Old man with ivy wreath and lion's head

surface prep

Select a paper with a slight tooth to hold the chalk particles. Leonardo’s drawings often utilized paper that allowed for subtle tonal variations. While the sources do not specify the exact paper for this 1519 work, his large drawing of The Virgin and Child with Saint Anne was executed on colored paper, suggesting a preference for toned grounds that facilitate the interplay of light and shadow (Source 8). Ensure the surface is clean and free of dust before beginning.

underdrawing

Begin with a light, loose underdrawing using the side of the red chalk stick. Leonardo’s practice involved meticulous observation and recording of forms, often starting with broad gestures before refining details (Source 8). Do not press hard; the goal is to establish proportions and major contours. As noted in general drawing practice, accurate construction is essential before applying tone (Source 5).

underpainting

Not applicable for dry media. However, the concept of building up layers applies. Start with the lightest tones and gradually build depth, similar to the layering technique in watercolor where transparent layers are applied over dried paint to build depth (Source 1).

Sfumato

A shading technique that creates soft, gradual transitions between colors and tones, eliminating harsh lines. Leonardo employed this in his drawings, such as The Virgin and Child with Saint Anne, to achieve a lifelike, atmospheric quality (Source 8).

Layering

Building up tones through multiple applications of chalk. This is analogous to glazing in watercolor, where transparent layers are applied over dried paint to build depth (Source 1).

Observational Drawing

Leonardo based his 'caricatures' on the observation of live models, capturing exaggerated but realistic features. This requires a keen eye for character and form (Source 8).