One of the first things Dave said to me, sometime before telling me that his life ambition was to start an art movement called the "Zombie Realists," was: "A white chalk drawing is like a pizza. Even if it's a sucky pizza, it's awesome. Cause it's pizza."
We both still feel like using white chalk must be cheating because it ups the total score of any drawing, instantly and with minimal effort. White chalk is awesome. It remains the soggy, gelatinous, delicious ham and pineapple pizza of art mediums.
This is, once again, a charcoal and white chalk drawing on
grey Canson paper. I often use graphite and light-coloured paper for
my studies, but for a painting that will have a strong value
arrangement, like the tenebrist one that this drawing was made for,
charcoal and white chalk can't be beat. Instead of spending all my time
modelling my delicate half tones, I can jump right in with bold value
arrangement, letting the grey of the paper sit in for the half-tones
while I spend my time deepening my darks and teasing up my lights. If
you've been following the blog for long, you will have seen some of these drawings before. Generally, I prefer to keep my white chalk and my charcoal from mixing too much on the paper. That avoids that milky look you will otherwise get. Blech.
I love these drawings for the hatching potential. I just go nuts with it. I've even been taking a bit of inspiration from Leyendecker with my backgrounds:
Don't you love how his background hatching wraps around the subject? Totally taboo to do that, but it looks great.
Here's another one of the same model, artist Tara Juneau. A seriously impressive artist, although she's only got a small fraction of her work up on her site (Tara, what gives???). The above drawing happens to be up for auction.