are overlaid. Results similar to those of pastel
drawing can be obtained when working in black
and white: blended areas, continuous transitions
from light to dark, superimpositions, etc. With
w ax crayons, tones can be blended until a perfectly
homogenous mix is obtained. All these charac-
teristics make wax crayons a quick, direct drawing

medium. If the artist works only with black and

white, these characteristics can be seen quite clearly.

The gentle transition from li^ht to shadow on the vase and the table can be
achieved quite easily by blendinjfjji-ays together. Tlie dai-ker tones of the
leaves sujifjest a silhouette that contrasts sharply with the background, a
contrast that, at the same time, contains different hues ofgray and a
certain amount of detail in the definition of the stems.

U^

i. The initial layout is quite simple. It is an 2. first, severalblack lines are applied to the 3. Ihearays are lijjhtened slightly by adding
arranaemcnt of outlines that brtn/j these few darkest spaces in the composition. 'Ihe backrest of white lines over the shaded areas, which are then
elements of' the composition into order: the the chair can be defined as a thick, sharp, deep rubbed to merge the tones together.
outline of the table, the vase, the silhouette of the black line.
leaves, and the back of the chair.
Drawing with White and Black Wax Crayons
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CD

CL

4.By drawinei over the black lines with the white crayon, the lines are 5. Tljc flowers lire nuiiuiiii white patches over the black lines. Ihe nii.xttire
blended to a certain extent to obtain a gradual transitioti fivni lijjht of the nro creates aaray that, for the moment, is sufftcient to indicate the

to dark. position and form of each (lower.

6. In order to obtain different jjrays in the area of the leaves, the white 7. Havinij reached this stajje, the work now contains a fair amount oj
cravon is rubbed flat on the paper and applied to the black area until detail. Tijc mass of leaves is better defined as a result ofthejjray and black
liahter tones arc obtained. tones that make individual forms stand out.

Um.
f] Drawing with White and Black Wax Crayons
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8. By drmvitijj with the cd^e of the white crayon, the direction of the stems
over the darkerjfray of the leaves can be better defined.

9. The^roup of leaves and flowers is almostfinished; the rest of the

composition now requires the same amount of detail to be added.

10. To obtain the rijjht tone for the surface of the table, the artist starts by 11. After rubbing the sutfnce of the table with the black crayon, a brush
drawing soft patches of black crayon, jjently rubbing; the crayon flat on the dipped in turpentine is used to darken the area by spreading out the
paper until the entire area is covered. dissolved wa.x.

m=^
Drawing witJi White and Black Wax Crayons
C/5

cc
a

(J

12. TIjc artist now darkens the backgroinid a little. Tins is doiic in the same 13. TIjc white color is diluted with the brush dipped in turpentine. Tins
way as the table, though this time he uses the white crayon, applying it flat on darkens the background in keeping with the relationship of the tones in
the paper. the composition.

14. The artist then uses the white crayon to extend the
backjjroutid color until it covers the areas the brush cannot
reach, rubbitijj over the spaces that appear betivcen the leaves
and the flowers.

NOTE
The superimposing opaque colors has
potential for
its limit: when the paper is completely saturated with

color, new layers cannot completely cover the wax

and the previous layers tend to merge together. This
can smudge and dirty the tones of the composition
and blur the profiles and outlines.

15. The a Piood finish, a unified whole thanks

result possesses
to the special texture wa.x, which is soft and lumpy at
of the
the same time. Tl}e tones have been easily achieved
thanks to the enormous potential ofwa.x crayons
when blendinjj and mixinjj colors.
Colored Wax Crayons
CO
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o WATERING CAN
>
< AND FLOWERS
cc
o
X
Colored VIbx Crayons To show how easv it is to
< mix and obtain different

X
Colored wax crayons are the most painterly of tones when working with
wax crayons, we will use just
h- dra\\'ing techniques. Given the way they are
a few colors to draw this still
used, they should be included as a drawing life. All the color mixes are
z done directly on the paper,
medium, though the results obtained have the
so it is advisable to test the
I
cc
typical appearance of a painting. Wax crayons can This can be done
effect first.

