6 - The Complete Book of Drawing Techniques PDF

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Aiciuius Pullishing Iid
26/27 BicIcls Yaid
11-1S Bcimondscy Siicci
Iondon SE1 SHA
Pullishcd in associaiion wiih
loulsham
W. Ioulsham 8 Co. Iid,
Thc Pullishing Housc, Bcnnciis Closc, Cicnham,
Slough, BciIshiic SI1 AP, England
ISBN 0-72-02916-0
Biiiish Iiliaiy Caialoguing-in-Pullicaiion Daia:
a caialoguc iccoid loi ihis looI is availallc liom ihc Biiiish Iiliaiy
Coyiighi 200S Aiciuius Pullishing
All iighis icscivcd
Thc Coyiighi Aci iohiliis {sul|cci io cciiain vciy limiicd cxcciions)
ihc maIing ol coics ol any coyiighi woiI oi ol a sulsianiial aii ol
such a woiI, including ihc maIing ol coics ly hoiocoying oi similai
ioccss. Wiiiicn cimission io maIc a coy oi coics musi ihcicloic
noimally lc oliaincd liom ihc ullishci in advancc. Ii is advisallc also
io consuli ihc ullishci il in any douli as io ihc lcgaliiy ol any coying
which is io lc undciiaIcn.
acIci dcsign ly Alcx Ingi
Piinicd in India
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l. lntroduction 9
2. Vaterials and Exam|les ol Varks l0
3. Vays ol Holding tle Pencil 22
5. Pencil Projects 30
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l. lntroduction 80
2. Vaterials and Exam|les ol Varks 84
3. Vays ol Holding tle Clarcoal 98
4. Otler Forms ol Clarcoal l00
5. Clarcoal Projects l04
6. Com|ressed Clarcoal Projects l20
. Villow Clarcoal Projects l40
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l. lntroduction l55
2. Vaterials l56
3. Exam|les ol Varks and Projects l65
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N
icolas-Iacques Cont was |orn at S es
(Normandy) in l55. He ra|idly |ecame
entlusiastic a|out |ainting and at 20 years ol
age went to study in Paris, wlere le would
|aint |ortraits ol tle Frencl royal lamily
among otler works. He was very close to tle
major scientists ol lis day and met tle
Vontgoler |rotlers, inventors ol tle lot-
air |alloon in l83, wlen le carried out
ex|eriments on tle lot-air |alloons, since le
was still divided |etween |ainting and tle
sciences.
Tle Frencl Revolution lorced lim to
clange lis |rolession in l89. He tlus
|ecame a talented inventor in many elds.
He conducted varied researcl activities,
some ol wlicl concerned crayons and |lack
lead. lndeed, genuine crayons |ecame
scarce. Being a |ainter lacking tle vital |ro-
lessional tools, Cont lound tlis situation
unacce|ta|le.
ln l94, Cont invented tle lead |encil,
also known as tle gra|lite |encil. Tle Cont
com|any |roted lrom tlis invention and
was a|le to develo| an exce|tional industrial
know-low in tle eld ol drawing, writing
and |astel.
ln Ianuary l95 le su|mitted tle |atent
no.32 and set u| a |encil lactory. A sell edu-
cated |ainter, clemist, |lysician, lot-air
|alloon |ilot and inventor, Nicolas-Iacques
Cont |assed away in Paris in l805.
Today, tle |ioneering s|irit ol Nicolas-
Iacques remains witlin tle Cont Paris
com|any. Tleir |roducts lor sketcling and
drawing are renowned lor quality |y artists
around tle world.
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known as a meta|lor. lnstead ol clasing tle
idea ol trutl, wlat we slould |e doing is
em|racing tle medium ol drawing and using
it lor a |ur|ose tlat lulls our needs as an
artist or designer. Iet me now ex|lain low we
can |reak down our understanding and use
drawing to lacilitate our needs. As l lave said
|elore tlere are many reasons lor us to want
to draw, and tlere are many teclniques and
attitudes lor us to ado|t tlat will serve our
|ur|ose witl tle medium ol our cloice.
Vlat lollows is a list ol tle reasons lor us as
students or |eginners to make drawings.
Vlen using tlis |ook you slould rst
identily tle reason wly you wisl or need to
do tle ty|e ol drawing you are going to do,
and tlen turn to tle a||ro|riate cla|ter in
tle |ook. Tlat will give you tle teclnique lor
tle medium, and tle knowledge you need to
make tle drawing.
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One ol tle many a||roacles to drawing is to
use it as a tool to record our rst tlouglts.
Tlese usually take tle lorm ol sketcles and
drawings tlat lave immediacy to tlem. Tley
are usually s|ontaneous and ins|irational as
one is drawing one`s tlinking |rocess as it
la||ens. Tlis |rocess can initiate new ideas.
Tlis |rocedure is usually done in sketcl -
|ooks or on scra| |ieces ol |a|er, and tley
are usually |resented as sleets ol ideas.
Tlese ty|es ol drawings are tlen ke|t and
develo|ed into sometling more su|stantial
as a statement in tle luture wlen our
tlouglts on tle su|ject are collected and
develo|ed into a nisled idea. Vany artists
lrom dillerent disci|lines lave used tlis
|rocess ol working and tlinking tlrougl
drawing as a way ol develo|ing tleir initial
ideas. Tley range lrom Viclelangelo,
6
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Drawing, just like writing or s|eecl, is a lorm
ol communication, and in tle same way as
tlese otler lorms ol communication drawing
can |e multi-laceted, and very diverse as a
means ol ex|ression ol our o|servations,
tlouglts and leelings. Across tle |road eld
ol art and design, artists and designers will
use drawing as a s|ecic tool lor visual
communication, and at tle same time use a
wide s|ectrum ol drawing teclniques to
ex|ress, develo|, and |resent tleir ideas and
work to tle viewer lor wlat ever reason.
Tlerelore, it is im|ossi|le to make a
drawing unless tle artist las a clear
understanding ol tle ty|e ol drawing tlat is
to |e created, and tle visual language tlat is
to |e used wlicl will give lorm and
ex|ressive dynamics to tle drawing. Tlis is
olten lorgotten or misunderstood |y most
teaclers ol drawing.
9=FGH 8B6CIBH8FG K=H< 7F4K=B;
Isually our rst encounter witl drawing is to
try to co|y sometling lrom o|servation, tlis
could take tle lorm ol a |ortrait, still lile, or a
landsca|e. Vlen we`re clildren we draw our
o|servations lrom memory, and wlen we
|ecome more lile ex|erienced, we tend to
draw direct lrom o|servation. Tlis is
normally wlen we encounter our rst
|ro|lems witl tle art ol drawing, as we lave
xed in our minds tlat to |e successlul witl
tlis skill our rendition ol wlat we see must |e
notling less tlan |erlect. Isually tlese
students ol drawing tlat lave tlis |articular
a||roacl, tlose wlo seem to |e clasing a
visual trutl tlrougl drawing, end u|
lrustrated and leel a sense ol lailure. Ve
cannot re|roduce reality, we can only make a
mark or a statement tlat acts lor tlat reality,
or a mark or a statement tlat |est suits our
|ur|ose to descri|e tlat reality, and tlis is
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Ra|lael, da \inci, Rem|randt, riglt u| to tle

|resent day and tle designers ol tle Disney
lms.
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Artist and designers use drawing researcl as a
way ol gatlering inlormation on a given task,
or su|ject, tlat tley lave eitler |een com -
missioned to do or one tley lave decided to
|erlorm lor |ersonal aestletic reasons.
Researcl is usually done in sketcl|ooks, and
in s|ecic |laces tlat lold tle necessary
inlormation. Tlese |laces could |e
museums, li|raries, galleries, in tle studio, or
out in tle eld. lt all de|ends on tle ty|e ol
researcl tlat is needed lor tle |roject in
land. Researcl can contain all ty|es ol
inlormation lor tle artist lrom sla|e, lorm,
texture, diagrammatic inlormation, tecl -
niques, recording lact, and so on. Tlis ty|e ol
work is usually com|leted tlrougl drawing,
and note taking. lnlormation gatlering is tle
same as researcl |ut is done constantly |y
tle artist as a visual resource. lt is a visual
dictionary tlat can |e used at any |oint lor
relerence, and all artists slould continuously
|e gatlering tlis ty|e ol visual inlormation
and storing it lor luture use. lnlormation
gatlering is |roader in its su|ject area tlan
researcl as it includes anytling ol visual
interest to tle artist. ll you look at some ol
tle drawings |y Ieonardo da \inci, you will
see tle enquiring mind ol tle artist, gatlering
inlormation continuously lrom nature and
science. lnlormation gatlering exem|lies
tle enquiring mind tlat sustains an interest
in tle visual world.
,( 7WOUÒ[[ObWQ 7ÒdW\Ua
Tlese ty|e ol drawings are usually
instructional, lor exam|le a ma| e.g. wlen
someone needs directions we will draw tlem
a very crude ma| tlat gives tlem an idea ol
wlere to go. Diagrammatic drawings lave
also |een used in dillerent cultures to ena|le
us to read and understand religious or
|liloso|lical meanings, and as|ects ol tlat
culture. Sim|le exam|les ol diagrammatic
drawings come witl sell assem|le items sucl
as lurniture, models, and otler lorms ol
equi|ment:
-( HVS]`SbWQOZ 7ÒdW\Ua
Tleoretical drawings are im|ortant in tle
listory ol art in tlat tley give us a means ol
understanding |ro|ortion, and s|ace
tlrougl tle use ol analytical and tleoretical
devices. Tlese drawings are usually relerred
to as |rojection systems sucl as |ers|ective,
|lanometric, isometric, trimetric, and
|ro|ortion and measurement drawing
systems. Tlis tleoretical drawing |ase is
a||lied to luman |ro|ortion, arclitectural
|lans, and drawings lrom nature.
.( 6]^WSa
Co|ying consists ol a|sor|ing tle manner in
wlicl otler artists lave worked using tle
medium ol drawing. ln tle lollowing cla|ters
in tle |ook, co|ying is used extensively. lt
|reaks down and assists our understanding ol
tle drawing |rocess. lt is used to aid us in our
learning, and to understand more lully tle
language ol drawing.
/( 7ÒdW\U T`][ BObc`S
All artists draw lrom nature wletler it |e a
direct transcri|tion or a drawing tlat is lrom
memory. Drawings lrom nature include
drawings ol still lile, drawings ol tle luman
lorm, or drawings lrom tle environment or
landsca|e. Vlat we must realise is tlat wlen
drawing lrom nature we must lave a clear
idea wlat we want to aclieve lrom tlis
drawing, low we want to a||roacl it, and tle
ty|e ol language or teclnique we are going to
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use to make tle drawing. Students and
|eginners olten lorget tlis, and not to |e
equi||ed witl tlis in mind is like starting out
on a journey and not knowing your
destination. Vlen drawing lrom nature our
aims slould |e to identily drawing
teclniques tlat are a visual |arallel to tle
su|ject we lave closen to draw. ln tle
lollowing cla|ters in tle |ook, l constantly
reler to many a||roacles and teclniques
tlat will ena|le you to make drawings ol
nature. Historically artists lave constantly
drawn lrom nature es|ecially as a inlormation
gatlering exercise to ll tleir minds witl
visual knowledge tlat is stored lor luture use.
0( D`SaS\bObW]\ 7ÒdW\Ua
Tlis is usually relerred to |y its ltalian name,
tle Vodello. Tlese drawings are usually lor a
|atron or are a commissioned |iece ol work.
Tley are also relerred to as artist`s
im|ressions. Tleir aim is to give tle |atron
an idea ol wlat tle nisled work will look
like. Botl tle artist and tle |atron can reacl
an agreement |elore tle main |iece ol work
is started. Tlese serve tle |ur|ose ol
|reventing mistakes |eing made, sometimes
at great ex|ense to tle artist or |atron.
1( 6OZZWUÒ^VWQ 7ÒdW\Ua
ln calligra|lic drawings, tle artist las a
re|ertoire ol marks tlat act as signs or
sym|ols lor cultural meanings. As students or
|eginners ol drawing we slould develo| an
inventory ol marks lor tle dillerent mediums
tlat ena|le us to ex|ress our ideas, o|serva -
tions, and leelings. Ve slould ex|eriment
witl making marks, lines, sla|es, tones,
textures, and so on. Tlese ty|e ol ex|eri -
ments witl tle various dillerent mediums are
evident in tle cla|ters in tle |ook, and tley
are an extremely im|ortant |art ol our
ex|erience wlen starting to draw, so do not
over look tlis element in tle drawing
|rocess. Calligra|ly las develo|ed lrom
strict cultural traditions and tle earliest
known exam|les are lrom Persian and
Clinese cultural draugltsmansli|. ln tlese
cultures, strict traditions and |ractices lad to
|e learned and lollowed in tle execution ol a
drawing.
2(7ÒdW\U W\ Wba ]d\ `WUVb
Drawings in tleir own riglt are drawings tlat
are made deli|erately or solely lor tleir own
aestletic reasons. However, illustrations can
|e |ut in tlis category, as tley can act
inde|endently or su||ort text. Vlen
connected witl text, illustrations |ring a
visual quality to tle ex|erience tlat stands on
its own merits.
Tlis |ook las |een |ut togetler in a unique
way, as it |rings a|out lor tle |eginner and
tle student ol drawing not only tle
teclniques, |ut also tle analytical and
emotive a||roacles and attitudes to
drawing. Tlese teclniques and a||roacles
are tlen linked to tle a||ro|riate mediums
lor execution. However, one slould only |e
guided |y tle |rojects in tle |ook as starting
|oints lor your ex|erience witl drawing.
Vlenever you leel |old enougl to engage
witl your own ideas and develo|ments tlen
you slould em|race tlem witl endeavour
and gusto. Breaking witl traditions,
teclniques, and tleories is tle lallmark ol
tle true artist.
Finally, l would like to acknowledge Plili|
Rawson and lis |ook on Drawing`, and
Du|ery and Villats Pers|ective and otler
Drawing Systems`.
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A |encil is a rod ol gra|lite encased in a
solt wood sucl as cedar, a|out six or seven
incles long and ex|osed at one end.
Crude lorms ol gra|lite |encils were lirst
used as early as tle ltl century. Belore
tlis, rods ol lead or silver (known as silver
|oint) were used as im|lements lor
making drawings. Tle modern lorm ol
lead or gra|lite |encil witl its wooden
encasement lirst came into use a|out tle
|eginning ol tle l9tl century.
Tle |encil lundamentally works |y
|usling or |ulling tle lead end across tle
surlace li|res ol tle |a|er, wlicl act as
graters, |reaking u| into small llakes.
Pressure on tle |encil |usles tle llakes ol
lead into tle li|res ol tle |a|er to leave a
mark or trace.
Gra|lite, a lorm ol car|on, also known
as mineral |lack or |lum|ago, is tle major
constituent ol tle modern |encil. Tle
soltness or lardness ol a |encil varies
de|ending on tle amount ol clay mixed
witl tle car|on. Tle soltest varieties ol
|encil contain little or no clay. Artists and
designers will use a range ol |encils,
varying tleir cloice according to tle ellect
tley are trying to aclieve.
As tle gra|lite is worn away |y use, it
can |e re|eatedly ex|osed. Tlis is done |y
tle action ol slar|ening tle |encil using a
|ur|ose-made slar|ener or |lade.
Slar|ening and ex|osing tle gra|lite
slould |e regarded as an im|ortant act,
|ecause low it is done clanges tle ty|e ol
mark you make witl it. Tlere are many
ways ol slar|ening. A |articular |oint
|roduces a |articular result. Tle artist
slould ex|eriment to discover wlat is
|ossi|le and low to make eacl ty|e ol
|encil meet lis |articular needs at any
given time.
Tle |encil can |e used lor a variety ol
|ur|oses and, as witl any material you
use, you must |e lully aware ol its
|otentials and its limitations - dillerent
|encils and ty|es are designed lor
|articular uses. ln tle ensuing cla|ter
some ol tlese |ractices will |e revealed
witl |articular relevance to tle
a||ro|riate |encil or gra|lite material.
Tle marks slown over tle lollowing
lew |ages give some idea ol tle wide range
ol mark making |ossi|le. Vlen you lave
looked at tlem, take eacl ol tle |encils in
turn and see wlat marks you can make.
A|art lrom |eing very stimulating and a
way ol o|ening your mind to new
|ossi|ilities witl your drawing, you will
lind it increases your leel` lor tle |encil
itsell. As artists, wlat we leel tlrougl tle
materials we use las an allect on wlat we
|roduce, and lamiliarity witl tlose
materials is vital to a good outcome.
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Hard |encil marks lave very little variation in
tle range ol mark making. Tley only usually
vary tlrougl a linear |rogression. Tone is
usually made lrom a |uild u| ol crosslatcl
ellects. Hard |encils are denoted |y tle
letter H. As witl solt |encils, tley come in a
range, com|rising HB, H, 2H, 3H, 4H, 5H,
6H, H, 8H and 9H (tle lardest).
Tlese |encils are mainly lor use |y
designers, arclitects and |eo|le wlo
|roduce |recise teclnical diagrammatic
drawings lor wlicl a ne, accurate line is
essential, sucl as |ers|ective or otler
|rojection drawings. Altlougl tle marks
made witl lard |encil slow very little
variation it can |e used in an ex|ressive
manner. As witl solt |encil, tone can |e |uilt
using a cross-latcling system, altlougl tle
result is mucl ner and more lormal, tle
cross-latcling emerging out ol a series ol
linear |rogressions.
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Hard |encils are mostly a||ro|riate lor
drawings requiring accuracy. As we lave
|ointed out |reviously, sucl drawings are
usually done |y engineers, industrial
designers, gra|lic designers and arclitects.
Tle nal drawings tley |roduce lave to |e
to scale and |recise so tlat otler |eo|le,
sucl as craltsmen, can lollow tle
instructions to construct or make tle
designed o|ject. Tlese drawings come in a
num|er ol dillerent ty|es ol |ers|ective, or
|arallel |rojection systems, ranging lrom at
ortlogra|lic |lan or elevation drawings to
3D |ers|ective illustrations.
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NB: l lave not given you exam|les ol mark making witl HB or H to 9H |encils.
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Tle solt |encil las more versatility lor
creating tone and textures tlan tle lard
|encil. Solt |encils are denoted |y tle letter
B. Tle HB |encil is a mixture ol lard and solt
and is tle |ivotal |encil |etween tle two
extremes. Tle range ol solt |encils availa|le
consists ol HB, B, 2B, 3B, 4B, 5B, 6B, B, 8B
and 9B (tle soltest).
Tlese |encils are designed lor tle ne
artist to ex|ress |articular ideas, lor exam|le
tlrougl tle |uilding ol tone, tle creation ol
texture, cross-latcling or even just sim|le
line. Pencils at tle soltest end ol tle range
can |e used to |roduce |locks ol tone. A
gra|lite stick is generally more uselul lor
tlis ty|e ol work and lor |roducing larger
areas ol tone For a small drawing - u| to A3
size - a solt |encil is more a||ro|riate.
Tle only solt |encil suita|le lor rened
work requiring great |recision - essentially
tle |reserve ol tle lard |encil - is tle ne
clutcl |encil.
Drauin in so// enci/ o/ a s/i// /i/e tsin o/sertea airec/iona/ /ib/
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l3
2B Hori:on/a/ rous o/ cri///ea /ines in/vin a \er/ica/ scri///e crea/in
scri///ea sbaain /ni//ea /ex/tre ana sbaaou a so// /ex/tre ana sbaain
(B Heatv berrin/one ntaea /one (ui/b /be ner) lanaon nar/ na/in
/ex/tre /o crea/e a/nosbere in/vin a rotb /ex/tre
4B tsbea :i:a /ine lous o/ ter/ica/ scri///e let/ar aasbes o/ /one
tsin /be siae o/ /be roressin /ron aar/ /o /ib/
enci/
5B /rret/ar ao/s crea/in voo//v scri///e crea/in Oen :i:a /ines crea/e
an in/iea /ex/tre a /ex/trea str/ace /one ana /ex/tre
erbas a rate/ a/b
6B laver o/ rabi/e \er/ica/ /ines rt//ea 1one rt//ea ter/ica//v ana
rt//ea aiaona//v /o bori:on/a//v ana /ben ter/ica/ /ben bori:on/a//v /o crea/e
crea/e a/nosbere /ines araun oter /be /o /o a uoten /ex/tre
crea/e a uoten /ex/tre
GC9H D8B6=@ A4F?G
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l4
CH<8F HMD8G C9 D8B6=@
Otler ty|es ol |encil are availa|le to us as
well as tlose descri|ed a|ove, and tlese
oller even more o||ortunities lor ex-
|erimentation and discovery. You will nd
all ol tle ty|es recommended |elow in any
good art su||ly slo|.
Peel-|ack |encil - gra|lite encased, or
coiled, in twists ol |a|er wlicl are
|eeled |ack to reveal tle gra|lite.
Pro|elling |encil - comes in a variety ol
meclanisms wlicl reveal tle |oint ol
tle gra|lite.
Clutcl |encil - |rovides a very solt |oint
(ne or tlick) lor sketcling.
Standard tlick |lack |encil, known lor
many years as Black Beauty.
Triangular car|enter`s |encil - used |y
joiners and |uilders to mark
measurements, make notes and sketcl
rougl ideas.
Gra|lite |encil or stick. Tle |encil ty|e
is solid gra|lite ol a|out tle same
tlickness as an ordinary |encil. Tle tlin
lm coating on tle outside edge |eels
|ack to reveal tle gra|lite. Tle stick is a
mucl tlicker |iece ol gra|lite wlicl,
like a |astel, las a sim|le |a|er covering
tlat can |e removed as necessary. lt is a
very versatile ne art drawing
im|lement.
Aqua sketcling |encil - tlese work like a
|encil |ut can |e used like watercolour
wasles wlen ex|osed to water.
lee/-/ac/ enci/
c/t/cb enci/
/anaara /bic/ //ac/ enci/
1riant/ar caren/er`s enci/
Crabi/e enci/ or s/ic/
qta s/e/cbin enci/
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l5
A4F?&A4?=B; K=H< CH<8F HMD8G C9 D8B6=@
lee/-/ac/ enci/
c/t/cb enci/ (ne)
c/t/cb enci/ (/bic/)
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l6
A4F?&A4?=B; K=H< CH<8F HMD8G C9 D8B6=@
B/ac/ /eat/v
caren/er`s enci/
qta s/e/cbin enci/
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l
;F4D<=H8
Gra|lite is tle same medium tlat |encils
are made ol. Tle dillerence |eing tlat |ure
gra|lite is not encased in wood. Tley are in
lact solid lengtls ol gra|lite tlat come in
dillerent tlicknesses and grades ol lard and
solt. As you miglt gatler lrom tle illustra -
tion tlis ty|e ol material is not meant lor
detailed accurate drawings. lnstead it is
more suited lor ro|ust drawings ol an
ex|ressive nature, and it works well togetler
witl a |lastic eraser.
Tle ty|e ol drawings we would |roduce
witl tlis ty|e ol medium would |e quick,
leavy, dramatic drawings using strong, dark
lines, large areas ol dark tones, or interesting
textural marks. Vood is very easily ellected
witl tlis medium, and it is denitely not
suited lor drawings ol a teclnical nature. lt is
also more a||ro|riate lor larger drawings
ratler tlan smaller ones lor o|vious reasons.
lt is a medium tlat is very versatile, and
|elore you start to draw witl it in earnest
you slould ex|eriment witl tle |otential
tlat tle medium las to oller. Because it las
no outer casing you can make so mucl more
use ol tle side. You don`t lave tlis lacility
witl tle |encil, and you will |e sur|rised at
wlat you can aclieve witl tlis |otential in
terms ol mark making. l |ersonally always
associate a very li|erated and dynamic ty|e
ol drawing witl tlis material, and il you
a||roacl your drawing in tlis laslion witl
tle gra|lite you will get tle |est results.
7F4K=B; K=H< GC9H D8B6=@G
4B7 ;F4D<=H8
Inlike tle lard |encil, tle solt |encil and
gra|lite are designed to make a mucl
leavier mark and to create a tonal range -
lrom a very dense |lack tlrougl to wlite.
Tle solt |encil and gra|lite ena|le you to
do tlis quickly and elciently. Tle |encil will
also allow you to descri|e sla|e and lorm,
|ut you must kee| tle lead slar|ened.
Tle ty|es ol drawings associated witl
tlese materials are more o|en and
ex|ressive |y nature. Tley relate to our
res|onses, our o|servations and ideas, and
miglt |e tle sort ol drawings we jot down in
a sketcl-|ook as a record ol our rst
tlouglts a|out a su|ject. Tley miglt |e a
|art ol our visual researcl and notation.
