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Being able to draw is a requisite for being able to paint, but drawing is and always has been an art form in itself.
I work with traditional materials.
I don't use pencil anymore, but instead black, red and white chalk.
Also, beside the well known charcoal that same charcoal but soaked in linseed oil, which makes it more resistant to wiping but at the same time harder to correct mistakes.
As for ink, there have been two
Kestrel traditional inks in the past centuries,
one made of gall, the other the per-haps better known bistre. For pens I use reed and quill (goose feather).
The acid-free paper has a middle gray tone to be able to work from there to both light and dark.
Occasionally I use the silverpoint on paper with a chalkground, or in painting, when an un-derdrawing/-painting requires more precision, and there is enough chalk in the ground for the silverpoint to show.
Copying each other's work is less appreciated in this era than it used to be in earlier days. Back then it was not only a regular way to learn from each other but also a way to pay tribute to one another.
I've copied quite a lot of drawings and paintings in the past and although own compositions are always my main objective, I've decided to include quite a number of them on this website.
It is always mentioned when you're looking at a copy.
Hands - after Hyacinthe Rigaud