Sketching as a Hobby by Arthur l. Guptill

Author:Arthur l. Guptill
Language: eng
Format: epub
Publisher: Courier Publishing
Published: 2018-12-15T16:00:00+00:00

FIG. 26. LARGE PENCILS HAVE MANY ADVANTAGES

FLAT LEAD PENCILS. Convenient, too, are the “flat lead” pencils, with leads about ” thick and ¼” or more in width. And read in the coming chapter about the graphite sticks.

WAX LEADS. The Negro lead just mentioned (which comes also in wooden pencil form) and others of similar type are splendid. They are very black and their high wax content makes them glide over the paper. Their tone smooches less than that of graphite.

CARBON LEADS (BLACK CHALK). These are available in many makes (including Wolff and Koh-i-noor), forms, and degrees. The softer ones are quite charcoal-like, smooching easily, and so are splendidly adapted to stump treatments. The harder ones hold their points fairly well. Carbon work is intensely black, with no shine.

LITHOGRAPHIC PENCILS. These were originally developed for drawing on the lithographic stone, but are now commonly used on ordinary drawing paper. What is apparently the favorite make, the Korn, comes in pencils (paper) and square sticks. They are of a sort of material which gives, even on such smooth papers as “cameo,” a dense black tone not as easily smooched as graphite, carbon, or charcoal. It is hard to erase: kneaded rubber seems to work about as well as anything.

CRAYONS. The word “crayon” means simply “pencil,” though in America we usually refer to only the larger points, and particularly the cylindrical ones, as crayons. Crayons are of innumerable kinds. There are the hard waxy types, for instance, which give off their particles somewhat grudgingly, and softer ones which are often of carbon, tending to smooch. Some, including the pastels which are such favorites for color work, are chalky and crumbly, and rub badly unless generously fixed. A volume could easily be given over to the many types and their uses.

On the whole, the student who has once mastered pencils and charcoal will find no difficulty with crayons. The wax type is good where little erasure is contemplated: the results are usually crisp and need no fixatif. The chalky types are ideal for such methods as were described under charcoal. The lithographic type in stick form will be briefly touched on again in the next chapter, while Chapter 19 deals with the soluble crayon.

Colored crayons are really beyond our scope; one interested in pastels could scarcely do better than study The Technique of Pastel Painting and The Art of Pastel Painting by Richmond and Littlejohns (Pitman).

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