Tley record a clange ol tone, eitler tlrougl
o|servation or imagination, or im|ly a
textural surlace. Tley can |e drawings wlicl
give an ex|lanation or give ex|ression in
tleir own riglt (tlat is, works ol art in
tlemselves and not just su||orts lor lurtler
work).
A uselul material tlat can enlance tle
use ol tle solt |encil is tle eraser, and tle
two work very well togetler to create
ex|ressive ellects. Vlereas wlen used witl
tle lard |encil tle eraser is associated solely
witl tle elimination ol mistakes, as a
com|lementary tool to solt |encils and
clarcoal its contri|ution is entirely |ositive.
Dillerent ellects can |e |roduced witl solt
|encils and gra|lite il you vary tle amount
ol |ressure you use. Pressure ena|les you to
activate tle surlace ol tle |icture |lane,
eitler |y using tone or weiglt ol mark. Iook
at tlese exam|les ol creating tonal gradation
and tlen ex|eriment yoursell. As well as
varying tle |ressure, try to a||ly tle
material in as many dillerent ways as you can
nd, using dillerent movements and
dillerent areas ol tle material.
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
l8
A4F?&A4?=B; K=H< ;F4D<=H8
la/in :i:a nar/ins lsin a /uis/in notenen/
ui/b /be rabi/e on i/s siae
lt//in ana tsbin no/ion Drain notenen/
/a//in ui/b /be ena o/ /be rabi/e la/era/ nar/ na/in
la/era/ ana ter/ica/ nar/ na/in \er/ica/ nar/ na/in
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
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7
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C
-6
1
7
F
6
2
6
F
3
B
6
F
8F4G8FG
Isually our lirst encounter witl an eraser is
wlen we use it to remove a mistake. Our
sole aim witl it is to o|literate tle
ollending area so tlat we can get |ack to
tle |usiness ol |rogressing witl our
drawing. Because tle eraser is associated
witl mistakes, a lot ol negative leelings
a|out it and its lunction are directed at it.
Tle |oor old eraser is seen as a necessary
evil, and tle more dila|idated it |ecomes
witl use tle greater |ecome our leelings ol
inadequacy. lt really is time lor a re-
assessment ol tle eraser and its role in our
work. Ised ellectively it can |e one ol tle
most |ositive tools at our dis|osal. But lirst
we need to remove tle idea tlat mistakes
are always |ad. Tley are not, and can |e
used as a |ositive element in your work
lrom wlicl you can learn.
Vany artists make decisions a|out wlere
tlings go, or low tlings slould look, in a
|iece ol work. ln tle rst instance tlese
statements are usually wrong and lave to |e
adjusted as tle work develo|s. Tlis las
la||ened to us all - even great artists like
Ieonardo da \inci and Rem|randt. Re-
tlinking is very mucl a |art ol tle creative
|rocess and is evidenced in many works,
|articularly in drawings wlere tle artists are
working out tleir initial ideas and
intentions.
One ol tle major errors tlat |eginners
make is to erase mistakes as tley arise and
tlen start again. Tlis |uts tlem in a |osition
ol making more mistakes or re|eating tle
same ones, tlus creating a leeling ol utter
lrustration and lailure. Vlen you make a
correction, over-draw and don`t ru| out tle
original lines until you are la||y witl your
re-drawing and unless you leel tley don`t
add anytling to your drawing. Vy |ersonal
advice would |e to leave a glost ol tle
correction and not to erase it com|letely, as
tlis slows tle evidence ol your tlinking
and your develo|ment.
Otler |ositive ways ol using tle eraser are
to |ring |ack tle areas ol liglt in a tonal
drawing wlicl lave |een worked over witl
gra|lite, clarcoal or ink. Erasers can also |e
used to make ex|ressive statements and
em|lasize textural marks - |owerlul
exam|les ol tlis a||roacl can |e seen in
tle drawings ol Frank Auer|acl. Tle
teclnique known as tonking`, in wlicl a
clotl is used in a |eating motion to knock
|ack clarcoal marks, is a su|er|ly
atmos|leric lorm ol eraser use.
Tlere are many lorms ol eraser on tle
market wlicl |ur|ort to remove all sorts ol
media lrom tle surlace |eing worked u|on.
Iisted |elow are common ty|es ol eraser
and some ex|lanation ol low tley lunction.
Putty ru||er. Isually used lor clarcoal
and |astel, it is also suita|le lor otler
materials sucl as |encil. Tle cliel
advantage ol a |utty eraser is tlat it can |e
kneaded into any lorm to erase in a
|articular manner. Tlis is very uselul lor a
|ositive a||roacl to drawing and seeing tle
eraser as a tool wlicl |rings sometling to a
drawing ratler tlan merely taking
sometling away.
Plastic ru||er. Tlis ty|e is designed
|articularly lor erasing very dense gra|lic
markings, and will also remove clarcoal,
|astel and |encil. lt can |e used to create
l9
C
3
B
F
5
B
7
0
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8
C
C
4
-4
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7
6
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-6
1
7
F
6
2
6
F
3
B
6
F
|articular marks wlicl are determined |y
its sla|e.
lndia ru||er. Ised lor removing liglt
|encil marks.
lnk ru||er. lnk marks are very dillicult
to remove entirely witl a ru||er. Erasers
lor removing ink and ty|ewriting come in
|encil and circular lorms. You can also
|urclase a com|ined eraser tlat works lor
|otl |encil and ink, witl tle |encil |art ol
tle ru||er at one end ol tle ru||er and tle
ink |art at tle otler.
Surlace removers, sucl as scal|els,
razor |lades, |umice stones, steel-wool
and sand|a|er, to remove tle very
stu||orn marks lound in |en and ink
drawings. O|viously, |elore a||lying tlis
metlod you must ensure tlat your |a|er
is ol sullicient weiglt and quality to allow
you to scra|e away its to| layer witlout
leaving a lole.
Surlace coverers, sucl as correction
lluid, titanium wlite or Clinese wlite.
Vitl tlis a||roacl any ollending marks are
|uried under an o|aque layer ol wlite.
Vlen tle layer is dry, tle surlace can tlen
|e reworked.
20
/uavs renen/er /ba/ vot neea /o uor/ ui/bin
bea//b ana sa/e/v tiae/ines uben tsin
na/eria/s ca/e/s ana ra:or //aaes sbot/a
a/uavs /e tsea ui/b care ana uben /bev are no/
in tse /beir //aaes sbot/a no/ /e /e// exosea
No/e /oo i/ anv o/ /be htias vot tse are
hanna//e or /oxic B/eacb /or exan/e is a terv
banav ana cbea ne/boa o/ renotin ua/er-
/asea in/ /t/ i/ is terv /oxic ana nts/ a/uavs /e
bana/ea ui/b care
1iex htia
1iex en
cbinese ubi/e
C
3
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C
4
-4
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0
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C
-6
1
7
F
6
2
6
F
3
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6
F
2l
4 G8@86H=CB C9 8F4G8FG
ltnice s/one is tse/t/ /or renotin
terv s/t//orn nar/s /t/ i/ can
aanae /be str/ace o/ /be aer ana so
nts/ /e tsea ui/b care
ra:or (or sca/e/) //aae can scra/cb auav
ai/ct//-/o-renote nar/s // is an ins/rtnen/
o/ /as/ resor/ /ecatse ubi/e renotin /be
nar/s vot aon`/ uan/ vot nav inaater/en//v
aanae o/ber ar/s o/ votr arauin
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
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1
7
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6
2
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3
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6
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22
DF8@=A=B4FM 7F4K=B;
5`SOYW\U 7]d\ D`SQ]\QS^bW]\a
Belore we go on to discuss teclniques in
relation to drawing media, l want you to tlink
a|out your in|ut into a drawing lrom a
|syclological and |lysical |oint ol view.
Vlen we start out along tle visual creative
road, we tend to |ring witl us a lot ol
|reconceived notions a|out wlat a drawing is
and low it slould |e |roduced. lt`s vital lor
your creative develo|ment tlat you sled
tlese |reconceived ideas as quickly as
|ossi|le, otlerwise tley will continually lold
you |ack.
One ol tle rst |rojects l |ut |elore my
students in tle studio involves an ex|loration
ol our relationsli| witl tle drawing
im|lement. Ve will assume, lor our |ur|oses,
tlat tlis is a |encil. Breaking down
|reconce|tions involves taking risks and
trying sometling a |it dillerent. ll we are not
carelul tle lamiliar can |ecome a straitjacket,
and tlis extends to low we lold tle |encil.
You miglt tlink, Vell surely, tlere`s only one
way ol doing tlat:` Vrong. Tlere are several
ways and eacl ol tlem will tell you sometling
new a|out tle im|lement you are using and
wlat you are ca|a|le ol |roducing witl it.
ll you try lolding your im|lement in
ex|erimental and unortlodox ways you will
|roduce drawings tlat lave a variety ol
ex|ressive marks and various tensions witlin
tlose marks. You will widen your a||roacl to
mark making, wletler witl a |encil or any
otler drawing im|lement, and also o|en u|
your attitude towards drawing teclniques.
ln tle rst stage ol tle |roject l ask
students to make test sam|les and just see
wlat sort ol marks tley can make |y lolding
tle |encil in a dillerent way to usual.
Holding tle |encil in a traditional way - tlis
way ol lolding tle |encil lor tle |eginner can
|e very restricting, as it tends to come witl
too many |reconditions tlat limits our a|ility
to |e more creative. However lolding tle
|encil in tlis way is very a||ro|riate lor more
tleoretical and teclnical drawing wlere you
need more control.
Holding tle |encil witl your ngerti|s - tlis
action clanges tle ty|e ol control, and it
allows you to make marks tlat are more
tentative. Tle |encil can also sli| quite easily
in tlis |osition, giving marks tlat are not
accounted lor, and tlerelore |ring a lile to tle
drawing tlat is more creative |ecause we are
allowing lor tle mistake or tle sli| to take a
|ositive |art in tle drawing.
Holding tle |encil like a dagger - tlis is tle
o||osite ellect to lolding tle |encil in your
ngerti|s. As tle mark made lrom tlis action
is strong, direct and usually aggressive in its
ex|ression. Tle very |lysical nature ol tlis
drawing em|loys tle movement ol tle wlole
arm ratler tlan just tle wrist and tle land.
Holding tle |encil |etween tle toes - l lave
seen some amazing drawing done |y students
in tlis |osition. Stand on one leg and don`t
lold on to anytling wlilst doing tle drawing.
Tlen |lace tle |oard on tle oor, |ut tle
|encil |etween tle toes and |roceed to draw.
Ise tle gure wlen doing tlese drawings.
Treat tlem as ex|eriments, and as lun - you
will |e sur|rised at tle results.
57NI F= ?FC;@E> J?< G<E9@C
C
3
B
F
5
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7
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4
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7
6
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1
7
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2
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23
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4N]`NNW ]QN ]XN\&&
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H<8 D8B6=@ 4G 4 A84GIF=B; 78J=68
Ve can analyse our o|servations in a num|er
ol ways to ena|le us to make a visual record
ol wlat we see. One ol tlese ways involves
using tle |encil |otl as mark maker and
measuring device. Vlat you are doing in
ellect is |uilding a grid on wlicl to ma| out
your drawing. Tlis a||roacl is a||ro|riate
lor all ty|es ol o|servational drawing and lor
dillerent su|jects ranging lrom landsca|e
and still lile to gure drawing. l lave closen
a gure lor our exam|le |ecause tle |encil
is still tle most |o|ular measure lor tlis ty|e
ol drawing, go to tle lile rooms ol any art
college and you will nd it widely used. Tle
|rocedure is as lollows:
*( Set yoursell u| lor drawing in a xed
|osition so you lave a consistent view tlat
doesn t alter. Tlis ena|les you to see tle
su|ject lrom tle same view|oint every time
witlout any clange occurring - vital il your
measurements are to |e accurate.
+( Hold tle |encil in tle st ol your lavoured
land, leaving your tlum| lree so tlat it can
slide lreely u| and down tle side ol tle
|encil.
,( Stretcl your arm out straiglt towards
your su|ject matter and take a
measurement. Tlis is always done on a
vertical axis. For instance, il we are drawing a
gure, usually tle measurement will |e lrom
tle to| ol tle lead to tle |ottom ol tle
clin. Close one eye as you do tlis, to locus
your vision and give you one view|oint. Put
tle to| edge ol tle |encil at tle to| ol tle
lead tlen |ull your tlum| down tle |encil
until you come to tle |ottom ol tle clin.
You lave now esta|lisled tle |ro|ortion ol
tle lead. Re|eat tlis |rocess along an
imaginary vertical down tle |ody, using tlat
rst lead |ro|ortion as your measure lor
dividing tle gure. Tlis will give you a
|ro|ortional overall lengtl ol tle gure -
usually an average |erson will com|rise
eiglt lead |ro|ortions in all lrom ti| to toe.
-( You can re|eat tlis |rocess to measure
tle widtl ol your gure. Turn your |encil to
tle lorizontal |osition and measure across
24
,& JWM -&
C
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B
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-6
1
7
F
6
2
6
F
3
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6
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57NI F= ?FC;@E> J?< G<E9@C
25
tle gure, using tle lead |ro|ortion as your
gauge. lt is im|ortant to remem|er always to
measure only on tle lorizontal or vertical
axis - il you measure at an angle you will get
distortions - and always measure witl your
arm straiglt out in lront ol you and lrom tle
same |osition to maintain consistency.
.( Once you lave your vertical and lori -
zontal |ro|ortions, you can now transler tlis
inlormation to your |a|er. ll you wisl, you
can make wlat is called a siglt size` drawing
|y using tle exact measurements you lave
assessed. Tlis does, lowever, usually turn
out to |e a very small, tiglt drawing, and is
not advisa|le unless you are very ex|eri -
enced. Tle otler way is to make a scaled
drawing relative to your |ro|or tions, lor
exam|le, il your original lead |ro|ortion
was one incl in leiglt, you could dou|le it
wlen you came to transler eacl
measurement to your drawing.
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DCGHIF8
Posture runs land in land witl |ro|ortion.
Posture is tle way we lold ourselves and las a
direct relationsli| to tle clanging nature ol
|ro|ortion. As you can see in tle exam|le
o||osite |osture is inlormed |y directional lines
tlat are determined |y tle angles ol tle |ody
and tle relevant |ro|ortions in relation to your
|ody wlen you are in a |ose. Posture also allows
us to understand and come to terms witl tle
luman lorm tlat exists in s|ace on a two
dimensional surlace. Tle |osture lines usually
lollow tle central dynamics ol tle |ose, and |ick
u| tle clanging edges ol tle lorm on tle main
|arts ol tle |ody. You slould always give lots ol
consideration to low you |ose your model,
|ecause tle |osture will say so mucl a|out your
drawing and wlat you are trying to aclieve
tlrougl it.
One way ol using |ostural lines is |y
extending tlem and in doing so one can nd
relationsli|s tlat extend to otler o|jects in a
drawing. Tlis is anotler way ol making a drawing
lave |ro|ortional accuracy. lt also creates an
analytical directional tension in tle drawing.
4GG8GG=B; 4B;@8G
Posture is tle way we lold ourselves and is
intimately connected witl |ro|ortion. As you
can see in tlis exam|le it is slown |y using a
directional line tlat determines tle angles and
|ro|ortions ol tlose angles relative to tle otler
relationsli|s ol tle |ody and tleir clanging
angles. Posture lines usually lollow tle central
dynamics ol tle |ose tlrougl tle gure. Tley
also |ick u| tle clanging edges ol tle lorm on
tle main |arts ol tle |ody.
26
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H<8 K=B7CK ACIBH CF J=8K9=B78F
Ising a window mount is a marvellous way
ol com|osing your |icture and getting tle
o|jects in tle scene |ro|ortionally and
|ositionally correct.
Cut tle window to scale in relation to
your |a|er. To do tlis and get accurate
|ro|ortions in relation to your |a|er,
lollow tlese instructions.
GbS^ *( Take tle |a|er you are going to
draw on and make a diagonal line lrom one
corner to tle otler.
GbS^ +/ Decide low |ig you want your
window a|erture to |e. For exam|le, il you
want tle leiglt ol your a|erture to |e
tlree incles, mea 0 0 l0.0.3cOgtl u| tle
side ol your |a|er lrom wlere tle
diagonal line de|arts.
GbS^ ,/ From l0.0.|oint draw a straiglt line
into tle |a|er until it meets tle diagonal
line.
GbS^ -/ From l0e.|oint wlere tle line
meets tle diagonal line, draw a straiglt
line to tle |ottom edge ol tle |a|er. You
now lave an accurate scaled |ro|ortion ol
your |iece ol |a|er.
GbS^ ./ Take tle mea 0 0ments ol tlis
|ro|ortion and draw tlem into tle centre
ol a |iece ol card, tlen cut out tle window
lor tle viewing ol your com|osition.
GbS^ // Vark tle edges ol tle window
mount and tle |a|er into l/2, l/4 8 l/8.
Some students string cotton across tle
window to make a grid.
ll you do tlis draw a corres|onding grid
28
J86HCFG C9 4B4@MG=G
Tlis is anotler way ol giving your drawing
|ro|ortional accuracy. Tle aim is to nd
associations |y extending tle axis lrom l0e
o|jects to locate otler essential el0ments in
tle drawing.
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4<9JFHI F= 7E7CNI@I%3?< L@E;FL DFKEJ
29
on your |a|er. Put tle window u| to tle
world and cloose your com|osition. Now
you will lind it very easy to trans|ose wlat
you see tlrougl tle window on to your
|a|er.
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7CC7@8G g 9=FGH H<CI;<HG 4B7 =784G
7CC7@8G
Doodles slould not |e tlouglt ol as
drawings witlout meaning or drawings tlat
lave no im|ortance or signicance. ln lact,
tley do, as many artists nd otler |eo|les`
doodles lascinating. lt`s an im|ortant way ol
slowing tle unconscious |rocess ol
creativity. Doodles are usually created witl
|en or |encil. Tley are usually a secondary
|art ol our tlinking |rocess. For exam|le
most ol us doodle wlen we are in meetings
- it lel|s us to esca|e tle |oredom ol tle
moment - and doodling allows us to descend
into our own |rivate world. Ve also doodle
wlen we are on tle tele|lone wlen we tend
to use tle |lone |ad as a sketcl |ook. l
|elieve tlere is a wealtl ol ideas tlat come
lrom doodles so treat tlem as researcl.
9=FGH H<CI;<HG 9FCA C5G8FJ4H=CB
Iust like doodles rst tlouglts lrom
o|servations are our initial visual res|onse
to wlat stimulates our tlinking |rocesses.
Vost artists always carry a sketcl|ook witl
tlem. lt allows us to record moments tlat
include landsca|es, |ortraits, textures,
arclitecture, nature, liglt, atmos|lere, and
so on. Tlis is all visual researcl tlat is
stimulation and a continuous resource lor
our ideas. Sketcl|ooks ol artists are
lascinating to look at, as in tle sketcl|ook
you can see tle origin ol ideas, and
res|onses, tlat tle artist is engaged witl.
One only needs to look at tle sketcl|ooks
ol tle artist Turner to realise wlat a wealtl ol
inlormation tley lold.
9=FGH H<CI;<HG 4B7 =784G
Vany ideas start witl a visual |rainstorming.
Tle artist or designer |lays witl tle
|otential ol tleir ideas in tleir sketcl|ooks.
Tley make tlousands ol rougl sketcles
continually clanging and retlinking tleir
ideas. Stretcling tle tlinking and tle
dynamics ol tleir designs to tle limit.
Designers work rst witl o|en minds, wlicl
allows lor client comment. Belore loning in
on a nal statement, all tlis starts witl visual
tlouglts translated tlrougl sketcles. All
tlose ideas, even tle redundant ones are lelt
stored in tle sketcl|ooks lor later use. lt`s
all visual inlormation and tlat`s wlat`s
im|ortant and exciting.
6CADCG=H=CB3 H<8 54G=6 8@8A8BHG
Sla|e can lave a very intuitive inuence.
Only as we |ecome more ex|erienced do we
|ecome lormally aware ol low to construct a
com|osition. lntuitively, tle |eginner will
invaria|ly |lace tle mass ol tle su|ject (still
lile, |ortrait, wlatever) in tle middle ol tle
|icture |lane. ln 90 cases out ol l00 tlis
|lacement is a mistake, creating too mucl ol
a local |oint and not allowing tle eye to |e
taken on a journey across, and into, tle rest
ol tle |icture |lane. Tle com|osition is in
ellect |ecalmed, stale and tlerelore visually
30
1<E9@C GHFA<9JI
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3l
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6XXMUN\ JWM h[\]
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32
uninteresting to tle viewer. Vlat we intend
to do witl sla|e in tlese |rojects is to give
you |asic ex|erience in using lard |encils to
create sla|es tlat, wlen drawn on a |icture
surlace in relation to eacl otler, will create a
good com|osition.
Sometimes tlis movement across and
tlrougl tle |lane la||ens intuitively, |ut
more olten tlan not it is conrmed wlen
you see an artist working and tley ste| |ack
lrom tle |icture and gesture towards tleir
|iece ol work witl arm outstretcled, lead
tilted sideways and land or tlum| looking
as tlougl tley are engaging witl tle |icture
in some way. Tlis is wlen tle artist is trying
to contrive tle com|osition.
Rlytlm is very o|vious in otler lorms ol
art, sucl as music, dance and writing. lt is a
sort ol |eat lolding tle work togetler. ln a
drawing or |ainting we can create a sense ol
rlytlm tlat ena|les us to work
larmoniously lrom one |oint in tle
com|osition to anotler. Rlytlm can |e
evident in tle use ol tone, colour, mark and
scale, |ut lere we deal witl it as it |resents
itsell in sla|e.
CF78F 4B7 54@4B68
ln any given |icture tlere are a series ol
tensions tlat must |lay oll and counter eacl
otler so wlat we nisl u| witl is a |ictorial
syntlesis or a |ictorial order. Tlis is wlat is
meant |y a com|osition laving a sem|lance
ol order and |alance. ll you look at most
classical works ol art, |articularly landsca|es
|y Poussin or Claude, you will see tlis quality
in a|undance.
ACJ8A8BH
Tle im|ortance ol movement tlrougl tle
|icture |lane cannot |e over-em|lasized.
Sla|e and otler |ictorial elements lel| us
to create movement. Tle artist can engage
tle eye ol tle viewer so tlat it moves across
tle |icture |lane, sto| tle eye at a certain
|oint and tlen move it |ack into s|ace,
|ring tle eye lorward again, and at tle same
time across tle |icture s|ace, and tlen take
tle eye riglt out ol tle |icture to tle end ol
its journey. Vost viewers are unaware ol tlis
visual encounter, wlicl tends to occur
witlin a lew seconds ol looking at a |icture.
Tlere are, ol course, many ways otler
tlan tle use ol movement |y wlicl artists
can - eitler consciously or su|consciously -
ena|le us to read and understand tleir work.
As well as creating tlese ordered larmonies
and movements tlrougl and across tle
|icture |lane, tle o||osite ellect can |e
created, es|ecially il we want to aclieve an
ex|ressive ellect.
As |eginners we tend to draw o|jects in
isolation and in a void, so tley look as
tlougl tley are oating in s|ace. For an
o|ject to lave an identity, and s|eak to us as
viewers, it must lave a context. Tle artist
does tlis |y drawing tle s|ace around
o|jects ratler tlan |y trying to ca|ture tle
sla|es ol individual o|jects in isolation.
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1<E9@C GHFA<9JI
33
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34
8L8F6=G8G K=H< <4F7 D8B6=@G
ln tlis section, we are going to introduce you
to a series ol |rojects and exercises tlat will
give you a |ractical introduction to using tle
range ol lard |encils. As we lave |reviously
said, tle lard |encil makes a ne |recise
line. Vlat we slall slow you is low tlat line
can |e em|loyed to demonstrate your ideas,
ex|ressions and o|servations.
First, we must com|lete a series ol
exercises to see and ex|erience wlat we can
aclieve witl tle material. ln many ways
tlese exercises are like tle warm u| routines
tlat s|ortsmen and women go tlrougl
|elore tley take |art in an actual event - |y
loosening us u| tley ena|le us to locus on
tle work in land.
Tle next stage involves ex|erimenting
witl tle conce|t ol sla|e, s|ace and
com|osition over tle |icture |lane. Tlis will
lurtler our understanding ol low to |uild a
com|osition: tle ty|e ol elements a
com|osition can contain (lor exam|le,
larmony, |alance, rlytlm and movement),
low tlese elements alter tle eye`s a|ility to
travel over and into tle surlace ol tle
|icture, and low we read tle |icture in a
more re|resentative way. Finally, we ex|lain
tle nature ol diagrammatic and |ers|ective
drawings |otl lrom tleoretical and
o|servational a||roacles. Ve will slow you
low to develo| tlese metlods lor use in
your |articular a||roacl to drawing and to
ex|and u|on tlem wlenever you leel it is
a||ro|riate.
