Charcoal Art Quotes

Why not spend that time on art: painting, sculpting, charcoal, pastel, oils? Are words or numbers more important than images? Who decides this? Does algebra move you to tears? Can plural possessives express the feelings in your heart? If you don't learn art now, you will never learn to breathe!

I was reading about animals a while back and there was this motherfucking scientist in France back in the thirties or forties or whenever the motherfuck it was and he was trying to get apes to draw these pictures, to make art pictures like the kinds of pictures in serious motherfucking paintings that you see in museums and shit. So the scientist keeps showing the apes these paintings and giving them charcoal pencils to draw with and then one day one of the apes finally draws something but it’s not the art pictures that it draws. What it draws is the bars of its own motherfucking cage. Its own motherfucking cage! Man, that's the truth, ain't it?

She’d never held much of an interest in art, but looking at him now, her fingers itched for some paint, for some charcoal, for anything that could capture his near-perfect angles.

What could she possibly have done that was so heinous as to earn her a lifetime of self-mortification? No one short of a tyrant deserved such unremitting agony. I cried there with her, for her, for Eve, for sorrows past, for sorrows yet to come. I put my pencil away. It was wrong to draw live pain. If there had been an artist at Bethany, it would have been wrong to intrude his chalk or charcoal on Mary Magdalene’s weeping as she washed Jesus’ feet. Some things were too raw for art until time dulled their sharpness.

No I contradict myself. Picasso he do too. He say pull out your brain, yes, he also say, 'Painting is a blind man's profession' and 'To draw you must close your eyes and sing.' And Michelangelo, he say he sculpts with his brains, not his eyes. Yes. Everything ia true at once. Life is contradiction. We take in every lesson. We find what works. Okay, now pick up the charcoal and draw.

The problem of an ideal kitchen grows more complex as I ponder on it. There are many small things I am sure about: no shelf-papers; no sharp edges or protruding hooks or wires; no ruffled curtains; and no cheap-coloured stove, mauve or green or opalescent like a modern toilet seat. Instead of these things I would have smooth shelves of some material like ebony or structural glass, shelves open or protected by sliding transparent doors. I would have curved and rounded edges, even to the floor, for the sake of cleanliness, and because I hate the decayed colours of a bruise. Instead of curtains I would have Venetian blinds, of four different colours for the seasons of the year. They would be, somehow, on the outside of the glass. And the stove would be black, with copper and earthenware utensils to put on it. It would be a wood stove, or perhaps (of this I am doubtful, unless I am the charwoman and janitor as well as the cook) electrical with place for a charcoal grill.

Melissa popped open the clattery little Rotring tin. Pencils, putty rubber, scalpel. She sharpened a 3B, letting the curly shavings fall into the wicker bin, then paused for a few seconds, finding a little place of stillness before starting to draw the flowers. Art didn't count at school because it didn't get you into law or banking or medicine. It was just a fluffy thing stuck to the side of Design and Technology, a free A level for kids who could do it, like a second language, but she loved charcoal and really good gouache, she loved rolling sticky black ink on to a lino plate and heaving on the big black arm of the Cope press, the quiet and those big white walls.

A dance with the clouds. After this dance what next. When charcoal becomes ambers and fire remind us about sweet melodies. When human emotions stop to sing and we marry our sins. A dance in between fences and living inside furnaces. A million stars had dropped, a million moons spurred hope under our broken shadows. I remain here, I remain dancing with the clouds.

My closet door wouldn't close. I pushed. I leaned on it. I eventually realized that my bathrobe sleeve was blocking the latch. When I opened the door to deal with the problem, most of the clothing I had tried and rejected tumbled out onto my feet. I shoveled my jeans,two of Sienna's sweaters, and one of her skirts back in.She would have a fit if she saw, but I reasoned she would have more of a fit if I shoved her things under the bed, with its resident dust wombats and lost charcoal pencils.

