How to draw with charcoal? Master class for beginners. Drawing with charcoal - where to start and a detailed tutorial on drawing irises How to draw with a charcoal pencil step by step

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The skill of some artists surpasses all boundaries. They draw with anything: oil, acrylic paints, charcoal, ballpoint pens or a simple pencil, but their work is indistinguishable from photographs. The considerable perseverance and talent of the authors make these works more than just photocopies. They contain life, the artist’s vision, emotions and the illusion of the world in which we live.

website collected 15 artists, looking at whose works we literally cannot believe our eyes.

Diego Fazio

Diego works like an inkjet printer, starting to draw from the edge of the sheet. Draws with a simple pencil and charcoal. It takes the artist 200 hours of work to create one portrait.

Gregory Tilker

Gregory Tilker paints his “rainy” canvases with a brush, using watercolors and oil paints. Viewing Gregory's paintings is like traveling by car on a cold, stormy day.

Ruth Tyson

British artist Ruth Tyson, like many of her colleagues, does not have an artistic education, but has an original manner of performing her works. She draws with graphite and watercolor pencils, but sometimes also paints.

Roberto Bernardi

It's hard to believe that Roberto Bernardi's "sweet" still lifes were not filmed. Each still life conveys reflections on the glossy surface of the table, folds and highlights with amazing accuracy.

Robin Eley

The London-based artist creates large-scale, realistic oil paintings. In the paintings of this collection, the artist gracefully “hides” the nakedness of human bodies with transparent film.

Gottfried Helnwein

In his works, Helnwein uses mainly watercolors. He works as a painter, draftsman, photographer, sculptor and artist, revealing all aspects of his talent.

Vincent Fatauzo

Renowned Australian artist Vincent Fatauzo's work has been exhibited around the world. The portrait of Heath Ledger was painted a few weeks before the actor's death.

Camalchi Laureano

Kamalki Laureano is a talented Dominican artist. He uses the technique of painting with acrylic paints on canvas. For him, work is not just an imitation of photography, but an imitation of life.

Paul Cadden

Thomas Arvid

Thomas has no formal education. Having developed mastery using his own training system, the artist came to his own theme - the theme of wine. This is how “Thomas Arvid’s Wine Cellar” arose - a series of works depicting bottles, corks, corkscrews and glasses with sparkling drinks.

Brian Drury

Coal is the oldest drawing utensil that has not lost its popularity to this day. It is easy to draw with charcoal pencils and rods, and the paintings made with them are expressive and spontaneity.

Working with charcoal is the first thing that aspiring artists are taught in many drawing and painting courses. Students are immediately asked to take charcoal and sketch large, clearly defined objects. This work allows you to better understand the principle of drawing, as well as study methods of toning. These skills are extremely important to master before moving on to color images. In addition, when working with charcoal, artists learn to perceive the drawing as a whole, without being distracted by minor details.

Artistic charcoal is made from burnt birch and willow branches or from burnt grapevines. It is sold in the form of sticks and pencils. Charcoal from grapevines paints a brownish-black color, while charcoal from willow and birch branches (common in the UK) paints a bluish-black color.

Coal is one of the most ancient artistic materials; it is produced by burning branches and twigs of willow, grapevine and other plants at high temperatures in hermetically sealed containers. This is the process of carbonization, or coking, of wood, in which the structure of each branch or stick of materials remains unchanged; they become suitable drawing tools. Cennino Cennini described this technique as follows in the 15th century: willow twigs were tied into bundles, tightly closed in clay pots, then placed in the oven of the nearest bakery - there they were left overnight until completely charred (acquiring a very black tone). He pointed out the importance of the time factor: as a result of excessive firing, the finished coal would split into pieces during use. Two centuries later, Volpano described how pieces of wood were stuffed into a tubular iron container, which was then covered with hot ash, heated red-hot, and immersed in water to cool.

Early descriptions implied that charcoal was used as a means of creating hand-drawn images for frescoes or panel painting. Nowadays, despite the fact that coal is still considered as a material for drawing before the painting process, it is rightfully an independent, independent and very expressive medium.

Renaissance artists discovered the useful qualities of charcoal - for example, they could easily adjust and modify the image at the drawing stage.