ASRWc[3 /<% .< O\R -<
As you will see, tle ty|es ol marks or lines
|roduced witl tlese |encils are quite
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1<E9@C GHFA<9JI
35
similar and lie witlin a close range. Tle
lineness and lardness ol tle line suits
|recision drawing, sucl as arclitect`s |lans
lor exam|le. l |ersonally would not use
tlem to |uild u| tone, |ecause tle contrast
you can |roduce witl tlem is limited.
However, tlis is a |ersonal o|inion. Tlere
are no lard and last rules in art, and il it
suits your |ur|oses to work tonally witl
|encils in tlis range, tlen |y all means do
so.
ASRWc[3 ,<% +<% < O\R <5
Vlen you start ex|erimenting you will
notice tlat tle marks are more intense
tonally tlan was aclieva|le witl tle
|revious set ol |encils. You can still make
very |recise lines, |ut at tle same time
clearly develo| tle weiglt ol tle mark, and
|ring more ex|ression and lile to wlat you
are doing. Tlese are ideal im|lements lor
|utting down your rst tlouglts and making
su|conscious doodles`.
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36
G<4D8G 4B7 9CFA
ln tlis next section we are going to look at
sla|e and turning sla|e into lorm.
Tle denition ol sla|e is tlat it las
|erimeter and lies at u|on tle |icture
|lane unless we relate it to otler sla|es
wlicl can tlen im|ly s|ace. lt is a very uselul
exercise to |ractise drawing sla|es -
squares, circles, triangles, rectangles and any
ty|e ol organic sla|e. lt is also uselul to
|ractise turning sla|es into illusions ol
lorm, lor exam|le, making a circle into a
s|lere, a triangle into a cone, an o|long into
a cylinder. Tlese exercises are essential lor
tle |eginner.
ASRWc[3 /<% .<% -<% ,<% +<% < O\R <5
Next we are going to draw sla|es - sla|es
tlat will im|ly meaning in a non-re|re -
sentational way and will create tension on
tle surlace ol tle |a|er. Tle sla|e contains
tle essence ol any com|osition - a
com|ination ol larmony, |alance, rlytlm,
movement and s|atial im|lications. Tlese
are tle |asic com|onents tlat lold a
drawing togetler and tle dynamics tlat a
com|osition needs to ex|ress an idea. Tle
interrelationsli|s |etween tlem are key to
tle making ol a successlul drawing. ln tle
sketcles tlat lollow we will |e |laying witl
tlese interrelationsli|s.
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Now |ractise turning sla|es into tle illusion
ol lorm, so tle circle |ecomes a s|lere, tle
triangle a cone, and tle o|long a cylinder.
Ve need to understand tle |ro|erties ol
sla|e and lorm, and low artists use tlem to
create a com|osition. Vitlout a sense ol
lorm you will not |e a|le to |roduce a
nisled |iece ol work.
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38
?JUN_RLQ
POSlTl\E COVPOSlTlON
Sla|e as an underlying com|ositional device is
extremely im|ortant. ln tlis exam|le, alter
Valevicl, sla|e is used to |ring a sense ol
order, |alance, rlytlm, larmony, movement
and s|ace to tle |icture |lane. Ve see tle
|ones ol tle com|osition tlat any great
|icture las as its structure. Ve can com|are
tlis drawing to Gericault`s CJO] XO ]QN ?NM^\J.
Botl lave an underlying triangle tlat a||ears
to |ull tle eye u|wards to tle to| edge ol tle
|icture |lane. Tlis triangle is tle |ase on
wlicl tle rest ol tle |icture langs and tle
device tlat lolds it togetler. All activity in tle
|icture revolves around tlis |asic structure
and lel|s to move our eye tlrougl tle |icture
|lane lrom |ottom to to|, and |ack and lortl.
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1<E9@C GHFA<9JI
39
?R[X
As our eye moves u|wards, we get a leeling ol
lo|e and ligltness, wlile down at tle |ottom
ol tle |icture |lane we are seized |y a sense ol
lalling and des|air. Note also a sense ol s|ace
tlat gives tle illusion ol movement tlrougl
tle |icture |lane. Tlis is created |y scale and
weiglt ol mark. Tle s|ace is constructed |y
overla||ing sla|es to create distance.
Tlis drawing, alter Viro, gives us a com -
|letely dillerent leeling lrom tle Valevicl. Tle
com|osition is |ased on tle organic ow ol
sla|es. Tlere is more lantasy, almost a dream-
like quality. Tle organic sla|es and tle sense
ol texture suggest tlat tle |icture is growing
and ex|anding |elore our eyes.
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Vitl tle Valevicl and Viro co|ies, we lave
|een looking at exam|les ol |ositive
com|osition, drawing sla|es ol o|jects we
lave in mind and |lacing tlem to create an
ellect. A dillerent way ol understanding sla|e
is to draw tle s|ace around tle |ositive. Tlis
is called tle negative s|ace, and is a very
ellective way ol creating relationsli|s
|etween o|jects in a drawing.
GIB9@CK8FG 49H8F J4B ;C;<
Vlen analysing tle drawing ol sunowers
alter \an Gogl l can see quite clearly low
im|ortant tle element ol sla|e is to tlis
|iece ol work. Tle negative sla|e, or tle
sla|e around tle owers in tlis com|osition
is just as im|ortant as tle owers or tle
|ositive sla|e, and it is integral in lolding tle
com|osition togetler. Tle negative sla|e
under|ins tle com|osition and lel|s tle
sense ol larmony, |alance, |ro|ortion, and
rlytlm tlat gives tle |icture its wloleness.
Tlrougl tle negative s|ace, tle su|ject
|ecomes locked into its context.
Here we lave in tlese two drawings tle rst
two layers ol negative sla|e, wlicl esta|lisl tle
su|ject in its environment or context.
Set u| a still lile ol owers on a ta|le tlat
is |ut against a wall. Tlen set u| as il to draw,
witl your |encil, |a|er and an eraser. Now
take a viewnder or wlat we know as a
window mount and lrame tle com|osition ol
tle owers. Ve are going to co|y tle
com|osition in tle window mount and |lace
it on our |a|er, |y ma||ing tle com|osition
using tle negative s|ace.
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ln tle rst exam|le you will see tlat wlat we
lave drawn wlat a||ears to |e a sillouette
over tle to| ol tle owers. Do tlis |y starting
at tle |a|er`s edge on tle lelt land side, as it
is im|ortant to make your rst connection
witl your drawing at tlis |oint. Start to
|rogress tle line towards tle centre ol tle
|a|er lollowing wlat would |e tle line tlat
would indicate tle |ack edge ol tle ta|le
wlere it toucles tle wall. lt is now im|ortant
to try to assess low lar tlat line goes into tle
|a|er |elore it encounters tle vase tlat lolds
tle owers. Do tlis |y looking tlrougl your
window mount again, remem|ering to look
tlrougl it in exactly tle same |osition every
time. Tle window mount slould |e
|ro|ortionally marked as slowing lalves
quarters, and eigltls as seen in tle exam|le
on window mounts. One slould mark ones
drawing oll in tle same way, as we can use
tlese as guides to indicate wlere o|jects are
situated in tle com|osition.
One can now |egin to make an
assessment as to low lar tlat line travels into
tle |icture |y using tlese |ro|ortions. Iet`s
say lor tlis instance it is a|out a quarter ol tle
way in. Ve would tlen translate tlat
o|servation lrom our window mount to our
drawing allowing tle line tlat we rst started
witl to travel into tle drawing a quarter ol tle
way, wlere it would tlen engage witl tle
vase. Now tle line would start its journey
around tle vase |eing monitored lor
|ro|ortion in tle same way, rstly o|serving
and making your |ro|ortional calculations
tlrougl tle window mount and tlen
translerring tlese o|servations to your
drawing. Eventually tle line will com|lete its
journey to tle otler side ol tle |a|er,
s|litting tle |a|er in two as you can see in
exam|le l.
ln exam|le 2 you will restart tle drawing
in exactly tle same |lace over tle to| ol your
rst line. However, wlen it engages tle vase
tlis time tle line will detour around tle
|ottom edge ol tle vase, and it will |rogress
lollowing tle outline ol tle vase until it
reacles tle otler side ol tle |a|er. Tlis |art
ol tle drawing slould |e easier to accom|lisl
as tle rst |art ol tle drawing will lel| you in
your understanding ol tle second |art ol tle
drawing and so on. Tle drawing as in exam|le
2 will now contain tlree sections to it ratler
like a sim|le jigsaw construction. Tle rst
|eing tle to| lall ol tle sillouette, tle
second |eing tle |ottom |art ol tle
sillouette, and nally tle overall sla|e ol tle
o|jects tlat are contained in tle com|osition
i.e. tle vase and tle owers.
40
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Tle next stage in tle drawing as slown in
exam|le 3 is wlen you |egin to draw in tle
smaller or secondary areas ol negative s|ace.
Tlese exist as small loles tlat a||ear tlrougl
tle o|jects tlat we are drawing. Tlis |art ol
tle drawing com|letes tle drawing ol tle
negative s|ace, and at tlis |oint we can now
see low im|ortant tlis conce|t is as it lolds
tle wlole com|osition togetler in a s|atial
context. ln otler words tle o|jects a||ear to
|e anclored in a real s|ace, ratler tlan
oating in tle |icture |lane
ln tle nal drawing we lave now lled in tle
rest ol tle visual story |y dening tle o|jects
rst, and tlen adding tle tone and tle texture
(see tone and texture exam|les lor lurtler
relerences). Now we lave a com|lete work
tlat |ulls on a num|er ol visual elements to
make it work. Tlere is also an exam|le in tle
clarcoal section tlat illustrates low a
negative s|ace drawing can |e constructed.
42
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G<4D8 =BHC 9CFA
Sla|e can very easily |e translormed into
lorm |y tle use ol slading. Ve can see in tle
drawing alter Picasso (o||osite, |elow) tlat
regular sla|es lave |een given tle illusion
ol tlree dimensions |y using various well-
known slading teclniques. He las taken
tlese sla|es and turned tlem into
re|resentations ol luman lorms. Not only
las le given tlem lorm, le las given tlem a
claracter, and a lile. He las created tle lorm
|y using dillerent ty|es ol |racelet,
crosslatcl, and linear lines to |uild u| tone.
All tlese |rocesses are consistent in tlat
tley lollow tle |lanes ol tle lorm You will
see lrom tle exam|les tlat some systems ol
slading suit dillerent ty|es ol lorms.
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ln tlis exam|le (alter Ioan Viro) tle
com|osition is |ased on a more organic ow
ol sla|es. Part ol its im|act is created |y tle
inlerence ol textures. All tle elements we
lound in tle |revious exam|le are evident
lere, too, altlougl in tlis instance tle
nature ol tle sla|es im|lies otler
considerations. Tlis drawing seems to lave
a lile, and we lave a sense tlat it is still
growing. Tlere`s a mood, an almost dream-
like quality.
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Tle illusion ol volume is central to tle
success ol tle lollowing |ortrait, wlicl l
|uilt u| in a series ol six drawings. l used a
2B |encil and cartridge |a|er, |ut almost
any |encil would do, as would any ty|e ol
|a|er. You miglt like to |ractise drawing
elli|ses, cylinders, eggs or ovoids |elore
starting.
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A8H<C7
*( Draw tle sla|e ol an egg/ovoid. Try
to do tlis witl a lree, ex|ansive movement,
sensing tle sla|e ratler tlan using your eye
to gauge it |recisely. Re|eat tle sla|e several
times, drawing over your original lines, as l
lave done lere. Now draw an elli|se, as
slown, to give tle sla|e tle a||earance ol
lorm.
+( Create tle |asic lorm ol tle neck |y
adding a cylinder to tle |ottom ol tle egg
lorm.
,( Draw in outline tle |ack ol tle lead.
Now extend tle elli|se to meet tlese lines,
giving tle lorm ol tle skull. Tle lines ol tle
elli|se are called cross-sectional analysis
lines. Tley ena|le you to lave a lull visual
understanding ol tle lorm and a sense ol tle
|ack, lront and sides ol tle lead you are
creating. Tlese lines also |rovide tle illusion
ol volume.
-( Now we |egin to |uild tle lace. Draw
two |arallel lines at a sliglt angle lrom tle
centre |lane ol tle lorelead. Tlis a||ears as
a wedge |rotruding out ol tle lront |lane ol
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50
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tle lace, and is tle |asis ol tle nose. At tle
|ottom ol tlese two |arallel lines, draw a line
|etween tlem and wlicl tlen extends |ack
in s|ace lollowing tle lront |lane or angle ol
tle lace. Now draw a line tilting |ack in s|ace
and lollowing tle side |lane or angle ol tle
lead. Ioin u| tlis triangle |y drawing a
straiglt line down tle lront ol tle lace. From
|otl corners ol tle lront |lane ol tle
lorelead draw two downward lines to just
|elow tle |ottom ol tle original egg sla|e.
Vake tlese two lines sligltly narrower at tle
|ottom to give a sense ol lorm to tle lront ol
tle lace. Ioin tlese two lines at tle |ottom
witl a straiglt line tlat lollows tle angle ol
tle lront |lane ol tle lace and tlen lollows
tle angle ol tle side ol tle lead tlrougl to
tle |ack ol tle original egg. ll you look at tle
drawing, you`ll see tlat you are re|eating tle
lines used to esta|lisl tle nose, only on a
|igger scale. Ve now lave tle underlying
lorm ol tle clin and jaw|one.
.( Add s|leres to denote tle eye
sockets. One s|lere lies in lront ol tle nose,
tle otler directly |elind it. Now we lave tle
underlying volume ol tle eyes.
/( ln tle |receding ve stages we lave
|uilt an overall sense ol tle volume tlat
makes u| tle lead. Once tlis is esta|lisled it
is your |ase over wlicl you can draw in tle
claracteristics ol tle |articular |erson wlo is
sitting lor you. lt`s im|ortant to allow tlis
under-drawing to remain, |ecause it will
reinlorce tle illusion ol lorm and guide your
over-drawing.
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|een made u| to re|resent tle luman
claracter and lorm, wlereas tle Voore is
|ased on o|servations direct lrom a gure.
6F84H=B; CF;4B=6 9CFA
A87=IA3 <5 & +5
Iike tle co|y ol tle Picasso, tle drawing
|ased on a scul|ture |y Henry Voore, is
directly related to tle lorm ol a gure. Tlere
tle similarity ends. Tle Picasso co|y las
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Tle tone used lere relies on an o|served
directional liglt source, wlicl is tlen
exaggerated to create tle ellect. Tle sladow
cast makes us |elieve tle s|lere las lorm.
Vitlout it tle drawing would look at.
ASRWc[3 -5
Tlis cu|e las |een constructed using tlree
dened tonal variations - wlite, grey and |lack
- to give tle illusion ol lorm. lt is a constructed
illusion, ol course, and las not come a|out as
a result ol o|served tonal clanges.
ASRWc[3 .5
Tle liglting a||ears to |e lrom tle lront in
tlis exam|le ol constructed tonal lorm. Tle
liglt cast at tlis angle is very intense, gradually
lading to com|lete darkness towards tle sides
ol tle cone. Iiglting was used |y early
Renaissance artists sucl as Giotto.
ASRWc[3 /5
Tle cylinder is like tle s|lere in o|servation,
tone and low liglt |lays across tle surlace ol
tle lorm. But tle tone we lave used to dene
tle lorm is an ex|ressive gestural tone. lt las
less lorm tlan tle |revious tonal gradation
and is more emotive and res|onsive to tle
o|servation.
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54
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Tleoretical drawing systems include
ortlogra|lic drawings, |lanometric drawings,
isometric or |arallel drawing systems,
trimetric, and |ers|ective.
Tlese drawing systems are very uselul
|articularly lor arclitects and designers. Tley
are usually used as |resentation drawings lor
clients. Tle ortlogra|lic or tle |lanometric
system ol drawing is |ro|a|ly tle easiest to
understand as tlis is just a at re|resentation
ol an o|ject, usually lrom tle lront and is done
to a scale. See tle exam|le on |age 55 ol a |air
ol scissors, and |liers. Sometimes in tlese
drawings, you will lave tonal keys to give you
tle idea ol |lane recession, and lorm. Tle
easiest way to go a|out |roducing one ol tlese
drawings is to |lace an o|ject like a |air ol
scissors down on to a |iece ol |a|er and tlen
draw around tlem. Vlat you will lave
|roduced in tlis drawing is an outline ol tle
o|ject and tlat is wlat an ortlogra|lic
|rojection is. To com|lete tle drawing,
o|serve, and draw in tle rest ol tle detail ol
tle o|ject and tlen code it tonally or texturally
accordingly.
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Ortlogra|lic drawings re|resent tle o|ject
|eing drawn or designed as at. Tley can
re|resent tle design as linked individual
drawings lrom all sides. Tlis is usually relerred
to as |lan, lront and side elevations.
Tley can |est |e descri|ed as re|resenting
a sillouette ol an o|ject on tle |icture |lane
lrom one side or tle otler ol tle |lan. Tley
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slow one lace ol tle o|ject and lrom tlat lace
tle otler laces can |e |lanned and |lotted.
Tlis is teclnically relerred to as tle rst angle
|rojection. First introduced |y a Frencl
military engineer, Vonge, at tle |eginning ol
tle l8tl century, it was very quickly ado|ted.
Ortlogra|lic drawings re|resent tle
o|ject |eing drawn, or tle lace ol, and lrom
tlat lace tle otler laces can |e |lanned and
|lotted.
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ln tlis exercise tonal keys are
used to give an understanding
ol |lanal recession and lorm.
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56
=GCA8HF=6 CF D4F4@@8@ DFC>86H=CBG
To lel| engineers, arclitects and designers
give a luller tlree-dimensional under-
standing and im|ression ol tleir ideas and
nisled works, otler metlods ol drawing
were develo|ed lrom ortlogra|lic |ro -
jection. First came tle isometric |rojection
|rocess, introduced |y an Englisl con -
tem|orary ol Vonge, Sir Villiam Farisl,
wlicl ena|led all tle laces ol tle lront, side
and |lan to |e joined togetler.
Ising a s|ecic angle lrom tle 90
degrees angle creates tlese drawing
systems. For instance, an isometric
|rojection is always conceived |y using an
angle ol 30 degrees as slown in tle
systematic series ol exam|les on |age 5.
You can see in tlis exam|le we lave created
a clair |y creating it in an lsometric
|rojection. Tlere is also a sim|le exam|le ol
an isometric |rojection slown on tle riglt.
ln tlis exam|le, you can see low a |lock las
|een cut lad a segment removed. One can
quite clearly see tlat all tle angles lor tlis
drawing are |ased on 30 degrees ol a 90
degrees angle. Drawings |ased on tlis
system were used in tle aircralt industry to
assem|le aircralt, and tley are used |y
interior and tleatre designers as nisled
working drawings tlat tle makers would
work lrom.
*( Create two ninety-degree angles.
+( From tlose ninety angles create two tlirty
degree angles.
,( Ising tle same vertical create anotler
two ninety degree angles.
-( Now create two more tlirty-degree
angles, and tlen |lace two |etween tlese
angles to create wlat a||ears to |e tle side
edges ol a rectangular |ox.
.( At tle two to| corners ol tlis rectangle
create two more ninety-degree angles, and
lrom tlose two angles create two tlirty
degree angles tlat will converge and meet
creating tle to| ol tle rectangle.
/( One can now ll in tle |ack ol tle |ox
consistently using a tlirty degree angle as
seen witl tle dotted lines in tlis exam|le.
One can also now use tlis rectangle or crate
to |lot an o|ject witlin tlis |rojection
system.
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HF=A8HF=6 DFC>86H=CBG
Trimetric |rojections are very similar to
isometric |rojections and are used lor
similar reasons. Tle dillerence |eing tlat
tle trimetric |rojection can |resent dillerent
orientations ol a |ox or o|ject on tle same
|icture |lane. Tlerelore, wlat we lave are
dillerent degrees ol orientation. Tlis ty|e ol
drawing is very uselul as a diagrammatic
drawing tlat is used to lel| you assem|le or
even take a|art a |iece ol lurniture or
maclinery. One usually sees tlese ty|es ol
drawings in car manuals.
H<8 HF=A8HF=6 GMGH8A =B IG8
lndustrial designers use tle trimetric system
to crate` a lorm, tlat is, to |ut it in a |ox. Tle
sla|e ol tle o|ject is drawn on tle lront lace
ol tle |ox and tlen tle lorm ol tle sla|e is
|rojected |ack into tle crate`. By encasing
volume and lorm in tlis way, designers can
visualise low tleir ideas will a||ear in
reality.
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First introduced |y Auguste Cloisy at tle
end ol tle l9tl century, and tle lavoured
system ol Ie Cor|usier and Tleo van
Does|urg, tlese |rojections were |rimarily
|roduced lor arclitects. Tlis ty|e ol
|resentation gives a truer, tlree-
dimensional illusory understanding ol tle
s|ace and lorm ol a |uilding |roduced lrom
a |lan in scale, and las |ecome very |o|ular
among arclitects.
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6CBJ8F;=B; DFC>86H=CB GMGH8AG CF
D8FGD86H=J8
Pers|ective is vital witl any teclnical drawing.
Pers|ective esta|lisles a viewer`s cone ol
vision and a context lor o|jects contained
witlin it. For exam|le, a re|resentation
constructed on a |icture |lane las an
esta|lisled ground and lorizon u|on wlicl
o|jects can |e |laced in relation to it.
Pers|ective is distinct lrom tle otler drawing
systems we lave |een looking at in tlat it
creates an illusory yet real im|ression ol s|ace
wlicl em|loys an imaginary or o|served view
created |urely tlrougl our o|servation ol a
su|ject. Tlese two systems em|loy tle same
rules, altlougl tley arise lrom dillerent
creative roots and needs. Tle constructed
|ers|ective drawing is dominated |y |ure
tleory, tle o|served |ers|ective drawing is
lrom one view |oint. Pers|ective is a system ol
drawing tlat slows tle illusion ol tlree-
dimensional o|jects in a |icture s|ace. To
|roduce a good |ers|ective drawing one las to
a|ide |y a certain set ol rules. To |reak tlese
rules is to undo tle illusion.
Tlere are two common uses lor |ers|ective.
One is a |ers|ective drawing constructed lrom
our imagination and creative tlouglts, tle
otler is constructed lrom an understanding ol
|lanal recession and lorm.
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CB8&DC=BH D8FGD86H=J8
Tlese are tle |asic rules tlat govern a one-
|oint |ers|ective drawing, and it is wortl
remem|ering tlat all lines tlat do not
a||ertain to tle lorizontal or tle vertical axis
will go |ack to or terminate at tle |ers|ectival
|oint tlat as |een set u| in tlis drawing.
*( Draw a square on your |iece ol |a|er just
to tle lelt or tle riglt ol tle centre ol your
|iece ol |a|er. Vake sure tlat tlis square runs
|arallel to tle edges ol tle |a|er.
+/ Now draw a lorizontal line across tle |iece
ol |a|er tlat travels tlrougl tle square. Tlis
will |e relerred to as tle lorizon line, and in
drawings lrom o|servation it can |e relerred
to as your eye level.
,( Put a dot on tle lorizon line tlat sits on tle
otler side ol tle |a|er to tle square you lave
just drawn. Tlis is now known as tle vanisling
|oint.
-( From tle nearest to| and |ottom side ol
tle square draw two straiglt lines tlat
converge to tle vanisling |oint. lt is
im|ortant tlat extreme accuracy |e o|served
in drawings ol tlis ty|e, as any sliglt mistakes
can lead to distortion in tle drawings.
Tlerelore, l would advise tlat |eginners use a
ruler lor tlis |art ol tle o|eration.
Now do tle same lrom tle to| and |ottom
ol tle lar end ol tle square. You will now lave
a drawing tlat resem|les tle exam|le at tle
|ottom ol tle |age.
./ Tle next ste| is to |lace tle |ack end ol tle
|ox in. Do tlis |y drawing in a vertical
|etween tle set ol converging lines tlat we
esta|lisled in ste| 4. You need to |lace tle
line |urely visually to make tle illusion ol tle
|ox. Place tle line too lar away and you
|roduce an o|long lying down, and |lace tle
line to close and you |roduce an o|long
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1<E9@C GHFA<9JI
63
standing u|. So try to |lace tle line so it makes
tle illusion ol a cu|e.
