DrawWithMike.net

Hi all.

I've had Faber TK9400 lead holders for years now and up til now they have had only limited use as the softest lead I had was 3B. I've recently been using Derwent Graphic up to 9B.

I stumbled across Mike's tutorials and am blown away by the YouTube videos and the quality of his work. The thing that interests me is that Mike only uses up to 4b, I'd have thought you'd need to go softer to get the required darks.

I recently bought 2mm Koh I Noor in 4B and was looking to get six and eight too but there seem to be availability issues. I'd also wonder if graphite would be strong enough in the softer grades at 2mm.

I see Faber make a 3mm clutch pencil.

So I'm wondering if I really need them. Is the printmaking paper that Mike uses that enables him to get the required darks or the burnishing techniques or something else?

Many thanks

Kevin

KevinBryden wrote: Mon Sep 23, 2024 6:35 pm The thing that interests me is that Mike only uses up to 4b, I'd have thought you'd need to go softer to get the required darks.

Actually, I haven't used anything softer than 2B in many years. Almost all my drawings are just 2B, HB (or F) and 2H. I also have an 8H, but only for graphite indenting.

I'd also wonder if graphite would be strong enough in the softer grades at 2mm.

First, I thought KOH-i-Nor were the only manufacturer who still make the full range of clutch pencil leads, but I'm probably out-of-date with that info. I do have 6B in an old clutch pencil that I used to use for pupils, and other very dark areas. It's not been used for years, now, but I didn't find the lead to be at all prone to breaking.

Is the printmaking paper that Mike uses that enables him to get the required darks or the burnishing techniques, or something else?

A bit of both, I think. Conqueror Diamond White and Olin are long-grain and take a lot of punishment without lifting a fibre. The NEW Conqueror isn't quite as smooth as the old one, but the Olin is super smooth. So, I can use pressure on both when required, but prefer to burnish with a harder grade when possible.

I also use a chisel point. So I can lay down successive layers of 2B with the flat face. Then, if I need an even darker value, I'll rotate to the sharp edge and use that to fill the tooth.

And while I'm on the subject, I don't use grades softer than 2B because I find them to be too soft and grainy. Layers of 2B and HB give me the same dark values without the graininess that often leaves white pits in the paper showing through the shading. And bear in mind that any white holes will visually dilute the value you're trying to achieve.

If it helps, Kevin, I have a sample pack available in my shop. 4 A4 sheets of both Conqueror Diamond White and Olin Ultimate White. If you go to my shop, you can read the spec sheets on both (click more details beneath each).

Talking of websites... I apologise for my absence the past three days (and the delayed next video). All the forms on all my websites ceased operation. I've installed a new FormMail app, and applying it to all the forms on all the sites took time. But we're back in business!

Thanks so much Mike. Really appreciate your response.

Doing further research, I see that Darrel Tank, of five pencil method fame says he uses 4b but only as a "secret weapon" and uses it sparingly.

Darrel was one of the reasons I started to make videos. I felt the opposite way of working deserved an airing... and he and I really are opposites. For example, Darrel's drawings have a soft, ethereal feel to them that's the result of building up values over and over again.

I prefer to decide what I'm going to do... and DO IT.

DRAW ONCE and you maintain an overall sharpness.

And I confess that the "start light, build up to dark" approach defeats me. I have to assume that the artist begins with no idea of what they're trying to achieve. On the other hand, when you decide how dark your darkest value is going to be and establish it right now, you immediately know the full range of values available to you. No more guesswork.

OK... sermon over...