Charcoal Smoke draws your subject the way an artist works with a stick of charcoal and a kneaded eraser. Tones are built from smudges rather than lines, so everything melts into soft, smoky gradients; the darkest areas turn a deep, velvety black; highlights are lifted back out with the eraser; and the grain of the paper catches the charcoal and shows through everywhere. Around the drawing, the paper stays bare.
You write the subject and the style supplies the hand. It is at its best on faces, hands, animals and quiet interiors: a woman reading by a window, a man turning up his coat collar, a cat curled on a sill, a lighthouse against a rough sea. The loose marks keep portraits honest and warm rather than photographic.
Use it for portrait gifts, book and album covers, editorial illustrations, character studies and mood boards. It is not the choice when you need color or crisp graphic lines; for clean ink, use Manga Screentone, and for brush and wash, Ink Wash.
For this composition, we recommend 3:4, with 2:3 as another framing option. Charcoal Smoke also works on an uploaded image: in image-to-image mode it redraws your photo in smudged charcoal with velvety blacks and erased highlights, and keeps the composition, pose and clothing unchanged. Photos with clear light and shadow convert best.
Subjects to paste as they are: “a woman reading by a tall window”, “an old fisherman mending a net on a pier”, “a cat curled asleep on a windowsill”. One subject and one light source give the smudges a clear direction.
Finishes that work on top: Film Grain adds more paper texture, Soft Bloom softens the highlights further. Skip Monochrome; the drawing is already black and white.