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How did artists use charcoal for quick sketches and figure studies?

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Watercolor painting by Berthe Morisot showing Edma seated on a sofa in a floral dress with her young daughter Jeanne beside her, both facing slightly right. — Drawing *The Artist's Sister, Edma, with Her Daughter, Jeanne*, watercolor over graphite on paper by Berthe Morisot, 1872; in the collection of the National Gallery of Art, Washington, D.C.

Charcoal has long been a favored medium for quick sketches and figure studies due to its adaptability and ease of use. Because it is not very adhesive, it allows artists to make rapid notations of complex poses and perform corrective sketching easily.1

In academic and workshop settings, charcoal was essential for practicing the study of models. Its soft drawing edge encourages vigorous draftsmanship, prioritizing mass and movement over strict linear precision. Artists could use the pointed end of a charcoal pencil for fine lines or use it broadside to create evenly toned planes. By rubbing or pulverizing the charcoal, they could achieve delicate transitions and dimmed intermediate shades.21

While many of these preliminary studies were intended for temporary use—such as roughing out outlines for paintings or murals—some were preserved as autonomous works. To ensure the longevity of these drawings, artists typically applied a fixative to prevent smudging. For those seeking deeper blacks and better adhesion, some artists, such as Tintoretto, utilized oiled charcoal, though this sacrificed the ability to make corrections.12