Many artists throughout Europe accepted this manner, including such German draftsmen as Adrian Ludwig Richter, who preferred the hardest of pencils and sharpest of points to produce wirelike delineations of figures and landscapes. His figure sketches and portrait studies were the epitome of pencil drawing in which lucid contours and limited shading combined to create a spirit of elegance and restraint. The preciseness and clarity associated with the use of a moderately hard graphite pencil were developed in the highly selective draftsmanship of the 19th-century French Neoclassicist Jean-Auguste-Dominique Ingres. This concept of pencil drawing contrasted with that sometimes employed in the 18th and 19th centuries in which extensive tonal modeling of three-dimensional forms and elaborate effects of light and shade were produced by artists and miniaturists by rubbing the soft graphite particles with a stump, a tightly rolled piece of soft paper or chamois. The graphite pencil could be used on almost any type of drawing surface, a fact that helped make it indispensable in the artist’s studio.Īlthough graphite pencils provided a substantial range of light–dark effects and the opportunity for tonal modeling, the greatest masters of pencil drawing always kept the elements of a simple linearism or limited shading that were appropriate to pencil drawing. These excellent quality graphite pencils encouraged wider use by 19th-century artists, and pencil drawing became commonly used for studies and preliminary sketches. Conté’s technical improvement made possible the production of fine pencils the strokes of which could be controlled, varying from type to type in softness and hardness, darkness and lightness. Not until 1795, however, did the French inventor Nicolas-Jacques Conté devise a method of producing pencil rods from mixtures of graphite and clays, a true prototype of the modern graphite pencil. By the late 18th century, an ancestor of the modern pencil was constructed in the form of a rod of natural graphite fitted into a hollow cylinder of wood. During that century and most of the 18th, graphite was used to make preliminary sketch lines for drawings to be completed in other media, but drawings completely finished with graphite were rare.Īlthough pencil drawings were much less commonly produced by artists of those centuries than sketches in chalks, charcoal, and pen and ink, the use of graphite gradually increased among painters, miniaturists, architects, and designers. Then minor graphite details were included in sketches, notably in landscape renderings by Dutch artists. The cylindrical graphite pencil, because of its usefulness in easily producing linear gray-black strokes, became the successor of the older, metallic drawing stylus, with which late medieval and Renaissance artists and tradesmen sketched or wrote on paper, parchment, or wood.Īlthough graphite was mined in the 16th century, the use by artists of pieces of natural graphite, inserted in a porte-crayon (“pencil holder”), is not known before the 17th century. Pencil drawing, drawing executed with an instrument composed of graphite enclosed in a wood casing and intended either as a sketch for a more elaborate work in another medium, an exercise in visual expression, or a finished work. SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!.Learn about the major environmental problems facing our planet and what can be done about them! Saving Earth Britannica Presents Earth’s To-Do List for the 21st Century.Britannica Beyond We’ve created a new place where questions are at the center of learning.100 Women Britannica celebrates the centennial of the Nineteenth Amendment, highlighting suffragists and history-making politicians.
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