Q be superimposed and mixed on the support in a

by simply tr\ing out the
color mix on a separate sheet
similar way to oil paint. Blending and mixing of paper before starting to
paint. It to avoid
best
colors are common techniques that help to lend
mixing the
is

more
intense
can be easily
TIjis siiHpli sTill lift
represented by a far color
iisiujf

the work a unified appearance, with its own oily colors, those of the flowers, mixtures and blends, in addition to
a few touches ofpure color, which
so as not to lose their clean
and slightly lumpy consistency. Wax crayons are
tone.
are then slirihtly blended together.

ideal for quick drawing as they require no solvents

or special auxiliar)' materials, have no \\aiting or dning
time, and mistakes can easily be corrected by simply
drawins; o\'er the wTons; tone with the correct color

1. Usinji a violet-colored crayon, the 2. In order to achieve the metallic

artist draws in thej^eneral outlines tone of the waterinjj can, stripes of
of the subject. Tljc lines should be sienna and blue are gently super-
faint so as not to dirty any imposed without pressing down too
Tljcse are the colors ive arejioinjj to use. Tljis rnnjie comprises priniaty and subsequent layers of color. hard on the paper. TJje tone is then
secondare colors plus a few other tonalities that can be used to obtain the unified by blendinjj the previous
muted colors of the watering can and the baclcjfround. lines with these white touches.

3. Tlje darker parts contain a larjjer amount of 4. Afier paintinji thejtreen of the stems, the arti.<t 5. Tlje process is veiyfast; wax crayons allow the
sienna while white is the predominate color in the ajjain uses white for the flowers, so as to smooth artist to cover relatively larjje areas quite easily
lijfhter areas, producinjj an overall coppery tone. and blend the pure tones and lijjhten the lower and cause no problems when mi.xed and
part of the flo wers. superimposed. TIjc artist will now continue to
color in the background.
Colored Wax Crayons
C/)
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o
NOTE
During the mixing and u
blending of colors, wax X
crayons pick up other
<
need cleaning
colors and
before reusing so as to
avoid smudging any
subsequent colors. To o
clean them, simply use a
clean cloth that will also
remove the typical
<
cc
shavings that appear on a
the tip of the crayon. If

the drawing session is a

long one, it isgood
also a
idea to clean your hands
7. Tliepale background color can be obtained by combining
blue and red lines where the folds create shadows.
fjfiitlc to avoid dirtying the cray-
TJjeu, nib briskly with the white crayon to obtain a pale and ons with your fingers.
qradated tone.

6. Tljc color of the hat is achieved by adding a few touches uf

sienna to the darker areas and a superimposed yellow tone
that covers the entire suiface of the object. Both colors must
be blended together until there is no sign of any lines.

8. Tlje shading on the cloth of the background shows which

tones have been used. Tljese different tonalities lend volume
to the folds. To unifi this volume, more white should be background tone has been unified, this crayon drawing can be considered
9. Once the

applied to blend the tones together a little more. finished. It both a drawing and a true painting at the same time, obtained by color
is

blends and mixtures as well as the application of direct, dense, opaque tonalities.
Dra\\'ing with Felt- tip Pens
(/)

pencils, felt-tip pens can be superimposed using

Drawing with lines or

tip
colored patches. Generally speaking,
pens cannot be overmixed unless thev are
felt-

watercolor pens that are diluted with brush and

Felt-tip Pens water. And even if this is the case, darker colors
easily mask lighter colors when mixed. The artist
those famiHar with using colored pencils, must take this factor into account when trvino; to
For
drawing with felt-tip pens will not be an entirely obtain precise hues by mixing t\\'0 or more colors.

new subject. Fine-tipped felt-tip pens, the most Felt-tip pens, however, are easier and quicker to
suitable for drawing, are instrimients that can be handle and produce stronger, saturated lines
used to accurately dehne outlines as well as to without having to press down hard on the paper.
create effects of color and shading. Like colored

FELT-TIP PEN the color of the forms being The initial layout is therefore ranges that are wide enough
TECHNIQUES represented. If a general in color. It is also advisable to include different hues of
tone such as gray is used for to follow the light to dark each color. The best results
Working with felt-tip pens this preliminary' drawing, in sequence, as light tones can- are obtained when different
issimilar to colored pencils, certain light areas this color not mask darker ones. The hues of each range are used
although there are some ma\ be too strong and tone of felt-tip pens is not to color in areas with a
important differences that distort the final effect. This affected by the intensity' of similar tone.
we shall deal with here. First, should be avoided unless the the line, so each color can
the preliminary' drawing of artist is deliberately seeking a only produce one intensit}';
the outlines must be done in carefree, sketchlike etfect. this means the artist needs

