N.B., Click on images to zoom.
Materials for pencil/graphite drawing.
Chatting with someone the other day about pencil drawing and drawing materials, I was prompted to write a post about the range of drawing materials a draughtsman may use.
Or, at least, the materials that I use myself for a pencil or graphite drawing.
(See the picture above).
Firstly, and most obviously, are the materials for making the marks. But then we also have materials for blending, brushing, erasing, sharpening, masking and so on.
Or, at least, the materials that I use myself for a pencil or graphite drawing.
(See the picture above).
Firstly, and most obviously, are the materials for making the marks. But then we also have materials for blending, brushing, erasing, sharpening, masking and so on.
It's probably rare for all this stuff to get used for any one single drawing, but they are very useful across a range of drawings.
Mark-making
Here are a few examples of graphite mark makers (and as with paint brushes - it's impossible to have too many).
The standard graphite mark-making tool is the pencil, and I've learnt to use a range of differing hardnesses (from 2H to 9B, - although other people use the whole range). The hard pencils produce the more delicate subtleties, and the softer they are, the rougher and darker the tone they can produce.
Graphite sticks are handy for blocking-in broader areas very quickly, or for texturing. There are the stubby types (3 & 4 from the left) and the pencil-shaped types (2 from left).
Occasionally, for certain things, such as precise linear work, propelling pencils are useful.
The function of the pencil extenders shown here is simply to increase the life of each pencil.
Also seen on the right are paper stumps for blending and smudging. I also use stumps for direct application of graphite, (by either picking up graphite 'dust' which I have scraped off a graphite stick, or by rubbing the stump against a graphite stick).
Stumps, and the smaller tortillons (far right), tend to be used when gentler marks or soft shading are needed. They can be sharpened using a sandpaper stick (below).
The standard graphite mark-making tool is the pencil, and I've learnt to use a range of differing hardnesses (from 2H to 9B, - although other people use the whole range). The hard pencils produce the more delicate subtleties, and the softer they are, the rougher and darker the tone they can produce.
Graphite sticks are handy for blocking-in broader areas very quickly, or for texturing. There are the stubby types (3 & 4 from the left) and the pencil-shaped types (2 from left).
Occasionally, for certain things, such as precise linear work, propelling pencils are useful.
The function of the pencil extenders shown here is simply to increase the life of each pencil.
Also seen on the right are paper stumps for blending and smudging. I also use stumps for direct application of graphite, (by either picking up graphite 'dust' which I have scraped off a graphite stick, or by rubbing the stump against a graphite stick).
Stumps, and the smaller tortillons (far right), tend to be used when gentler marks or soft shading are needed. They can be sharpened using a sandpaper stick (below).
Sharpening & cutting
Craft knifes and scalpels have a multitude of uses.
Although commercial pencil sharpeners have their uses, I usually find the pencil point they produce is too mechanical and prefer to sharpen pencils with a good craft knife, which allows for more personalisation of the point, which sounds a bit precious, but in practise is very useful.
The scalpel or the pen-knife is useful on the drawing itself for scraping or scratching back, to create highlights or textured areas. (A decent heavyweight paper is necessary when doing this).
Clips
However, taking a coat-hanger (the type with end clips), sawing off the clips at each end (and discarding the rest of the hanger) produces the best clips I know of. They hold the paper very firmly but safely (they sometimes have soft pads which protect the paper) and they cost nothing.
Or at least they cost me nothing, because I live near a shop which regularly discards used coat hangers, so I get them free.
Erasing
An eraser's most obvious function is to remove an error.
However, they are much more valuable than that. They can be used positively to draw-into toned areas, to re-shape marks, to create and control textures and forms.
It's as well to have all types of erasers, from soft (putty-type) erasers to the harder ink-erasers, as they all have a different 'feel'. Plastic erasers in particular are great for drawing into a toned area and they are easy to cut so that they have sharp edges and corners for precise work.
Also shown is an electric eraser which has replaceable points for detailed lifting-off, and an eraser-stencil for careful work.
However, they are much more valuable than that. They can be used positively to draw-into toned areas, to re-shape marks, to create and control textures and forms.
It's as well to have all types of erasers, from soft (putty-type) erasers to the harder ink-erasers, as they all have a different 'feel'. Plastic erasers in particular are great for drawing into a toned area and they are easy to cut so that they have sharp edges and corners for precise work.
Also shown is an electric eraser which has replaceable points for detailed lifting-off, and an eraser-stencil for careful work.
Other stuff
The brushes are for brushing-in and brushing-off.
I often use bristle brushes for brushing in tone at the start of a drawing to quickly lay in some areas of mass, or later on to modulate drawn tones. Charcoal dust (see the jar) is good for this. I suppose that, strictly speaking, charcoal dust shouldn't be included in a graphite drawing, but hey, let's live a little!
Or I sometimes use a knife, scratch some graphite off a graphite-stick, and then apply the scrapings with crushed paper, rags, bristle paint brushes, fingers or a paper tissue.
Or I sometimes use a knife, scratch some graphite off a graphite-stick, and then apply the scrapings with crushed paper, rags, bristle paint brushes, fingers or a paper tissue.
The sables and other brushes can be used to lay in some white gouache paint to pick out highlights when necessary. (White gouache usually needs toning down a little, to 'sit-it-into' the drawing).
The larger soft brush (sometimes called a drawing broom!) is used for wiping off excess graphite, dust, or eraser particles. (I once saw a chap drawing in the Victoria and Albert who was using a silk-handkerchief to gently whisk away the residue dust! Seemed appropriate for those surroundings, but not necessarily so for the Welsh hills).
A piece of cellophane paper (or tracing paper) is useful for laying on the drawing underneath the drawing hand to stop smudging.
There are lots of other materials which can be used in the process of producing a 'simple' graphite drawing (masking liquid, rulers, other drawing instruments, etc) but, as I said, the ones shown above are the ones used most frequently.
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quiz quiz quiz “details, details............” quiz quiz quiz
In which painting does this face appear, and who painted it?
(The answer will be in the next posting.)
And here's the answer from the last posting -
'Portrait of the writer Sylvia von Harden'.
Otto Dix. 1926.
Otto Dix. 1926.
quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz quiz
"Drawing is still the bottom line."
Robert Genn
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