Graphite Experiment #2

I am preparing to start a piece in which I want to use powdered graphite because it will provide the right textural surface, and uniformity in value, for the object it will represent. The problem is how to use it well. So, I have been trying different ways to apply it, looking for consistency in both the medium and my own skill using it. I've learned a lot of new things to add to my "toolbox" and I would like to share them with you.

The sample above demonstrates use of masking and surface altering to add the powdered graphite. Each method produced some interesting results, for instance - PG applied directly to the paper produced a cool grey, PG applied over matte medium produced a warm grey. Erasing from the matte medium surface is easier than trying to clean a spot of PG that has been directly applied to the paper. These are important things to know before I jump in with the stuff and mess up my work (I really hate starting over!).

For this sample I worked on Bristol vellum, and used tracing paper to make a pattern for the mask; my tools included: General's Powdered Graphite; pencils - Derwent F, Tombow B and 4B; paper stump, facial tissue paper, 220 garnet sandpaper, taklon acrylic brush, and acrylic matte medium; electric eraser, kneaded eraser, crow feather (for cleaning after erasing); low tack masking paper, Xacto knife, cutting board; workable fixative. I think that's all I had on hand - if I forgot something here, it will be included in the captions.

If you are a process person, this can be fun! If you aren't this may be tedious. Either way, my idea is to push the graphite medium out a little further to enhance the expression of my work. Powdered graphite won't always be suitable for use but sometimes it might be exactly what is needed. My objective is to be able to use it well.

Experimenting with Powdered Graphite

This is one of the first times I actually finished a piece with Powdered Graphite as one of the mediums, and while I like the results of the PG, it was one of the most labor intensive mediums I've used. I ran into all kinds of problems trying to make the medium work for me and in the end I had to make more changes in my drawing than I was comfortable with. So, it was obvious to me that I needed to come to terms with PG, and learn more about how to use it.

I put out the question to other graphite artists asking how they used PG in their work - methods of application, types of surface, pitfalls, what worked best for them. I discovered that there are so many approaches to this powdery monster, I wasn't prepared for the variety of answers. However, the best advice I received was to experiment with it on my own and see what works for me. While this was a great idea, it tended to poke at my left brain which always expects "if a then b" and not "if a maybe b unless c gets in the act, which results in.."

So - this is going to be an ongoing thing and I want to share with you some of the results so you can try them out too. The photos are lousy because I have to battle the cat just to get my work done. I keep my drawing table at a low angle when working with powders and/or liquids and she knows this is the best time to harass me for cat treats. By the way, cat paws don't make good blending tools. I keep page protectors handy for moments like this!

One of the artists that shared some of her methods was Patricia Lucas-Morris; she definitely has developed a remarkable working relationship with PG and I recommend that you check her website http://plmdrawings.com/ to see some very fine drawings. She recommended using acrylic matte medium on the paper before applying the graphite - so my first experiments started there. I made a few discoveries and ran into more questions but it produced some interesting results.

First of all, I wasn't sure if Patricia meant that I should mix the graphite with the matte medium or use the matte like a liquid mask on the drawing - so I tried both. I ended up accidentally making a graphite tar that produced a great flat black, slow to dry, but can be gently manipulated with an eraser, or accepts more graphite if you erase too much. I worked on sketch book paper, Bristol vellum, and Stonehenge drawing papers. Check out the photos and captions on the Powdered Graphite page (right menu) for the tests. I have a way to go, but I will post my results as I go along in future posts.

Pen and Ink Drawing

It's been a while since I have worked with pen and ink, it was a surprise to find one of the classroom models that I made for that unit. It is kind of neat to revisit work that has been out of sight and out of mind for a few years; I inspired myself to dig out my dip pens and do a few new pieces.

I had the students look for an old photo, preferably not a portrait, with lots of textural opportunities. The picture I worked from was an old hotel in Yerington, Nevada that intrigued me then and even now (it looks like a place with stories to tell). My guess is that the building is no longer standing, it was pretty run down and the desert is not always very kind to old wooden buildings.

The drawings are on one large sheet of paper (18 x 24) folded in half, "hot dog" style. Three 7" squares across the inside of the fold provided three views of the same place. Each view has to offer something different in method of rendering with ink or feature one full and two details from the photo. My example includes one detail and two ways to use the medium. This gave students a lot of opportunities in their presentation. Besides the sizes of each square, and the variety in approach, I did stipulate that the pen must be a dip pen; they could also use some brush work as well.

Needless to say, we produced some pretty good drawings from this assignment and some new converts to pen and ink drawing! Check the Page menu on the right to see other views from this drawing.