Been busy painting, but now that the trimester is over, I have some time to post some of the stuff I managed to photograph. In the end I graduated with having made 2 stilllifes, forgot to take a picture of the last one though :D. THe last longpose was a challenge, too, doing it lifesize kept me on my toes over the last few weeks.


Anyways, here’s dumping some stuff:















Peace out!

10 Responses to “Content!”

  1. Beautiful studies!
    Love to see that large production, and of that quality!
    it show dedication, discipline and talent! very inspiring

    Just discovered your blog,
    I will continue visiting it!

  2. Hey man!
    Klasse Sachen. ๐Ÿ™‚
    Haben uns in letzter Zeit irgendwie aus den Augen verloren und weiรŸ grade auch gar nicht ob du was mit meinem Vollname anfangen kannst.
    Auf CA.O unter “Nemome” oder frรผher “Silwynar” unterwegs ๐Ÿ˜‰
    Kannst mich ja mal irgendwie anhauen per E-Mail oder so.


  3. May I ask you a question?
    The life figure drawing, the ones that takes 60hs to complete,
    are made it just with vine charcoal? Do you use charcoal pencil also? Stump or brushes? thanks in advance!

    • Hi! Well, I used several different types of charcoal and some kneated erasor. You could also use dry bread for working with tone, it’s just that the erasor gets nice for modelling when it’s saturated after a few weeks :D.

      The charcoal that we used was the stuff from Nitram ( for the sole reason that average charcoal is difficult to sharpen and mostly too soft to allow for subtle tone gradations. I mostly used common willow charcoal for filling in tone and the drawing / first layers. Then, around the 3rd week I used solely H-grade charcoal I think. Because that stuff is pretty expensive I experimented with selfmade stuff, burning birch-twigs and stuff. It’s quite hard to get it right, but I got some interesting and encouraging results. I started doing oils within the program soon afterwards though, so I didn’t really need that charcoal anymore ๐Ÿ˜€ And for transfer drawings I just used the cheap willow stuff.

      Btw, the time for longposes was 75hs, not that it matters so much, It’s a cmisconception that those drawings actually need to take that much time, it’s just because we had to take the learning process seriously and optimise our approach constantly. More of a luxury really.

      • Thanks a lot for your detailed answer! I always assume the kneaded eraser, but I wasn’t sure about some brush work to “move” the charcoal or some blend with stump (but actually the drawing doesn’t look as worked with stumped, is another (much more interesting) texture. Thanks again, this give me a little more insight about your practice!

      • No problem! Yeah, I didn’t really use stomps or brushes, sometimes paper-towels if I really need to work some charcoal into the paper, but mostly the daily practice grinds it in enough. I forgot to say though, the paper is super important. If you work long on a piece, you need paper that can withstand that, the arches-watercolor paper is pretty good for that. Also, if you can, you can get the Roma-paper from Fabriano, that works too. They are both textured in a way as to hold charcoal well, although the Arches paper may be take some getting used to.

  4. Great tip with the paper! Thanks!
    I never know how much texture is best suited for charcoal.

    One last, if you don’t mind!
    Do you use fixative between session? I think not, I guess the grip of the charcoal with change with that, but I’m not sure!

    • No, I don’t, actually, fixative can be a tricky thing generally, when working on gray paper with white Chalk for highlights and light values, fixative will in most cases just blow of the layer of chalk, so for the last drawing I didn’t fix at all. I guess it’s what you want to do with your drawing and it’s always good to try out different techniques, so fixing inbetween sessions might be viable, although it’s not for me, since taking away charcoal becomes as important as putting it on at some point and I like to get the right key right away, making passages very dark that need more work later on, fixing would confine me to work in a layer-based mindset like watercolors, which I never particularly liked. I’m more of a smeary Oil guy, doing everything in one go, and painting complete workcycles on top of each other :D. And yeah the constant application of charcoal will change the texture of the paper through constant usage, so that’s why it’s important to have steady paper for usage. Here’s some examples from this blog to illuminate different papers and their behaviour with charcoal:

      First, this is on Canson paper: it’s what I used for transfwer drawings a lot, it’s cheap, good for line-drawing, since it erases the charcoal fairly well. Going into tone, however, it doesn’t hold much charcoal, so it’s not really suited for long, tonal drawings, I just used it with simple shading and edge treatments. I wouldn’t go and try to press luminosity of any kind into it.

      Second, it’s the Roma paper: I used white chalk in here, but it doesn’t really matter. When making lines, it ersaes very badly, I wouldn’t recommend it for anything but Tonal drawings, actually. It holds it very well, and even after working on it for weeks, it doesn’t damage. another downside though is that it comes in fairly small standard sizes so I had to tape several pieces together, could have done a better job on it too ๐Ÿ˜€

      Third, it’s the Arches paper: Works really well for holding charcoal, but it does have a very distinct texture when you keep on working it (You can see in parts of the face), I kind of like that, actually, but I know several people who are very much bothered by it.

      Also, there are other papers, like newsprint for example, which doesn’t really erase at all but has a really nice smooth texture to it and you can make clear lines. I wouldn’t recommend it for anything than quick sessions, though. But I’ve seen great results and it’s fun to work with. Also, it’s reallly cheap :D. I don’t have examples of a drawing on that here, but here’s a good eample of how it could look with that medium : (Made by Ryan Woodward)

      hope that helps ๐Ÿ˜€

      • I wonder then how you can protect the finished work… because I also have noticed how the chalk is blown away with the fixative. Anyway, thanks a lot, again, for your super detailed answer, and also thanks for taking the time to write it! It helps a lot! Now I have several new options to try!

        ps: you made really good points. Love this: “making passages very dark that need more work later on, fixing would confine me to work in a layer-based mindset like watercolors, which I never particularly liked. Iโ€™m more of a smeary Oil guy, doing everything in one go, and painting complete workcycles on top of each other”

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