FELT-TIP PEN
TECHNIQUES Direct iviixtures

Direct color mixtures are a homogenous mixture, that

obtained by superimposing is, a which nvo
mixture in
lines of one color over superimposed colors blend
another. This technique is to produce a third, pure
suitable when w orking with color. Direct mixtures should
colors from the same range not be used at the beginning
or when the artist \\ishes to of the process as they tend
darken a color. It is not to darken and dirt)' the ton-
suitable when the artist wants alities as the drawing dexelops.

When workinji with colors from the same range, similar

Direct mixtures ar e ajjooii technique to use when you wish to darken a color in tone and stain, direct mixtures are perfectly viable as
by superimposinjj a nother tonality, usually a darker one, which produces a there is little danger of dirtying the colors or obtaining
mare opaque hue an unwanted color.
Drawing with Felt-tip Pens

LU
FELT-TIP PEN
TECHNIQUES Gray mixtures

As with colored pencils, used in small, specific areas,

pen lines can be
felt-tip as it is impossible to obtain a
mixed until they almost complete blending of large
disappear by rubbing over areas of color.
them with a light gray or any
other pale and grayish color
available. By tracing these
lines over a color, the gray
unifies the hues and blurs
the outlines, compensating
somewhat for the rather Lif\ht grays arc very useful for

striking effect of a multicolor

creating blended areas to soften the Blending with gray blurs the limits
characteristic outlines of areas between colors, to obtain gentle,
work drawn in felt-tip pen. colored with felt-tip pens. continuousgradations.
This technique can only be

FELT-TIP PEN
TECHNIQUES Watercolor felt-tip pens

Like watercolor pencils,

felt-tippens with soluble ink
,.vx
can be used to obtain results
similar to those of water-
color. With felt-tip pens,
however, the colors are
much more intense and less
transparent, and therefore
also less suitable for creating
wash effects. Dilutions can
only be used in small areas
and it is inadvisable to apply
excess water in an attempt to
spread out the color. You
should concentrate on small
areas, stumping, blending,
and diluting the different
hues. It is also not a good V
idea to blend the tones to
such an extent that the Watercolor felt-tip pens allow the artist to blend the lines When used on small areas of the drawing,
marks of the lines disappear, togetherand unifi' the color over a given area. The brush watercolor felt-tip pens oiablc you to obtain very
should not be too wet so as to avoid leaving stains. similar results to those ofwatercolors. Tljey
as this clashes with the tech- become less interesting, however, when large
nique of felt pen drawing. washes of diluted color are attempted.

FELT-TIP PEN
TECHNIQUES

Reserves are a common

technique in defining and
outlining light forms that are
to contrast with a dark back-
ground. A reserve protects
the delicate hues when using
more transparent colors.
This technique, of course,
requires the artist to careflilly
plan his work, calculating
the areas intended to be
worked later with pale hues.

1. Reserving a form begins by darkening the color 2. Once the white form stands out against the dark
surrounding it. This darker color makes the outline background, different hues can be added in order to model
of the form in question stand out. its appearance.
A Sketched Figure
in

A Sketched Figure
Felt-tip pens can be used botli for sketches and
for drawings with a high degree of precision and
perfect finish. They are a good exercise medium
that can also be used outside to draw fi-om nature.
It may be that watercolor felt-tip pens are best
suited to this task. They can combine lines and
patches, and can be used spontaneously, letting
the lines run freely and later coloring in the spaces.
This exercise is an example of the potential of this
TIjc ftjiiin stands out clearly against the dark backjjround, so the artist
technique. needs to apply the technique ofresennnti. In addition, the contrast betiveen
the lights and shadows makes it inadvisable to work the lighter tones too
much during the initial stages of the sketch.

FIGURE IN A PARK exercise, comprising basicallv

a pair of dark tones (blue
and green) and a variet)' of
A figure reading in a sienna and pink tones to
public park the subject we
is represent the lighter parts.
have chosen for this sketch This is an ideal medium for
with watercolor felt-tip pens. quickly sketching forms and
We have chosen a limited modeling volumes with
range of colors for this diluted colors.