Production process and equipment

These days, willow (used in the production of high-quality artistic charcoal) is grown in cultivated plantations and harvested annually during the winter months. The most typical species, Salix triandra, is the basis of standard charcoal sticks (pencils) for drawing. Willow twig grows over the summer in natural conditions to a length of two meters and produces dense rods of small, medium and large diameters. Another species, the Osier willow (S. vimlnalis), is harvested every two years and provides the raw material for rods of even larger diameter - such rods are used in very large jobs.

After sorting the cut willow twigs, they are tied into bundles and boiled in water for nine hours (to soften the bark). Then the material is peeled by rotation in special machines and dried in the open air. The dried rods are then tied into bundles, sawed into standard lengths and packed into iron boxes for firing.

The boxes are filled with sand on a vibration stand to prevent air from entering during firing in the kiln - during the firing process, the rods are significantly compressed and the sand fills the resulting voids. After preheating until the rods are completely dry, they are fired in a kiln for several hours at high temperatures. After twenty-four hours the material has cooled down and is ready for packaging.

Art charcoal comes in different hardnesses. The soft one shades well and is used for shading, while the hard one is ideal for drawing small details.

The thickness of the rods is also uneven, which allows them to draw different lines - from wide and clear to thin, barely noticeable. Charcoal pencils, unlike lead pencils, do not stain your hands, but you cannot draw with the side of the pencil.

Paper and more
Charcoal looks great on matte, rough paper. Smooth or glossy, it simply crumbles.

Trituration.

The charcoal spreads easily across the paper, giving your image a smooth, velvety look. Make a series of strokes with the side of the rod and carefully rub them with your finger or torchon. The saturation of the tone can be varied by changing the degree of pressure.

Cross hatching.

Another way to tone with charcoal is to draw in different directions. Draw a series of parallel strokes, and then cross them at an angle with other strokes. In order to change the saturation of the tone, you need to change the density of the grid.

Soft shading.

It is not necessary to rub the strokes with your fingers or torchon. Lightly sharpen the rod with sandpaper, take it closer to the upper end and try to draw so that the strokes merge with each other. Vary the amount of pressure to achieve lighter or darker tones.

To get started, you will need several charcoal sticks of different thicknesses, paper and a fixing spray (charcoal smears easily!). If you cannot buy an aerosol in a specialty store, use regular hairspray.

To sharpen the rods, you need a sharp contour knife or sandpaper, and to correct mistakes and create gaps, you need a wrinkled rubber band (knead). It is convenient to rub the charcoal with your fingertips, but sometimes, in order not to stain the drawing, it is better to take a torchon rolled up with a roller, cotton swabs or paper napkins.

How hard you need to press the charcoal to create light and dark shadows, you will learn to determine over time. In the meantime, remember that you cannot press too hard on the thin carbon rod, otherwise it will crumble and stain the drawing.

Charcoal is ideal for life drawing as it is easy to wash off. In addition, it perfectly conveys light and dark tones.

The sense of touch helps us perceive the various qualities of objects: smoothness and roughness, hardness and softness, dryness and moisture. Our goal is to convey these tactile sensations in the drawing.

“Let your drawing speak - perhaps it will tell you ways to draw that you would never have thought of.”

Of course, unlike real ones, you can’t touch or pick up painted objects. Therefore, we need an exclusively visual way to convey tactile sensations. Despite the apparent complexity of this task, it is quite doable. In fact, you don’t have to touch a porcelain cup to understand that it is hard and fragile. Fine porcelain - smooth, elegant, shiny; it looks hard and fragile. Convey this in a drawing, and the viewer will “feel” the sophistication of the depicted cup as if he were holding it in his hands!

In this case, the choice of drawing supplies is very important. I settled on charcoal and Conte white wax pencil. Charcoal will convey dark and midtones, while gray paper will “depict” lighter shadows. With a pencil we will draw reflections, thanks to which objects will look solid.

YOU WILL NEED:

gray A2 wrapping paper
several carbon rods of different thicknesses
white wax pencil Conte 2B
wrinkled elastic band (knead) and cotton fabric
fixing solution or hairspray (no glitter)

Composition.
Select a few solid objects. Arrange them in random order and look at the composition from different angles. Try swapping objects, turning them the other way, filling the free space.
Pay attention to the general outlines of the composition. Don't arrange objects symmetrically - it's not interesting, it's better to move some of them a little
them.