/( Now draw two lorizontal lines lrom tle to|
and tle |ottom ol tlis vertical line tlat you lave
esta|lisled as tle |ack ol tle |ox so as tley join
u| witl tle two converging lines tlat run lrom
tle otler side ol tle |ox to tle vanisling |oint.
0( Now draw your nal vertical line to esta|lisl
tle com|lete |ox in a one-|oint |ers|ective.
-&& .&
/&
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HKC&DC=BH D8FGD86H=J8
*( ln two-|oint |ers|ective tle drawing
tleory is very mucl tle same. Tle dillerence
is tlat tle |ox or cu|e is set in a dillerent
orientation to tle |icture |lane - instead ol
drawing a square in a lacing |osition or
running |arallel to tle |icture |lane, as we
did in ste| one lor tle one |oint |ers|ective
drawing. Ve instead draw a vertical line just
to tle lelt or riglt ol centre.
+/ Now |ut in tle lorizon line tlat, lor tle
sake ol tlis exam|le, makes tlis line cut
tlrougl tle vertical line just a|ove lall way,
and it slould travel lrom one end ol tle
|a|er to tle otler. For otler |ractice
exam|les, you can |e diverse as to wlere
you |ut tle lorizon line to ex|erience tle
dynamics ol |ers|ective s|ace.
,/ Place two vanisling |oints on tlis line one
at one edge ol tle |a|er and tle otler at tle
otler edge ol tle |a|er.
-/ As witl ste| lour ol tle one |oint
|ers|ective now draw a line lrom tle to|
and tle |ottom ol tle vertical to tle
vanisling |oints on |otl sides. Again
accuracy is |aramount in tlis ty|e ol
drawing.
./ You need now to visually |lace tle |ack
ends ol tle |ox in. Do tlis |y |lacing a
vertical line on one side ol tle original
vertical so as it ts |etween tle converging
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1<E9@C GHFA<9JI
65
lines and it gives tle a||earance ol |eing
|ox sla|ed. Tlen re|eat tle |rocess on tle
otler side ol tle original vertical. You will
now lave created a |ox in a twisted
orientation using two-|oint |ers|ective.
// As witl tle one-|oint |ers|ective we need
to create tle illusion ol tle |ack ol tle |ox.
To do tlis draw two lines lrom tle lar lelt
land vertical to tle vanisling |oint on tle
riglt-land side tlis is slown as a dotted line
in tle exam|le.
0/ Now do tle same lrom tle vertical line on
tle riglt land side. Draw two lines lrom tle
to| and |ottom ol tlis vertical tlat will
extend |ack to tle vanisling |oint on tle
lelt land side.
1/ Finally, to nisl oll tlis drawing, all you
need to do is to draw a vertical line |etween
tle two |oints at wlicl tley cross at tle
|ack ol tle |ox.
lt is |ossi|le, using tle same |rocess |ut
clanging tle vanisling |oints, to create
many |oxes in dillerent orientations on tle
same |icture. Tlis |rocess descri|ed lere
las also |een used in tle o|served
|ers|ective drawing, |ut tle vanisling
|oints and lorizon line or eye level is lound
tlrougl calculation lrom our o|servation.
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Vlen drawing |ers|ective lrom o|servation
you must |e a|le to accurately measure tle
angles. To start tle drawing rst esta|lisl your
com|osition tlrougl your window mount.
Once you are la||y witl your |osition,
esta|lisl tle rst major vertical in tle
com|osition. From tlis we can esta|lisl tle
lorizon line or your eye level. lt is im|ortant
tlat you kee| tlis view constant wlile you are
engaged in tle drawing, otlerwise you will
ex|erience distortion.
*( Start your drawing |y assessing wlere you
tlink your |rimary vertical is situated.
Esta|lisl it rst, as you will |e making your
major |ers|ectival assessments lrom it. ln tle
rst exam|le you can see tlat tle corner ol
tle |uilding in tle row ol louses is our main
|oint ol de|arture. So draw tle vertical in
|osition accurately rst. ln our drawing, we
lave now esta|lisled wlere tle corner ol tle
louse is and its leiglt.
+( From tlat corner we can now |egin to
construct tle |ers|ective structure, and
esta|lisl our eye level in tle drawing. To do
tlis we need to |egin to assess tle angles lrom
tle to| and tle |ottom ol tle verticals. Ve can
do tlis as we did lor tle |osture lines, lolding
tle |encil on tle angle ol tle |uilding and
tlen trans|orting tlis angle to |otl tle to|
and |ottom ol tle vertical line. ll you nd tlis
|rocess |articularly dilcult, you can use a
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6
lorm ol geometry to esta|lisl tle angles. As
witl tle exam|le ol tle isometric drawing, l
lave esta|lisled tle 30 angle lrom using a 90
riglt angle. You can |lace a riglt angle to tle
vertical and tlen make an a||roximation as to
tle angle ol your o|servation. Vlen you leel
condent tlat tle angles ol tle lines you are
a|out to draw are riglt, use a ruler to draw
tlem to tle |oint wlere tley converge. At tlis
|oint you will lave esta|lisled lor tlat
|uilding or o|ject one ol its vanisling |oints.
lt is on tlis |oint also tlat tle lorizon line, or
tle eye level, is esta|lisled. Now you can draw
in tle eye level line |y sim|ly making a
lorizontal line across your |a|er. Tlere is a
sim|le rule to remem|er lor |ers|ective. All
tle |ers|ective lines tlat are a|ove eye level
will converge downward to a |articular
vanisling |oint on tle lorizon line. Tle same
is true lor tlose |ers|ective lines tlat lie
|elow tle eye level, only tley will converge
u|wards to tle lorizon line to a |articular
vanisling |oint. Tle accuracy ol tlese
measured angles is vital to tle success ol tle
drawing. Once you lave tle two converging
lines lrom your rst vertical, you can use tlem
as guides to draw tle rest ol tle |uilding.
,( Decide low long tle lront lace ol tle
|uilding is |y looking |ack at tle com|osition
tlrougl tle window mount. Put in a vertical
line to denote tle end ol tle |uilding. Tlis will
t exactly |etween tle two converging lines to
give us tle correct |ers|ective. One can now
do tle same to tle otler side ol tle |uilding,
using tle same |rocess. However, you will
notice tlat tle |ers|ective |oint on tlis
occasion goes oll tle otler side ol tle |icture.
Do not worry a|out tlis - it la||ens in most
|ers|ective drawings. ln tlis detail we lave
extended tle drawing |ers|ectivally lorward
to draw tle row ol louses in tle loreground.
Tlis las |een aclieved |y extending tle
|ers|ective lines tlat come lrom tle
vanisling |oint on tle lorizon line, and tlen
|lacing tle vertical line in to denote tle edge
ol tle |uilding.
-( Add tle rool and tle climney |ots so tle
|uilding now las its |asic structure.
.( Arclitectural inlormation sucl as doors,
windows and |avements are now |ut in.
/( Ve lave now esta|lisled tle |ers|ectival
|asis ol tle com|osition. At tlis stage your
drawing will lack ex|ression or claracter. ln
tlis nal stage we need to |ut in tle elements
tlat make tle drawing more real, sucl as tle
van, tle telegra|l |oles, tle curving side ol
tle road, and tle otler louses in tle
|ackground. Finally, it all needs to |e |rouglt
to lile |y working over tle to| ol tle
|ers|ective witl lree, gestural lines.
.&
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69
94BH4GM 4F6<=H86HIF8
Once you lave gained a good knowledge ol
|ers|ective you can emulate some ol tle
great artists sucl as Perineasea wlo
develo|ed an amazing amount ol lantasy
arclitectural drawings. One can construct
drawings tlat will lead tle eye tlrougl a
well-organised |ers|ective or arclitectural
s|ace |otl lor interiors or exteriors. lt`s a
great way ol llexing tle imagination, and its
lun.
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Our rst concern in tlis series ol drawings is
to create tle lundamental lorm ol tle lead,
neck and sloulders il tle liglt is coming lrom
a xed |osition on one side ol tle gure. ln
our exam|le tle liglt is coming lrom a xed
|osition on tle lelt side. Once tle
lundamental lorm is esta|lisled, you can
concentrate on modelling tle lorm tlrougl
o|servation ol low tle sladows are cast and
low tley lall over tle lorm. Tle gure lere
las tle a||earance ol |eing constructed out
ol |ure liglt.
HCB4@ 7F4K=B; IG=B; ;F4D<=H8 CF
J8FM GC9H D8B6=@
Tlis is a tonal |ortrait drawing |ased in
o|servation and it is done using a very solt
|encil - 8|.
Tle rst concerns ol tlis drawing are to
create a sense ol tle lundamental lorm |y
o|serving tle nature ol tle ellects ol liglt.
You will notice tlere is a very strong direct
liglt tlat |lays over tle surlace ol tle su|ject.
GbS^*( esta|lisl tle |asic lorm ol tle lead |y
drawing an ovoid or an egg sla|e. Draw two
lines lor tle neck, and tlen two arced lines lor
tle sloulders. Tlis will give you tle |asic
outline lor tle lorm ol tle lead. You can now
initially |lace tle |asic areas ol sladow in on
one side ol tle lead leaving tle otler side in
tle liglt. But you need to |ut some sladow
on tle outside ol tle lead so as to |ick u| tle
edge ol tle lorm on tle liglt side ol tle lace.
Notice tle lree sketcled way in wlicl tle
tone las |een |laced down at tlis |oint in tle
drawing.
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GbS^ +/ now look at tle |erson you are
drawing and |egin to |ick out tle otler
major areas ol tone tlat exist on tle lead. lt
is a mistake in tlis ty|e ol drawing to try and
render leatures as tlis is a drawing tlat will
|ring you tle likeness tlrougl tle tonal
rendition ol tle drawing.
GbS^ ,( one can now |egin to |ut tle more
detailed and su|tler tones tlat in turn will
start to im|ly tle idea ol a likeness ol tle
su|ject.
GbS^ -( in tlis |art ol tlis nal |iece ol tle
drawing l lave used an eraser to |ring |ack
certain toucles ol liglt, just to enlance tle
atmos|leric ellect ol tle liglt.
Vlat is so dramatic a|out
tlis drawing is tlat it is
|urely |ased in tle
o|servation ol a liglt and
dark ellect tlat is known as
Cliaroscuro.
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@=B84F 4B7 HCB4@ 7F4K=B; IG=B;
;F4D<=H8 4B7 D@4GH=6 8F4G8F
Tlis is a line and tone drawing ol tle lemale
nude, |ut it is a very dillerent in conce|t to
tle last drawing. Vlereas tle last drawing
was |ased in tle analytical o|servation ol
liglt and low it lalls on tle lorm, tlis
drawing is more ol an ex|ressive meta|lor
ol tle reality we are seeing.
*( ln stage one ol tle exam|les we are
drawing witl a continuous line. Tlat line is
made |y not taking your gra|lite oll tle
|a|er until tlat section ol tle drawing is
nisled. Tlis line is trying to esta|lisl tle
idea ol lorm |y lollowing tle contours ol tle
lorm just as il you were actually drawing over
tle |ody itsell and leaving a trace. You can
also see lrom tle illustration tlat tle line is a
lree-roving ty|e ol line and it doesn`t lollow
any |redicta|le track.
+( Gestural tone is now |laced over tle
linear drawing. Tlis tonal a||lication is
|ased in o|servation so tle model slould |e
illuminated lrom a |articular direction to
give a denite sense ol liglt and dark over
tle su|ject. Tle tone is a||lied in a quick
gestured manner so as not to leave too mucl
time to dwell on tle consequences ol tle
action. A gestured drawing is a drawing tlat
is |ased in a res|onse to wlat you are
drawing ratler tlan a calculated
o|servation.
,( Tlis stage may seem odd, as wlat we are
a|out to do is to use an eraser to work over
tle wlole drawing to take it |ack. Ise tle
eraser in a diagonal direction and work it
over all tle drawing. Tlis las tle ellect ol
|ringing an atmos|leric leel to tle work and
it sends tle drawing |ack into tle surlace ol
tle |a|er.
-( Ve can now |egin to re-esta|lisl some ol
tle tone and tle line over tle last section..
Tlis gives tle drawing a sense ol
atmos|lere, drama, s|ace and a|ove all an
ex|ressive nature tlat lolds tle drawing
togetler very cleverly as an ex|ressive
meta|lor. Tlere are exam|les ol artists
wlo work like tlis wlen drawing, artists like
Au|acl, Giacometti, and Rem|randt.
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Tle next exam|le is a line and tone
drawing wlicl derives mucl ol its
im|act lrom knocking |ack witl an
eraser, a metlod tlat is |articularly
a||ro|riate lor gurative |ortrait
work, you will nd exam|les ol its
use in tle drawings ol Auer|acl and
Giacometti. You may nd it a |it
strange at rst to reacl a certain
|oint and tlen lave to ru| out wlat
you lave just done, |ut alter
s|ending time |ractising witl tle
teclnique you will |egin to see wlat
can |e aclieved witl it.
*( Esta|lisl tle lorm using a
continuous line (i.e. not taking tle
gra|lite lrom tle |a|er wlile you
draw) and lollowing tle sla|e ol tle
gure. lmagine you are actually
drawing your line on tle |erson.
+( Place gestural tone over tle line.
Gauge tle strengtl and extra
dimension it can |ring to your
drawing.
,( Ising tle eraser in a diagonal
direction, go over tle drawing and
ru| out wlat you lave just done.
Tlis will set tle |ortrait |ack into tle
|icture |lane and also give it
atmos|lere.
-( You can now re-esta|lisl tle tone
and some ol tle line, im|arting to it
a sense ol drama, s|ace and
ex|ression wlicl will lold tle
drawing togetler.
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1<E9@C GHFA<9JI
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6CBGHFI6H87 HCB8 @4B7G64D8 49H8F
68N4BB8
As well as using tone lrom o|servation to
construct lorm or ex|ress an emotion we
can also use a constructed lorm ol tone to
create tle illusion ol s|ace. ln tlis drawing
alter Cezanne tle tonal drawing is a very
lormal one and is not very reliant u|on
o|servation. Altlougl tle |asic com|osition
comes lrom o|servation, tle tone in tle
drawing is a means to an end, and inlorms us
ol a |lanal recession instead ol tle idea ol
volume. Cezanne in tlis |icture seems to go
out ol lis way to deny |ers|ective and
instead le em|lasises tle lorizontal and
tle vertical axis in tle drawing.
He also uses a ty|e ol slading tlat
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1<E9@C GHFA<9JI
lunctions on tle edges ol |lanes giving tlem

a sense ol |lanal |lacement in tle |icture.
He |uilds u| tle com|osition in a well
orclestrated laslion tlat las a classical
sense ol |alance and larmony to it.
Tle slading teclnique used in tlis
drawing is locused on tle inside and tle
outside edge ol tle o|jects in tle
com|osition. To create a recession you
darken tle edge you want to recede. To
make a |lane edge come lorward against its
neigl|ouring edge you make it liglter.
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;F4D<=H8 @4B7G64D8 7F4K=B;
Tlis drawing is very similar to tle drawing
using continuous line and tone to lorm tle
model. Only it is a landsca|e sketcl tlat is
|roduced lere in almost exactly tle same
way as tle lile drawing, using tle same
medium and tle same metlods. However,
tlis is a sketcl and a sketcl is dillerent to a
drawing. A drawing is sometling tlat stands
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as a work ol art in its own riglt wlereas a
sketcl is meant as a |iece ol inlormation lor
tle artist to reler to at a later date as a |iece
ol researcl. You slould not undervalue tle
intrinsic qualities tlat sketcles and doodles
lave.
1<E9@C GHFA<9JI
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80
Tle main leature ol tlese mediums is tlat
tley make very strong drawings in a linear,
tonal, textural and atmos|leric way, and tle
drawings nearly always tend to |e very
dramatic and ex|ressive.
6<4F6C4@
Clarcoal is tle oldest medium ol tle tlree
materials in tlis section. lt is made lrom
wood tlat las |een slowly clarred in a
controlled ring. Tle material takes on tle
natural lorm ol tle wood tlat can range lrom
a twig to sometling as large as a |rancl. Tle
largest |iece ol clarcoal l lave seen is u| to
2 incles tlick and tlis is called scene |ainters
clarcoal.
Clarcoal is a material tlat las |een
around since tle dawn ol man. As man
discovered re tlen le discovered clarcoal,
inadvertently at rst tlen |y |ur|oselul
|roduction. Tle inadvertent discovery ol
clarcoal ena|led man to make lis rst
drawings, recording lis o|servations and
tlouglts ol lile in lis surroundings. Tle
mark tlat clarcoal made would soon
develo| into a so|listicated visual language
tlat would |e an ex|ression ol tle day-to-day
lives ol tlese early |eo|les as seen today on
cave walls.
Since tlese early discoveries, man las
develo|ed tle medium into otler lorms
sucl as conte crayon, wax crayon, and a lorm
ol com|ressed clarcoal. Ve lave develo|ed
sta|ilisers to x tle drawings and make tlem
|ermanent. Ve lave also develo|ed tle use
ol erasers tlat remove or enlance tle
|otential ol tle drawing.
Clarcoal las qualities tlat are o|viously
dillerent to otler materials. Com|ared to
gra|lite or |encil clarcoal is a solt smudgy
material tlat delicately survives on tle
surlace ol tle |a|er until xed and made
|ermanent. Tle material |roduces a good
strong line, tone, and textured surlaces in a
similar way to gra|lite |ut witl a claracter
tlat is very dillerent. Clarcoal las wlat l can
only descri|e as an etlereal, atmos|leric
quality to it. lt leels more direct as a material
wlen one is using it. lt leels solter and
gentler in its res|onse, wlereas gra|lite las
a more immediate larslness to it.
Anotler material made lrom clarcoal is
com|ressed clarcoal. Tlis is a material tlat
rst came into existence in tle rst lall ol tle
last century, and |elaves more like a |astel in
tlat it lolds tle surlace ol tle |a|er more
su|stantially tlan clarcoal, and las a
|ro|ensity to |e sligltly denser tlan
clarcoal. Com|ressed clarcoal is made |y
crusling clarcoal into a ne |owder tlen
mixing it |y rolling it witl a ne |inder to
make a com|ressed clarcoal stick. Tle stick
las to |e made to sucl a consistency so tlat
it can |e landled witlout crum|ling or
|reaking, yet at tle same time solt enougl to
make a mark wlen |ut to |a|er. \arying
degrees ol lardness and soltness can |e
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mixture ol |araln |igment and wax. Tley
can come in many dillerent colours and tley
lave a very greasy leel to tlem just like wax.
Tley are not at all dusty like clarcoal so it is
not easy to smudge tle material. ll you need
to erase tle material on tle |a|er you need to
use a solvent and wlen tlis is a||lied it will
smear and loosen tle wax on tle |a|er.
However, it is a very uselul material lor
|uilding u| layers ol dillerent colours, dark
over liglt, and tlen scratcling |ack tlrougl
tlese layers revealing tle colours lrom
underneatl. Tlis teclnique is call scra|lite,
and tle artist Paul Klee used it very
successlully. Tle s|ecial qualities tlat emerge
lrom tlis teclnique are tlat tle marks tlat
one scratcles into tle surlace a||ear very
luminous. Tlis way ol working does not lend
itsell to |eing a very naturalistic means ol
recording our o|servations, |ut it is very good
lor rendering more sym|olic and a|stract
statements.
GD4B=G< 5@46?
Tlere is a very quick and clea| way to make
a |oor man`s clarcoal tlat is known as
S|anisl Black. Tlis clarcoal is made lrom
|urning tle end ol a cork lor a lew minutes. l
can remem|er using tlis as a student lor very
solt drawings wlen l could not allord |ro|er
clarcoal. lt is also very good as a clea| lorm
ol tleatrical make u|, and can |e used lor
lalse |eards and eye|rows.
o|tained lor com|ressed clarcoal as witl
|encils. Tle |roduct is manulactured and
can |e |rouglt lrom any art su||liers.
Finally, one can o|tain clarcoal in a |encil
lorm. Tlis ena|les tle clarcoal to |e
slar|ened and allows it to |e used more like
a |encil. However, you do lose tle intrinsic
quality tlat clarcoal las wlen used in tlis
lorm.
6CBH8 6F4MCB
Conte crayon is tle same as com|ressed
clarcoal exce|t tlat tle |igment and tle
|inders are dillerent. Conte crayons are small
square sticks tlat are made lrom |igment
mixed witl clay and a |inder. Tley are larder
tlan clarcoal, com|ressed clarcoal, and
|astels. Tle traditional colours are |lack,
wlite, sanguine, |istre, and se|ia. You can
lowever now get conte crayons in dillerent
colours. Conte crayon can also come encased
in wood like a |encil. Conte crayon, like
clarcoal, can |e smudged. However, it
creates a very intense |lack tone tlat is mucl
stronger and more dilcult to remove tlan
clarcoal. Conte crayon is very good lor |otl
tonal drawings, and more intense mark-
making drawings.
K4L 6F4MCBG
Tlese are very dillerent in claracter to tle
|revious materials. Tley are made lrom a
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82
9=L4H=J8
Fixatives are used to |reserve clarcoal
drawings. Tle xative solution is a||lied witl
a s|rayer or an atomiser. lt slould |e a||lied
to tle drawing in ne coats to create tle
desired ellect. Fixative is a |inder tlat lolds
tle loose |articles ol clarcoal to tle surlace
ol tle |a|er. Tle most common lorm ol
xatives are diluted solutions ol mastic,
slellac, or manila co|al diluted in alcolol.
Nowadays, modern syntletic resins are used.
Clarcoal tlat las |een |reviously di||ed in
linseed oil |elore use needs no xing.
However, you lose tle solt atmos|leric
quality ol tle clarcoal tlat is its main
claracteristic. lt is essential to x your
clarcoal drawing wlen you lave nisled it,
otlerwise it will remain unsta|le and lia|le to
get damaged tlrougl smudging.
9=L=B; MCIF 6<4F6C4@ 7F4K=B;
Clarcoal is, as we lave mentioned, a very
unsta|le material. Once a||lied to tle
surlace ol tle |a|er or su||ort it can easily
|e erased or smudged, es|ecially
accidentally. Vlen you are satised tlat your
clarcoal drawing las reacled a |oint wlere
you leel it is nisled, it is im|ortant tlat you
sta|ilise tle drawing immediately on to tle
su||ort. Tlis is wlat is termed xing tle
drawing.
Fixative is a solution tlat acts as a |inder.
lt seals tle clarcoal or tle |astel on to tle
su||ort wlicl is usually |a|er. ll tle drawing
is not xed it will remain unsta|le and tlus
lia|le to damage and disgurement.
Tle xative solution is a||lied |y
s|raying tle solution evenly over tle drawing
surlace, using two or tlree coats very tlinly
and allowing it to dry |etween coats. Tlis
ensures tlat tle wlole surlace ol tle drawing
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83
las |een covered. Tle solution slould dry
clear so as not to lave an ellect on tle
drawing. But some lome made solutions
can yellow witl time. lt is |est lor longevity
tlat you use a manulactured commercial
solution. Tlese xatives can |e |rouglt at
any art su||liers, and usually come in two
dillerent lorms.
Tle rst and easiest way to a||ly xative
is to |uy tle s|ray can version ol tle material
(illustration l). Altlougl tlis can |e
ex|ensive, in my o|inion it is wortl it. Tle
otler o|tion is to |uy tle xative in a |ottle.
lt comes as a clear solution, and it needs to
|e a||lied tlrougl wlat is called a dilluser.
One end ol tle dilluser is |laced into tle
xative solution and tle otler end into tle
moutl (illustration 2). You tlen |roceed to
|low steadily. Tlis action creates a s|ray,
wlicl you aim at your drawing. You must
re|eat tlis action two or tlree times, as you
would witl tle s|ray can variety ol xative,
to aclieve a good covering.
A mucl clea|er way to x your drawing
is to make your own xative lrom diluted
resin. Tlis is a very time consuming |rocess,
|ut il you like doing tlis sort ol tling it can
|e very rewarding. (ll you are interested in
attem|ting tlis, you can nd reci|es` in tle
Hand|ook ol Artists Vaterials and
Teclniques` |y Ral|l Vayer.) You will need
a dilluser as a||licator il you o|t to make
your own solution.
8F4G8FG
Vost erasers tlat are used lor clarcoal can
also |e used lor gra|lite. However tlere are
|articular erasers tlat are more a||ro|riate
lor clarcoal mediums. A |utty ru||er is a
very good exam|le, as it seems to soak u|
tle clarcoal lrom tle surlace ol tle |a|er,
and it can |e kneaded into dillerent sla|es
to erase in |articular ways tlat enlance tle
drawing. Tlere are otler erasers tlat also
work well witl clarcoal.
A lengtl ol clotl can |e used to remove
clarcoal lrom tle surlace ol tle su||ort.