/^

2. The first lines are those of the 3. The previous lines are dissolved
warm tone of the jacket. Tlie artist with a moist brush, spreading the
begins by shading small areas to color toward the other shoulder and
check the initial effects of the color. over the entire area of the jacket.
These few lines are enough to color
the entire area.

\
ft ,

1. After a briefpencil sketch, the lines have been redrawn in a vety light 4. After coloring the jacket, the 5. Tlie colored lines are then spread
gray so that the basic forms of the figure can be seen clearly at all times. wrinkles are shaded in using a felt- out again with the brush to try to
tip pen of the same range, though a blend the firo colo7-s to form a
little darker. common tone.

Ed
A Sketched Figure
C/)

6. The blending of the colors

of the jacket are made by

applyi7ijf a wash and
J
Jt^^
,.
r
-^
s^«

includin/f parallel lines

that slijjhtly shade in the
A ii .•:'JiK |Wi^"
j|^V«*

lijjht sietnia, the ft j-st color

to be applied. Tlie artist
now moves on to the
trousers.

1
NOTE
The initial, thin colors
should be used care-
fully so as not to dirty
v^^^
the final result. Only
toward the end can the
water be applied and
spread out nnore
to get the desired effect.
freely, 3l
7. After coloring the darker areas of the trouser with a solid blue,

he extends this color over the lighted area, thinning it with a

little water.

8. Tlie thiuiiinjiof the color of the troiiser lepj shows how

useful this type ofshadiujj with water can be when
workinjjf in small areas. Tlie areas of the figure that
were still white have also been colored.

9. Tl)e dark lines in the background highlight the 10. Vie thinned background has softened the rather harsh effect of the dark green lines and has
of the figure, lending greater expression to the
colors unified the illumination of the scene. As ajlnal touch, a few shadows have been added under the
illuminated parts that have been drawn with just a ledge to create the tones for the ground plane.
jew, pale stripes.
A Full- Color Drawing
CO

FLOWERS hues. It is a question of

THE SUNLIGHT finding the balance between
A Full-Color
IN

Few subjects are better

these bold and soft colors so
that they enhance each other
suited to a full-color treat- and produce a result that is

Drawing ment than This counter

this.
in a street flower stall offers
all the possible chromatic
neither loud nor muddled. It
is ver)' important to follow

the technique of working

rofessional ranges of felt-tip pens usually offer a ranges and tones imaginable, from the more intense tones
from bold colors such as
p number of colors and a large assortment
great yellows, reds, and blues, to
to the softer tones.

of hues of the same range. To make the most of soft gray, green, and sienna

this fact, you can choose motifs that offer chromatic

variet)^ and liveliness so as to take advantage of the
full potential for contrast, harmony of color, and
defmition of forms when working with felt-tip

pens. The characteristic chromatic intensity' of this

medium involves certain risks. These risks include
the use of too many varied and dissonant colors
and the smearing of colors due to excessive layering
and color mixing. In order to avoid these risks, it

is advisable to work in a certain method and to

introduce neutral colors to compensate for any
excess tonalit\^ TIjc sharp contrasts bettvccn the colors arc strenjithcned even further by the
intense contrast betiveen the lifjhts and shadows. Lijjht is expressed with color,
and it is the most rivid tones and the contrasts bettveen them that create this
luminous effect.

^^?^^'^
(:

1. After quickly sketchinjj the composition in pencil, several outlines hare

been redrawn in the color of the flowers and the flowerpots. TIjc outlines are
not too sharp: they simply situate and bo.x the volumes of the elements that
make up the composition.

2. Tlie artist resen^es the white areas

causinji the nearest flowers to stand
~^ A--, out, like a nejjative. Tliis is the first .0
stajje in adjusting the colors and the
outline of the silhouettes.

3. In the same way as the first

flowers were reserved almost
white, the bunch ofyellow roses
has its own color, chosen from the
wide range ofyellows available
for this exercise.
A Full-Color Drawing WkR
(/)

Q_
0-

4. The fuchsin-colored roses bare been slightly altered with a strong pink, 5. TJjeprocess consists ofhavinj} certain forms limit and define others b\' pit-
and these lines are now blended iisinjf n li^ht^ray felt pen. ting one color against another, like a screen on which the outlines stand out.