1 Drawing from the shoulder, outline the main outlines (they can be quite careless). Use what you already know about light and shadows. Look at the composition - the light source is at the top and in front of it. Therefore, shadows are located almost in the center, under objects.

2 Squint to judge the tones of objects. In our case, the plate stands out against a dark background. Its shade is close to the gray of the paper, so I simply outlined the disk with background shading, placing the charcoal rod on its side to make the work go faster.

3 Look at the tin jug. It consists of several ellipses. Notice that I've drawn full ellipses, as if the jug is transparent, although in fact I can't see the far side of it. I advise you to do the same: this technique facilitates the geometric construction of the drawing. Try to accurately convey the curves of the handle and spout of the jug.

4 The neck of a clay jug lying on its side resembles an open mouth in amazement. Although the jug is quite massive, the viewer mainly sees only the emptiness inside it. Therefore, depict the inside of the jug using ellipses. And its weight will be conveyed by the thickness of the rim and nose.

5 The advantage of charcoal is that it can be easily erased with a wrinkled rubber band or even with your finger. Thanks to this, the drawing turns out to be more lively and spontaneous. The nuts, which I lightly outlined at the beginning of the work, require further drawing, but, mind you, not detailing - we will do that later. I paid no less attention to the background fabric than to the pomegranates and nuts in the foreground

6 Constantly return to the elements of the composition, correcting them as you go. The handle of a clay jug is not easy to draw correctly, since we are looking at it from above. But if you succeed, the whole image will become more believable. Think of the pen as a strip of clay, rolled up like a ribbon. Now try to depict it from the inside. Notice that where the pen meets the table the lines are thicker. The current gives the impression that the jug is lying on a hard surface.

7 Don't be afraid to use your fingers—the most versatile drawing tool—as you work. Moreover, you can wash them later! When painting large areas of paper, we laid the rod on its side. And now it's time to blend this layer with your fingers. Try to convey the softness of the velvet background, as well as light and dark shades in the folds of the fabric

Advice.
Keeping it clean
Charcoal is easy and fun to work with, but at the same time it gets very dirty. If you don’t want to spend time and tediously washing your hands from corrosive coal dust, wrap the rod in foil. And instead of shading the design with your fingers, use a cotton swab or torchon. Finally, any pieces of coal that fall on the floor must be swept up immediately so as not to trample them!

8 Once all the items are in place, go over the design with a clean cotton cloth. The image will become paler, but the current was intended! Now that the drawing has suddenly “stepped back”, it will be much easier for you to re-evaluate the tones, lights and shadows.

9 Pay attention to the light colors - not the brightest reflections, but, say, the soft glow of a pewter plate and the reflection of light from cut and whole garnets. Using an eraser, erase the charcoal on the surfaces of these objects where necessary: the gray color of the paper will create the desired tone. Imagine drawing with an eraser instead of just erasing.

10 I wanted to add a little detail to the surface of the cut garnets. Lightly rolling the pointed end of the charcoal rod over the paper, I outlined the garnet seeds with rich strokes. By the way, these strokes were discovered by me as a result of numerous experiments. But perhaps you can come up with your own way to depict pomegranate seeds.

Nuts, pomegranates, pewter and a ceramic jug proved to be excellent models.

Although the color palette of this still life is very rich - like in the paintings of the old Dutch masters - we focused our attention on the texture of the objects. So, put the charcoal aside and take a white Conte wax pencil.

11 The reflections on a ceramic jug are not the same in brightness. Thus, a subtle and clear reflection on the rim, spout and handle creates the outline of the object. Draw it with the corner of a wax pencil. On the brown part of the jug, the light spot looks more diffused. Lightly shade this area.

12 If there are a lot of reflections, they draw attention not to the picture as a whole, but, so to speak, pull the blanket over themselves, so be careful with them.
Please note: small highlights drawn with a white pencil not only convey the texture of objects, but also emphasize their shape. A light touch of a pencil to the walnuts in the foreground - and now they look more expressive than the other elements of the composition.
When trying to convey the texture of an object, they usually pay attention to how light is reflected from its surface. Our hardest object is a ceramic jug, so it produces the brightest reflections. Pewter dishes are even softer in appearance, and the reflections on them are more subdued. However, when trying to evaluate the hardness of objects, you should not rely solely on gloss. The walnut, with its matte surface, is clearly harder than the soft, shiny-skinned garnet, and in this case the hardness of the nut is conveyed by the lumpy shell.

