Friedrich Nietzsche - Free Art LessonSketching the portrait with charcoal |
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Charcoal Portrait Sketching, Part 3 of 3
Block-in, Second StageIn this stage, I'm simply interested in increasing the tonal range, by establishing some darker areas. 
Block-in Third StageOn the third iteration, I try the conte pencil to add depth to the eyes, but then decide to switch to the vine charcoal. Again the eyes are still at a fairly crude stage with a number of unwanted hard edges. I balance these hard edges by drawing in several more across all areas of the face, with the intention of going darker still in the finishing stages so these edges are not so prominent.
FinishingIn this stage, I'm simply interested in increasing the tonal range, by establishing some darker areas. 
ConclusionsThis is the second charcoal portrait I have attempted almost predominantly with a brush, and I've found this method of approach not only so much cleaner on the hands, but the juicier thickness, and texture of strokes allows for rapid sketchwork and fine parallel lines that would be far more difficult and time consuming to attempt any other way. There's some guess work in how wet to soak your brush before dipping it into the charcoal powder, but such guesstimations resolve themselves after a few strokes. When the brush dries the tone lightens, and you can create some interesting dry brush techniques. I believe the same techniques applied to a more time consuming drawing, could yield in some excellent results - I hope to try it soon, and I hope I've inspired a few of you just enough to try your hand with these methods. A brush in your hand may feel very foreign and can be the difference between using chopsticks and a knife and fork. Some people will pick it up quicker than others, but with a little practice, anybody can easily wield a brush.
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