NOTE
Felt-tip pens should not be
pressed down too hard on the
paper as this may cause the
fiber of the support to rub off,
resulting in small balls that are a
great hindrance when working.

7. JJje dark colors of the flowerpots

admit a more direct, bold
approach: A
tile red color is

6.For the next bunch ofyellow roses, the aitisthas chosen a new hue that is applied over the sienna
more intense and saturated, and then altered with light orange-colored cross-hatching so as to define
shadows. TJje artist merely outlines the leaves. the area in shadow.

8. Shadows should be defined first using outlines, as if they were simply 9. Tlie most colorful stage of this exercise is revealed in this composition of
another object. The illuminated areas are painted in a golden ochre color. contrasting forms and colors.
fni A Full- Color Drawing
C/)

LU
Cl-

io. To define the plane of the table, felt-tip pen lities air veiy useful. Tlje 11. A new, strong contrast ts added to the previous ones: Tlje yellow in the
inclination of the lines determities the position of the support and its foreground intensifies the larffe blue rectangle on which the shadows of the
j-elationship with the flowerpots. flowers and pots are cast.

12. After creating all the strong color contrasts, it is now time to paint the 13. When only a small part of the shaded areas has been covered, the
shaded background. Tlje artist chooses a range ofgrays that includes pale harmonic effect of the grays in contrast to the brilliant coloring of the flowers
tones with which to blend the lines. is already apparent.

14. In order to cover the background, the artist uses short lines to form a 15. TIjc airy effect on the left of the composition was obtained by applying a
kind of mosaic to suggest the undefined forms in the shadowy background. light gray immediately after applying other tones ofgray.
A Full- Color Drawing
(f)

Q_

16. Tljc trentuiciit of the

17. Tlje pale orange color of the
background has taken into account NOTE flowerpot in the shade adds a
the larjje number of flowers, thoujjh
chromatic note that enlivens and
the artist has not attempted a When drawing with felt-tip pens, the direction of
lends depth to the grays.
realistic representation. Instead, the line can help to define the forms and surfaces.
the back/}round is simplified It helps to think about this before coloring.
entirely in shades ofgray.

