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CHARCOAL NOSE SKETCH LICENSE
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CHARCOAL NOSE SKETCH HOW TO
When I pack up at the end of each week, my head is in a foggy, charcoal-dust-filled state, tearing away at itself trying to comprehend what is real, and how to convey reality.This license extends our regular Royalty Free / Editorial license to an unlimited number of seats within the same organization. I imagine that filling in all these visible but not ‘real’ touches is what leads to ‘hyperrealism’ that somehow looks both realistic and garishly false. Our drawing must therefore offer less to match up with the external world. Sometimes I argue: ‘I’m drawing what I can see! If I can see it, why can’t I draw it? You’ll never fool the eye if you selectively take out things it expects to be there.’ But Nick calmly explains that the eye overcompensates, it takes in more light and more information than is really there. Bunches of grapes as a whole have a crevice shadow, a darker collection of grapes that are furthest from the light, and brighter grapes nearer to the light. Individual grapes have crevice shadows, real shadows, darker parts of the lit region that seem to be in shadow, lighter regions and highlights. Highlights on shiny things are hard circles, but on rougher surfaces they gently fade into the surface. Shiny bottles have sharp lines for reflections, but matte ones are blended. We change the sharpness of the drawing to depict differently-textured surfaces. If shades of grey are lost when squinting, they are to be ignored and not represented in the drawing.
We squint a lot to cut out excess light to determine which highlights and reflected lights to depict. We start here, because it is the darkest part of the drawing, where no light can possibly reach.
We always add the crevice shadow at the base of the object, to ground it.
We run a paintbrush through the air over the object to see where the true shadow falls, and from this we can determine where the object is still in the light, but darker. To understand tone, we perform all sorts of tricks that are difficult to explain, to do with separating true shadow from apparent shadow, and shadow created by different planes of the object. Nick takes great delight in pointing out the flaws of my studies, but upon allowing me to pick up a brush and some raw umber, he granted that my hard work was paying off and that I am coming to understand tone. Which is to say, for the past two or three months I’ve been making detailed tonal studies in charcoal (my arch nemesis). I’m studying oil painting at the Atelier Art Studios in Brisbane.
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