Her nerves gathered together so quickly, Gennie nearly dropped the five pounds of briquettes on the ground. When she'd finished being exasperated with herself, she laughed and poured a neat pile of charcoal into the barbecue pit. So this was the coolly sophisticated Genvieve Grandeau, she thought wryly;established member of the art world and genteel New Orleans society,about to drop five pounds of charcoal on her toes because a rude man was going to have dinner with her. How the mighty have fallen.

The deer in procession resemble charcoal cave paintings rendered manifest. Art's magic working backwards. The chalk behind them, bone. And not the hare runs, too. The hare runs in the opposite direction to the deer. The animals runs, and the landscape seems then to be parting in front of me. Deer one way, hare the other. And now they are quite gone: the hare to the fieldmargin at the top of the hill to my left, the deer into the wood at the top of the hill to my right. There is nothing before me now but wind and chalk and wheat.

Mrs. Alingsby was tall and weird and intense, dressed rather like a bird-of-paradise that had been out in a high gale, but very well connected. She had long straight hair which fell over her forehead, and sometimes got in her eyes, and she wore on her head a scarlet jockey-cap with an immense cameo in front of it. She hated all art that was earlier than 1923, and a considerable lot of what was later. In music, on the other hand, she was primitive, and thought Bach decadent: in literature her taste was for stories without a story, and poems without metre or meaning. But she had collected round her a group of interesting outlaws, of whom the men looked like women, and the women like nothing at all, and though nobody ever knew what they were talking about, they themselves were talked about. Lucia had been to a party of hers, where they all sat in a room with black walls, and listened to early Italian music on a spinet while a charcoal brazier on a blue hearth was fed with incense… Lucia’s general opinion of her was that she might be useful up to a point, for she certainly excited interest.

His room was a sickly dual-tone of crimson and charcoal, like an Untitled Rothko, the colours bleeding into each other horribly and then rather serenely. The overall effect was overwhelmingly unapologetic but it grew on you like a wart on your nose you didn't realise it was a part of your identity until one day it simply was. His room was his identity. Fiercely bold, avant-garde but never monotonous. He was red, he was black, he was bored, and he was fire. At least to me he seemed like fire. A tornado of fire that burned all in its wake leaving only the wretched brightness of annihilation. His room was where he charmed and disarmed us. We were his playthings. Nobody plays with fire and leaves unscarred. The fire soon seeps into chard and soot. The colours of his soul, his aura, and probably his heart if he didn't stop smoking.

Why do you choose to write about such gruesome subjects? I usually answer this with another question: Why do you assume that I have a choice? Writing is a catch-as-catch-can sort of occupation. All of us seem to come equipped with filters on the floors of our minds, and all the filters have differing sizes and meshes. What catches in my filter may run right through yours. What catches in yours may pass through mine, no sweat. All of us seem to have a built-in obligation to sift through the sludge that gets caught in our respective mind-filters, and what we find there usually develops into some sort of sideline. The accountant may also be a photographer. The astronomer may collect coins. The school-teacher may do gravestone rubbings in charcoal. The sludge caught in the mind's filter, the stuff that refuses to go through, frequently becomes each person's private obsession. In civilized society we have an unspoken agreement to call our obsessions “hobbies.” Sometimes the hobby can become a full-time job. The accountant may discover that he can make enough money to support his family taking pictures; the schoolteacher may become enough of an expert on grave rubbings to go on the lecture circuit. And there are some professions which begin as hobbies and remain hobbies even after the practitioner is able to earn his living by pursuing his hobby; but because “hobby” is such a bumpy, common-sounding little word, we also have an unspoken agreement that we will call our professional hobbies “the arts.” Painting. Sculpture. Composing. Singing. Acting. The playing of a musical instrument. Writing. Enough books have been written on these seven subjects alone to sink a fleet of luxury liners. And the only thing we seem to be able to agree upon about them is this: that those who practice these arts honestly would continue to practice them even if they were not paid for their efforts; even if their efforts were criticized or even reviled; even on pain of imprisonment or death. To me, that seems to be a pretty fair definition of obsessional behavior. It applies to the plain hobbies as well as the fancy ones we call “the arts”; gun collectors sport bumper stickers reading YOU WILL TAKE MY GUN ONLY WHEN YOU PRY MY COLD DEAD FINGERS FROM IT, and in the suburbs of Boston, housewives who discovered political activism during the busing furor often sported similar stickers reading YOU'LL TAKE ME TO PRISON BEFORE YOU TAKE MY CHILDREN OUT OF THE NEIGHBORHOOD on the back bumpers of their station wagons. Similarly, if coin collecting were outlawed tomorrow, the astronomer very likely wouldn't turn in his steel pennies and buffalo nickels; he'd wrap them carefully in plastic, sink them to the bottom of his toilet tank, and gloat over them after midnight.