Tlis is aclieved |y |eating tle clotl over tle
area you wisl to remove. lt will not lowever
com|letely remove tle clarcoal surlace, |ut
it will leave tle glost ol tle drawing. Tlis
can |e a uselul as wlen you redraw it sto|s
you making tle same mistakes over again.
One can also use |read to remove clarcoal
lrom tle surlace ol tle su||ort, and also
sand|a|er. Com|ressed clarcoal and conte
crayon are mucl more stu||orn marks to
remove so my advice is to use a good quality
|lastic eraser. Varks or areas made |y wax
crayons can |e removed |y solvents or
scratcling at tle surlace witl a razor |lade.
Removing wax crayon marks can |e dilcult.
GIDDCFHG
Vost clarcoal, com|ressed clarcoal, conte
crayon, and wax crayon drawings are made
on |a|er su||orts. lt is im|ortant to
ex|eriment witl dillerent |a|ers and
surlaces, |otl at and textured. Flat |a|er
surlaces will allow an even line to |e drawn
and at tonal surlace to |e created. Vlereas
a textured |a|er surlace will give tle
im|ression ol tle texture ol tle |a|er.
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Villow clarcoal or vine clarcoal is a very
uid drawing medium and is mucl lreer and
more o|en in its a||lication tlan |encil. lt
also lends itsell to larger, |roader drawing
tlan tle ty|e ol gra|lic drawings one
associates witl |encil. Exam|les ol marks
made |y tle willow clarcoal are as lollows.
*( A diagonal line tlat moves lrom liglt to
dark. Clarcoal is very uselul lor making tonal
clanges very quickly.
+( A tonal recession lrom liglt to dark tlat
las |een smootled out |y smudging tle
clarcoal witl tle nger. Tlen ligltly ru||ed
witl an eraser.
,( Here tle side ol tle clarcoal las |een
dragged across tle surlace ol tle |a|er to
create a textural tonal gradation.
-( Here we lave a leavy strong line
|roduced |y |lacing a lot ol |ressure on tle
clarcoal wlilst making tle line.
.( ls tle o||osite ol 4. Tlis is a very ne line
|roduced using very liglt |ressure.
/( Here we lave a leavy dark tlick line
moving to a liglter tlin line |roduced |y
clanging tle |ressure wlilst in tle |rocess
ol making tle line.
0( A tiglt cutting ty|e ol line |roduced |y
dragging tle side ol tle clarcoal across tle
|a|er.
1( An o|en zigzagging line is |roduced in tle
same way as num|er , |ut tlis time one
uses a |usling and |ulling motion to create
tle line.
2( Here we lave a similar zigzagging line as
num|er 8 - made in tle same way |ut it`s a
more com|ressed zigzag.
)&
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* g / Slow a series ol teclniques on low to
|uild u| crosslatcling to create slading,
and in turn, tlese teclniques are used to
create tle illusion ol lorm.
*( Diagonal |arallel lines created |y using
tle side ol tle clarcoal. See lolding tle
clarcoal.
+( Diagonal lines in |arallel directions. One
set in one direction and tle otler set layered
over tle to| going in tle otler direction.
,( \ertical |arallel lines.
-( \ertical |arallel lines over layered |y
lorizontal |arallel lines.
.( Section 2 over-layered |y section 3 slows
a |uild u| ol tone.
/( Section 2 over-layered witl section 4
creates a mucl darker controlled tone.
0 g 1 tlis is called |racelet slading and is
used to create tle illusion ol lorm.
0( Bracelet slading to give tle illusion ol a
s|lere.
1( Crosslatcl |racelet slading - tlis ty|e ol
slading was used |y many artists sucl as
Ieonardo da \inci and Viclelangelo to draw
tle luman lrom.
)&
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90
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A87=IA
A4?=B; A4F?G
As witl tle |encil, |elore you start to work
witl it in earnest you slould |ecome lamiliar
witl tle medium and wlat |otential it las.
Clarcoal is a very natural medium and
tlerelore it does not lend itsell to very tiglt
diagrammatic work - it is too messy lor tlat.
lt lundamentally lends itsell to a more ne
art and ex|ressive notion ol drawing. So it is
a more o|en and ex|ansive ty|e ol material
to use.
Tle ty|e ol clarcoal marks tlat are made
in tlis section tend to im|ly texture and
surlace and tlerelore can |e used in
drawings tlat lave a textural quality to tlem.
From l to 9 tlere are a lew exam|les ol mark
making. Tlese are just a lew ideas to
encourage you to ex|eriment witl tle
medium. Vlat l advise is tlat you make as
many |otential marks as you can, so tlat you
|uild u| a glossary ol mark making tlat can
ellectively |e used in tle luture wlen and
wlere a||ro|riate.
*( Iay a |iece ol clarcoal a|out l` to 2` long
at on tle surlace ol tle |a|er. Tlen twist it
creating a circle. Re|eat tlis |rocess in a
|attern and you create a texture.
+( Iay tle same |iece ol clarcoal at on tle
|a|er tlen move it across tle |a|er in a
wave like laslion. Re|eat tlis motion sligltly
over la||ing tle rst row and you can create
a knitted ty|e texture.
,( Do tle same as num|er two |ut in a more
geometric manner.
-( Take tle same |iece ol clarcoal and drag
it to create a dasl like mark. Re|eat tlis at
regular intervals. ll you are drawing a
|uilding witl many windows tlis is a very
uselul solution to tlat visual |ro|lem.
.( Do tle same as lour |ut angle tle mark.
Tlis textured mark could |e used lor tle
im|lied surlace ol a woven |asket, or tle
surlace ol a |arquet oor.
/( Take tle clarcoal end. Ising it on its side
make a small arc |y |ulling tle clarcoal in
tlat direction. Re|eat tle |rocess as a
reection ol tle rst arc, and tlen make a
row ol tlese marks. Tlis tends to give tle
im|ression ol a woven texture usually seen
on |asketry.
0( A similar |rocess as num|er 6 |ut one
makes an angled mark tlis gives tle
im|ression ol a ro|e.
1( Pulling tle clarcoal across tle surlace in
an lorizontal direction creates very tiglt
lines giving tle im|ression ol wood grain.
2( Similarly drawing |arallel wavy lines can
|roduce a dillerent ty|e ol wood grain.
DO`b Hd] g 6<4F6C4@
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92
IG=B; 8F4G8FG HC A4?8 A4F?G
Tle eraser is a very uselul tool wlen used in
conjunction witl tle clarcoal medium
eitler to make marks or to enlance tle tonal
qualities ol a drawing. Vaking a reduction
tone drawing can |e a very ellective way ol
creating a drawing. lt also makes one tlink ol
tle eraser as a |ositive tool ratler tlan
sometling tlat is used just lor erasing
mistakes. Iike tle otler mediums, one can
devise ways ol using tle eraser to create a
glossary ol marks tlat can |e used as an
ex|ression lor our o|servations. A good ti|
is to always kee| tle eraser clean. One can
do tlis |y ru||ing it onto a clean surlace, or
il it is a |lastic eraser, it will stand wasling.
DO`b Hd] g 6<4F6C4@
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8
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9
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6
2
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6
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93
n eraser uas tsea /o ite /bis ic/tre i/s /ona/ qta/i/ies
C
3
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7
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8
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4
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6
2
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94
DO`b Hd] g 6<4F6C4@
HCB?=B;
Tonking is a well-esta|lisled way ol erasing
or knocking |ack a clarcoal drawing. lt was
devised, l am led to |elieve, |y one Prolessor
Sir Henry Tonks.
*( Sketcl your drawing in very |asically
using line to esta|lisl tle com|osition. Tlen
a||ly tle tone lrom your o|servation to tle
drawing. Do tlis in a very |road way giving
tle drawing a |lack and wlite a||earance.
+( Take a solt clotl and |eat |ack tle
drawing dis|ersing tle tone, and at tle same
time knocking |ack tle tonal density ol tle
wlole drawing. Tlis gives tle drawing a very
atmos|leric leel and leaves us witl tle
glost ol tle rst drawing.
,( You are now in a |osition to re-esta|lisl
your drawing |otl com|ositionally and
tonally until you lave created tle ellects ol
cliaroscuro (liglt and dark). Tlis |rocess
can |e re|eated many times until you are
satised witl your drawing and you lave
|ouglt it to a satislactory conclusion. Now
x` tle drawing.
1
2
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3
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5
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7
0
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8
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4
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7
6
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1
7
F
6
2
6
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3
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6
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95
(
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3
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5
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C
C
4
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7
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96
DO`b Hd] g 6<4F6C4@
ls/a//isb /be
conosi/ion
knoc/ /ac/`
/be arauin
Tonking can also |e a||lied to still lile
su|jects. Here eacl o|ject is given lorm |y
tle selective a||lication ol tle teclnique.
C
3
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4
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9
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9
le-es/a//isb /be /one /o ite eacb o//ec/ c/ear sbae ana /orn
C
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98
<C@7=B; H<8 6<4F6C4@
Holding tle clarcoal can |e very dillerent to
lolding a |encil. Tle clarcoal medium is
usually used witl s|eed and lends itsell to a
more sketcling a||roacl to drawing. lt is
not usually used lor detailed drawings and is
used more |roadly as an ex|ression ol our
o|servations. So tlerelore, tle way we
a||roacl a clarcoal drawing can |e very
dillerent to low we would usually do a
|encil drawing. Vlen we are doing a |encil
drawing we tend only to use land and wrist
movement, |ut wlen doing a clarcoal
drawing, we almost always tend to use our
land, wrist and arm as well in tle action ol
tle drawing.
9CIF K4MG C9 <C@7=B; H<8 6<4F6C4@
*(+( Tlis demonstrates tle two ways tlat are
mostly |relerred lor sketcling witl clarcoal.
,( Vaking a mark using tle clarcoal as
demonstrated in num|er 3 we can make a
very slar| cutting line. A line tlat leels as
tlougl it las |een incised on tle |a|er. Ve
do tlis |y taking a |iece ol clarcoal tlat is
a|out 2` long and |lace it at on tle |a|er.
Holding it |etween your tlum| and ngers
|ull tle clarcoal a long tle |a|er su||ort
wlilst a||lying |ressure. You see tlat tlis
mark las a claracter ol its own.
-( Vatisse - wlen in later lile le lad
dilculty lolding clarcoal le would ta|e
scene |ainters clarcoal to a stick and make
ratler large drawings. Tlis drawing would |e
com|leted quite a distance lrom tle su||ort
so tle drawing lad a |eautilul sim|listic
quality to it witl |road swee|ing lines.
57NI F= ?FC;@E> J?< 9?7H9F7C
1
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3
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4
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8
7
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-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
99
57NI F= ?FC;@E> 9?7H9F7C
(
4
C
3
B
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5
B
7
0
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8
C
C
4
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8
7
0
-
9
7
6
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-6
1
7
F
6
2
6
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3
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6
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l00
H<8 6<4F6C4@ D8B6=@
Tle Clarcoal |encil is ratler like an ordinary
|encil, |ut it las tle sensitivity ol clarcoal
and yet at tle same time a degree ol control
tlat a |encil las.
*( Diagonal slading used in a sketcling
teclnique.
+( A series ol vertical lines.
,( \ertical squiggly lines.
-( \ertical and lorizontal squiggly lines.
.( Horizontal dasles.
/( \aried directional marks.
0( Dots.
1( Diagonal lines.
2( Iiglt lorizontal lines.
*)( \ertical and lorizontal lines moving
lrom liglt to dark.
**( Squiggly lines.
*+( Riglt angle lines going lrom liglt to
dark.
0J?<H =FHDI F= 9?7H9F7C
1 2 (
4 5
S 9
6
7
10 11 12
C
3
B
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5
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8
C
C
4
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l0l
G68B8 D4=BH8FfG 6<4F6C4@
Scene |ainter`s clarcoal is mucl tlicker
tlan ordinary clarcoal, and is used to make
|roader, |older, tlicker lines and tones to
ll larger areas more quickly.
*( A |road tlick wavy line.
+( A |road straiglt line.
,( Small dasl like marks in rows.
-( A dark tone.
1
2
(
4
C
3
B
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5
B
7
0
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8
C
C
4
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8
7
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6
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l02
DO`b Hd] g 6<4F6C4@
6CBH8 6F4MCB
Conte crayons come in o|long sticks and in
a limited num|er ol grades lrom solt to lard.
Tle conte crayon is a very traditional
material and is made similarly to com|ressed
clarcoal. lt is a nely ground |owder tlat is
mixed witl a |inder and lormed into long
sticks. lt is more solid tlan com|ressed
clarcoal, and tlis claracteristic makes it very
dillerent to clarcoal in tlat it is not as
atmos|leric in nature. Conte crayons lend
tlemselves more easily to mark making and
a teclnique called lrottage.
Tle marks made witl tle conte crayon
lrom lto l6 are controlled marks tlat im|ly
textures. Ising marks we can im|ly surlaces
tlat are rougl, smootl, solt, lard. Ve can
suggest tlrougl mark making tle illusion ol
wood, metal, string, s|onge, and so on.
Once one las lound a metlod ol utilising
mark making, tle drawings tlemselves tend
to |ecome a teclnical |rocess ratler tlan to
do so mucl witl tle creative act. However,
as witl |ers|ective tle results ol tlis ty|e ol
drawing can |e im|ressive.
*( +Varks tlat
im|ly a woven or
knitted surlace.
,( Varks tlat im|ly a
wooden surlace.
-( Varks tlat im|ly a
car|et or grass.
.( Varks tlat im|ly a
woven |attern (a
candle wick |ed
s|read).
/( Varks tlat im|ly a
woven |attern
like a straw lat.
0(1( Ro|e and
string
im|lied marks.
2(*)( Honey com|ed
or circle |atterns.
**( Varks tlat im|ly
tle |ristle ol a
|rusl.
*+( Varks tlat are
im|lying a slar|
lard surlace.
*,( Varks tlat im|ly
tults ol grass.
*-( Varks tlat im|ly
tle nature ol
leaves.
*.( Varks tlat
im|ly moving
water.
*/( Varks tlat
im|ly ri||led
water.
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l04
4DD@M=B; A4F? A4?=B;
Ve are now going to do a series ol studies
and drawings |ased in mark making. Tlese
drawings are textural drawings, and are
standard drawings lor students ol tle arts.
Having |ractised mark making we now
need to a||ly tlat ex|erience. Firstly, it is
advised to make studies ol o|jects tlat lave
o|vious textural qualities. Tle drawings tlat
you make ol tlese o|jects slould im|ly tle
textured surlaces.
ln tle exam|les ol tle drawn o|jects,
you can see tlat tle textures is tle main
lorce ol tle tlinking |elind tle drawing.
You will also notice tlat tle texture in tle
drawings are not an exact co|y ol wlat is
seen |ut a meta|lor (sometling tlat acts
lor sometling else) lor tle surlace. Draw as
many textured o|jects as you can as tlis
makes lor good |ractice.
ln tlese exam|les, l lave made some
close u| drawings lrom nature, and
inanimate o|jects lrom a textural mark
making a||roacl. Tle way in wlicl we do
tlis is to draw tle |asic outline and structure
ol tle o|ject rst. Tlen tle idea is to ll it in
witl marks tlat give tle sense ol toucl tlat
tle o|ject las, and low it looks.
ln exam|le l,we lave a small ear ol grass.
Tle main area ol texture lere is in tle little
seeds ol corn and low tley are lormed. All
tlese exam|les are constructed out ol a ty|e
ol microsco|ic o|servation.
ln tle second exam|le, we lave tle
closed |uds ol a ower and tle ri||ed ellect
ol tle stem. ln tlis drawing, tlere is a
contrasting a||roacl ol styles. Tlere are tle
carelully drawn structures ol tle |uds and
tle stems com|ared to lreer drawing at tle
to| ol tle |uds wlere tle owers are trying
to a||ear and some leal lormation around
tle neck ol tle |uds. Tlis contrast in tle
drawing teclniques makes lor a more
visually exciting ty|e ol drawing.
Tlis a||roacl is carried tlrougl into tle
tlird exam|le ol a ower. Tle carelully
o|served structure and texture ol tle stem
las |een drawn witl consideration and a
lormal a||roacl. Vlereas tle ower |art ol
tle drawing las |een drawn more quickly
using an a||ro|riate mark to suggest tle
texture ol tle ower.
ln exam|les 4,5,6, and 8 we lave a very
well organised lormal a||roacl to tle
|roduction ol tle drawings. Tlese studies
were drawn in a structured and well tlouglt
out way. Iaying down a series ol logical
marks witlin tle structure tlat |erlorm a
visual textural manilestation ol tle |lants,
tlat is |otl exciting and |leasing to tle eye
and tle intellectual inquiry it evokes.
One slould look at tle studies ol nature
lrom Ieonardo da \inci. Tlese o|servations
lrom nature are so com|elling. Ve can also
take inanimate o|jects and treat tlem in tle
same way. Take lor exam|le tle drawing ol
tle sandal, it is com|osed ol many dillerent
marks tlat |ring tle sense ol texture and
claracter to tle drawing. One slould also
look at tle studies ol old |oots |y \an Gogl.
DO`b Hd] g 6<4F6C4@
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6
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michelle grieco
l06
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H8LHIF87 GH=@@ @=98
Next we look in detail at a very ne exam|le
ol a textured still lile drawing. You can see
tlat tlere are many o|jects tlat lave de-
nite textural qualities to tlem, and tley lie
juxta|osed to eacl otler to give a tex-
tural diversity to tle grou|, wlicl in turn
makes tle grou| com|osition visually very
exciting. To make a drawing like tlis you
need to select a num|er ol textural o|jects,
|ut tlem togetler in an interesting com-
|osition, and |lace tle textures in sucl a way
tlat tley com|lement eacl otler. For
instance, |ut rougl against smootl, lurry
against sliny, lard next to solt, and so on.
Ise a window mount to lrame tle com|osi-
tion, selecting tle most interesting array ol
textures. Start |y drawing tle outline ol your
o|jects tlrougl tle window mount. Vlen
you lave com|leted tlis task, you can ll in
tle textured areas.
You can construct tle drawing and
esta|lisl tle com|osition |y using as your
exam|le tle \an Gogl co|y ol sunowers
on |age 40. Having successlully drawn tle
outline ol your o|jects in tle com|osition,
you can now start to make tle drawing. Ise
mark making tlat ex|resses tle idea ol
texture and surlace. Tle |est way to
a||roacl tlis is to ex|eriment witl marks
tlat miglt im|ly tle textures tlat are |re-
sent in tle still lile. Vlen you are la||y witl
your results, a||ly tlem to tle a||ro|ri-
ate |art ol tle drawing. ln tle series ol
drawings slown over tle next cou|le ol
|ages, we can analyse low we lave aclieved
tlis.
*O( Tle straw lat las many textures tlat
make it a visually dynamic o|ject to draw.
Tle |asic construction ol tle lat is made ol
a series ol lines tlat lollow tle lorm.
Between tlese lines is a series ol marks,
wlicl lorms tle im|lied |attern ol tle
woven texture ol tle lat.
DO`b Hd] g 6<4F6C4@
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
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6
F
l09
Tle woven texture ol tle lat tlen o|ens
out to a |roader weave, leaving air-ty|e
loles tlat lel| to kee| tle lead cool. ln tle
analysis ol tlis texture one can create tle
rendering ol tlis surlace |y drawing rst a
series ol crossing |ands. Tlis gives us tle
negative loles in tle lat |attern, wlicl we
tone in as a |lack sla|e, wlicl in turn
im|lies tle loles in tle lat. lt also gives us
tle |ositive weave |attern ol tle straw, in
wlicl we |lace tle mark ol tle woven tex-
ture.
*P( You can see tlat we lave started to
construct it in tle same way as tle |revious
|and, using a series ol |ands tlat cross over
eacl otler to create a diamond ty|e |attern.
Ve lave tlen unilormly lled in some ol tle
|attern ol tle diamond sla|es witl a |lack
tone, leaving us witl a crossover |and |at-
tern. Tlis crossover |attern las a woven
stitcl texture. Tlis is done |y |lacing a little
|lack mark tlat lorms tle |attern ol tle
stitcl on tle |ands. At tle to| and |ottom ol
tle |and tlere is anotler ty|e ol stitcl. Tlis
is |ut in |y a series ol small vertical lines tlat
lollow tle edge ol tle |and.
+( Tle |roccoli is drawn, and tlen
texture is im|lied |y a series ol tiny little dots
or circles |laced tigltly togetler to give tle
textural im|ression ol tle owering ol tle
|roccoli. Tle stem is drawn using a series ol
|arallel lines tlat eclo tle lorm ol tle stem.
,( Tle ca||age is drawn using a num|er
ol organic ty|e sla|es tlat lollow eacl
otler`s contours and tle lorm ol tle ca|-
|age. Ieaving a small unilormed s|ace
|etween tle sla|es tlat act as tle veins ol
tle ca||age leal. Tle sla|es are tlen
sladed in witl a very dark tone to give a very
convincing im|ression ol tle leal.
*?7H9F7C GHFA<9JI
C
3
B
F
5
B
7
0
-
8
C
C
4
-4
8
7
0
-
9
7
6
C
-6
1
7
F
6
2
6
F
3
B
6
F
ll0
DO`b Hd] g 6<4F6C4@
EQN hWR\QNM M[J`RWP&
,&
-&&
-( Tle celery is sim|le. Draw tle structure
as witl tle otler o|jects. Tlen it`s just a matter
ol |utting a series ol straiglt lines tlat run close
togetler down tle stem ol tle vegeta|le.
.( Tle onion is similar to tle celery in
tlat you again draw tle structure rst, and
tlen draw tle lines tlat im|ly tle outer layer
ol tle skin tlat lorms tle |ul|ous ellect ol
tle onion. At tle to| ol tle onion draw in
tle leal ty|e growtl. Putting in sucl
nisling toucles to tle texture will make
tle o|ject just tlat |it more convincing.
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A]QN[ NaJVYUN\ XO
hWR\QNM ]Na]^[NM
\]RUU URON&
*?7H9F7C GHFA<9JI
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H8LHIF8 GHI7=8G 9FCA B4HIF8
Here we lave more excellent drawings lrom
students wlo lave a||lied tleir knowledge
ol texture to anotler su|ject - nature. Firstly,
as we did witl tle |revious drawings tle
students lave locused in on single o|jects
lrom nature. Tlese drawings can quite easily
|e done in sketcl|ooks out in tle eld or
|rouglt |ack into tle studio environment.
ll2
DO`b Hd] g 6<4F6C4@
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*?7H9F7C GHFA<9JI
ll5
Tlis researcl is a way ol storing
inlormation lor luture use, and indeed
il you look in tle sketcl |ooks ol
artists sucl as Ieonardo da \inci you
will see lis studies lrom nature, and
tley are an ins|iration. Tlis ty|e ol
work is a visual enquiry and essential
s|adework needs to |e done |y
students wlo wisl to acquire tle
visual knowledge tlat is needed to
|roduce more esta|lisled works.
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H8LHIF4@ @4B7G64D8 7F4K=B;
Alter com|leting your many studies lrom
nature, you slould |e a|le to now move out
into tle landsca|e and make a more
com|relensive study ol tle su|ject. As witl
tle otler drawings you rst need to esta|lisl
your com|osition - do tlis using your
viewnder or window mount. Draw in ligltly
tle outline ol tle com|osition. Once you are
la||y witl tle structure ol tle drawing you
can now go over it witl conte crayon. Now
you need to |lace in tle texture. Here is an
ex|lanation ol tle ty|e ol textures tlat we
lave encountered in tlis drawing:
*( A series ol o|long sla|es witl some
indication ol sladed texture to give tle
im|lied texture ol stone.
+( Tle rool tiles on tle side ol tle louse
are layered over eacl otler, witl tle
underside ol tle tiles |eing drawn in
sligltly dark, and leavier tlan tle to| ol
tle tiles tlis gives tle im|ression ol tle
sladow |eing cast |y tle tiles. Tlis in turn
|rings a tlree dimensional quality to tle
drawing as well as a sense ol tle texture.
Also in ligure 2 we can see tle |rick is
DO`b Hd] g 6<4F6C4@
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slown in situation. Staying witl exam|le 2,
we can see low tle tiles on tle lower |art
ol tle |uilding are demonstrated |y a series
ol lorizontal lines tlat run |arallel to eacl
otler. Tlese are tlen |roken u| |y a series
ol diagonal lines tlat lollow and imitate tle
|itcl ol tle rool. Finally, tle doors and
windows are lilled in witl vertical lines. Tle
lines on tle door give tle im|ression ol
wood and tle lines on tle window give tle
im|ression ol tle rellection ol tle glass.