18. TJjanks to the treatment of the background, the flowers that hare been left white require virtually no retouching. Ihe contrast between the light and dark
tones has lent form and luminosity to the foreground and has left the background as a neutral counterpoint to the rich chromatic arrangement of the subject.
Topic Finder
o
GRAPHITE
Graphite Techniques 34-35
Drawing with a Graphite Pencil.
C/)
How to Hold the Pencil 34
LU Drawing with a Graphite Pencil.
D MATERIALS AND TOOLS Oil-Based Media 20
Blending 34
g • Oil Sticks 20
Drawing with a Graphite Pencil.
X Graphite 6-7 • Wax Crayons 20
Erasing 35
o Composition ......6 • Solvents and Mediums 20
Drawing with
LU a Graphite Pencil.
H Orifjins 6 Characteristics 20
General Cleanliness 35
Hardnesses and Qualities 7 Felt-tip Pens 21
O • Graphite in Leads 7 • Variet}' and Presentations 21
CQ • Graphite in Sticks 7 • Water Based 21
Graphite Techniques 36-37
< • Watercolor Graphite 7 • Alcohol Based 21
Graphite Techniques.
Gray Background 36
Characteristics 21
Graphite Techniques.
Colored Pencils 8-9
Textured Background 36
Composition 8 Brushes 22-23
Graphite Techniques.
Characteristics 8 An Introduction to Brushes 22 Direct Blending 36
Varieties and Presentations 9 • Sable Brushes 22 Graphite Techniques.
• Colored Leads 9 • Other Natural Hairs 23 Shadows on Watercolor Paper 37
• Watercolor Pencils 9 • Hog's Hair 23 Graphite Techniques. Blending 37
Qjialities 9 • Synthetic Hair 23 Graphite Techniques. Turpentine 37
• Japanese Brushes 23 Graphite Techniques.
Charcoal 10-11 Dissolved in Water 37
Composition 10 Drawing Papers 24-27
Varieties and Presentation 10 Drawing with Pencil and
• Compressed Charcoal
Value and Modeling 38^1
Charcoal 24 Notion of Value 38
and Binder 11 Drawing with Felt-tip Pens 24 Notion of Modeling 38
• Charcoal Pencils 11 Drawing in Ink 25 Light and Shadow 38
Characteristics 11 • Rice Paper 25 Simple Shapes 38
• Powdered Charcoal 11 • Drawing Pads 25 Value and Modeling. A Sphere 38
Ori^i ns 11 Drawing with Pastel 25 Value and Modeling. A Cylinder 39
Paper for Wet Techniques 26 Value and Modeling. A Jug 40
Pastel and Similar • Handmade Paper 26 Value and Modeling. Drapery 40
Media 12-15 • Other Papers 27 Value and Modeling. The Whole 41
Drawing Medium
Pastel, a 12
Composition 13 Other Supports 28-29 Perspective 42-43
Characteristics 13 Canvas 28 Perspective. Linear Perspective 42
Origins 13 43
Cardboard 29 Perspective. Intuitive Perspective
Varien^' and Presentation 14
Preparation 29
• Pastel Pencils 14
• Watercolor Pastels 14
Polyester Paper 29 The Value of the Line 44-45
Wood 29 The Value of the Line.
• Types of Boxes 14
Shading by Strokes 44
• Special Assortments 15
• Chalks 15
Complementary The Value of the Line.
Material 30-33 Modeling 45
• Sanguine 15
• Conte Crayons 15 Erasers 30
Pencil Sharpeners 30 The Sketch 46-47
Fixatives 31 The Sketch.
Ink 16-17
The Linear Technique 46
Composition 16 Cloths 31
• Reeds Clips and Thumbtacks 31 The Sketch. Sketching Volume 47
16
• Ink Tablet Form
in 16 Scissors and Utilit)' Knives 31
Origins 16 Stumps 31 Drawing with a
• Colored Inks 17 Boards 31 Range of Grays 48-51
• Inks for Washes 17 Cotton 31 Pictorial Effect 48
• Pens and Nibs 17 Paper Towels 32
• Writing Tools 17 Glues 32 COLORED PENCILS
Characteristics 17 Metal Rulers 32
Containers 32 Colored Pencil
Other Media 18-21 Alcohol and Solvents 32 Techniques 52-53
Mixed Techniques 18 Sponges 32 Drawing with Colored Pencils.
• Drawing and Painting 18 Pans 33 Lines and Colors 52
Water-Based Media 19 Palettes 33 Drawing with Colored Pencils.
• Watercolor and Gouache 19 Palette Knives 33 Color Mixtures 52
• Latex and Acrylic Paint 19 Portfolios ) 33 Drawing with Colored Pencils.
• Water-Based Oils 19 Additional Material 33 Blendins Grav and White 53
Topic Finder
O
Dra\\ing with Colored Pencils. PASTEL AND SIMILAR MEDIA Gouache. Covering Power 115
Color Reserves 53 Gouache. Combined Techniques ...115 <
Drawing \\ith Colored Pencils. Drawing with Pastel 86-87
Mixing with Watercolor
Q
Drawing with Pastel. Blending 86 Sketching with a
Pencils 53 Drawing with Pastel. Brush 116-117 in
Working with Color 87 Cit)' Street 116 LU
Tones 54-55 D
g
Tones. Orange Tones 54 Drawing with Sanguine... 88-89 A Monochrome Wash. 118-121 z
Tones. Red Tones 55 Drawing with Sanguine. Lines and Masses 118 X
Two Figures 88
o
LU
Solid Colors 56-57 Drawing with Sanguine. Combined Dry- Wet
Solid Colors. Fruit 56 Combinations 89
Techniques 122-125
O
Rural Landscape 122 m
Color by Strokes 58-59 Drawing with Chalk 90-91 <
Plumage and Water 58 Drawing with Chalk. A Statue 90 DRAWING WITH WAX CR.\-
Drawing with Chalk. A Musician 91 YONS
Color Drawings 60-61
Botanical Garden 60 Still Life 92-95 Oil-Based Media 126-127
The Range 92 Drawing with Wax Crayons 126
Drawing and Color Drawing with Wax Crayons.
Ranges 62-65 Landscape 96-99 Mixtures 126
An Olive Tree 62 Backlighting 96 Drawing with Wax Crayons.
Dilutions 126
INK Drawing with Wax Crayons. Co\ering
CHARCOAL One Color with Another 127
Drawing with Ink 100-101 Drawing with Wax Crayons.
Drawing with Charcoal ...66-67 Controlling the Strokes 100 Resists 127
Drawing with Charcoal. Blending. ...66 Colored Ink and Combined Drawing with Wax Cra\'ons.
Drawing with Charcoal. Erasing 66 Techniques 101 Melting ; 127
Drawing with Charcoal.
Masking with Paper , 67 Drawing with a Drawing with White and
Drawing with Charcoal. Textures 67 Reed Pen 102-105 Black Wax Crayons 128-131
Drawing with Charcoal. Rural Landscape 102 Branches and Flowers 128
Fixing Charcoal 67
Drawing with Charcoal. Natural Colored Wax Crayons... 132-1 33
and Compressed Charcoal 67 HighHghting with a Watering Can and Flowers 132
Nib 106-107
Blending and Strokes 68-69 Leopard 106 FELT-TIP PENS
Blending and Strokes. Landscape 68
Blending and Strokes. Figure 69 Combined Techniques: Drawing with
Ink and Gouache 108-109 Felt-tip Pens 134-135
Modeling 70-71 Carnival 108 Felt-tip Pen Techniques 134
Modeling. Torso 70 Felt-tip Pen Techniques.
Modeling. Head 71 Direct Mixtures 134
Nibs and Colored Ink 110-113
A Cafeteria Terrace 110 Felt-tip Pen Techniques.
Surfaces 72-77 Gray Mixtures 135
Surfaces. A
Shinv Surface 72 WET TECHNIQUES Felt-tip Pen Techniques.
Surfaces. Old Metal 74 Watercolor Felt-tip Pens 135
Surfaces. Chromium-Plated Felt-tip Pen Techniques. Reser\es..l35
Wet Techniques 114-115
Surface 76 Sketching with a Brush 114
Sketching with a Brush. Sketching A Sketched Figure 136-137
Seascape 78-81 with Monochrome Watercolor ...114 Figure in a Park 136
The Sea and the Rocks 78 Sketching with a Brush.
Lines and Patches 115 A Full-Color
Still Life 82-85 Sketching with a Brush. Drawing 138-141
.\rabesques 82 Drv Brush 115 Flowers in the Sunlight 138
We wish to thank the follo\\ing firms for use of their material:
Papeles Guarro Casas; Talens, departamento tecnico; Faber-Castell; Gigandet;
Escoda

