Gary in charcoal

[Jean Kelly]

Hello all,

I just got some new toys to play with, they're called "Colour Shapers" and are very soft, pliable rubber brush type tools for blending. So far I'm really impressed with how they handle charcoal.

I started this today of my sister's husband, Gary. Normally my hands would be black by now, and I would have smudges all over the paper. I have clean hands and much better control. It's like painting with a very controllable finger in different sizes. His head size is close to life size, and it's done on Canson. It's not done yet, I'm going to try very hard not to overmodel.

Jean

[Jeff Fuchs]

your drawing is very nice.

[Jean Kelly]

Hi Jeff,

Yes, that's it. Evidently to clean them you just wipe them off with a damp cloth. I think they make two different kinds, a soft and a harder one for paint. I got the softer ones, for pastel and charcoal etc. I can pick up charcoal from one area of the drawing and deposit it somewhere else, leaving the barest hint of a shadow. I've often wished I could reshape one of my fingers to a fine point or chisel edge!

Thank you for the positive comment on my drawing, I'll post a close up later so you can see the fine variation of value.

Jean

[Steven Sweeney]

I agree that this is a very nice drawing. You are wise to be counseling yourself against overmodeling. The dark-toned paper might tempt you into that, but don't let it. Consider some very judicious use of white pastel or chalk to punch up only the very lightest values and highlights. (A half-inch line of white atop the glasses frames would add a lot to depth.) Also, one or two reserved, judiciously applied lines or smudges of color (even just a sepia stick) in the shirt will "suggest" much more than is apparent.

One point: The line between the lips is uniform in thickness and value from one corner of the mouth to the other. It creates a kind of "duck bill" look. You'll really punch this feature up if you vary those elements -- even completely losing that line in a couple of places.

[Jean Kelly]

Hi Steven,

I've added the white highlights, some show up too intense in the photo. I'll be knocking the one at the back of his neck (right side) down some. I really don't like what I've done to his shirt, so out of frustration last night, I signed it and put it on the wall. Fixed his mouth, and in spite of the poor job on his shirt I'm happy with it.

The Colour Shapers seem to work best on smooth paper. I tried using them on some sanded paper last night and didn't like how they felt, so back to the fingers.

Jean

[Jean Kelly]

Close-up.

[David Draime]

Hi Jean,

First off, VERY beautiful drawing! I'm a real fan of this way of working and you've done a superb job. Bravo. I like the red that you introduced in the shirt. It's nice and subtle.

As for the whites that you've added: Steven is absolutely right when he suggests:

Consider some very judicious use of white pastel or chalk to punch up only the very lightest values and highlights.

Key words: "very judicious" and "only the very lightest values and highlights." (OK, like every word in the sentence. ALL of Steven's words are "key" words!) I find that some of the white you've added works fine. Most of the white in the hair looks good - gives him a more "senior" look. But his right sideburn area to me looks like there is more white than necessary. And the white on the earlobe seems too "hot" almost looking like a pearl earring (after Vermeer?)The white on the nose and other areas of the face look fine. Where I think it doesn't work as well is in the beard.

When I work in this fashion I never put white over charcoal, for a couple of reasons. Whatever value I'm after, I can get it with varying shades of charcoal, varying shades of white, or the tone of the paper itself. There is no need for me to mix charcoal and white. I try to let the tone of the paper do as much of the "work" for me as possible, not because I'm lazy (I am, but that's not the reason) but because the drawing will look better.

I also don't mix charcoal and white because it gives off a very different (and in the context of the drawing, I think a strange) "look" and maybe you've sensed this already. Whatever the value of the "mix," you probably have that same value somewhere else in the drawing that was achieved without mixing - the same value done two different ways, and looking very different.

On the beard area of your drawing, the whites don't look integrated. Here, I think letting the paper do more work for you will help. There may be touches, highlights here that would warrant white, but they should arise out of your midtones, out of the value of the paper.

"Less is more." It really applies here. I've done a number of these type drawings and I still have to fight the temptation to draw more than I should.

Now, having put forth my Treatise On The Non-Mixing Of White And Charcoal, somebody will post (in this thread) a drawing full of mixing that is a gem, a true masterpiece and make me (goat-like) want to eat my words. But I'm not an absolutist and the look of mixing may be a fine method in the right hands. It would be different kind of drawing. For the way I work though, mixing doesn't work and the sense I get looking at your drawing, I don't think it will work for you either.

For what it's worth, I hope this helps.

David

[Patricia Joyce]

Hi Jean,

This is really a nice drawing. I am amazed at how the little application of white does bring up the whole drawing. It really makes him come alive.

You have done a beautiful job and make me want to try those color shapers. I love the look of charcoal but dislike the messiness of it. Where did you find this product?

Again, a very nice drawing!

[Jean Kelly]

Hi David and Pat,

I knew last night I should have quit while I was ahead. The drawing is now "on the wall", meaning it's waiting till I feel like knocking back all the white. Thank you for the kind words, they did help lift my spirits.

David, I checked out your drawing of Jolanda. It's just beautiful and powerful, welcome to this wonderful place. Maybe I could just retitle this "Gary with the Pearl Earring", my sister would probably be very angry though! Every painting has its own music, last night I was in the mood for Robert Randolph, bad choice for Gary. He's more Lyle Lovett.

Pat, today I'm trying the shapers on pastel, and I really don't like them for color. Charcoal and conte crayon are very nice though. With pastel they just seem to muddy up the colors.

After it's repaired I'll post an update. Thanks!

Jean

[Jean Kelly]

I tackled it last night, and all non-judicious use of white has been removed. Thank you Steven and David. I e-mailed a photo of it to my sister and she was very pleased, actually a little more than pleased. I'm happy.

Jean