13 Use the techniques you already know. Pay special attention to light, shades and shadows. The viewer's gaze should penetrate into the depths of the drawing, sliding from walnuts to a cut pomegranate, then to a whole one, then to a tin goblet and jug, a plate in the background and, finally, “to the surprised open mouth” of a ceramic jug - the darkest tone in the drawing ( it seems as if you stretch out your hand and it ends up in the jug!).
Charcoal and wax pencil are easily erased, so be sure to secure the design with a fixing solution.

Municipal autonomous educational institution

kindergarten No. 79 “Guselki”, Togliatti urban district

"Drawing with charcoal"

Summary of GCD in the senior group

(using ICT)

Compiled by:

Educator

Perevozchikova Evgenia Vladimirovna

Tolyatti 2012

Annotation:

This is a summary of direct educational activities on artistic creativity in the senior group “Drawing with charcoal”. Introducing children to an unconventional way of drawing.

An Artist comes to the children and invites them to visit his art workshop. During the lesson, children become the artist’s friends; for the duration of the activity, they are given badges with a picture of the hero.

GCD takes place using ICT.

Target: Teaching children non-traditional charcoal drawing techniques.

Tasks:

Training tasks:

Introduce an unconventional drawing material - charcoal;
Teach children to create their own drawing plot using stencils;
Expand children's knowledge about artists who drew with charcoal.

Developmental tasks:

Develop basic skills in working with coal;
Develop independence, aesthetic feelings and emotions, a sense of composition;
Develop sensory skills - hand-eye coordination when drawing, fine motor skills of fingers;

Educational tasks:

To instill in children a sense of beauty through fine art;
Cultivate an interest in reflecting one’s impressions in visual arts;
Cultivate caution when working with coal.

Methodical techniques:

Game (use of surprise moments).
Visual (use of illustration).
Verbal (reminder, instructions, questions, individual answers from children).

Equipment: magnetic board, computer, projector.

Demo material:

picture of the Artist,
presentation on the topic(Appendix 2)
sad and happy emoticons.

Handout:sheets of thick paper A4 format, charcoal,

Simple pencils, paper napkins,

Wet wipes, stencils, sheets of paper 10*10

For trial drawing with charcoal.

Progress of the lesson.

Introductory part.

Educator:

Guys, hello!

Today on the way to kindergarten I met the Artist.

He lives in the fairy tale about Dunno. And he invites you to become his friends:

Dunno, Znayka, Stargazer, Mushka, Chamomile, Asterisk, etc.

(children choose badges with pictures of heroes, attach

On clothes).

- I now know how to contact you.

What does the Artist do?

Children: draws.

Educator:

- Artists do not draw, but paint their pictures. Every artist has

Own art workshop. Do you want to visit the workshop?

Our artist?

Children: yes.

Educator:

Then close your eyes:

One two three four five

Workshop meet our guys!

Main part.

Slide 1. Art workshop

Educator:

Open your eyes, we are in an art workshop.

Look at what there is here: paints, pencils, and brushes,

And painted pictures.

The Artist has such a beautiful chest, it contains the necessary

Objects for his work. But he asks not to open it right away,

And try to guess the riddles that are there. Listen here...

I'll draw a portrait of my mother
Still life or landscape
Wooden thin long
I am a wizard….(pencil)

I'll give you a hint - I paint,
I will say without modesty, friends
I'm brighter than a pencil
Very juicy... (gouache)

I will apply a gentle pattern
Thin snow-white frost,
Green April -
Everyone knows... (watercolor)

I'll write an ad
And a congratulations card.
Draw posters master
Because I... (felt pen)

Educator:

Guys, what are these items for?

Children:

- They are needed in order to draw.
Educator:

Guys, there is one more item left in the box. And there are no more mysteries.

Let's see what it is?
(The teacher takes out a box of coal and shows it to the children)
Educator:

Guys, this is coal. Charcoal is a soft drawing material.

Slide 2. Firing branches

Educator:

Charcoal is made by burning thin wood branches in a kiln.

Coal has been used by artists since ancient times. Coal

You can draw landscapes, portraits, still lifes, make sketches

And sketches.