Original title of the book in Spanish: Todo sobrc la tccnicn del Dibiijo.

© Copyright Parramon Ediciones, S.A. 1998 World Rights —

Published by Parramon Ediciones, S.A., Barcelona, Spain.
Author: Parramon's Editorial Team
Illustrators: Parramon's Editorial Team

© Copyright of the English edition 1999 by

Barron's Educational Series, Inc.

.All rights reserved.

Xo part of this book may be reproduced in an\- form
by photostat, microfilm, xerography, or an\' other means,
or incorporated into an\' information retrie\al system,
electronic or mechanical, without the written permission
of the copyright owner.

All inqtiiries should be addressed to:

Barron's Educational Series, Inc.
250 Wireless Boulevard
Hauppauge, New York 11788
bnp://wwn\barronsedtic.com

International Standard Book No.: 0-7641-5163-0

Library ofCon£iress Catalog Card No.: 99-14655

Library of Coi^ress Cataloging-in-Publication Data

Todo sobre la tecnica del dibujo. English.

about techniques in drawing / [author, Parramon's Editorial
All
Team illustrators, Parramon's Editorial Team],
;

p. cm.
Includes index.
ISBN 0-7641-5163-0
1. Drawing —Technique. 2. Drawing materials. I. Parramon
Ediciones. Editorial Team. 11. Title.
NC730.T5813 1999
741.2— dc21 99-14655
CIP

Printed in Spain
987654321
^:t..
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L
Books in Barron s All About
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the fundamentals of art theory, then

..^^^^C
proceed to give step-by-step advice on

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All About Techniques in Drawing

shows and describes recommended
equipment for drawing, both in mono-
chrome and color. Sections that follow ALL
demonstrate use of individual media,

including pencil, charcoal, colored ABOUT

pencils, pastels, inks, and felt-tip pens.

Techniques are applied to a variety of

subjects, including still lifes, human

figures, landscapes, animals, water

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