Artist Information

Inks used by Artists

Ink Sticks are made by mixing carbon particles with a glue or gum base and water to create a dense black liquid. The liquid is then dried and formed into small solid sticks. The sticks are ground against an abrasive surface and the dust mixed with water to produce the liquid ink. Ink sticks are easier and cleaner to transport than liquid inks.

Liquid Inks are made in the same manner as stick inks but without the drying and reliquifying process. Liquid inks come in two forms: nonwaterproof and waterproof. They are made the same way, except that shellac or rosin is added for waterproof inks.

Ink Techniques: All inks use the same techniques: One method is to apply the ink to the drawing surface with a pen. There are several types of pens:

• Reed Pens, used to create wide, short, bold marks
• Quill Pens, used to create blunt, medium or fine marks. Quill pens are very durable and the tip can be made finer by sharpening against an abrasive.
• Metal Pens, with nibs that are made in varied styles and create a wide variety of marks
• Fountain Pens, which have a well of ink built in that automatically allows ink to flow to the nib.

Another method is to use a brush to apply the ink to the drawing surface. The line drawn by the brush is controlled by the angle at which it is held and the amount of ink used.

Metalpoint, Graphite and Colored Pencils used by Artists

Metalpoint implements are made of silver, gold, copper, lead, brass or bronze. Sometimes they are simply a metal rod shaped to a point, or a shorter rod that is inserted into a wooden, paper or metal handle.

Techniques: Drawings using metalpoint must be done on a specially prepared surface, called a ground. The ground is created by mixing white lead and bone dust with glue and water. The mixture is then applied in several coats and burnished to a smooth surface. Metalpoint is a purely linear medium as only the tip of the instrument is used to create a delicate, thin, light line that does not vary much in thickness or darkness. The marks can't be blended and so dark areas must be created by hatching or crosshatching. It is nearly impossible to correct a mistake with metalpoint.

Graphite Pencils are made by mixing graphite, a natural mineral that can be mined, with clay and water to form a stiff dough. The more graphite in the mixture the softer it will be and the darker its mark. The dough is then extruded into thin strands that are cut to the desired length to make the pencil. The cut strands are fired in a kiln, covered in a thin layer of wax and finally encased in wood or paper.

Techniques: Graphite pencils can be used on several different kinds of paper, though it does tend to gouge softer papers. Graphite pencils are often used to draw studies for more developed artworks. Holding the pencil in different ways will create different marks, producing interesting variety. Another way to experiment with graphite pencils is to whittle and shaped into different points that will make different kinds of marks when used.

Stick Graphite is made the same way as graphite pencils, except that it is shaped into a shorter, elongated rectangle and not covered in wax or encased in anything. Also, the range of gradation is more limited.

Techniques: Stick graphite is used in the same way as graphite pencils, though pencils are more suited for smaller, more detailed studies whereas sticks are useful to create larger drawings. Sticks are also more versatile than pencils as all the edges can be used.

Powdered Graphite is made by grinding graphite pencil leads or stick graphite into powder. The gradation of the graphite used determines the darkness of the powder.

Techniques: Powdered graphite is particularly useful in combination with a graphite pencil or stick to create mottling effects. Other ways to create interesting effects is to sprinkle the powder onto the working surface and blot the area with a sponge or cloth dampened with a solvent such as linseed oil. The powder can be mixed with a small amount of solvent to create a paste that can then be applied to the surface and buffed.

Colored Pencils are made with several different formulas but all contain permanent color pigments, a wax base and a clay binder. Unlike graphite pencils, colored pencils are not fired in a kiln, but instead are allowed to dry to hardness under controlled conditions.

Techniques: Most artists prefer to mix colors. This can be done by applying layers of color on top of each other, causing the layers to blend together. Another way is to place tiny flicks or dots of varying colors that the eye naturally blends to form a sparklingly colorful image. Wash effects can be created by applying a solvent to the pencils. Sometimes after completion, drawings using colored pencils develop a waxy build-up on the surface which can dull the image. This can be corrected by wiping the wax away gently with a soft cloth.

Presentation techniques for Artists

Mounting: The artwork is placed on top of a supporting surface by either

Dry Mounting -- The artwork is pressed between a hard surface and a sheet of acid-free, glued paper. It is then heatpressed to permanently affix it. This method is highly acidic and should not be used when preservation is important.

Floating -- Four corner flaps are attached to an acid-free support surface. The corners of the drawing are inserted into the corner pockets, which hold the drawing in place.

Matting: The first step in matting is to determine the dimensions of the mat, or frame. The drawing must extend past the window to prevent the edges from slipping out. For this reason, the window should be cut to accomodate a quarter inch overlap on each side. The border of the mat is cut the same size on the top, and sides but slightly wider on the bottom. This is to compensate for an optical illusion that makes the bottom of the mat look narrower if it is the same size. Cutting the window at a 45 degree angle to create a beveled edge produces a more attractive frame than a straight edge, and does not create a shadow.

The support surface is cut to the same size as the outer edges of the mat. It is hinged to the mat with adhesive. The drawing is positioned exactly as it will be displayed, then hinged to the supporting surface. Finally, the mat is lowered onto the drawing to hold all in place.

Preservation techniques for Artists

Any drawing done on paper is in danger of deterioration.

One cause of deterioration is acid in the paper, which makes it brittle and weak. The best way to protect against this is to check paper for acidity before applying any medium. After the work is finished it should be mounted, matted and framed using acid-free materials, since acid travels from one surface to another.

