All About Techniques in Dry Media.pdf

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This PDF File was created for

educational, scholarly use ONLY.

This book contains all the information required

to begin drawing with different media: charcoal

and its derivatives, sanguine crayon, chalk, dry

pastel, graphite, colored pencils, and oil-based

crayons and pastels. All the media discussed can

be used for drawing lines, shading (in the cases of

charcoal and graphite), and coloring. They are

applied to a support, usually paper, following a

series of procedures that are referred to as dry

techniques. And although they possess similar

characteristics, their differences require different

techniques and render results that are very differ-

ent as well. The various media and effects, com-

bined with the personal working style of each art-

ist, all contribute to the wide range of expressive

possibilities. All the dry media will be covered in

this book, each one requiring the development of

good drawing skills and a mastery of color.

The step-by-step exercises explain how to ap-

proach drawing a model, and presenting and

evaluating the different media, while imparting a

basic understanding of color theory.

The fact that so many different media are

covered does not mean that this book is unfo-

cused. To the contrary, it provides an overview

of all that is essential for making progress in

drawing and painting. Basing lessons on the ob-

servation of a model, this book analyzes each

drawing and the light that illuminates it, teaching

the reader to mentally situate the areas of light

and shadow and to apply a range of tonal values

and colors necessary for modeling the volumes.

Dry media are ideal for realistic representations

because during the learning phase the applica-

tions and techniques emphasize depth.

Dry Techniques

T here are media that can be applied using dry

Francese Crespo drew a large still life with charcoal and

added a note of color with sanguine crayon.

techniques without the need for additives or

complementary products, such as charcoal, sanguine

crayon, chalk, and soft pastel. But graphite, colored

pencils, wax crayons, and oil pastels are also consid-

ered to be oil-based media because of their grease,

oil, or wax components. Techniques common to all of

them include line, shading or coloring, gradating,

blending, and rubbing. The effects and results pro-

duced by each of these techniques, and others that

are not common to all, depend on the medium that is

used. A general overview comparing work done with

different media will make this quite clear.

SKETCHING MEDIA

It is obvious that a

sketch can be made

with the same medium

that is going to be

used to make the final

drawing. However, it

is not always done

this way, since the

characteristics of one

medium make it ideal

for use in the pre-

liminary sketch for

another medium. For

example, the volatil-

ity of charcoal causes

it to be one of the

most used media for

sketching.

Although a work of art

can be done entirely in

charcoal, sanguine crayon,

chalk, pastel, graphite pen-

cil, colored pencil, or oil

pastel, these media are of-

ten used to create the pre-

liminary sketch of a draw-

ing or painting that is then

done in another medium.

Charcoal, chalk, and soft

pastel are usually used to

make sketches for oils and

acrylics. Watercolors, on

the other hand, require

sketches done with graphite

or colored pencils, even

water-soluble ones. Oil

pastel, which can be dis-

solved with turpentine or

mineral spirits, can be used

in the sketch for a painting

that will be completed in

oils. A line drawing is the

usual technique for a

sketch, the elements and

main shapes representing

the model being loosely

drawn on the surface of the

support.

This is a character portrait,

L'Arnau, done completely in

charcoal by M. Braunstein using

the basic techniques of line,

gradation, and rubbing.

Gabriel Martin used charcoal and black chalk to create

this Still Life.

PERFECT MEDIA

FOR SKETCHING

DRY MEDIA ARE COMPATIBLE

White chalk is used to highlight a charcoal

drawing. Sepia is used to darken sanguine

crayon, and white chalk is used to lighten it.

The historic technique aux trois crayons mixes

charcoal, sanguine crayon, and white chalk,

which can be used to achieve a perfect repre-

sentation of volume. Charcoal and sanguine

crayon are perfectly compatible with colored

chalk and the soft pastels. The same is true of

soft pastels and the colored chalks, which are

nothing more than hard pastel.

Sanguine crayon, chalk, or pastel can be

used over a sketch made with charcoal. In any

case, it is always a good idea to draw lightly

with the charcoal so the medium applied over

it will not become dirty.

Charcoal, sanguine

crayon, chalk, pastel,

graphite and colored

pencils, and oil pastel

can be used to make

sketches using line,

shadow, and color to

indicate the light and

shadow of the model.

In addition, the tech-

niq ue s o f gra da ting

and some blending and

rubbing can be applied

t o m o r e d e v e l o p e d

sketches. The sketch

c a n b e a c h r o m a t i c

(charcoal or graphite pen-

cil), monochro-matic, with

one color of sanguine

crayon, chalk, dry or oil

pastel, or colored pencil),

or done in several colors.

The graphite pen-

cil is a very inter-

esting tool, since it

can be used to

make a small

drawing with a lot

of detail.

Head of a Girl, by Jean Baptiste Greuze, illustrates the three pencil

drawing techniques: charcoal pencil, sanguine pencil, and white

chalk highlights.

Portrait of a Figure was done with silver

point, a very old medium that cannot be cor-

rected. Carlant drew on a smooth paper

covered with a thin layer of dry gouache,

using a silver point and a copper wire in a

lead holder.

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