He says we will graduate knowing how to read and write because we'll spend a million hours learning how to read and write. "Why not spend that time on art: painting, sculpting, charcoal, pastel, oils? Are words or numbers more important than images? Who decided this? Does algebra move you to tears?" (Hands raise, thinking he wants answers.) "Can the plural possessive express the feelings in your heart? If you don't learn art now, you will never learn to breathe!!!

Art, I understood now, was so much more than the sum of its brush strokes, curved clay appendages, or intricate stitching. There were stories woven, kneaded, and scratches into each piece. Blood, sweat, and tears intermixing with charcoal, textile, and canvas. Hopes, dreams, anger, fear, heartbreak, redemption, romance, and the thrilling sensation of falling in love all resided in an artist's word, the admirer of such pieces never knowing what emotions and story had shaped it.

and this is what she’s settled on: she can go without food (she will not wither). she can go without heat (the cold will not kill her). but a life without art, without wonder, without beautiful things—she would go mad. she has gone mad. what she needs are stories. stories are a way to preserve one’s self. to be remembered. and to forget. stories come in so many forms: in charcoal, and in song, in paintings, poems, films. and books. books, she has found, are a way to live a thousand lives—or to find strength in a very long one.

We met with no Indians, but we found the places on the neighboring hills where they had lain to watch our proceedings. There was an art in their contrivance of those places, that seems worth mention. It being winter, a fire was necessary for them; but a common fire on the surface of the ground would by its light have discovered their position at a distance. They had therefore dug holes in the ground about three feet diameter, and somewhat deeper; we saw where they had with their hatchets cut off the charcoal from the sides of burnt logs lying in the woods. With these coals they had made small fires in the bottom of the holes, and we observ'd among the weeds and grass the prints of their bodies, made by their laying all round, with their legs hanging down in the holes to keep their feet warm, which, with them, is an essential point. This kind of fire, so manag'd, could not discover them, either by its light, flame, sparks, or even smoke: it appear'd that their number was not great, and it seems they saw we were too many to be attacked by them with prospect of advantage.

It was Day Three, Freshman Year, and I was a little bit lost in the school library,looking for a bathroom that wasn't full of blindingly shiny sophomores checking their lip gloss. Day Three.Already pretty clear on the fact that I would be using secondary bathrooms for at least the next three years,until being a senior could pass for confidence.For the moment, I knew no one,and was too shy to talk to anyone. So that first sight of Edward: pale hair that looked like he'd just run his hands through it, paint-smeared white shirt,a half smile that was half wicked,and I was hooked. Since, "Hi,I'm Ella.You look like someone I'd like to spend the rest of my life with," would have been totally insane, I opted for sitting quietly and staring.Until the bell rang and I had to rush to French class,completely forgetting to pee. Edward Willing.Once I knew his name, the rest was easy.After all,we're living in the age of information. Wikipedia, iPhones, 4G ntworks, social networking that you can do from a thousand miles away.The upshot being that at any given time over the next two years, I could sit twenty feet from him in the library, not saying a word, and learn a lot about him.ENough, anyway, for me to become completely convinced that the Love at First Sight hadn't been a fluke. It's pretty simple.Edward matched four and a half of my If My Prince Does, In Fact, Come Someday,It Would Be Great If He Could Meet These Five Criteria. 1. Interested in art. For me, it's charcoal. For Edward, oil paint and bronze. That's almost enough right there. Nice lips + artist= Ella's prince. 2. Not afraid of love. He wrote, "Love is one of two things worth dying for.I have yet to decide on the second." 3.Or of telling the truth. "How can I believe that other people say if I lie to them?" 4.Hot. Why not?I can dream. 5.Daring. Mountain climbing, cliff dying, defying the parents. Him, not me. I'm terrified of an embarrassing number of things, including heights, convertibles, moths, and those comedians everyone loves who stand onstage and yell insults at the audience. 5, subsection a. Daring enough to take a chance on me.Of course, in the end, that No. 5a is the biggie. And the problem. No matter how muuch I worshipped him,no matter how good a pair we might have been,it was never, ever going to happen. To be fair to Edward,it's not like he was given an opportunity to get to know me. I'm not stupid.I know there are a few basic truths when it comes to boys and me. Truth: You have to talk to a boy-really talk,if you want him to see past the fact that you're not beautiful. Truth: I'm not beautiful. Or much of a conversationalist. Truth: I'm not entirely sure that the stuff behind the not-beautiful is going to be all that alluring, either. And one written-in-stone, heartbreaking truth about this guy. Truth:Edward Willing died in 1916.

