Stanyer Peter. The Complete Book of Drawing Techniques

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Using a rubber in a

directional motion

gives an effect of

shimmering light.

Step 2/ now look at the person you are

drawing and begin to pick out the other

major areas of tone that exist on the head. It

is a mistake in this type of drawing to try and

render features as this is a drawing that will

bring you the likeness through the tonal

rendition of the drawing.

Step 3/ one can now begin to put the more

detailed and subtler tones that in turn will

start to imply the idea of a likeness of the

subject.

Step 4/ in this part of this ﬁnal piece of the

drawing I have used an eraser to bring back

certain touches of light, just to enhance the

atmospheric effect of the light.

What is so dramatic about

this drawing is that it is

purely based in the

observation of a light and

dark effect that is known as

Chiaroscuro.

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LINEAR AND TONAL DRAWING USING

GRAPHITE AND PLASTIC ERASER

This is a line and tone drawing of the female

nude, but it is a very different in concept to

the last drawing. Whereas the last drawing

was based in the analytical observation of

light and how it falls on the form, this

drawing is more of an expressive metaphor

of the reality we are seeing.

1/ In stage one of the examples we are

drawing with a continuous line. That line is

made by not taking your graphite off the

paper until that section of the drawing is

ﬁnished. This line is trying to establish the

idea of form by following the contours of the

form just as if you were actually drawing over

the body itself and leaving a trace. You can

also see from the illustration that the line is a

free-roving type of line and it doesn’t follow

any predictable track.

2/ Gestural tone is now placed over the

linear drawing. This tonal application is

based in observation so the model should be

illuminated from a particular direction to

give a deﬁnite sense of light and dark over

the subject. The tone is applied in a quick

gestured manner so as not to leave too much

time to dwell on the consequences of the

action. A gestured drawing is a drawing that

is based in a response to what you are

drawing rather than a calculated

observation.

3/ This stage may seem odd, as what we are

about to do is to use an eraser to work over

the whole drawing to take it back. Use the

eraser in a diagonal direction and work it

over all the drawing. This has the effect of

bringing an atmospheric feel to the work and

it sends the drawing back into the surface of

the paper.

4/ We can now begin to re-establish some of

the tone and the line over the last section..

This gives the drawing a sense of

atmosphere, drama, space and above all an

expressive nature that holds the drawing

together very cleverly as an expressive

metaphor. There are examples of artists

who work like this when drawing, artists like

Aubach, Giacometti, and Rembrandt.

Part One – THE PENCIL

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GESTURAL DRAWING WITH

GRAPHITE

The next example is a line and tone

drawing which derives much of its

impact from knocking back with an

eraser, a method that is particularly

appropriate for ﬁgurative portrait

work; you will ﬁnd examples of its

use in the drawings of Auerbach and

Giacometti. You may ﬁnd it a bit

strange at ﬁrst to reach a certain

point and then have to rub out what

you have just done, but after

spending time practising with the

technique you will begin to see what

can be achieved with it.

1/ Establish the form using a

continuous line (i.e. not taking the

graphite from the paper while you

draw) and following the shape of the

ﬁgure. Imagine you are actually

drawing your line on the person.

2/ Place gestural tone over the line.

Gauge the strength and extra

dimension it can bring to your

drawing.

3/ Using the eraser in a diagonal

direction, go over the drawing and

rub out what you have just done.

This will set the portrait back into the

picture plane and also give it

atmosphere.

4/ You can now re-establish the tone

and some of the line, imparting to it

a sense of drama, space and

expression which will hold the

drawing together.

Part One – THE PENCIL

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CONSTRUCTED TONE LANDSCAPE AFTER

CEZANNE

As well as using tone from observation to

construct form or express an emotion we

can also use a constructed form of tone to

create the illusion of space. In this drawing

after Cezanne the tonal drawing is a very

formal one and is not very reliant upon

observation. Although the basic composition

comes from observation, the tone in the

drawing is a means to an end, and informs us

of a planal recession instead of the idea of

volume. Cezanne in this picture seems to go

out of his way to deny perspective and

instead he emphasises the horizontal and

the vertical axis in the drawing.

He also uses a type of shading that

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functions on the edges of planes giving them

a sense of planal placement in the picture.

He builds up the composition in a well

orchestrated fashion that has a classical

sense of balance and harmony to it.

The shading technique used in this

drawing is focused on the inside and the

outside edge of the objects in the

composition. To create a recession you

darken the edge you want to recede. To

make a plane edge come forward against its

neighbouring edge you make it lighter.

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GRAPHITE LANDSCAPE DRAWING

This drawing is very similar to the drawing

using continuous line and tone to form the

model. Only it is a landscape sketch that is

produced here in almost exactly the same

way as the life drawing, using the same

medium and the same methods. However,

this is a sketch and a sketch is different to a

drawing. A drawing is something that stands

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as a work of art in its own right whereas a

sketch is meant as a piece of information for

the artist to refer to at a later date as a piece

of research. You should not undervalue the

intrinsic qualities that sketches and doodles

have.

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The main feature of these mediums is that

they make very strong drawings in a linear,

tonal, textural and atmospheric way, and the

drawings nearly always tend to be very

dramatic and expressive.

CHARCOAL

Charcoal is the oldest medium of the three

materials in this section. It is made from

wood that has been slowly charred in a

controlled ﬁring. The material takes on the

natural form of the wood that can range from

a twig to something as large as a branch. The

largest piece of charcoal I have seen is up to

2 inches thick and this is called scene painters

charcoal.

Charcoal is a material that has been

around since the dawn of man. As man

discovered ﬁre then he discovered charcoal,

inadvertently at ﬁrst then by purposeful

production. The inadvertent discovery of

charcoal enabled man to make his ﬁrst

drawings, recording his observations and

thoughts of life in his surroundings. The

mark that charcoal made would soon

develop into a sophisticated visual language

that would be an expression of the day-to-day

lives of these early peoples as seen today on

cave walls.

Since these early discoveries, man has

developed the medium into other forms

such as conte crayon, wax crayon, and a form

of compressed charcoal. We have developed

stabilisers to ﬁx the drawings and make them

permanent. We have also developed the use

of erasers that remove or enhance the

potential of the drawing.

Charcoal has qualities that are obviously

different to other materials. Compared to

graphite or pencil charcoal is a soft smudgy

material that delicately survives on the

surface of the paper until ﬁxed and made

permanent. The material produces a good

strong line, tone, and textured surfaces in a

similar way to graphite but with a character

that is very different. Charcoal has what I can

only describe as an ethereal, atmospheric

quality to it. It feels more direct as a material

when one is using it. It feels softer and

gentler in its response, whereas graphite has

a more immediate harshness to it.

Another material made from charcoal is

compressed charcoal. This is a material that

ﬁrst came into existence in the ﬁrst half of the

last century, and behaves more like a pastel in

that it holds the surface of the paper more

substantially than charcoal, and has a

propensity to be slightly denser than

charcoal. Compressed charcoal is made by

crushing charcoal into a ﬁne powder then

mixing it by rolling it with a ﬁne binder to

make a compressed charcoal stick. The stick

has to be made to such a consistency so that

it can be handled without crumbling or

breaking, yet at the same time soft enough to

make a mark when put to paper. Varying

degrees of hardness and softness can be

Part Two

CHARCOAL

Charcoal, Conte Crayons and Compressed Charcoal.

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