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These can be picked out with a kneaded putty eraser.
Exploiting the grain of the paper
One of the most interesting of charcoal’s characteristics is that it is sympathetic to the texture and grain of the paper, allowing it to show through and contribute to the surface interest of the drawing. This is especially the case when the charcoal stick is used on its side and swept lightly over the surface.
Fixing charcoal
Sarah Cawkwell
Hair Piece
Charcoal on paper
147.5 × 118.7cm (59 × 47½in)
The soft nature of charcoal makes it messy to handle, and the strokes may be accidentally smeared with the heel of the hand. Keep a damp rag handy, and wipe your fingertips regularly to avoid leaving prints on the paper. It is advisable to spray finished charcoal drawings fairly liberally with fixative to protect them from smudging.
SEE ALSO
| PASTELS | Pastels are made from finely ground pigments mixed with a base such as chalk or clay and bound together with gum to form a stiff paste. This is then cut and shaped into sticks and allowed to harden. There are four types of pastel available: soft and hard pastels, pastel pencils and oil pastels. They are available in different shapes – round or square, thin or chunky. |
Tints and shades
Pastels are made in a wide range of tints and shades, derived from a selection of full-strength pigment colours. The tints are achieved by adding more base and white pigment to the original colour, and by repeating this process to produce a series of increasingly lighter shades.
The tonal range of each pastel colour is usually indicated by a system of numbering which corresponds to the various strengths of each colour; for example, in some ranges burnt umber has No. 1 against its lightest shade, and No. 8 against its darkest. This system of numbering, however, is not standardized from one manufacturer to another, so it is worth checking catalogues and colour charts.
Soft pastels
Soft pastels are the most widely used of the various pastel types, because they produce the wonderful velvety bloom which is one of the main attractions of pastel art. They contain proportionally more pigment and less binder, so the colours are rich and vibrant.
The smooth, thick quality of soft pastels produces rich, painterly effects. They are easy to apply, requiring little pressure to make a mark, and can be smudged and blended with a finger, a rag or a paper stump.
The only drawback of soft pastels is their fragility. Because they contain little binding agent they are apt to crumble and break easily, and they are more prone to smudging than other types of pastels. A light spray with fixative after each stage of the work will help to prevent such smudging.
Hard pastels
These contain less pigment and more binder than the soft type of pastels, so although the colours are not as brilliant, they do have a firmer consistency. Hard pastels can be sharpened to a point with a blade and used to produce crisp lines and details. They do not crumble and break as easily as soft pastels, nor do they clog the tooth of the paper; they are often used in the preliminary stages of a painting, to outline the composition, or to add details and accents in the latter stages, sometimes in combination with other drawing and painting media.
Pastel pencils
Thin pastel sticks are available encased in wooden shafts, like pencils. Pastel pencils are clean to use, do not break or crumble like traditional pastels, and give greater control of handling. They are suitable for both line sketches and detailed or small-scale work, and can be used in conjunction with hard and soft pastels.
Let the buyer beware
Since the degree of softness varies noticeably from one brand of soft pastel to another, you should try out individual sticks from different manufacturers until you find the one that suits you best. Only then buy a full range.
Permanence
Reputable manufacturers provide the names of lightfast pigments, such as burnt umber, that are used in pastels. Pastels in cheaper ranges often are given romantically descriptive names which, however, give no indication of the nature or permanence of the pigment.
Versatility
Working with the tip
Working with the side
Pastels are both a painting and a drawing medium. Working with the side of the crayon creates broad, painterly strokes that can be blended and smudged or built up in thickly impasted layers, with the solid, buttery appearance of an oil painting. Working with the tip of the crayon, you can make thin lines and crisp marks that create a very different feel.
Blending
Blending with a fingertip
One of the attractions of a powdery medium such as pastel is that it is easily blended to create soft, velvety tones and subtle gradations from dark to light. Blending has many uses – softening fine lines and details, suggesting smooth textures, modelling form with degrees of light and shade, lightening tones, and tying shapes together. To create an area of blended tone, either apply lightly scribbled strokes with the point of the stick, or use the side of the stick to make a broad mark, but do not press too hard – if the mark is too ingrained it will be difficult to blend. Then lightly rub the surface with the tip of your finger or a rag, tissue or paper stump, to blend the marks together and create an even tone. Repeat the process if a darker tone is required.
Line and tone
Lines over soft blending
You can use blended tones alone, or mix blended