And just like that, I was officially In Deep: 1. Interested in art. (Me, charcoal; him, colored ink). 2. Not afraid of love. He's stuck with Cruella de Vil for a long time. 3. Or of telling the truth. "Three things it costs a little to tell." 4. Hot. Like, smokin'. 5. Daring. Sharks. Ocean. He swims where Here Be Monsters. 5, subsection a. Daring enough to take a chance on me. Oh,that one,always the glitch in If My Prince Does,In Fact, Come Someday, It Would Be Great If He Could Meet These Five Criteria. But I had one thing when it came to Alex that I'd never had with Edward. Hope. Well, that and a drunk e-mail.

But in the same way that close reading allows the reader to absorb, to synthesize the truth of what he reads, drawing allows the artist to capture the soul of a thing. The artist sees things not in terms of what is or might be, but in terms of what must be. Of what our world must become. This is why a portrait will—to the human observer—always defeat the photograph. It is why we turn to religion even when science objects and why the least scholiast might outperform a machine. The photograph captures Creation as it is; it captures fact. Facts bore me in my old age. It is the truth that interests me, and the truth is in charcoal—or in the vermilion by whose properties I record this account. Not in data or laser light. Truth lies not in rote but in the small and subtle imperfections, the mistakes that define art and humanity both. Beauty, the poet wrote, is truth. Truth, beauty. He was wrong. They are not the same.

Magnus pondered the twelve people taking up residence at the Hawk and Spear Inn, realizing that nearly half of them wanted him dead. “And you’re definitely one of them,” he muttered as Nic trudged through the meeting hall, glaring as he passed the prince. Magnus was sitting alone at a table in front of a sketchbook he’d found in a drawer in his room. “Cassian, look,” he called. “I drew a picture of you.” Magnus raised the sketchbook. His fingers smeared with charcoal, he held up a page on which he’d drawn an image of a skinny boy hanging from a noose, his tongue dangling from his mouth, two morbid Xs where the eyes should have been. Nic, allegedly a very friendly fellow to everyone else in the world, shot Magnus a look of sheer hatred. “You think that’s funny?” “What? You don’t like it? Well, they do say art is subjective.

Charcoal—the very thing Ban is made of—is so messy. I was covered from my brow to my waist like the chimney sweep in the poems of William Blake in every art class of my youth. As a teenager, I used to play truant every Wednesday and catch the train to Pimlico, still in my uniform and with my packed lunch, as if I was going to school. I went to the Tate—every Wednesday—like clockwork—to look—at the illuminated books—of Blake—in a very dark room intended to preserve—the golden ink and peacock green or blue embellishments. The error here is that I chose to write my book in place where these colors and memories are not readily available. There is no bank. Instead, I scream them—I scream the colors each to each—and this is difficult. It is difficult to work in simple, powerful ways with the proxy memories. For weeks at a time, I stopped writing—and when I returned, Ban was gone. She continued on without me, and what I had to do next will make you dislike me even more than you already do. I had to eat was on the floor. I had to make an artifact out of something that had left no artifacts. I had to put the charcoal in my mouth and choke it down.

