CHARCOAL AND CRAYON DRAWING WITH THE POINT; LANDSCAPES,
PROPORTIONS, ETC.
This method is principally used by artists in making drawings for
illustration, as stump drawings can not well be reproduced. The manner
of working is as follows:—
Sketch in the outline with the charcoal stick, sharpened to a point,
and then proceed to block in the shadows, which must be drawn in with
careful attention to the form, for the reason that it is best to make
a distinct outline of each mass of shadow where it meets the light.
These shadows are now filled in with the pointed charcoal, used in
close parallel lines until a flat, even tone is obtained. It is not
necessary that these lines should be distinct, or of exact regularity,
as in the very darkest shadows no lines at all should be seen. The half
tints are managed in the same way with the point, which may be used in
the direction of the features to some extent.
The main thing to be remembered is that no stump must be used, nor the
charcoal rubbed in any way. For erasing, bread is the best, though
rubber is sometimes found useful.
The crayon point is employed in exactly the same way as the charcoal,
the directions applying equally to both. All drawings should be fixed
as soon as finished.
PROPORTIONS OF THE FIGURE.
A few conventional rules for the general proportions of the face and
figure may be found useful to the student in drawing from life, and
are regulated according to the standard of beauty as determined by
the Greek statues. Such proportions will naturally vary in individual
cases, yet are valuable as a foundation, which may be modified when
necessary.
The height of a well developed man is eight heads or eight times the
length of his own head.
The height of a woman, seven heads.
The human figure may be divided into four parts of equal length, viz.:
from the top of the head to the arm-pit, thence to the middle of the
body, thence to the knees, thence to the soles of the feet.
The arms extended straight out at right angles to the body will measure
from finger-tip to finger-tip the length of the figure from crown of
head to sole of foot.
The face may be divided into three parts. From the top of the forehead
to the root of the nose; from there to the bottom of the nose, thence
to the bottom of the chin. The ear is the length of the nose, and its
general direction is parallel to it.
From the top of the shoulder to the elbow measures twice the length of
the face, or one head and a half.
From the elbow to the wrist one head.
The hand measures three-quarters of a head from the tip of the middle
finger to the wrist.
The foot measures one-sixth of the whole length of the body.
LANDSCAPE.
Charcoal is a favorite medium with many artists for landscape subjects,
and it is, as before stated, especially useful in sketching from nature.
In beginning to draw a landscape in charcoal, first sketch in lightly
the horizon line, the outlines of the trees and different objects, in
their general aspect.
It is always well to select a subject where there is a good effect of
light and shade and sufficient variety to give interest.
After the composition is sketched in, look for the large masses of
shadow, and divide the whole into two distinct masses of light and
shade, as in figure drawing. The sky is covered with a light tone, at
first, and even the masses of light are also covered with a delicate
half-tint.
The whole drawing may be made entirely with the point if it is desired,
but the French artist Allongé, who is celebrated for his charcoal
landscapes, prefers the use of the stump, with the point in finishing.
If in place of the stump the finger sometimes is used to blend the
charcoal, and for rapid sketches, this is very effective.
After the general masses are put in, the details are drawn with the
point, being somewhat softened with the stump, though in trunks of
trees, dark branches, rocks, etc., the marks of the point are left
unsoftened to give strength.
The lights are taken out with bread or rubber; sometimes a piece of
chamois skin is found useful in lightening a tone. The light clouds
are taken out with bread from the sky which has been covered with a
half-tint, and the dark clouds are put in with the stump or point,
according to the method employed.
In sketching from nature out of doors, it is always well to adopt some
prominent object as a standard of measurement; for instance, take a
house or tree in the middle distance, and compare this in height with
objects in the background and foreground. In this way your perspective,
if simple, may be made correct without any elaborate rules.
Objects in the distance are naturally smaller than those in the
foreground, and the exact proportions can be determined by comparative
measurement.
In drawing a road or path, notice that it will become narrower as it
recedes into the distance. For those who have never studied perspective
such suggestions are useful.
It is very important also that the values should be carefully studied;
it is a good thing to establish the darkest spot of shadow in the whole
sketch, and compare all the other darks with it, as already suggested
in figure drawing. Determine also the brightest light, and let the
other lights be in their proper relation to it.
Either crayon or charcoal, or both, may be used for landscapes; it is
always better to sketch in the drawing with charcoal, even if crayon is
used afterward.
Some very good effects are produced by using crayon or charcoal on
tinted paper, either gray, blue, or light brown, and, leaving the tone
of the paper for the half-tint, put in the high lights with white chalk.
In such drawings the stump must not be used, nor should the tones be
rubbed or blended in any way. Use the crayon or charcoal point in the
manner already described, and put the lights in at the last with crisp,
strong touches.
