Most mixed media artists like experimenting with their art and the way they see things. They are frustrated with the requirements placed by society on traditional art methods. Their position is “why should an artist have to only stick with one media such as watercolor, oils, acrylics, paper?” Why can’t an artist mix different types of media, including the surface on which the painting is made?

Many of today’s great artist have become truly inventive, and this may be caused by the increasing use of technology, or just by highly inventive minds.

In the past, most artists did not mix medias probably because of the constraints of society of their times, or because of atmospheric conditions of the time which would caused a mixed media piece to deteriorate at a quicker rate, but today modern art materials easily allow for combinations of materials.

This is why most artists learn to specialize in one or two mediums. Unfortunately with modern paints and materials oil painting is an art form that is being pushed aside. Artists tend to think of oils as being a slow drying, and long applications. Although oil painting does require more time, and in some cases acrylic painting can imitate the look of oils, it can never replace the rich texture, and vibrant colors that can be attained through oil painting.

Oils especially in figure painting and portrait work cannot be replaced. There is nothing that will actually give you the vibrant life that oils can. Yes, its true! Oil painting takes longer, you have to layer it on slowly and wait for certain sections to dry before proceeding, but the finished art piece is much better than those obtained through other methods.

In fact, many artists who leave oil painting behind, decide to pick it up again after years of abstinence, and come to find that it is a wonderful medium to work in and brings out the true beauty of the art piece.

One of the most striking aspects about charcoal art is that it is completely devoid of color. Thus, within the limited constraints of black and white, the portraitist has to express his subject. In fact the French painter Odilon Redon rebelled against the predominant impressionism of those times. He was of the idea that society curtailed natural phenomena. He consciously chose to work with pencil and rendered black and white paintings as his way of rebelling against the dull reality of color in real life. Having a fascination for the morbid and the menacing, many of Redon’s paintings contained creatures like insects, amoeboid creatures, as well as plants containing human heads. Through his paintings, this revolutionary portrayer served to refute the standard differentiation between ugly and beautiful.

A depth of meaning

If you consider the works of James Drake, all of his works were done in charcoal and served to represent the looming and gloomy image of war. For example, in his painting the War in Heaven he has patched and taped various animals and birds such as hawks, gazelles, insects of giant proportions etc. In this painting, the portraitist has tried to showcase the ‘patched up’ nature of memory. Just like one’s memory which gets torn, weathered and repaired once again, this work too depicts a melancholic and dramatic effect. Portrait artists who have depicted work in black and white have managed to convey a far deeper meaning in their paintings as compared to colored paintings.

There is something intensely stark and realistic about black and white sketches. Charcoal paintings are all about shading, 3 dimensional effects and hidden meaning. Most portrait artists have experimented with this form of art at some stage or the other.

Most charcoal artists use three predominant forms of the material – vine (which is prepared by burning wooden sticks), compressed (where the powder is blended with gum binder), as well as the powdered form. Many good portrayers will choose charcoal over pencil. It’s because charcoal is finer, more lustrous and velvety and can be blended much easier.

The flexibility of charcoal

One of the best things about charcoal as a drawing material is its spontaneity and sensitivity. It has the ability to draw out fluid as well as bold lines while also producing vast arrays of texture and shading. This is one reason why this medium is one of the least inhibiting. For example, if the portraitist is looking at a colorful flower, the first thing he would do is to visualize the outline of the flower. He would also pick out the contours and shades in the petals and other parts of the flower. Thus even though the final painting would be without color, the portrayer tries to infuse great amount of depth and dimension into the structure. In terms of visualization, the flower could symbolize anything from new meaning in life, to an abstract concept. This then gets reinforced into the final painting.