When he was little, she'd stay late in his room, drawing pictures of him as he slept. She had fat pads filled with closeup sketches of his growing muscles, hands, and teeth, roughly rendered in black ink and charcoal. She wasn't trained or ambitious when it came to art; she was simply fascinated by her creation—not the drawings, the person. "This is mine," she'd say, checking Henry's pulse, looking into his nostrils, "This is me." She once counted his eyelashes with a magnifying glass and drew each one to scale.

See, I have this theory that humans are just living, breathing, talking forms of art, each crafted with a different technique and carved out of different materials. Each beautiful in their own way. And sure, beauty is in the eye of the beholder, and totally subjective, and changes depending on your circumstance, yada-yada-yada… but most of the time, it’s pretty easy to classify people. Like, okay, you know those women who are gorgeous and never know it? Or the men who pass quietly through life, handsome and unnoticed, never begging for attention or crying out for recognition? Those are your watercolors. And the loud, vivacious, gorgeous-and-they-know-it creatures, with bright lipstick and closets full of bold colors and outfits they never wear twice? Acrylics. The graceful, elegant, aging beauties you pick out in the crowd, or across the cafe, the lines on their faces telling a story you just know you’d want to hear, with so many layers and smudges, twists and turns, you’re not even sure where they begin? Charcoals. Then, you’ve got the big-picture-beautiful people, with the collection of interesting features that together make a beautiful face. They’re your oil paintings — best from ten feet away and, at the end of the day, kind of funny looking if you lean closer and analyze all their elements separately. But I’m quickly learning that Chase Croft doesn’t fit any of my categories. He isn’t a brushstroke on canvas, or bumpy layers of paint on a palette, or imperfect lines scratched inside a sketchbook. His features aren’t just gorgeous as a collective — he’s one of those annoyingly attractive people whose every feature is equally stunning. He’s a sculpture.

Cal opens a drawer, pulls out a sketch pad and charcoal and sets them down on a drafting table. 'Let's draw.' I smile the way I did as a child when receiving a fresh box of 64 Crayola crayons, unabashedly showing all my teeth. I remember how much I used to love to draw, and I wonder why I don't do it anymore. I write, I guess. I draw with words, but when I see Cal's pad and charcoal, I'm overwhelmed with the feeling that it's not the same. I use my words, my artist's charcoal to describe what I'm thinking. He draws with an imperfect fluidity, pausing only occasionally to shade the drawing with his thumb or brush the paper with the back of his hands. He listens and nods and doesn't interrupt. And when I'm done speaking he looks at the drawing, and his eyes get really big. Slowly, he turns his pad around for me to see. My heart stops and then starts. 'Yes,' I say. It's perfect. Alive with added detail and beautiful Inuit soulfulness I couldn't have even imagined sitting outside in my car. My fear is gone. There's a tingling in my skin, like I can feel the thousand needle pricks to come. I am alive.

The English language once had a word for the characteristic impression that a plant or animal offers to the eye. We called it the “jizz,” and the adoption of that term as sexual slang is unfortunate, as it seems unlikely we’ll come up with a replacement. It is the jizz, for example, that allows a skilled birdwatcher to know a bird by its silhouette alone , or by some quality of movement or the way it holds its head. The strangely unsteady flight of the turkey vulture, the flat forehead of the Barrow’s goldeneye, the endless headlong running of sanderlings on a mudflat— each of these is the jizz. It is so pure an essence that, if captured in a few rough lines drawn with charcoal, it can express an animal more authentically than a portrait by a trained artist who has never carefully watched the creatures he paints. It’s the jizz that ancient art so often represents. While looking at Egyptian treasures in a museum, I felt a rush of nostalgia when an engraving of a scarab beetle reminded me that I used to see a related species, the tumblebug, or Canthon simplex, roll balls of dung across my home prairie. I had completely forgotten; it took a 3,500-year-old artifact from another continent to make me remember.