Another cause of deterioration is light. Light can make paper dry and brittle as well as fade the colors of a piece. Artwork done on paper should not be displayed in direct light, though soft glows are safe to use.

Humidity and temperature are also dangers to drawings. High humidity can lead to the growth of mold or mildew in paper. Temperatures that are too high can cause paper to become brittle, while temperatures that are too low can cause paper to crumble. Drawings done on paper should be displayed in a controlled environment.

Types of Chalk, Pastel and Crayon used by Artists

Natural Chalks are thin sticks mined from soft mineral deposits. Most common colors are black (composed of shale) and white (composed of calcite chalk or talc).

Techniques: Natural chalks are very firm and best used on textured surfaces. Natural chalks useful in making studies for paintings or large drawings in other mediums, although it is possible to use them to create full drawings by themselves.

Pastels are thin sticks formed by hand mixing dry powdered pigments, inert materials and a gum binder. They are used more commonly than natural chalks since the artist can control the quality and hardness, as well as tone, tint and shade.

Techniques: Pastels best used on textured surfaces that capture particles of the stick. Pastels can be used in a linear manner or in a soft, brushlike way to create different effects. Applications can be nearly transparent or thick and heavy. Individual dots and strokes can be made in varying colors that when viewed as a whole create a unified image, or they can be aggressively smeared into the surface with the fingers. The use of pastels is limited only by the imagination of the artist, however care should be taken to preserve the drawing from smearing and smudging.

Wax Crayons are made by mixing small quantities of low quality pigments with large amounts of a paraffin binder. They are used mostly by children or young apprentices.

Techniques: Wax crayons are not typically used by working artists, though some might find them useful for preliminary sketching.

Oil Pastels are made in basically the same way as pastels, but with a waxy binder instead of a gum one. They are very versatile and have a natural cohesion that makes them usable on a variety of drawing surfaces.

Techniques: Oil pastels are used in much the same way as pastels. They can be blended and molded easily because they are slightly waxy. Fluid effects can be created by dipping the stick into a solvent, such as linseed oil, or by applying the solvent to the drawing with a brush afterwards. Oil pastels cannot be erased, due to their waxy nature, but the heavier deposits can be carefully scraped off using a razor and the area can be drawn over.

Conte Crayons are made by forming a paste with a mixture of pigments and a gum base, compressing it into rectangular sticks and allowing it to dry. They come in black, white, gray, sanguine, bistre, and sepia and in three degrees of hardness: hard, medium and soft. They can also be made into a pencil form by encasing them in either paper or wood.

Techniques: It is helpful to break the conte crayon stick into several pieces which will create several naturally sharp, crisp edges for detail drawing. Conte crayons are used most often to develop subtle mottling in drawings because it is very finely textured and can be blended easily. Light areas in a drawing are easily created by erasing away areas to reveal the paper beneath. Densely dark areas can be formed by using small amounts of a solvent either before, by dipping the stick, or after with a swab or brush.

Types of Charcoal used by Artists

Stick Charcoal is made by putting thin strips or branches of wood in a kiln and heating them until they become carbon. The type of wood determines both the quality and hardness of the charcoal. Stick charcoal is very brittle and will break and splinter easily. It is best to use it on surfaces with a rough texture both to keep the stick from breaking and because it will not adhere to smooth surfaces.

Techniques: It is frequently used for quick sketches, though it is usable for more elaborate drawings as well. The tip can be used to make thin lines or the stick can be used on its side to make broad strokes. For fine work, the tip can be sharpened. It can be blended easily and wiped away quickly. A good method of use is to lay out darker areas first and then erase away to create lighter tones. The major disadvantages of this medium is that it can be wiped away so easily. Entire areas could be ruined with an accidental bump of a hand or sleeve.

Compressed Charcoal is made by mixing powdered charcoal with clay and then compressing the mixture. The more carbon, the softer the stick and darker the mark made. Compressed charcoal is less brittle than stick charcoal and makes a denser mark, good for producing a wider range of values. It is easier to blend, but more difficult to erase.

Techniques: Compressed charcoal is used much the same way as stick charcoal. It is more durable and harder to erase, which means that it is not as likely to accidentally wipe out a drawing.

Charcoal Pencils are made by covering compressed charcoal with paper or wood encasements. They are cleaner to use than stick charcoal or plain compressed charcoal, but aren't as flexible or versatile.

Techniques: Charcoal pencils are used for making small line drawings or working greater detail into a larger piece, since generally only the tip of the pencil is exposed.

Powdered Charcoal is made by grinding fire charred wood into a fine powder. The intensity is determined by the kind of wood used.

Techniques: There are several ways of using powdered charcoal. One method is to use fingers or a paper stomp to apply the powder to a drawing. Alternatively, an entire page can be covered and the lighter areas erased away.

All types of charcoal can be used together to create a single drawing, or the drawing may be the result of just one type.

Washes used by Artists

Bistre is made by soaking or boiling soot in water until the soluble tar is extracted. The solution is then strained and evaporated, with a rich brown liquid remaining. A gum binder may be added to improve quality. Though brown, bistre is quite transparent and does not appear in extremely dark values. Adding water will produce lighter values.

Techniques: Two types of brushes are used to create wash drawings:

• Soft-haired Brushes, used to apply thin washes
• Bristle Brushes, used to create dry-brush effects as well as darker or firmer lines.

One method is to use a soft-haired brush to create the effect of light and shadow in a purely suggestive fashion with a bristle brush used to delineate edges and darker areas.