ARTC1330: Drawing 2

Graphite and Gesso Subtractive DrawingFrom Drawing Essentials by Deborah Rockman, pg. 77.

Another version of subtractive drawing utilizes a less traditional approach but has the potential to yield beautiful tonal results. The process begins with the preparation of the paper surface. A heavier weight paper works best. Tape all edges of the paper to a firm surface, such as a tempered masonite, to help minimize rippling. Apply a generous coat of white acrylic gesso to the paper surface. Use a relatively stiff brush to create visible brush strokes in the gesso. You can brush the gesso in random directions. Or brush vertically or horizontally. The resulting brushstrokes will be visible in the end result.Allow the first coat of gesso to dry thoroughly, and then apply a second coat, again determining the character and direction of the brushstrokes you want. A third coat of gesso should not be necessary as long as your paper is thoroughly covered. Allow the second coat to dry thoroughly and you are ready for the next step of paper preparation.Using a broad, soft stick of graphite, generously coat the entire surface of the gessoed paper with graphite by laying the stick on its side and, with firm pressure, dragging it across the surface. Stroke the stick of graphite in a variety of directions to deposit as much graphite as possible. Dampen a soft rag with mineral spirits (make sure you have adequate ventilation) and rub it into the surface, dissolving the graphite into a rich, uniform gray-black tone. If your first dissolved coat does not provide a deep value, apply more graphite and again dissolve it with mineral spirits. When the surface of the paper is uniformly covered with dissolved graphite and the mineral spirits are dry, you are ready to begin the drawing process.You can begin the subtractive process with or without linear guidelines. If you want to sketch your composition on the prepared surface, you need to use a white or light drawing tool so your lines will be visible on the dark surface. White charcoal or white conte or white pastel will work. You will use the sandpaper to remove the graphite and expose the underlying gesso to describe the areas of light that you observe on your subject matter. Fine sandpaper will yield more subtle results, while coarser sandpaper will produce a rawer surface. Begin by sanding lightly with a small piece of sandpaper, pressing the sandpaper against the surface with the tips of your fingers. Dampening your fingertips will help you to hold on to it. As you continue to sand the surface, creating areas of light, your sandpaper will begin to fill up with graphite. Wipe your sandpaper on a rag or on your jeans or some other clean surface to remove the excess graphite, and continue to sand. When your sandpaper wears out, you can use a new piece. For a very subtle removal of graphite, you can use some medium grade steel wool. It will not create a strong area of light, but it is good for creating some subtle atmospheric effects. The more you sand a particular area, the lighter the value will become as you remove more graphite and expose the white gesso beneath. But be aware that if you sand too much and reach the raw paper beneath the gesso, the sandpaper will begin depositing graphite back onto the surface rather than removing it. If you desire to work back into your drawing to sharpen an edge or reestablish a value that became too light, you can use graphite pencils or an ebony pencil, both of which are compatible with the dissolved graphite surface.

There is often an issue with glare when using this process. Graphite tends to create glare, especially with very dark tones. Spraying your drawing with a matte spray fixative will reduce the glare, but be sure to carefully follow the instructions for using the fixative.