And then, suddenly, when the sun is beginning to warm my face, I'm there. In the zone where everything is perfect, and I'm drawing. Fingers, hand and charcoal pencil, even thought, are one and what I am, what I see, or part of it, is skimming across the page, darker here, lighter on the left, a smudging—deliberate—and feathering with spit. While inside, the crimson glow is burning, that bubble I carry within me where I store everything that happens, good or bad, where I can think about it when I'm alone, at night or on the street, waiting for the chance for cash and an easy screw. As the glow burns, it travels through my limbs, blood and bone, and into my head where something explodes like an electric shock, so I’m shivering, retching even as my hand still moves over paper, tasting vomit in my mouth but refusing to let it go, swallowing down the bitterness. And still I draw, sweat sticky on my forehead and under my arms, but the only part of me touching what I’m doing is my hand with its instrument for line and block and shadow. Nothing can harm me now.

I drew anything. Everything. Doodles at first. But I had a knack for reproducing what I saw, and soon my paper and pencil — and then later, my paints and charcoals — formed a strong, protective wall around me. They stood between me and everyone else in the world. I liked it that way. I liked being quiet, letting no one know what I thought, or how ferocious those thoughts were.

Over in Europe, at around the same time, people were creating art in very similar ways. Southern France is littered with caves adorned with pictures of astonishing beauty and skill that date from around this time all the way into the near present. Lascaux, near Montignac, is probably the most famous, a Pleistocene art gallery from a much more recent 17,000 years ago, displaying more than 6,000 figures, interpretations of hunts, with horses and bison, felines, the extinct colossal elk Megaloceros giganteus, and abstract symbols whose meaning we can never understand. People painted in charcoal and haematite and dabbed them onto the walls as pigments in suspensions with animal fats and clay. They are breathtaking. To the west, the Chauvet-Pont-d’Arc Cave has the oldest wall art in Europe, again with beasts in relief, from hunts, and hunters – cave lions, hyenas, bears and panthers, oh my! The oldest of these were painted 37,000 years ago, according to the most up-to-date studies in 2016.

The art girl gently explained light and dark to me. She tilted her head, brought her long hand to hover close to my failure. She said, “Can I?” and in my notebook she flipped to the first blank page, pinched a nub of charcoal. She made her case with a sketch of those famous, about-to-kiss vase people, and I let my heart go wild with the thought that something might happen between us.  

I stood up and... there he was. My new roommate, standing right in front of me. He looked like he'd just stepped out from a magazine photo shoot, his hair artfully tousled and falling perfectly over his forehead. He was standing much closer to me than he had when I'd toured his apartment, and he seemed to notice that, too, his eyes widening and nostrils flaring a little as though he was breathing me in. He was dressed even more formally than he'd been the night I'd met him, adding a red silk ascot and black top hat to the charcoal-gray three-piece suit that fit like the gods had made it specifically for him. It was an odd look, to be sure. But--- god help me--- it worked. My mouth watered for reasons having nothing to do with hunger. If he noticed how overwhelmed I was by his appearance, he showed no sign of it. He simply frowned, brow furrowed in concern. He stepped a little closer. He smelled like fabric softener, the citrus fruit he'd put in my bedroom, and something deep and mysterious I had no name for.

Her phone number is Gobelius 12–85, if he could ring. Henk was tall with slightly thinning hair and wore very good suits – grey with the slightest of charcoal stripes

In the 1950s, the Southern social order was as plain to the eye as charcoal in a snowbank. From the perspective of a small fair-skinned boy, it was about as much a topic for considered thought as breathing in and out.

Bacardi Limited was started in Santiago de Cuba by Facundo Bacardí Massó, a wine merchant. Having immigrated to Cuba from Spain in 1830, he refined the method of making a quality rum, which until then was considered an inferior drink compared to grain whiskey. Filtering the rum through charcoal gave it a smoother taste and made it the drink of choice in the island nation. One hundred years later, the company headquarters moved into an art deco building in Havana. Other than drinking it straight, the favorite way of drinking rum was with Coca-Cola, which is now called a “Cuba Libre.” At the time I was there, the midshipmen bought cases of rum for very little money and brought them back to the ship without anyone objecting. The Navy also routinely flew to Cuba, and brought airplane loads of Bacardi Rum back to Pensacola, on what were called “Rum Runs.” This was not considered smuggling, but rather was thought of as “routine multi-engine training flights for U.S. Navy SNB-5 pilots.