,( ln tlese illustrations we see tlat we lave
a variety ol marks tlat im|ly dillerent ty|es
ol vegetation. Sucl as scru| ty|e |usles
and two dillerent ty|e ol loliage. Ve also
lave dillerent marks lor tle trunks ol tle
trees.
Tle drawing in tle |elow exam|le relies
on tone, and tle texture is made using tle
rougl surlace ol tle |a|er.
*?7H9F7C GHFA<9JI
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6CADF8GG87 6<4F6C4@
Com|ressed clarcoal is made lrom nely
|ulverised ligl-grade lard clarcoal. lt is
com|ressed into round sticks and leld
togetler witl vegeta|le glue. Tle solt |rittle
consistency ol tle com|ressed clarcoal
ena|les you to create very dense |lack velvet
tones. Tle tonal value ol tle clarcoal can also
leel larsler wlen a||lied to tle surlace ol
tle |a|er com|ared to tle quality ol tle tone
made witl tle natural clarcoal, wlicl
a||ears mucl solter and airy.
*( A |road mark made |y dragging tle
clarcoal across tle surlace ol tle |a|er and
a||lying dillerent |ressures.
+( A dense tonal gradation lrom liglt to dark.
You will notice low mucl stronger tle |lack
ol tle com|ressed clarcoal is com|ared to
tle |lack ol tle natural clarcoal.
,( A tonal area created |y lorizontal and
vertical lines. Tlese marks are made |y using
tle side edge ol tle material.
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*?7H9F7C GHFA<9JI
ll9
-( A series ol random marks tlat move lrom
darker more intense to liglter more o|en.
.( A s|lere created |y |lacing tle side ol tle
clarcoal on tle |a|er tlen drawing a circle
witl it |utting more |ressure on one side ol
tle circle to give tle im|ression ol tle lorm
tlrougl tle illusion ol liglt and dark.
/( Ising tle side ol tle com|ressed clarcoal
make a dark square, lay |eside it a similar liglt
square. Tlis gives you tle illusion ol a |ox.
0( Closed vertical lines creating tone.
1( \ertical, lorizontal, and diagonal lines
creating a crosslatcl tone.
2( O|en vertical lines giving a visual stri|ed
im|ression.
*)( Diminisling riglt angles lading in tone
lrom lront to |ack giving tle illusion ol s|ace.
)(&
-&&
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9FCHH4;8
Frottage is a Frencl term and it means to
take an im|ression |y ru||ing. Ve lave
|ro|a|ly all done some lrottage at some
|oint or otler. Have you ever taken a
ru||ing lrom a coin wlen you were little?
Tlen tlat was a work ol lrottage. Brass
ru||ing is anotler lorm ol lrottage.
As a drawing teclnique and |rocess we
can ex|and and use lrottage as a tool to
ex|ress our ideas and it las |een used |y
many artists |articularly in tle twentietl
century lor tlis very |ur|ose. No less an
artist tlan Vax Ernst used tlis |rocess to
great ellect in tle early |art ol tle last
century.
Ve make lrottage very sim|ly. You need
some clea|, tlin news|rint |a|er, some
com|ressed clarcoal, some xative, and an
o|en ex|erimental attitude to your resource
material. Tlis |eing any lorm ol surlace tlat
las a texture tlat you nd interesting.
Ve are going to create a drawing lrom
lrottage. Our su|ject is a landsca|e |ecause
landsca|e lends itsell very mucl to tlis
|rocess. Firstly, you need to collect a
num|er ol ru||ings (lrottage) lrom a variety
ol textures tlat you can nd in tle
environment around you. Do tlis |y sim|ly
|utting tle |a|er over tle closen texture
and tlen |lace tle com|ressed clarcoal on
to tle |a|er and ru| it rmly over tle to|. By
doing tlis you will recreate tle texture
underneatl. Do tlis many times over many
dillerent ty|es ol texture as tlis lorms your
resource material lor making tle drawing
tlat will take tle lorm ol a collage (collage is
a |icture wlicl is |uilt u| wlolly or |artly
lrom |ieces ol |a|er or otler materials).
Tlese surlace textures you are creating can
|e regular and geometric or lrom nature.
Ensure you x tle im|ression as soon as you
lave made it to |reserve it. Now you lave
collected your source material you can now
tlink a|out tle next ste| in tlis |rocess.
Tle landsca|e we are going to |roduce
needs to |e researcled. For tlis, you need to
make some |asic sketcles ol tle view you
lave closen. lt would |e uselul to do a|out
lall dozen drawings lrom dillerent
view|oints, giving you a greater cloice ol
su|ject matter wlen you come to do tle
nisled work at lome or in tle studio.
To start, you need to transler one ol your
sketcles to a larger |iece ol |a|er, |reler -
a|ly Al. Tle sketcl you cloose slould lave
a good sense ol de|tl to it. For exam|le it
slould lave a com|osition tlat contains a
clear loreground, middle ground, and
identia|le lorizon. Do tlis in a linear way,
drawing around tle sla|es ol tle areas tlat
occu|y tle landsca|e, creating wlat a||ear
to |e sillouettes around tle o|jects.
You will need to ll in tlese sla|es witl
textures lrom your researcl, to give an
im|ression ol tle landsca|e you created in
your original sketcles. You also miglt nd
tlat you lave to make more lrottage lor
|articular areas in your |icture.
*FDGH<II<; 9?7H9F7C O GHFA<9JI
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*( Transler tle |asic sketcl to an Al |iece ol
|a|er. Ve lave esta|lisled tle |asic
com|osition, and tle s|ace ol tlat
com|osition is well organised on tle |iece
ol |a|er.
+( Take |ieces ol your lrottage and esta|lisl
wlere you would like to use tlem on your
drawing.
,( Always start at tle wlat a||ears to |e tle
lurtlest |oint away in tle |icture wlen you
decide to stick down your rst |ieces ol
lrottage. Tlis is usually tle lorizon or
somewlere in tle sky. For sticking, l would
recommend any ty|e ol |a|er glue.
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-( Start to stick down tle textures you lave
cut or torn to an a||ro|riate sla|e tlat will
rouglly t tle |ackground sla|e in your
drawing.
.( Once you lave layered on tle |ackground
you can move lorward to work on tle middle
ground. lt now |ecomes o|vious wly we
work lrom tle |ack to tle lront in tlis
drawing as it makes covering u| mistakes
easier.
/( Vlen you lave com|leted tle middle
ground you can now move on to tle
loreground and nisl tle drawing. Putting
any nal clanges to it tlat you miglt deem
necessary.
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lt is always wortl s|ending some time
|utting in nal clanges to a lrottage
com|osition. Altlougl working lrom tle
|ack to tle lront ol tle drawing makes it
|ossi|le to rectily mistakes as tle
com|osition develo|s, it is tle nisling
toucles tlat really create a |icture to |e
|roud ol.
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DO`b Hd] g 6<4F6C4@
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Com|ressed clarcoal is very uselul lor
making strong lines and very dark dramatic
tones. Tle next series ol exam|les will
liglliglt low to use tle medium lor tlis
|ur|ose.
Tle drawings use tle negative s|ace way
ol working we encountered in tle Pencils
section, see tle exam|les alter \an Gogl
|eginning on |age 40. Tlis well esta|lisled
metlod entails drawing tle s|ace around
o|jects to esta|lisl tle com|osition. Tle
second stage ol tle drawing requires you to
look analytically at tle nature ol liglt and tle
way it can |e used to descri|e and ex|ress a
scene and mood.
Belore |eginning tle drawing, arrange tle
o|jects on a ta|le.
*( Esta|lisl tle com|osition on tle |icture
|lane, i.e. tle |a|er. You can do tlis |y using
a window mount to lrame tle com|osition
tlat you like |est. A ti| - don`t make it too
com|licated.
+( Start to draw your com|osition lrom tle
edge ol tle |a|er. Draw wlat you see
tlrougl tle window mount. Remem|er tlat
your window mount slould |e in scale to
your drawing otlerwise you will get
distortion. For instance, il your drawing is Al
your window mount slould |e A5. Draw a
line tlat goes over tle to| ol tle o|jects and
oll tle edge ol tle |a|er at tle otler side.
,( Now go |ack to tle starting |oint on tle
otler side ol tle |a|er, and draw a line tlat
descri|es tle |ottom edge ol tle still lile.
Vlat you lave |roduced is an outline ol tle
grou| ol o|jects.
-( Begin to ll in tle sla|e and lorm ol tle
o|jects.
.( At tlis |oint you need to illuminate tle still
lile grou|. Set u| a liglt lrom an acute angle
at one side. Tlis will create a dramatic
atmos|lere |y tlrowing long sladows across
tle grou|.
Draw tle sla|es ol tle sladows using
line. lt is im|ortant tle sladows a||ear as
sla|es tlat exist |otl on and ol tle o|jects.
See tlem as a|stract sla|es. lt will lel| your
understanding il you squint wlen looking at
tle grou|. Tlis action makes seeing tle
sladows easier.
/( Fill in tle sla|es ol tle sladows witl tle
com|ressed clarcoal, making tle sladed
areas into a dense |lack. Tlis will |roduce a
very |lack and wlite contrasting drawing.
0( Smudge tle drawing, eitler |y tonking it
witl a rag or, |relera|ly, |y smearing it witl
your land. Tle resulting |lack and grey tones
will give tle drawing atmos|lere.
1( Ise a good clean |lastic eraser to |ring
|ack tle slar| liglt ellects. Do not |e alraid
to lose some ol tle edges ol tle o|jects in tle
sladows - sucl loss is true to lile and a leature
ol tlis ty|e ol drawing. You do not need to
give all tle detail. Ieave some areas
deli|erately o|scure to allow viewers to |ring
tleir own imagination to tle |iece.
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DO`b Hd] g 6<4F6C4@
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DO`b Hd] g 6<4F6C4@
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Historically dra|ery las |een used lor
centuries |y artists and studied |y students
and artists a||rentices. One las to go no
lurtler tlan tle dra|ery studies ol Ieonardo
da \inci to see it was an integral |art ol tleir
researcl.
Tlere are tlree dra|ery |rojects tlat are a
lundamental to widening our visual literacy,
and com|ressed clarcoal is tle medium tlat
is most a||ro|riate lor tlis.
Vany artists in tle |ast would use dra|ery
as com|ositional device to create an
underlying structure lor tleir work. Tlis
|rocess was devised to guide tle viewer`s eye
tlrougl tle com|osition.
One ol tlese metlods was to create tle
idea ol movement across and tlrougl tle
|icture |lane using certain ellects witl
dra|ery to create tlis illusion. Niclolas
Poussin (l593-l665) and El Greco (l54l-
l6l4) |otl used tlis |rocess very successlully
to ellect tlis illusion. Vlat one must realise
lere is tlat tlese ellects were not |y any
means |eing used naturalistically. lnstead
tley wlere lormal visual constructions to
ellect away lor us to read tle |icture.
*( To make a study ol tlis ty|e ol work one
slould rst lormally set u| your dra|ery still
lile. Do tlis |y getting a large sleet and twist
it tigltly and also loosely around a tall o|ject
(l use an easel lor tlis |ur|ose). By doing tlis
we lave given a sense ol movement to tle still
lile. ln essence, it is tle ty|e ol movement you
would descri|e wlen you see and try to
ex|lain a s|iral staircase. ln setting tle grou|
u| in tlis way, we lave constructed tle idea
ol an u|ward motion.
+( Now set u| to draw witl a large |iece ol
|a|er - tle larger tle |etter lor tlis drawing.
Firstly, draw tle outlines ol tle lolds ol tle
dra|ery using your com|ressed clarcoal.
lmmediately you will see tlat you lave
created tle sense ol movement u| tle
|icture |lane tlrougl tle nature and
direction ol tle line.
,( Ve can now give tle dra|ery a leeling ol
volume tlat will also em|lasise tle sense ol
movement u| tle |icture |lane. Ve do tlis
|y adding tone in a very |articular
constructed way. Tlis |rocess is relerred to as
lront or to| liglting and was used |y tle |re-
Renaissance artists sucl as Cima|ue, and
Duccio. ln tle nisled drawing, tle tone is
a||lied in tle same way as you can see in tle
detail. lt ena|les us to read tle sim|le sense
ol lorm. lt works in tlis way. Tle surlace ol
tle dra|ery tlat a||ears nearest to us is lelt
wlite, and as tle surlace moves away lrom us
and into any recesses you gradually make tle
tone go darker until it reacles |lack at wlat
a||ears to |e tle lurtlest |oint away see
detailed exam|le. Tle illusion ol a slallow
sense ol de|tl is created. As you miglt lave
guessed tlis |rocess is very meclanical and
tleoretical and at tlis |oint can |e executed
witlout looking any lurtler at tle dra|ery
su|ject matter.
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7F4D8FM +
Anotler way ol working witl dra|ery, wlicl
gives a more static ellect and is more or less
tle o||osite to tle |revious a||roacl, in tlat
instead ol movement we create a sense ol
lorm tlat las a weiglt and stillness to it.
Artists would use tlis way ol working to create
an illusion ol mass tlat would reect tle
underlying lorm. Iook at tle exam|le |elow
and also reler to tle works ol Vassacio,
Cezanne, and some ol tle works ol Picasso.
Dra|e a large sleet over a sim|le lorm (a
clair) so it reects tle lorm ol tle o|ject.
Now |roceed to draw tlis using exactly tle
same |rocess as witl tle |revious dra|ery
drawing.
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l34
DO`b Hd] g 6<4F6C4@
HFCAD8 @fC8=@
Trom|e IÒeil means to deceive tle eye, to
create a realistic illusion. Tlere are many ways
to create tlis ellect, |ut one ol tle easiest is
|y cloosing an o|ject tlat is relatively at,
and can |e lung on or lie on a at surlace. ln
tle exam|les, l lave closen a tennis |at and
a gardening glove.
Cloose your su|ject carelully lor tlis. A
lavourite coat dress or o|ject tlat you know
well, sometling tlat wlen langing or lying
at would |resent us witl some lolds. Vlen
you lave closen your o|ject lang it against a
at surlace. Tlis eliminates tle |ro|lem ol
excessive de|tl.
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You need to liglt tle su|ject lrom tle side
to cast a sladow on tle wall |elind tle
su|ject. Do tlis |y using any liglt like an
angle |oise lam|, and directing tle liglt lrom
tle lam| on to your o|ject lrom tle side. Tlis
ty|e ol liglt source is very im|ortant, as tle
way tle liglt illuminates tle su|ject and tle
sladows tlat are cast will create tle Trom|e
IÒeil illusion wlen drawn.
You now need to start your drawing witl
tle com|ressed clarcoal, making rst a linear
drawing as witl tle two |revious drawings, |y
xing your com|osition on tle |a|er as
accurately as |ossi|le and to scale and
|ro|ortion. Tle next |art ol tle drawing is
dillerent to tle last two drawings in tlat it is
|ure and very accurate o|servation, looking
at tone and texture in detail. Pay |articular
attention to minor detail sucl as creases,
|uttons, or lining. See exam|le on |age l34.
Don`t lorget tle cast sladows.
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DO`b Hd] g 6<4F6C4@
HFCAD8 @fC8=@ 7F4K=B; C9 4
;4F78B=B; ;@CJ8
Having drawn out tle com|osition ol tle
gardening glove it is now tle time to locus on
tle com|lexities ol tle textures tlat glove
contains. ln tle lollowing exam|les l lave
|roken it down to a series ol close
o|servations ol tle way tle glove las |een
manulactured or constructed.
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*( At tle o|ening end ol tle glove we are rst
conlronted witl a lem ty|e stitcl, wlicl
makes tle |order ol tle glove. Tlis is
constructed |y making a small clannel using
two |arallel lines tlat lollow tle contoured
edge ol tle glove. ln tlis clannel we now
|lace tle |attern ol tle stitcl, and tlis
consists ol a series ol diagonal lines tlat go
one way. ln tle s|aces tlat are created |y tle
lines we now |lace anotler series ol marks
tlat go in tle o||osite direction to im|ly tle
com|letion ol tlis texture.
+( Ve can now |egin to o|serve tle texture ol
tle next section ol tle glove, and tlis takes
tle sla|e ol anotler |and tlat is o|viously a
lot wider tlan tle rst |and, so lere we lave
to take into account tle relative textural
|ro|ortions ol tle glove. Tlis |and again
lollows tle contours and tle lorm ol tle
glove, and tle texture is constructed |y using
a series ol diagonal lines.
,( ln tlis exam|le we o|serve tlat tlere is
now a smaller |and tlat again is lollowing tle
contours ol tle glove. Tlis |and is a|out tle
same |ro|ortion as tle rst |and |ut tle
texture is very dillerent. Ve see tlat tle mark
to create tlis texture is a series ol dots tlat
clange in tle angle ol |lacement, as tle
nature ol tle lorm ol tle glove clanges its
angles.
-( ln tlis exam|le we can see tlat we now are
creating a series ol rows ol textures tlat give
tle im|ression ol a lerring|one texture. Tlis
is created |y |utting two rows ol tle same
|ro|ortions togetler, still lollowing tle
contours and tle lorm ol tle glove. Tlen we
|lace in tle to| |and a series ol diagonal lines
tlat o||ose our rst series ol diagonal lines,
and in tle next |and we |lace anotler series
ol diagonal lines tlat also o||ose tle lines
a|ove. Tlis creates tle lerring|one texture
and |attern tlat is an essential textural leature
lor tlis o|ject. Inderneatl tlis is a small |and
ol dots tlat we did in g 3, and tlen you will
re|eat tle lerring|one texture again.
.( Tlis section ol tle glove is nisled oll |y a
dillerent ty|e ol stitcl. Again we o|serve tlat
it is a |and tlat is a|out twice as tlick as tle
smaller |and. lt is constructed |y |lacing
togetler a series ol over-la||ing lorsesloe
sla|es, and in tle centre ol tlese sla|es we
lave |laced a num|er ol lateral marks to give
tle im|ression ol tle stitcl.
/( ln tlis section ol tle glove we see a re|eat
ol wlat we lave just drawn in terms ol tle
texture. However, tle wlole direction and
tle structure ol tle texture and tle lorm ol
tle glove lave clanged. Tle only added
textural stitcles are tle lour lines. Tlese
consist ol little arced ty|e marks tlat join to
lorm tle line tlat lollows tle contours and
tle lorm ol tle glove. Tle main lerring|one
texture ol tle glove slould |e re|eated in tle
ngers ol tle glove to com|lete tlis textural
|art ol tle o|servation.
0( Ve now move lrom tle cotton |art ol tle
glove to tle |rotective leatler |art and we
examine low we lave made our o|servations
lor tlis material. ln tle drawing ol tle
com|osition you slould lave drawn out tle
areas ol and dened tle leatler |arts ol tle
glove, and tle drawing ol tlis material will |e
very dillerent to tle drawing ol tle cotton
|arts ol tle glove. Vlen a||lying our
teclniques to tle cotton |arts ol tle glove
tle drawing was created in a very constructed
way, wlereas lere lor tle leatler tle drawing
is more organic in its a||roacl and low we
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l38
inter|ret tle texture. Tle texture ol tle
leatler is created |y scrawling tle
com|ressed clarcoal medium over tle
surlace ol tle |a|er, a||lying varying
|ressures as you go so as to give a variety ol
weiglt to tle mark. Tlere is lowever, a small-
added |iece ol texture to tlis section, wlicl
las a constructed lormula to it. Tlis is slown
|y a row ol stitcles, wlicl creates a line tlat
lollows tle lorm ol tle glove.
Finally, to nisl tlis drawing one needs to
|ut sladows over tle to| ol tle texture tlat
are created |y tle direction ol tle liglt source
tlat we originally |laced over tle su|ject.
Remem|er also to |ut on tle sladows tlat
are cast on tle |ackground tlat your su|ject
lies on, as tlis is vitally im|ortant in creating
tle Trom|e IÒeil ellect.
Tle tennis |at is anotler exam|le ol tle
Trom|e IÒeil and as we can see lere it las
|e constructed in tle same way as tle
gardening glove.
Firstly draw out tle com|osition ol tle |at
as we lave done witl tle otler su|jects tlat
we lave tackled. Once you lave tle
com|osition rmly xed on your |a|er you
can now |egin to contem|late tle textural
qualities ol tle su|ject.
*( Tle stringing ol tle |at is constructed |y a
series ol marks tlat im|lies tle woven
tension in tlis section ol tle drawing. Tle
direction ol tle marks gives us tle tiglt
woven im|ression.
+( Tle construction ol tle lead ol tle |at is
made lrom wood tlat las |een lormed |y
com|ressing tle material togetler to make
DO`b Hd] g 6<4F6C4@
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l39
tlis unusual structure, and tlis is im|lied |y
tle tigltly com|ressed marks tlat are in tle
lorm ol lines tlat lollow tle sla|e and lorm ol
tle lead ol tle |at.
,(-( Tle landle ol tle |at las |een |ainted
and tlerelore its surlace is at |ut
nevertleless it las a sliny quality to it wlicl
is im|lied |y tle tonal as|ect ol tle drawing.
Tlere are also gra|lic elements on tle
surlace ol tle landle, wlicl must |e co|ied
as accurately as |ossi|le. At tle |ase ol tle
landle, we lave tle leatler gri|. Tlis material
las |een wound around tlis |art ol tle |at to
lorm a |attern. Draw tlis |attern |elore you
|ut in tle textured marks. Tle marks tlat
im|ly tle gri| ol tle |at are made |y rows ol
dots tlat lollow tle winding |attern ol tle
leatler material.
Now you lave in |lace all tle textural
relerences you can now |ut tle tone
o|servations over tle to| |utting in tle
im|ortant sladow ellects to create tle tlree
dimensional illusion tlat is Trom|e IÒeil.
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K=@@CK 6<4F6C4@
Villow clarcoal is a very good medium lor
|roducing strong |ut uid line drawings.
Vlen we are using line, we must lave a clear
view ol our aims and o|jectives. Tlis is true
ol any ty|e ol drawing, ol course, |ut line
does oller so many dillerent ways lor us to
ex|ress our ideas. One ol tle most enigmatic
tlings a|out line is tlat it is a |ure meta|lor
(a meta|lor is sometling tlat acts lor
sometling else). Artists wlo |aint relerence
colour, and artists wlo scul|t relerence lorm
or sla|e. Iine is a |ure visual language tlat
we can use eitler ex|ressively or analytically
relative to our o|servations.
*(- ln gure l you can see tlat two lines lave
|een drawn o||osite eacl otler. Taken
togetler, tlese two lines give tle im|ression
ol a concaved sla|e. Vlen tlis ty|e ol line is
used to descri|e reality, as in gure 4, it
|ecomes a||arent tlat, altlougl you lave
drawn or co|ied wlat you lave seen, tle end
result does not necessarily descri|e wlat is
tlere.
+(. Here again we lave tle same |ro|lem,
one line tlat im|lies a concave and tle otler
line im|lying a convex. Vlen we a||ly tlis to
reality, or we draw wlat we see (as in gure
5), we sense tlat tle illusion is not working.
,(/ ln gure 3 we see two lines tlat im|ly
convex edges ol a lorm. Tlese two lines
working o||osite eacl otler now |egin to
im|ly tle illusion ol an ovoid lorm tlat is
|usling tlem out. ll you now look at gure
6, you can see tlat tle area ol tle neck las a
sense ol lorm and volume. Tlis is due to tle
use ol convex lines tlat work in tandem witl
eacl otler.
0(1 Tlese two lurtler com|arisons liglliglt
tlis |lenomenon. Figure is a drawing ol a
lead and torso drawn very literally, as we
miglt see it. ln otler words, we lave drawn
tle trutl. However, art is a lie tlat ena|les us
to see tle trutl`, said Picasso. Tle dotted
lines liglliglt tle concave areas on tle
gure, and il drawn in a concave way tle
sense ol volume is denied.
ln gure 8 we see tle same gure in tle
same |ose |ut drawn witl lines tlat are
convex. Tlese lines |reak into tle gure,
creating tle idea ol overla|. Tlis system ol
drawing gives an illusion ol lorm and volume
in s|ace. Tlis is very mucl low artists sucl as
Viclelangelo, Ieonardo, Ru|ens, and otlers
would use line as a meta|lor to create tle
illusion ol lorm and volume in s|ace.