Slide 3. Ilya Efimovich Repin “Portrait of Eleanor Duse.”

Educator:

Great artists drew with charcoal.

Pay attention to the painting of a famous artist

Repin Ilya Efimovich “Portrait of Eleonora Duse.”

Slide 3. Mikhail Alexandrovich Vrubel “After the concert.”

Educator:

- Here is another painting called “After the Concert.”

When the artist painted it, he could no longer see anything.

Slide 4. Ivan Ivanovich Shishkin “Overgrown Pond”
Educator:

And this is “Overgrown Pond” by Ivan Ivanovich Shishkin.

The painting was made with charcoal and chalk.

Slide 5. Isaac Levitan “Village. Early spring"

Educator:

- Here is another landscape, Isaac Levitan’s “Village. Early spring"

Slide 6. Children's drawings.

Educator:

And these are the drawings of the guys I work with.

They really enjoy drawing with charcoal.

Do you want to learn how to draw with charcoal?

Children:

Yes.

Educator:

In order for the hands to obey us, we need to make a small finger

Gymnastics “Two centipedes”:

Two centipedes ran along the path

(two hands next to each other move their fingers)

They ran - they ran,

We met each other.

(two palms froze)

They hugged each other like that

(fingers of the left and right hands hug each other)

That we barely separated them.

(hands in the lock are disconnected)

Educator:

Fingers are warmed up, you can get to work.

Coal is fragile and gets very dirty, you have to be extremely careful

So as not to get your work dirty.

You have square sheets of paper on your tables, move them towards you.

A geometric figure is drawn on it with a pencil.

This is a test drawing, try tracing along the pencil lines with charcoal.

You should hold the charcoal in your hand like a regular pencil. When pressed hard

The result is a bold line; if you press lightly, the line will be

Barely noticeable. The result is a square.

To paint it you need to take a napkin, crumple it and shade it

Or rub the resulting lines in a different way.

(the teacher demonstrates drawing techniques on an A3 sheet attached to an easel, the children follow the teacher on a 10*10 sheet)

Educator:

Do you understand the technique of drawing with charcoal? Then move the landscape view towards you

Paper. In order to paint an interesting picture,

We will create a plot using stencils.

Progress:

We outline the stencils with a simple pencil;
We draw pencil lines with charcoal;
We finish drawing small details;
Shading

(children draw, the teacher monitors the work, helps in choosing a plot, in mastering the skills of working with a new material - coal)

Educator:

Now we will complete your works and place them in frames

(gluing previously prepared frames)

(children's works are presented in Appendix 1)

Educator:

- Take your work in your hands and show it to each other.

Did you enjoy the art workshop?

It's time for us to go back to kindergarten. Close your eyes.

One, two, three, return all the children to kindergarten!

Summing up the GCD:

Educator:

Guys, where were we today?

Children:

- In the art workshop.

Educator:

- Who called us there?

Children:

Artist.

Educator:

What were we doing there?

Children:

They drew with charcoal.

Educator:

Did you like it, was it difficult or easy?

You have sad and happy emoticons on your tables.

Show how you feel about the work done.

(children show emoticons)

Educator:

I really enjoyed working with you.

Do you want to know my mood?

Slide 7. Cheerful smiley face.

Educator:

You can pick up your paintings and take them home.

And, of course, take emoticons. This is my gift to you.

Goodbye!

Bibliography:

http://www.art911.ru Graphics Lessons. Drawing lessons with pencil, charcoal, paints.
A.V. Nikitina Non-traditional drawing techniques in kindergarten.
NOT. Veraksa, T.S. Komarova, M.A. Vasilyeva FROM BIRTH TO SCHOOL. Basic general education program of preschool education.

Annex 1

Children's work.

Drawing with charcoal, pastels and chalk is fun. Perhaps because charcoal drawing is so quick and lightning fast, or because the end result looks amazing, people really enjoy learning charcoal drawing techniques. Even the great Michelangelo created a number of charcoal drawings.

Whatever the reasons for the medium's popularity (and there are many), there are certain charcoal drawing techniques used by many artists every day. In this article, I'll go over the most important aspects and show you little tricks to help you. Watch the video below and then follow your path to success.

