Make Big Money as a Charcoal Sketch Artist by Kevin Stone

She follows the person for a few minutes and watching his or her motions, facial expressions and interactions with others. When Borgman sees someone who fits her criteria she engages in a bit of subtle reconnaissance. Portrait of Brent Haddock (charcoal on Mylar, 61 x 42) by Mary Borgman Approaching Strangers When on the lookout for possible subjects, she watches for a casually dressed person who is “visually striking, with eyes that show experience and wisdom, distinct shadow shapes on their face, and laid-back body language.” A few of Borgman’s subjects are longtime friends, but most are strangers she approaches on the street. “When I’m not drawing them, I’m actively staring at them.” This is true whether she knows a person or not.

The human figure and the personality of individuals have long fascinated Borgman. They seem to be examining us every bit as much as we’re examining them.

And perhaps most powerful of all, the viewer is caught by the gazes of the models, who stare forcefully out of the picture. The results are richly gestural, with distinct charcoal strokes and eraser marks animating figure and ground alike. Borgman creates her portraits using charcoal on Mylar. First is their scale: They hang like grand medieval tapestries, with figures standing as tall as eight feet. The charcoal portraits of Mary Borgman can overwhelm a viewer in several ways. Portrait of Merwin (Merf) Shaw (charcoal on Mylar, 47 x 45) by Mary Borgman

Make Big Money as a Charcoal Sketch Artist by Kevin Stone