I’ve discovered over the past few weeks that drawing or painting is the only thing in the world that can completely absorb me. It distracts me from any outside worries. When the art studio door closes, when I’m inside with paint or pastels or charcoal and a subject to focus on, I’m vacuum-sealed. The world beyond disappears. I feel beyond lucky to have discovered this. Kendra has it with her physical exercise and sports, I think; Paige doesn’t need it, she never seems to have a care in the world. And Kelly? I don’t know if she’s found hers yet.

Eventually, she held up the page, satisfied. It depicted Yalb and the porter in detail, with hints of the busy city behind. She’d gotten their eyes right. That was the most important. Each of the Ten Essences had an analogous part of the human body—blood for liquid, hair for wood, and so forth. The eyes were associated with crystal and glass. The windows into a person’s mind and spirit. She set the page aside. Some men collected trophies. Others collected weapons or shields. Many collected spheres. Shallan collected people. People, and interesting creatures. Perhaps it was because she’d spent so much of her youth in a virtual prison. She’d developed the habit of memorizing faces, then drawing them later, after her father had discovered her sketching the gardeners. His daughter? Drawing pictures of darkeyes? He’d been furious with her—one of the infrequent times he’d directed his infamous temper at his daughter. After that, she’d done drawings of people only when in private, instead using her open drawing times to sketch the insects, crustaceans, and plants of the manor gardens. Her father hadn’t minded this—zoology and botany were proper feminine pursuits—and had encouraged her to choose natural history as her Calling. She took out a third blank sheet. It seemed to beg her to fill it. A blank page was nothing but potential, pointless until it was used. Like a fully infused sphere cloistered inside a pouch, prevented from making its light useful. Fill me. The creationspren gathered around the page. They were still, as if curious, anticipatory. Shallan closed her eyes and imagined Jasnah Kholin, standing before the blocked door, the Soulcaster glowing on her hand. The hallway hushed, save for a child’s sniffles. Attendants holding their breath. An anxious king. A still reverence. Shallan opened her eyes and began to draw with vigor, intentionally losing herself. The less she was in the now and the more she was in the then, the better the sketch would be. The other two pictures had been warm-ups; this was the day’s masterpiece. With the paper bound onto the board—safehand holding that—her freehand flew across the page, occasionally switching to other pencils. Soft charcoal for deep, thick blackness, like Jasnah’s beautiful hair. Hard charcoal for light greys, like the powerful waves of light coming from the Soulcaster’s gems. For a few extended moments, Shallan was back in that hallway again, watching something that should not be: a heretic wielding one of the most sacred powers in all the world. The power of change itself, the power by which the Almighty had created Roshar. He had another name, allowed to pass only the lips of ardents. Elithanathile. He Who Transforms. Shallan could smell the musty hallway. She could hear the child whimpering. She could feel her own heart beating in anticipation. The boulder would soon change. Sucking away the Stormlight in Jasnah’s gemstone, it would give up its essence, becoming something new. Shallan’s breath caught in her throat. And then the memory faded, returning her to the quiet, dim alcove. The page now held a perfect rendition of the scene, worked in blacks and greys. The princess’s proud figure regarded the fallen stone, demanding that it give way before her will. It was her. Shallan knew, with the intuitive certainty of an artist, that this was one of the finest pieces she had ever done. In a very small way, she had captured Jasnah Kholin, something the devotaries had never managed. That gave her a euphoric thrill. Even if this woman rejected Shallan again, one fact would not change. Jasnah Kholin had joined Shallan’s collection.

He wasn’t pleased with himself for appraising the girl in the tank. He thought of her as half-pretty, the sort of girl one would find modeling for art classes in dire community colleges. Putting her cheap panties and her ex-boyfriend’s shirt back on to wander around the easels afterward and wondering how grotesque she must really be, to have summoned up the deformities whacked down in merciless charcoal strikes.