As the student continues his practice he will find out the resources of
these most interesting materials, and will develop new possibilities
for himself as he becomes more adept, but it must be remembered that
there is no “royal road to learning,” and to succeed in acquiring
proficiency in drawing of any kind, requires patience and perseverance,
with constant practice.
APPENDIX.
EXPLANATION OF THE PLATES.
The intention of the author in presenting these plates is that the
student, by copying a series of progressive drawings, may be prepared
to study from the cast and from life. For those who are entirely
inexperienced, it is much easier to learn this method from such flat
copies at first, as it not only teaches the use of the materials, but
familiarizes the student with the forms of the different features, so
that when confronted with nature he finds his difficulties considerably
lessened.
PLATE I.
This plate is intended to show the drawing of the human eye and mouth
in different positions, as well as to familiarize the student with
the general form of these important features. Only charcoal sharpened
to a point is necessary for these outlines, which should be carefully
practiced before proceeding to Plate II.
PLATE II.
This study is intended for those who have never drawn from the cast,
and have had no practice in using charcoal. A. represents the manner of
beginning a drawing. Make a dot on the paper for the top, and one for
the bottom of the fragment to ascertain where to place the lines, and
then with a sharply pointed charcoal stick, draw the general form of
the outline in the manner shown in the plate, without attempting any
detail. The shadows are then blocked in squarely with the point. When
the proportions are thus ascertained to be correct, proceed to finish
the drawing as is seen in B.
To do this, rub the shadows with the stump till one flat, even tone
is obtained, and carefully draw the outline, turning the angles into
curves.
This plate is for the most elementary practice in drawing, and no
further degree of finish than this should be attempted, until the
student has learned to do this much well.
PLATE III.
This represents a simple study of the hand, drawn from a cast. A.
indicates the manner of laying in the study, the curved lines being
drawn to show the direction and movement of the fingers.
In B. the stump is used in the shadows, and the modeling is carried on
further than in Plate II., the half-tint being added. The outline is
carefully finished with the pointed crayon, which is also used in the
shadows.
PLATE IV.
The part drawn from the cast here represented, is laid in with
charcoal, as in Fig. A., and then carried on in crayon as in Fig. B.
The outline is carefully drawn and the shadows blocked in squarely at
first as usual, and then changed with great care into the necessary
correct forms.
It will be noticed that this study is a little further advanced than
those already given, more detail being shown, as well as a little
greater variety in the half-tints. The straight lines across the base
and ends of the toes serve to direct the eye to the difference between
their general direction and a perfectly horizontal line.
PLATE V.
In this plate the whole profile view of a face is given, Fig. A.
representing the way to lay in a head. The straight lines outside may
be ruled, as they have nothing to do with the drawing, but are merely
mechanical aids by which the angle of the features is determined.
In B. the modeling of the features is carried on still further than in
any of the preceding studies, the half-tints and shadows, however,
being still kept flat.
PLATE VI.
This plate gives a more difficult study in the three-quarter view of a
male head. In laying in the drawing, as in Fig. A., be careful to get
the proportions as perfectly correct as possible before proceeding to
carry the modeling further, as in Fig. B.
This head, though more finished than any other yet given, purposely
stops short of the final extent to which such drawings may be carried,
as the object of the author is to familiarize the student with each
step by the way. In the smaller touches about the eyes, nose, etc., the
pointed rubber stump will be found more available than bread. For the
large masses of shadow it would be well to rub off some sauce crayon
on a small piece of drawing paper and fasten it one side of the easel,
or, if preferred, rub the pointed crayon on the rough paper until a
sufficient quantity adheres. The stump is rolled around in this until
sufficient is taken up to cover the large mass of shadow. The more
careful work is carried on with the pointed Conté crayon, small stump,
and pointed rubber, or bread, as before explained.
PLATE VII.
Plate VII. is intended to prepare the student for drawing the full
length figure from the cast, and should be carefully copied. An
excellent exercise would be to draw Fig. A. several times first, in
order to practice the manner of beginning such a drawing; then when
this is fully mastered proceed to finish as in Fig. B., which in this
plate shows a fully completed drawing from the cast.
PLATE VIII.
This plate represents a study of the male figure taken directly from
life, and is a most carefully finished drawing in every respect.
Fig. A. shows the manner of beginning such a figure; the outline
is sketched in with long, sweeping lines at first, to determine the
direction of the pose; the proportions are noted and the outline
corrected, though drawn in angles, the general masses of shadow being
blocked in as usual.
In Fig. B. the crayon and stump are taken up and the drawing is
carefully carried on as shown by the plate, until completed.
THE END.