If you want to go dark with a medium, you fairly much might have to choose charcoal-gray. But charcoal-gray also comes in a variety of forces, like pencils do. We have something announced; this is started from a willow. It’s made by burning the willow and what’s left is started into sticks, and they call it Willow charcoal-gray and “it’s about” as dark as that comes. Then we have what they request constricted charcoal-gray, and you can see that you get lots, much darker, darker commemorate. And then we have this which is carbon.
And again this is night. Now, charcoal-gray exertions very well on what we call a newspaper with the tooth because you see as I go across the paper the charcoal-gray sticks in sort of the valleys of the paper and slides over and doesn’t reach the exceeds. On a flat sheet of paper, you get a lots smoother copy. What I’m getting, though, is the texture of what’s underneath this. The charcoal-gray will pick that up; it’s like frottage that direction. And then, if you demand to smooth that out, you take a blending stump, and you can smooth it out like this. Apparently, this gives you a lot of probability for tags. I’ve still come charcoal-gray on my blending stump, and I can start making an whole variety of different forces, and you can see that it’s scratchy. Linear. And you can start to make marks like that or even, you know, go back to the stippling. Exclusively with this you’re going to get a lot, more definite commemorate than you can with your pencil.
From: Expert: Gretchen Kibbe
Bio: Gretchen Kibbe is an artist and part-time faculty member at Appalachian State University. She worked as a scenic artist on the Spike Lee movie School Daze.
Filmmaker: Christian Munoz-Donoso