You can use any type of charcoal for these techniques. Just ask your local craft store and they will help you (see point 09 about different types of charcoal). If this article inspires you to explore the topic yourself, why not check out Schoolism.com for a variety of courses, workshops, etc. This is just a great way to learn new things with professionals.

1. Make the main thing the main thing

The main thing is to keep the main thing the main thing. Speaking as an artist, the main thing is called essence. This is just as important when drawing with charcoal as it is in any other technique. What your drawing is about and what you want to say is the main thing when creating it. Once you settle on a “big idea” or essence, everything you do from that point on, every move and every detail you put in or choose to take away, should act to strengthen that aspect.

2. Learn the value of contrast

The word contrast is used all over art, and seems to be a bit confusing. Contrast is a simple transition from white to black (light to dark) on a scale of 1 to 10. 1 is white and 10 is black. Thus, 5 is 50% or “halftone”, a gray color, something between white and black. Any drawing consists of contrasts (shadow and light), regardless of color.

To help you with this, I suggest working from the middle outwards. Keep your darkest color dark (shadows), no darker than a 6 or 7 on the contrast scale; and the lightest (light and everything in the light) is 3 or 4. Move towards dark (accents) and light (highlights).

Think of accents and highlights as twins living in different neighborhoods. They are not the most important element of your drawing. But they are important overall.

3. Use a hierarchy of contrast

There is no doubt that a successful drawing is read quickly and touches emotionally. Using contrast or tone, highlighting different areas of a charcoal design can be very helpful when drawing.

The drawing above, based on a photograph by Josiah Buys, uses dark contrasts. Notice the light on his cheek and the shadow on the rest of his body.

The use of hierarchies of contrast allows the viewer to see what is needed first. In this picture, Steve is smoking his pipe. Everything else becomes less important. He is the essence of the drawing.

4. Squint

Sometimes 100% vision doesn't help. When we watch what we draw, a lot of information passes through our eyes. And because of this, the drawing is filled with many extraneous details that worsen the effect of the image. The goal is to edit and simplify.

Squinting blurs the big picture and we see a simplified version of the whole picture, clearly noticing all the simple shapes. Reproducing these simple shapes helps in creating the essence of the entire design.

5. Explore thick and thin lines

Using thick and thin lines is an interesting idea, and it's funny how many artists don't use this useful technique in their work. If every line is the same width and is drawn with the same amount of pressure, a charcoal drawing will look like a regular coloring book, making it look boring. The use of thin and thick lines brings the image to life.

So how will you apply this technique, and what do you need to know? The general rule is that the top lines of objects are thinner because light falls on them, while the bottom lines can be thicker because of shadows. This is all. And it's very simple. Look at the smooth lines and their thickness in the drawing of the dog above. Now you know.

6. Use an eraser

The cool thing about charcoal is that it can be easily controlled. You can move it without any problem. Once you draw something with charcoal, you can remove it or erase it where it is not needed. In the picture above, the erased part shows where the light hits the model's head.

7. Buy a tool kit

Artists usually have a whole set of tools, and charcoal drawing tools look cool. The picture above shows some of them: a very small eraser that erases with a fine line; a kneaded eraser that can be kneaded and crushed; and a hardcore eraser pen for tough, heavy-duty erasing jobs.

Using charcoal or pastel requires us to apply it, and there are many ways to achieve this goal. The most obvious is your finger, but it may leave streaks or be too small. Wipe Webril wipes are a great option when working with charcoal.

8. Put on a glove

Did you know that oils and fats on our hands can ruin the cleanliness of paper? Oils can soak into the paper and push away the charcoal. To solve this problem, use a glove or place another sheet of paper under your hand to protect your work.

9. Try charcoal pencils

Charcoal can come in many forms, from pencils and sticks to large lumps. The choice is yours. The photo above shows three examples of charcoal pencils. Be aware that they can create a mess, so after using them it's worth spraying your drawing with charcoal fixative to be sure.

10. Keep improving

Remember that drawing is difficult and can sometimes be tiring. Dont be upset. Art is extremely difficult and it can take time to feel happy at it.

Training and development always go together. Connect with artists you admire. Be humble and ask them for advice about your work. Ask about your weaknesses, how you can get started, and what you should focus on. Ask them to be honest. These are good questions.

We all have moments when we feel unhappy. Even now I feel doubts and sometimes inspiration overwhelms me. So continue your work, spread your wings and catch the wind.