A. Using Drawing Materials
1. The difference between paper types/uses- newsprint for studies, notes, gesture drawings, bristol for ink drawings, washes, Canson for sustained graphite and charcoal drawings.
2. Charcoal vs. graphite (hard vs. soft grades).
3. Brush types (watercolor and sumi) and how to clean, care for brushes (also make sure to remove plastic shipping tube and discard—do not keep)
4. Ink for washes and brush drawings.
5. Tools for value blending—stumps, chamois.
6. Drawing pens—used for fine drawing, do not apply too much pressure.
7. Kneaded rubber eraser vs. white vinyl eraser—uses, how to keep clean to avoid making marks (avoid pink pearl erasers, gum erasers, anything too abrasive).
8. Drafting tape—use to create clean margins for picture plane, securing drawing to table (avoid artist’s tape—tack can rip paper).
9. Using workable fixative—apply with light passes, not too many coats; use spray booth
B. Using the Studio
1. Spacing the horses out and choosing a good view (relocating based upon what angle is best)—always best to get as close to subject as possible. Good to get up from desk occasionally to study subject closely.
4. Using still-life objects and returning to their place.
5. Keeping space clean and discarding material, rather than leaving at desk.
C. Making Use of Gestural and Thumbnail Sketches / Thinking About Composition
1. To plan a composition, create at least three different thumbnail compositions—at the reduced scale of your picture plane.
2. Decide whether image will be horizontal or vertical based on subject/view of subject.
3. Using the “L-frame” to compose your subject (with thumbs and index fingers)
4. Considering the space of the paper—avoiding symmetrical compositions and activating the space of the picture place.
5. Considering figure-ground relationships—background as subject or using empty space.
- Avoid “floating” subjects/objects—ground them with the table or a background.
- Using gesture to quickly take structural notation—a form of drawing shorthand.
