Sanguine, sauce, charcoal: soft materials in a graphic pattern.
Graphic drawing is associated primarily with detailed pencil sketches and portraits, clear ink illustrations and capillary pens. Soft, bulk materials often remain forgotten at the end of the basics of teaching art, and self-taught artists avoid them altogether due to unusual behavior and lack of samples. And in vain: the softness of coal and pressed crayons makes it easier to work with tones in the schedule, and sharpened charcoal pencils allow you to achieve maximum detail even on a small canvas.
Although coal is mainly used for sketches and undermining, graphic artists choose it as the main material for work. Albrecht Durer (Renaissance artist, known for realistic portraits and an abundance of detail) achieved amazing realism of the image of skin and hair, age-related pigmentation, texture of matter, etc. by combining several techniques of working with coal.
Pressed coal in crayons. It is used both for quick shading of large spaces and graphic sketches, and for “watercolor” drawing. With a sandpaper or a knife, a small amount of coal powder is erased on a ceramic palette, diluted in water. First, a general tone is set, then sections of absolute darkness are determined, tonal transitions are worked out.
Charcoal pencil. It is convenient to take charcoal in pencil in open air and carry with you for daily sketches. Pencil charcoal varies in fat content: the fatter, the softer the material lies, and the brighter the black color. For fine detail on a small canvas, drier coal is recommended. It should also be remembered that other soft materials do not lie on fat coal.
Sanguine and sepia.
Red-brown shades of sepia, sanguine and other crayons with natural pigments are ideal for conveying the natural tones of human skin. Leonardo da Vinci used this property in his legendary anatomical drawings, portraits and self-portraits. Crayons easily fill the space: try wide-format sketches of nature and countryside and feel how much easier the material lies in comparison with a pencil.
Sangina. It has a warmer, reddish-terracotta pigment.
Sepia. Cooler and darker brown palette.
Depending on the density of the pigment concentration and the percentage of wax in the composition, crayons and pencils may be darker or lighter. These materials mix well and turn into each other, they are easy to shade, and pencils are suitable for a detailed study of the drawing.
One of the softest materials in graphic drawing. Foreign artists hardly know about him, but he was popular among the best Russian painters – Repin, Savrasov, Kramskoy, etc. The sauce practically does not lend itself to dry shading, so the elaboration of details through hatching is impossible.
The expressiveness of the graphics written in the sauce is achieved through a combination of “watercolor” and the traditional method of applying pigment. The surface of the picture is covered with a general tone, then the brightest places are highlighted with an eraser or nag. Dark areas are painted over with a dry layer of sauce or charcoal after the substrate has completely dried. Due to the viscosity of the material and the impossibility of detailed hatching, the sauce is not released in a pencil shell. Would you like to try the elaboration of large parts with sauce? Sharpen the crayon to the point with a penknife. Save the loose pigment to use for wet painting.
There are 10 basic shades of sauce. They include a black and gray palette, natural shades of yellow and green, brown tones, bluish, etc. Beginners are advised to limit themselves to 2-3 dark shades: even a small bar of sauce is enough for 1-3 years of fruitful work, if you use mainly the liquid method of applying pigment.