GID8F9=6=4@ AIG6@8
Tlis drawing ol tle wlole gure (see |age
l42) goes mucl lurtler tlan tle |ure outline
ol tle |revious illustrations.
ln tle |revious illustrations, tle lorm is
only suggested |y tle convex outlines, |ut in
tlis drawing tle su|ercial muscle - i.e. tle
muscle tlat lies just |elow tle surlace ol tle
skin - is not only im|lied |ut also drawn
mucl more conclusively.
ln tle next illustration (see |age l42) we
can see tlat tle artist Egon Scliele las used
tle line to ex|ress tle o||osite ellect to tlat
ol lrailty and lragility. He las done tlis |y
|utting less ol an em|lasis on tle convex and
more ol an em|lasis on tle concave lines. Ve
can immediately see tlat tle lorm in tlese
circumstances tends to |e denied. Tlis,
lowever, does not make one drawing |etter
tlan tle otler. Botl are ex|ressions ol wlat
5@CCFL 9?7H9F7C O GHFA<9JI
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l42
DO`b Hd] g 6<4F6C4@
EQN \^YN[hLRJU V^\LUN&
6[J`RWP JO]N[ 7PXW DLQRNUN `R]Q
NVYQJ\R\ XW LXWLJ_N URWN\&
CRPQ]2 3O]N[ C^KNW\&
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DO`b Hd] g 6<4F6C4@
tle artist wanted.
H<8 =B6=G87 @=B8
Tle incised line is a line tlat seems to cut
across tle |a|er im|lying a sense ol
direction. lt is made |y using tle clarcoal on
its side to make tlis |recise line. Tlis metlod
ol drawing not only |icks u| tle dynamics ol
direction tlrougl tle outline ol tle gure,
|ut at tle same time it inlorms us ol tle
clanging |lanes ol tle lorm witlin tle
gures.
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DO`b Hd] g 6<4F6C4@
|reviously suggested. Pose tle model again
and make a lurtler drawing over tle rst
drawing, and re|eat tlis |rocess again. On
tle tlird drawing you will start to |ecome
lost and a sense ol conlusion will |e wlat you
are leeling. Tlis is a sensation tlat we want to
create, as it is only wlen you are lost tlat tle
)J&
ACJ8A8BH
ln tlis next series ol drawings, tle medium ol
clarcoal will |e used to slow an ex|ression
ol movement.
*O(*P Place a num|er ol drawings ol
dillerent |oses one over tle otler as seen in
tle illustration. Pose tle model, make tle
drawing ol tle model using outline as
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drawing can |e lound. Tlis is a very uselul
drawing lor students as it lel|s to develo| an
a|stract sensi|ility. Vlat we lave created
lere lor tle artist is a very im|ortant state ol
mind, as you can now develo| tle drawing`s
|otential as an a|stract |iece. One way ol
doing tlis is to take a small window mount
and start to |lace it over areas ol tle drawing.
You will nd tlat interesting develo|ments
a||ear lor you to make larger drawings lrom.
)K&
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*Q( As witl tle rst drawing on
movement, take a window mount and |lace
it over tle drawing to create new dynamic
a|stract com|ositions. From tlese
discoveries you can make larger exciting
drawings.
DO`b Hd] g 6<4F6C4@
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6ADDGM ;@8I;G8D P HIGB=;KJ
*&
+( lnstruct tle model to move tlrougl a
series ol actions, lor instance walking tlen
|ending. Vlile you are doing tle drawing,
tle model slould re|eat tlese movements at
tle same |ace. Start your rst drawing at a
very slow |ace. As you get used to tle
metlod ol drawing, you can tlen s|eed u|.
Remem|er you are not drawing tle model
|ut tle action. Vlat you are trying to draw,
using line, is a continuous ow tlat gives a
sense ol tle action ol tle model as tley move
tlrougl s|ace and time. Tle |est ty|e ol line
to use lor tlis is wlat artists call continuous
line`. Tlis in ellect means tlat you do not
take tle clarcoal oll tle |a|er as you are
making tle drawing. However, you slould
allow lor dillerent weiglts ol mark tlat
ex|ress movement |otl across and into tle
|icture |lane.
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H<8 ACJ=B; J=8K
Belore tle l900s artists would realise tle
world lrom one |oint or view. Tle viewer
would |e |resented witl tlat view and would
understand tle scene lrom tlat |ers|ective.
Tlis was a traditional way ol |resenting our
understanding ol tle world two
dimensionally tlat lad |een used lor
centuries in a western cultural ideal.
However, our attitudes |egan to clange at
tle |eginning ol tle 20tl century, and otler
ways ol seeing |egan to |e ex|lored. Our
attitude to tle one |oint view |egan to
clange. Artists sucl as Picasso and Braque
|egan to ex|eriment witl multi|le views ol
tle same su|ject on tle same |icture |lane.
Vlat tley intended to do was to |resent a
view ol reality along witl anotler view ol tle
same reality on tle same |iece ol |a|er.
Hence tle |irtl ol Cu|ism.
Tle moving view is tle |erlect way lor us
to extend our understanding ol tle world
visually using tle medium ol willow clarcoal.
*O( Set a sim|le still lile u| on a ta|le or a
|oard tlat you can easily rotate or move
around to take u| dillerent |ositions. Tle
DO`b Hd] g 6<4F6C4@
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o|jects you cloose lor your still lile slould
lave |asic lormal dillerent claracteristics.
Position one ol tle o|jects in tle grou| in a
central |osition, tlis is lor relerence reasons
in tle lollowing drawings.
*P( Take u| your rst |osition and tlen draw
your still lile alter tle manner ol tle negative
s|ace drawing, locating your com|osition
tlrougl tle window mount.
)K&
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DO`b Hd] g 6<4F6C4@
*Q(*R Tle next |art ol tle drawing is to move
your |osition or turn your still lile around on
tle ta|le so we are now looking at tle grou|
lrom tle side. Start your second drawing over
tle to| ol tle same drawing using tle central
o|ject now as your relerence |oint to
com|ose your drawing. Tlis |oint will |e
your main |oint ol de|arture lor your next
drawing, as it will lel| you as tle drawing
develo|s and |ecomes more com|lex.
Re|eat lor a nal time so tlat your last
drawing as it were was lrom tle |ack view.
Vlen you lave nisled you will lave tlree
linear drawings lrom tle same still lile done
over tle to| ol eacl otler.
*S( Ve can now |egin to take lrom tlis
drawing tle visual |otential it las to oller as
witl tle |revious drawings in tlis section.
One way to do tlis is to take tle window
mount and |lace it over tle drawing in
dillerent |laces until you nd an interesting
com|osition tlat you would like to
trans|ose. Once you lave made your larger
co|y ol tlis section you can now |egin to
slade tle drawing in as we lave slown you
in tle |encil section - tle drawing alter
Cezanne Iandsca|e.
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Scene |ainter`s clarcoal is very uselul lor
very large line drawings or covering very
large areas ol tone quickly. ln tlis |roject, we
are going to use it in conjunction witl willow
clarcoal to create a reduction tone drawing.
*( Take your Al sleet ol drawing |a|er
and using your scene |ainters clarcoal cover
tle wlole sleet ol |a|er so it is |lack all
over.
You now need a good strong |lastic
eraser to take out tle clarcoal to reveal tle
liglt. lt is |ro|a|ly a very good idea to
illuminate tle still lile as we lave done lere
witl tle oral arrangement.
Vlen you start to ru| out tle liglt areas
don`t |e too |articular il you ru| out too
mucl as we can work |ack into tle drawing
at a later stage witl tle ner clarcoal to
|ring |ack tle detail. However, one slould
try to make tle area as clean and as liglt as
|ossi|le to give a good sense ol contrast.
Vlen you are la||y tlat you lave removed
tle main liglt areas, you can now tlink
a|out working |ack into tle drawing witl
tle ner willow clarcoal |ringing a more
accurate rendering ol tle liglt and dark
tones. ln addition, give attention to textural
and otler detail wlere necessary. Vlen you
lave nisled tle drawing, as witl all
clarcoal drawings, you must remem|er to
x tlem.
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=BHFC7I6H=CB
ll you are an artist ol tle rst kind, one wlo
wants too mucl control over tle |rocesses,
you will nd tlis section ol tle |ook
clallenging. lnk in its most uid lorm and
used in conjunction witl non-traditional
a||licators will ex|ose you to tle ex|erience
ol letting tle |rocesses and tle nature ol tle
medium |e your guide. Tlis a||roacl may
|ring you unwittingly to satislactory visual
conclusions tlat you would never lave
entertained in your work |reviously. You will
nd, lowever, tlat your innate sense ol
control will always act as a salety net and sto|
tle |rocesses getting com|letely out ol
control. Tlis is exactly tle ty|e ol |alance we
slould |e striving lor as artists. l do not seek
l nd`, said Picasso.
ll, on tle otler land, you are a more
emotional kind ol artist wlo sometimes
|ecomes lrustrated |ecause you lave a
|ro|ensity to allow tle |rocess to run away
witl you, and tle results usually end in a
mess, you will nd exercises to cur| your
excesses. lnk will oller you tle tiglt,
controlled ellect tlat you may sometimes
leel is lacking in your drawing. ll you are in
tlis category my advice is to start your
drawing witl tle lreedom you leel is
necessary to your style - one cannot deny tle
instinctive ow, it comes naturally. l would
do a wasl drawing - a landsca|e would |e a
good cloice ol su|ject - witl ink and a at-
leaded |rusl. Tlis com|ination will allow
your instinctive creative energy to |e
released into tle drawing. lt is now time to
|ring tlat element ol control or detail into
tle drawing tlat gives it tlat mucl needed
sense ol |alance tlat we lave talked a|out
|reviously. To do tlis take a rotring |en or a
di| |en and |ut in tle ne detail over tle
lreer wasl drawing to give it tle contrasting
sense ol tension. Ve call tlis a||roacl
working lrom tle general to tle s|ecic.
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Drawing witl ink is tle most exciting
drawing material in my view. Altlougl |encil
and clarcoal lave certain attri|utes and
claracteristics, drawing witl ink is so mucl
more demanding and at tle same time
versatile. Tle very nature ol tle ink as a
su|stance and tle multi|le ways tlat it can
|e a||lied as a medium gives it a wider
s|ectrum ol use |otl in traditional and
ex|erimental ways. Personally, l lave lound
tlat working witl ink can lel| correct our
weaknesses and enlance our strengtls.
Artists tend to develo| traits and tlese tend
to lall into two ty|es. Ve can |e artists wlo
are very mucl controlled |y our intellect or
tlinking |rocesses, and use our materials
accordingly. Alternatively, we can lunction
|y allowing tle |rocesses to take us to a
visual conclusion tlat is lurnisled |y a more
emotional, ex|ressive a||roacl. Eacl one ol
tlese ways ol working las to lave a |it ol tle
otler in it to |ring a|out some lorm ol
aestletic order. lnk is a medium tlat allows
tlese innate qualities to ourisl.
Tlis cla|ter slould not only introduce
you to tle medium ol ink drawing witl its
traditional uses and its more ex|erimental
a||roacles, |ut it slould also give you tle
o||ortunity to adjust your attitude towards
your work. Tlis in turn will |roaden your
visual acumen.
=B? 4B7 CH<8F A4H8F=4@G
Clinese or lndian ink are tle most widely
used inks lor drawing |ur|oses, including
teclnical drawing, |rusl drawing,
calligra|ly, wasles, and otler ceremonial
uses.
Formulas lor making ink may |e lound in
s|ecic |ooks, |ut |asically it is tle soot ol
|urnt resin or clerry |its mixed witl an
aqueous |inder (a solution ol gum water).
Tlis is ground togetler on a mar|le sla| and
made into a |aste, wlicl is tlen sla|ed into
sticks and allowed to dry. To make tle ink,
tle stick is tlen ru||ed onto an ink stone or
ground glass. Tlis is a stone or a |iece ol
glass tlat las a ne textured surlace, and
wlen tle ink stick is ru||ed against it, it
leaves a residue. Tle residue is |laced in a
slallow |owl and slowly mixed witl distilled
water until tle riglt amount ol liquid ink is
made to tle riglt strengtl.
However, |ottled lndian ink can |e
|rouglt lrom any art su||liers and needs no
|re|aration. lt is |ure |lack and |ermanent
wlen dry. Tle ink can also |e diluted witl
water to |roduce wasles.
Bistre ink, wlicl was commonly used in
Euro|e |etween tle l6tl and l8tl centuries,
comes in dillerent colours tlat range lrom
|ale yellowisl |rowns to dark |lackisl
|rowns. Bistre is made lrom soot containing
wood tar. Otler tones ol colour can |e
o|tained |y using dillerent woods. By taking
tle soot lrom dillerent levels ol tle clarring
one can vary tle intensity ol tle tone.
Because ol its strengtl, tlis ty|e ol ink is
most a||ro|riate lor use in wasles.
Rem|randt was |ossi|ly tle |est-known
artist lor using |istre.
Se|ia is o|tained |y mixing |istre witl tle
ink o|tained lrom tle sacs ol squid. Tlis was
wlat Prolessor Seydelmann ol Dresden did
in l8, and in tle |rocess invented a
drawing medium tlat is stronger and darker
tlan |istre.
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Tlere is a vast array ol |ens tlat can |e used
lor many dillerent reasons |y artists. Fi|re
ti| |ens come in many dillerent tlickness`
and dillerent ti| sla|es. Tle |re ti| |en is
a very direct medium and tley are designed
to make very general quick |ut accurate
drawings tlat are lree owing. lt is dilcult
to correct |re ti||ed drawings so mistakes
slould |e taken as a |art ol tle |rocess witl
tlis ty|e ol drawing. Tle ti| ol tlis ty|e ol
|en can |ecome worn quite quickly and tle
slar|ness ol tle mark can |e lost. Tlese
|ens are |est used on strong coated |a|ers
i.e. Bristol |oard. See tle exam|le ol an
artist`s im|ression drawing done witl a |re
ti| |en. Tlese drawings are usually |ro -
duced to give an im|ression to a client ol a
|ro|osed site, and are usually com|leted
witl a lint ol colour. One can get |re ti|
|ens in many colours.
54@@DC=BH D8BG
Ball|oint |ens make a consistent and
|ermanent mark. One can create a dark line
or a liglt line de|ending on tle |ressure.
Ball|oint |ens can |e used lor |otl very
meclanical or very uid drawings. Tley can
also |e used lor making very quick sketcles
and notes and can |e very uselul lor working
in sketcl|ooks. Tle |all|oint can also |e
used on tlinner |a|ers, and like tle |re ti|
|en, it is lard to remedy mistakes.
Remem|er tlat drawing witl tlis ty|e ol
|en is usually ex|loratory in nature so you
slould acce|t your mistakes as a |art and
|arcel ol tle learning |rocess tlat ex|oses
your tlinking |rocedure.
98@H H=D D8BG
Felt ti| |ens come in all dillerent sizes and
sla|ed ti|s like tle |re ti| |ens. Tlese
|ens are |est used lor quick drawings and
sketcles and as witl tle otler |ens
mentioned so lar it is dilcult to correct your
mistakes. Tley also come in many dillerent
colours, and are olten used as calligra|ly
|ens lor signs. Tlere is an exam|le ol a lelt
ti| drawing on |age l85. Here we lave a
drawing tlat reects tle use ol tle dillerent
tlickness ol lelt ti| |ens, and notice tle
o|enness and tle lreedom ol mark used to
create tlis drawing.
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Tlese are more |ersonalised instruments
tlan tle |ens |reviously mentioned, and il
you use a lountain |en you slould not allow
any one else to use it as it wears to your style
ol writing or drawing witl tlat instrument.
Tlese |ens slould only |e used witl non-
water|rool ink. Otlerwise tley will clog u|.
Non-water|rool ink is also uselul lor using
witl |leacl to draw. l lave not given any
illustrations ol marks made witl lountain
|ens |ecause tley are usually associated
witl writing ratler tlan drawing.
F4D=7C;F4D< CF FCHF=B; D8BG
Tle ow ol tle ink in Ra|idogra|l |ens and
Rotring |ens is controlled tlrougl a needle
ty|e tu|e to create a ne denite line. Tle
line |roduced is even and consistent and
ni|s ol dillerent tlickness and grades can |e
o|tained. Tlese |ens are used lor very
accurate drawings and are generally used |y
|rolessionals sucl as Arclitects and
Designers. Drawings are usually done to
scale and are |recise working drawings.
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Tlis is just tle kind ol |roject tlat,
traditionally, tle rotring |en las |een used
lor. Tlere are now soltware |ackages
availa|le tlat ena|le you to |roduce
com|uter-generated |lans, |ut tle |oint ol
tlis exercise is to get you to understand tle
claracteristics ol a |en tlat gives a
controlled ow ol ink tlrougl a needle
|oint.
?Se
*' Fridge/lreezer
+' Cooking lo|
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1' Storage and work to|s
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Di| |ens are so called |ecause unlike tle
otler |ens mentioned tlese |ens do not
su||ly tleir own ow ol ink - tley lave to |e
di||ed into a |ot ol ink |elore tley are a|le
to make a mark.
Va||ing |ens or ni|s are used lor very
ne detail only and ne cross-latcling.
Tle dillerent Gillot ni|s are designed to
give you a more varied line according to tle
angle tlat you lold tle |en, and tle
|ressure you a||ly. Tle ow ol ink to tle
ni| lrom tle di| |en is very dillerent to tle
ow ol otler |ens. lt is less consistent and
tlerelore las to |e continuously di||ed into
tle ink to re|lenisl your su||ly. Di| |ens
can |e used very o|enly and ex|ressively in
tle nature ol mark making or tley can |e
used very nely.
B4HIF4@ D8BG 4B7 4@H8FB4H=J8 A4F?
A4?8FG
Tlis ty|e ol |en is usually made lrom natural
material, as o||osed to manulactured |ens.
Tley can |e cut and laslioned to |roduce a
more |ersonalised mark. Tley are usually
made lrom reed quill or |am|oo, and are
|roduced to make a |roader mark.
However, you can make ni|s lor your own
needs witl a slar| knile, razor |lade or a
quill cutter. One can also make marks witl
otler materials cut into ni|s. Here are a lew
suggestions. A |lastic straw can |e cut and
used as a quill, or a slar|ened matclstick or
a |iece ol twig. Almost anytling can |e ol use
to di| into tle ink to draw witl. So do not |e
alraid to ex|eriment witl your drawing
im|lements.
6RY YNW&
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1<EI" )HKI?<I
l6l
5FIG<8G
To |ut wasles down on tle |a|er wlen
working witl ink usually means tle use ol
|rusles. On tle otler land, we can use tle
|rusl lor wlat we call |rusl drawings.
Tle Clinese and tle Ia|anese still use
|rusles as drawing and writing im|le -
ments. Tle |rusl is also still used in tlese
cultures lor ceremonial |ur|oses. Brusles
are very versatile, and tley are usually made
ol sa|le. Sa|le lair is very consistent and
doesn`t lose its tension in tle mark making
|rocess, s|ringing |ack to its sla|e and
lorm and remaining very lirm wlen
|ressure is exerted. lt is essentially a |rusl
tlat kee|s its |ody and can |e relied u|on
lor consistency wlen you are working witl
it. Sa|le |rusles are ex|ensive to |uy, so it
is wise to look alter tlem. Never leave tlem
standing in ink or water lor any lengtl ol
time and always clean tlem alter use in tle
a||ro|riate solution, lor tle inks we are
using tlat solution would |e water. Vake
sure you dry tlem and tlat you store tlem
carelully so as not to damage tle |ristles. ll
you cannot allord sa|le |rusles tlere are
otler less ex|ensive alternatives. Tlese
|rusles are usually made lrom ox lair,
squirrel lair or some lorm ol syntletic
material. l would also suggest tlat you try
any |rusles you already lave, just to see
wlat ellects you can create witl tlem.
Brusles tlat we lave tired ol and |ut to
one side can olten |e very uselul lor mark
making.
Between |ages l2 and l6 we look at
exam|les ol mark making witl tlree
dillerent ty|es ol |rusl: an Oriental |rusl,
a llat lead |rusl, and a round lead |rusl,
wlicl is a Vestern version ol tle Oriental
|rusl.
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l62
carried around witl you to record your
o|servations, and to gatler inlormation.
Tley come in various sizes lrom A5 to Al,
and you can get various ty|es ol |a|er, lrom
cartridge |a|er or ledger |ond |a|er to
watercolour |a|er.
GHF8H6<=B; D4D8F
ll you intend to work on |a|er using wasles
or a watery solution you need to stretcl
your |a|er rst in order to sto| it |uckling.
Tle |res ol tle |a|er will ex|and wlen
tley come into contact witl water making
tle surlace ol tle |a|er very dilcult to
work on.
Tle |rocess is very sim|le |ut allow
|lenty ol drying time lor your |re|aration.
GbS^ *( Place your |a|er in a tray ol water lor
at least ve minutes or longer. Tlis allows
tle |res ol tle |a|er to ex|and.
GbS^ +( Place tle wet |a|er on your drawing
|oard |ut dam|en tle surlace ol tle |oard
rst.
GbS^ ,( Fix tle |a|er down using gum stri|.
Vet tle gum stri| and |lace it round tle
lour edges ol tle |a|er so tle |iggest
|ro|ortion ol tle ta|e gri|s on tle |a|er.
Do not worry il you see |u||les on tle
|a|er at tlis |oint as tle |a|er will slrink
wlen it dries to a smootl tiglt nisl.
GbS^ -( Ieave a small |ool ol water in tle
middle ol tle |a|er. Tlis ena|les tle outer
edge ol tle |a|er (wlere tle ta|e is) to dry
rst, allowing tle ta|e to x tle |a|er rmly
|elore its starts to slrink. Allow a good lall
a day lor tle |a|er to com|letely dry and
tlen you will lave a smootl surlace to work
on tlat will take water witlout it |uckling.
D4D8F
Tle |a|er you cloose to work u|on slould
|e |rouglt witl tle ty|e ol work and
materials you are going to use it lor in mind.
lnex|ensive |a|ers can |e used lor quick
sketcles, working on tlem witl
manulactured |ens sucl as tle |all|oint,
|re ti|, lelt ti|, and rotring |ens. However,
il you lave sometling s|ecic in mind tlen
you need to cloose your |a|er carelully.
5F=GHC@ 5C4F7
Tlis is a lard wlite |oard tlat is smootl and
is used |y designers lor ne |en work.
Because tlere is no texture and tle |oard is
like tlat ol a laminated surlace it ena|les tle
ty|e ol |ens used |y designers sucl as
rotring |ens to glide across tle surlace ol tle
|a|er and give an accurate line tlat is needed
in some ol tlese drawings.
64FHF=7;8 D4D8F CF @87;8F 5CB7 D4D8F
Tlis is tle commonest lorm ol |a|er lor |en
and ink drawing and is availa|le in a variety
ol surlaces lrom smootl, semi rougl, to
rougl, and it can |e used lor |en, |rusl, and
wasl work. For |rusl and wasl work it is
advisa|le to stretcl tle |a|er (see stretcling
|a|er).
K4H8F6C@CIF D4D8F
Tlese |a|ers are very uselul to use,
|articularly lor |rusl and wasles. Tley do
come in a variety ol tlickness` and weiglts ol
|a|er and dillerent textured nisles. Tley
slould also |e stretcled |elore working on
tlem.
G?8H6<5CC?G
Vlen working witl manulactured |ens
sketcl|ooks are necessary. Tley act as visual
diaries, wlere you can |ut down and record
your rst tlouglts, visual jottings, and notes
lor tle luture. Tley are designed to |e
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Belore correction uids and |en |ecame
widely availa|le on tle market it was very
dilcult to correct a |en, |rusl, and ink
drawing. One used a Clinese wlite, wlicl
was zinc wlite |re|ared |aint tlat was
|ainted over tle ollending area. However,
tle stain lrom tle ink would olten kee|
slowing tlrougl. You could also remove tle
mistake lrom tle |a|er |y using a razor
|lade or a |umice stone. One could only use
tlis metlod il tle |a|er was dura|le
enougl. However we tlanklully lave
modern correction uids and |ens tlat will
cover tle strongest ol marks witlout any
|ro|lems, and tley are |ermanent. Tle |en
can |e used to cover very intricate work and
as a drawing instrument in its own riglt. Tle
a||licator can |e used to cover very large
areas wlere radical clanges are needed in a
drawing.
H<F88 HMD8G C9 7F4K=B; K=H< =B?
5ZSOQV dOaV RÒdW\Ua Some very
interesting results can |e aclieved |y using
lountain |en ink. You must rst stretcl tle
|a|er on wlicl you are a|out to do tle
drawing, tlen cover tle wlole surlace witl a
li|eral coating ol ink. Allow tlis to dry. You
can now |aint dillerent solutions ol |leacl
onto tlis surlace. An im|ortant |oint to
remem|er is tlat tle stronger tle |leacl tle
liglter tle areas will |ecome. Belore
em|arking on tlis teclnique, you slould
make some |ractice drawings to ex|erience
tle unusual ellect rst-land. For exam|les
ol tlis ty|e ol drawing, see |age l99.
VARNlNG: Please remem|er tle lealtl and
salety as|ects wlen using clemicals: always
read and lollow tle guidelines lor use.
