Pastels Produce Pretty Effects. Applied to paper or cardboard, the pastel produces soft opaque shadows that have not the depth of oil painting, neither do they create the transparent effect of water-color painting. But the colors show freshly. Flesh tints may be produced with tenderness and brilliancy, while in landscape work, it appeals strongly to one desiring to produce sky effects, especially those of sunrise and sunset. Little skill is required in the blending of colors, but crisp detail and vigorous touches are generally found wanting in pastel painting. Very pretty effects may be had by cutting out stencils and instead of a brush using a soft cloth or piece of chamois, as described in the chapter devoted to Pastel-Stenciling. The pastels may then be rubbed on the cloth and by gently rubbing transferred to the paper. Different portions of the subject may be treated with various tints and the details afterward put in with a crayon. The examples in Figs. 6 and 7 were made by this means, although here shown in black and white. By making a single unit of ornament and repeating it, various designs, such as borders, etc., may be made.

How To Draw Guide - How To Draw Charcoal Crayon 6.jpg

While a drawing may sometimes be improved if the pencil or crayon lines are gently rubbed with the finger tip, rubber or paper stump or soft rag, such devices should be avoided in early practice work. This method of softening is too temptingly easy and its use is apt to make the pupil careless in the matter of producing of soft effects with the point alone. "Stumping" must be done with considerable care or it will give the shading and outlines a dulled or rubbed appearance, not readily restored by retouching.

In shading with pencil, crayon, etc., it is well to keep a piece of glazed or blotting paper under the hand to prevent rubbing. This will also prevent the paper from becoming warped through the warmth of the hand. Another precautionary measure against smudging, when shading, is to work downward from the upper part of the drawing. In a very important drawing the precaution may be taken to cover the entire drawing surface with a sheet of thin paper which may be torn away, piece by piece, as the finishing of the drawing progresses.

A FEW NEVER, NEVERS.

Never "rub off" a pen drawing until the ink is quite dry. If there are large wet spots of ink that simply won't dry, dab them very slowly but gently with the corners of a blotting paper. Do not press the blotter flat as you would in blotting a letter. Do not try to get the ink quite dry with the blotter. Let the final moisture dry naturally so as to leave a smooth surface of ink.

Never make a very long tapering point to the lead pencil, unless there is some very fine detail to be worked up.

Never leave your ink bottle unstopped when not in use unless you want the ink to get thick, not to mention possibilities in the way of spilling.

Never dip your brush into the ink bottle, unless you are very careful not to touch the neck of the bottle with the brush. If the brush strikes the neck of the bottle while inserting it, the hairs will become separated and likely remain so. Of course there is no danger of doing so when withdrawing it from the bottle in that case the brush can be wiped off on the inside of the neck of the bottle. The best plan is to pour out a few drops of ink on a saucer or ink slab. By so doing one can more easily regulate the supply of ink taken up by the brush.

Never leave less than a half inch margin of plain paper around your drawing, more will be better. Never try to see how many drawings you can get on one paper.

Fashion Design Drawing - Dress Design

Sections

Part-1 Part-2 Part-3 Part-4 Part-5 Part-6