DS\% P`caV O\R W\Y RÒdW\Ua For tlis
ty|e ol drawing you slould rst draw tle
com|osition out very ligltly witl |encil.
Vake tle a||ro|riate marks to descri|e tle
scene and tlen correct any mistakes. ll you
are la||y witl tlis initial drawing, go over
tlese marks using your di| |en. Always try to
recreate tle varied use ol mark already
tlere, tlen |roceed to go over tle drawing
witl wasles to give it its tonal |ase.
DS\% W\Y% P`caV O\R Q]``SQbW]\
[ObS`WOZa As in tle |revious section we are
going to use correction materials as a
|ositive element alongside tle otler
materials.
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l65
8LD8F=A8BH4@ A4F? A4?=B; K=H< =B?
Try to a||roacl tlis witlout any
|reconceived ideas a|out wlat tle marks
slould look like, as tlere is no lormula or
reci|e lor tlis way ol working. lt is a way ol
making a |ersonal voca|ulary ol marks tlat
can |e used as relerences lor luture
drawings. l can ex|lain low l made my
exam|les |ut it is very im|ortant tlat you
ex|and u|on tlese and discover your own
natural metlod ol working. You can use any
ty|e ol ink, l used lndian ink. Tle
im|lements used were closen at random,
just to give you exam|les.
*( 4 TSObVS` ]` _cWZZ
Tle rst lew marks lave |een made |y
di||ing tle |ointed end (ie tle non leatlery
end) into tle ink and a||lying it to tle
|a|er. Drag tle end ol tle quill across tle
|a|er, a||lying dillerent |ressures and
moving tle quill in dillerent directions. Tlen
try to make dots witl tle quill end. You will
nd tlat you need to re|lenisl tle ink quite
lrequently lor tlese |rocedures. Now try
di||ing tle leatlery end ol tle quill into tle
ink and work tle ink across tle |a|er |y
dragging allowing tle ink to naturally tlin
out lrom very dark o|aque marks to liglter
tlinner textured marks.
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l66
+( GVO^SR ^WSQS ]T abWQY
l close a |laned |iece ol wood a|out an incl
tlick. At tle end ol tle |iece ol wood l`ve
cut tlree clannels witl a slar| knile making
a row ol jagged teetl. l di||ed tle teetl into
tle ink and tlen made dillerent ty|es ol
marks witl tle wood |y dragging in dillerent
directions and witl dillerent movements
across tle |a|er. You will nd wlen you rst
a||ly tle stick tlat, as witl tle leatler, you
will make a more o|aque line. Tlis will
gradually tlin out to a series ol lines tlat
|ecome less dense in tone as tle ink tlins.
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-EB" D7HB D7B@E>
l6
,( DWSQS ]T R]dZW\U ]` O QW`QcZO` S\R ]T O
^WSQS ]T d]]R
Sim|ly di| tle end ol tle |iece ol wood in
tle ink and im|rint it onto tle |a|er,
creating a sequence ol dots. You will notice
tle dot im|ression lade as tle ink runs out.
-( GbW^^ZW\U P`caV
Tlis |rusl is designed to make a mark
known as sti||ling, a teclnique used in
ceramics, |ainting and decorating as well as
|y ne artists. Di| tle |rusl into tle ink,
tlen wi|e oll tle excess on tle edge ol tle
|ottle. Holding tle |rusl vertically, da| it
onto tle |a|er.
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.( 6]bb]\ PcR
Tle cotton |ud is a very uselul tool lor
drawing witl ink. Stri| tle cotton wool oll
one end ol tle |ud and, using a |air ol
scissors, make a diagonal cut across tle stem
to give a |ointed end. Tlis end can tlen |e
used lor making marks smilar to tle ty|e you
would get witl a regular di| |en. Tle lollow
stem ol tle converted cotton |ud will lold a
certain amount ol ink, just like tle reservoir
ol any |en. However |ecause tle ink in tle
stem is very lree owing, tlis im|lement can
|e used to aclieve a s|latter ellect, |y
making a sta||ing motion. You can also use
tle otler end ol tle cotton |ud. Di| tlis
into tle ink and you can make tlicker
leavier lines or tonal areas varying lrom
|lack to grey.
l68
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l69
/( H]]bVP`caV
Take an old tootl|rusl and di| tlat into tle
ink. Aim it at tle |a|er and tlen |ull your
tlum| over tle |ristles ol tle |rusl, ring
s|eckles ol |aint at tle |a|er. ln tlis way
you can |uild u| areas ol tone out ol tlis
s|eckled ellect. You can also use tle |rusl
to a||ly tle ink as tlougl you were drawing
witl it.
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0( Gb`W\U
Take a lrayed |iece ol string. Ensure tlat tle
lrayed area is quite tougl and resistant. Di|
tlis into tle ink and a||ly it to tle |a|er,
using dillerent land motions to create a
variation ol marks.
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ll
7F4K=B; K=H< GHF=B;
Tlis drawing is |ased in memory and
imagination, two elements tlat are very uselul
resources lor artists to draw u|on.
ll we start at tle to| ol tle drawing, you will
notice tlat l lave used tle string in a twirling
motion to give tle ellects ol leaves.
Sometimes l lave |uilt u| tle tonal areas |y
making tlem darker and sometimes l lave
made areas liglter to give tle ellect ol lorm
and s|ace. Tle trunk ol tle tree las |een
created |y dragging tle |iece ol string u| tle
line ol tle trunk to create tle ellect ol |ark.
Tle grass in tle loreground las |een
|roduced |y dragging tle string in slort
waves in dillerent directions. Tle s|ace in tle
|ackground las |een aclieved |y making just
a lew varied marks to im|ly distance.
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H<8 CF=8BH4@ 5FIG< 4B7 FCIB7 <847
5FIG<
Oriental |rusles are traditional |rusles
used in Clinese and Ia|anese drawing and
calligra|ly. Tle |rusl was traditionally
used |y lolding it vertically to tle |a|er
and making tle marks witl lree rlytlmical
strokes. Tle control in tle mark, and tle
varied weiglt ol mark, are aclieved |y
varying tle |ressure on tle |rusl. Tle
amount ol ink tle |rusl is lolding will also
lave an ellect on tle nature ol tle mark. As
you can see some |rusl strokes are strong
in delinition and some are more textured -
otlers are tonally liglter and more
sensitive. ln tle exam|le slown on |age
l6, notice tle artist`s signature - tlere is
l2
)&
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tle same tension in tle calligra|lic mark.
Altlougl a listory ol mark making is
evident in tlis |rusl work, tle drawings
tlemselves a||ear to |e ex|ressive, and
lave a sense ol movement and natural
rlytlm. Tley are dynamic drawings
governed |y a strict tradition ol mark
making. However, you slould not |e
restricted |y tle traditional a||roacl. Hold
tle |rusl in a way tlat is comlorta|le lor
you and make tle |rusl strokes witlout
any |reconce|tion ol wlat miglt occur.
You will learn most |y taking tlis a||roacl.
ln tle lollowing series ol exam|les you
will see tlat tlere are dillerent degrees ol
lreedom in tle kinds ol marks made.
*( ln tle lirst exam|le, tle mark is loose
and lree-llowing mark witl some control.
Tle marks tlat im|ly leaves or grass are
wlere tle |ody ol tle |rusl is |laced onto
tle surlace ol |a|er and gradually |ulled in
an arcled direction wlilst gradually lilting
tle |ody ol tle |rusl away lrom tle |a|er.
Otler marks to create natural lorms sucl as
grass can |e made |y |utting tle |oint ol
tle |rusl onto tle |a|er and dragging it
across tle surlace lor a slort distance in a
series ol sligltly dillering directions.
You can create a series ol dots |y
|lacing tle end ol tle |rusl onto tle
|a|er. Rows ol vertical and lorizontal
marks can im|ly texture, |erla|s a weave
or a |asket, or could |e used to suggest
windows in a |uilding.
+ " ,( Here tle marks are made sligltly
quicker and im|ly more rlytlm and
lreedom, altlougl tlere is still an element
ol control in tlem.
- " . (overleal) Tle control ol tle |rusl in
tlese exam|les is very limited. Tle
accidental s|illages add to tle dynamics ol
tle calligra|lic ellect (tle lree and
rlytlmi cal treatment ol a drawing).
*&
+&
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For tle exam|les ol s|latter teclnique
slown on tle o||osite |age, l used round
lead |rusles, Oriental |rusles are also
suita|le. Ve can see tlat control in making
tle mark las |een removed, so wlat you
end u| witl is largely de|endant on clance.
Tle accident in making art las |een
|ositively used |y many, or even most, artists
in tleir work, |articularly contem|orary
artists. Ve lave only to look at tle work ol
Iackson Pollock and otler a|stract
ex|ressionists, tle drawings ol Ral|l
Steadman, Riclard Die|enkorn and, in tle
|ast, Rem|randt, Delacroix and Ieonardo da
\inci to nd exam|les ol tlis a||roacl.
To make a s|latter sim|ly load tle |rusl
witl ink, and tlrow tle loaded |rusl at tle
|a|er. You can use any ink. Vlen you rst
attem|t tle teclnique, tle s|latters slould
|e random. However, like Iackson Pollock,
once you |ecome ex|erienced, you can start
to use it witl more direction.
Tle idea |elind tle s|latter teclnique is
tlat it |reaks down tle artist`s |reconceived
notion ol wlat a drawing is and low it can |e
done. You slould nd tlat it |uts you more
in tune witl tle emotional side ol your
creative nature, and lel|s you to ex|and
your a|ility to discover low accident can |e
a means ol ex|ressing an idea or
o|servation. lmagine looking into tle sky at
a cloud lormation and seeing sometling tlat
you recognise as an image. Tlis is a |erlect
analogy ol s|latter teclnique.
l4
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Tle at lead |rusl las |een lundamentally
designed to lay down wasles |ut at tle same
time it is a very uselul tool lor making
|roader marks. Vasles are areas ol tone tlat
are |ut down onto tle |a|er. Tley can range
lrom very liglt, tlin and trans|arent to dark
and o|aque. Vasles can |e used to descri|e
atmos|leric ellects, ty|ically in landsca|e
drawings. Vlen used in tlis way, tley are
usually a||lied very lreely. Sometimes tley
lave a lile ol tleir own wlen tley are s|read
on tle |a|er. You slouldn`t worry a|out tlis,
|ut try to learn low to mani|ulate tle ellect.
To make a wasl, dilute tle ink witl water.
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Tle more water you add tle more
trans|arent and tlinner tle wasl will |e. Tle
wasl is a||lied |y di||ing tle |rusl into tle
ink and a||lying it in an even coat to tle
a||ro|riate area. Vasles can also |e used in
a more lormal way, to create tle illusion ol
lorm. Tlis is done |y a transition ol tone over
tle o|ject, |utting one side ol tle o|ject in
liglt gradually tonally clanging to tle otler
side ol tle o|ject wlicl would |e com|letely
dark. ln tlis ty|e ol work you lave to take
into account tle sladow cast, wlicl is also
dark. You can see an exam|le ol tlis on |age
l8l, wlere a s|lere las |een constructed
using a series ol wasles. A series ol |road
marks made |y tle at lead |rusl are slown
on |age l. Tlese marks are made |y
dragging, twirling and sti||ling witl tle edge
ol tle |rusl. Tlese are just a lew exam|les As
witl all ex|erimental mark making you
slould try to ex|and your re|ertoire |y
ex|erimenting witl low you use tle |rusl.
K8H =BHC K8H
Anotler way ol using tle at lead |rusl and
otler |rusles is to |aint wet into wet. Tlis is
a |rocess wlicl again las its own |eautilul
lile lorce. To make a wet into wet mark,
dam|en your |a|er (tle wetter tle |a|er is
tle more tle mark will s|read ol its own
accord).
*( A wet area las |een lelt on tle |a|er. Tle
ink-loaded |rusl las tlen |een allowed to
toucl tlis wet area to create a ower-like
s|reading ellect. Eitler a round lead or
Oriental |rusl can |e used to aclieve tlis.
+( Tle |a|er is not as wet as in tle |revious
exam|le, |ut tle same |rusl is used. Tle
|a|er las |een toucled re|eatedly. Iines
lave also |een drawn across tle |a|er. You
can o|serve tlat tle s|reading is not so
radical as in *.
,( Tle at lead |rusl las |een used lere,
and tle conditions are tle same as in +
exce|t tlat we lave immediately |lotted tle
drawing witl anotler |iece ol |a|er to sto|
tle ink s|reading.
-( Tle |a|er is not as wet as in tle |revious
exam|les and is only dam|. Tle at lead
|rusl loaded witl ink las |een |laced on tle
|a|er on its at |road side to make tle
marks. You can see tlat tle s|read ol ink is
very limited and more congealed. Tlese
ty|es ol marks slould |e used to im|ly
textures or o|jects sucl as owers.
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As witl some ol tle earlier exam|les in tle
|revious sections l lave lere slown otler
metlods using dillerent |en, ink and |rusl
teclniques to create tle illusion ol lorm on a
two dimensional surlace.
Tle rst metlod l lave used em|loys a
at lead |rusl and a series ol wasles to give
tle illusion ol a s|lere. Firstly draw tle
s|lere outline and lorizon line at tle |ack
to create tle com|osition. Draw also tle
sla|e ol tle sladow. Start |y using tle
lndian ink in tle most dark and o|aque
areas, tlat |eing tle sladow, a small |art ol
tle underside ol tle |all and tle area a|ove
tle lorizon line at tle |ack ol tle |all. Dilute
some ol tle lndian ink to create a sligltly
liglter wasl and |lace tlis next to tle dark
area tlat is on tle s|lere, gradually diluting
and s|reading tle tone over tle s|lere until
it |ecomes com|letely liglt at tle o||osite
end.
Tle illusion ol a cu|e is created |y a
controlled s|latter teclnique using a
tootl|rusl. First draw tle cu|e out ligltly
using a |encil, not lorgetting to |ut tle |ack
line in to create tle sense ol s|ace. Tlen
mask out tle areas surrounding tle darkest
side ol tle cu|e, leaving tlat area tle only
area o|en to tle s|lattering. Take tle
tootl|rusl and di| it into tle ink. Vake a
test exam|le rst ol all to ensure a smootl
and consistent area ol ink is a||lied, and
wlen you are la||y witl tle result turn tle
|rocess to tle ex|osed area on your
drawing. Vlen tlis las dried do tle same
witl tle mid tone area |y masking around
tlat and tlen a||lying a mid-tone. Vait lor it
to dry and tle using tle same |rocedure do
tle same lor tle last, and ligltest tone.
Create tle illusion ol a cone |y tle use ol
lront liglt slading witl a ne lelt ti||ed |en
and correction uid. As witl tle otler two
solids draw tle outline witl |encil rst very
ligltly and |lace tle |ack line in. Tle nearest
|oint ol tle cone will |e tle ligltest area and
as tle surlace ol tle cone gradually goes
|ack tle tone will |ecome darker. ln tlis
drawing l lave used correction uid to make
tle liglter area on tle drawing a||ear even
liglter. Tle dark areas lave |een created |y
using a series ol lines tlat lollow tle curve ol
tle lorm. Tlese lines |ecome denser and
darker as tley |egin to reacl tle outside
edge ol tle lorm.
Create tle lorm ol a cylinder |y tle use ol
a ra|idogra|l or rotring |en. Again draw tle
outline ol tle cylinder witl a |encil, and tle
|ack line to create tle s|ace. On one side ol
tle cylinder draw a series ol vertical lines.
Start witl tlem |eing very close togetler
giving tle sense ol a sladow. Gradually
s|ace tle lines out so tle otler side ol tle
cylinder is com|letely wlite. Now re|eat tlis
|rocess on tle to| ol tle cylinder |ut lrom
tle o||osite side - tlis gives tle illusion tlat
tle cylinder is lollow.
Tlese are just a lew ways to create illusions
ol tle 3D ellect. You slould tlink ol otler
metlods tlat miglt |e em|loyed to create
similar illusions, and try tlem out to ex|and
your visual |erce|tions.
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Artists wlo lave |een s|ecially trained olten
create drawings witl tlese |ens. Tlese
|eo|le are usually arclitects wlo lave
studied tle su|ject at university. l am
slowing tlese exam|les as sometling tlat
you miglt as|ire to in tle luture wlen you
lave lad more ex|erience at drawing, ratler
tlan attem|ting tlem now.
l82
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Start tlis drawing |y drawing tle com -
|osition rst witl |encil. Tlat way, il you
make any mistakes you can rectily tlem |y
ru||ing tlem out. To esta|lisl tle
com|osition or tle drawing on tle |a|er,
use your |revious learning. For exam|le, use
tle window mount to lel| you lrame your
|icture. As you look tlrougl tle window on
tle world move it a|out to esta|lisl a
com|osition tlat you are la||y witl. Tlen
draw wlat you see tlrougl tle window on to
your |a|er, |lacing and ma||ing tle o|jects
in tle scene relative to tle |ro|ortions ol tle
|a|er. Tle drawing on tle |a|er slould
mirror exactly wlat is seen tlrougl tle
window mount |ut on a lager scale (see tle
exam|le ol tle rougl |encil sketcl).
Now you lave esta|lisled your
com|osition you can |egin to draw over tle
|encil lines witl a lelt ti| |en tlat is |est lor
making lines. Vitl tlis |en one can also im|ly
tle idea ol texture, as slown in tle drawing
on tle doors ol tle warelouses. One can also
make tonal areas witl tlis |en. ln tle drawing
l lave made tone |y using a series ol |arallel
diagonal lines at tle loot ol tle |uildings to
give a trans|arent im|ression ol glass or slo|
lronts. To give a sense ol tle windy weatler l
lave drawn tle clouds witl a rlytlmical
squiggly line tlat gives tle im|ression ol
movement across tle sky. Plus tle drawn line
wlicl im|lies tle telegra|l wires las |een
1<EI O GHFA<9JI
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drawn as tlougl it too is |eing rattled |y a
gusting wind. Tlis line too is rlytlmical, |ut
it las a dillerent tension to it tlan tle lines
tlat denote tle clouds. Tle railings are drawn
|y one long lorizontal line lor tle to| and a
series ol small vertical lines s|aced evenly.
Tle sea wall is indicated |y drawing a
series ol irregular squares and o|longs tlat
ex|ress a |rick |attern. To draw in tle
windows l lave used a lelt ti| |en tlat las a
square cliselled end to it, and it is tle riglt
|ro|ortion to make just tle scale ol mark tlat
l need to |ut in tle widow tone. Vlere tlere
are lour window |anes l lave made lour
marks witl tlis |en leaving a sliglt ga|
|etween tle marks to indicate tle window
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lrame, and similar witl tle otler windows. ln
tle loreground l lave used a mucl tlicker
|en to make |older and stronger marks so
tley a||ear to come lorward in tle |icture
s|ace. Some ol tlese marks are very regular
and lollow tle lorm ol tle |oats to give tle
im|ression ol tle wooden |lanking tlat tle
|oats are made ol. Otler marks are more lree-
owing to give tle im|ression ol tle sea
la||ing u| to tle slore, and otler areas are
made u| ol dots to give tle im|ression ol tle
|eacl or tle slore. Tle windows on one ol
tle |oats lave |een drawn |y toning tlem in
and just leaving a lew wlite s|aces to give tle
idea ol reection.
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*( Correction uid comes in a small
|lastic |ottle and tle a||licator wlicl is like
a small |rusl is attacled to tle to| ol tle
|ottle. To use tle uid di| tle |rusl into tle
|ottle and tlen a||ly to tle a||ro|riate
area. One usually uses tlis ty|e ol
a||lication to cover larger areas.
+( Correction |ens are made ol tle same
uid |ut tle a||licator is in tle laslion ol a
|all|oint |en. Tlerelore it is more suita|le
lor correcting ne work, and can also |e
used to draw witl, making a wlite line on a
dark |ackground.
,( Clinese wlite is tle traditional lorm ol
correction uid. Clinese wlite is a wlite
water-|ased |aint tlat one a||lies over tle
ollending area using a |rusl. lt is not as good
at covering tle mistake as correction uid.
Following are two drawings done alter
Picasso using correction uid and correction
|en - not as a correction uid |ut as a
drawing tool. As mentioned |elore in
|revious cla|ters, correction materials can
|e used as a |ositive |art ol tle a||lication.
l lave co|ied two drawings |y Picasso. lt`s
standard |ractice lor |eginners to co|y tle
great masters and tlese drawings very mucl
lend tlemselves to tle use ol correction
uids. Start |y cloosing an a||ro|riate
drawing lor tlis |roject. Tle drawing slould
contain liglt and dark contrasts |lus tle use
ol wlite lines over tle dark areas. Set
yoursell u| witl tle materials. Tlis slould
consist ol a |iece ol |a|er tlat las |een
stretcled, |ecause we are going to |ut down
some wasles. You also need a at leaded
|rusl to |ut tle wasles down, a |encil to
ligltly draw tle com|osition, a di| |en,
lndian ink, and some water to dilute tle ink
to make some tlinner wasles.
Start |y taking tle |encil and ligltly
sketcl in a co|y ol your closen artist`s work.
Vlen you lave nisled tlis and you are
la||y witl tle com|osition you can draw
over tlis witl tle di| |en and ink. Alter tlis
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start to |ut in tle tonal areas. Iay tle
darkest tones down rst, lollowed |y tle
tlinner liglter tones. To make tle liglter
tones, |ut a little water in a disl and add
some ink to it, tlen test tle strengtl ol tle
tone you lave made |y |rusling tlis uid
on a |ractice |iece ol |a|er. ll you need it to
|e darker tlen add some more ink. ll you
want it to |e liglter tlen add some more
water. Kee| testing tle strengtl ol your
tones |elore you a||ly tlem to your
drawing. Vlen you are a||lying tlem to
you work your aim is to co|y wlere tle
tones are on tle original drawing. ll you
make some tonal areas too dark your can
liglten tlem |y |utting down a layer ol
correction uid over it. You can cover tle
area very o|aquely and tlen lay anotler
wasl over tle to| again to get it riglt.
Alternatively, one can try to |rusl tle uid
onto tle area in a less o|aque manner so tle
tone underneatl still slows tlrougl and
you lave aclieved tle riglt level ol tone. ll
tle tone you lave |ut down is not dark
enougl tlen you can wait lor it to dry and
tlen |ut a darker tone over it. You slould
now lave a tonal drawing tlat las little or
no evidence ol line as it will lave |een
o|literated |y tle tonal overdrawing. You
are now in tle |osition ol |utting down tle
lines witl |otl tle di| |en and ink and tle
correction |en. Over tle wlite and liglter
areas, draw tle line witl tle |en and ink,
co|ying tle dark lines tlat will slow u| in
contrast against tle liglter areas. ln tle
darker areas start to draw your lined image
witl tle correction |en. Tlis will |roduce a
wlite line tlat will slow u| in contrast witl
tle darker areas. See tle co|ies ol tle
Picassos` tlat l lave done.
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Tle di| |en and ink togetler are very
versatile materials tley can |e used
ex|ressively to |roduce line and tone
drawings. Tlis ty|e ol drawing is sometimes
relerred to as gestural drawing, |ecause it is
quick and a lively ty|e ol drawing. lt is done
witl s|eed, and tends to ca|ture movement
and rlytlm in a drawing as well as lorm. lt
can also |e used as a very controlled lormal
material using line and tone to |roduce very
accurate drawings tlat render lorm - tlese
two styles can |e com|ined in tle one
drawing. ln tle exam|les you can see tle
dillerence |etween tle two ty|es ol
drawing. l lave drawn some details ol tle
|ody. ln tle drawings ol tle lands tle rst
exam|le slows tle gestural a||roacl to tle
drawing. lt las tle a||earance tlat it las
|een drawn very quickly trying to ca|ture
tle structure ol tle land. Tle second
drawing ol tle land las a more controlled
res|onse to tle o|servation. Tle
o|servation is an analytical |reakdown ol tle
land, using a series ol sla|es to ex|ress an
understanding ol tle land. Tle tlird
drawing is a mixture ol tle two styles -
lormal to |rovide a |asic structure to tle
drawing, overlaid |y some gestural drawing
to lel| tle sense ol movement and rlytlm.
*( is a gestural drawing
+( is a very lormal drawing ex|ressing tle
idea ol lorm. Tle crosslatcl, wlicl is a
series ol lines tlat run |arallel to eacl otler
and can |e over laid to |uild u| tle density
ol tone, las |een used on tlis illustration to
ex|ress tle illusion ol tle lorm ol tle lead.
Tle tone las |een |ut wlere you would
normally nd tle tone situated on tle lead.
)&
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1<EI O GHFA<9JI
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ln tle tlird illustration tlere is a mixture ol
styles. Tle same is true lor tle drawings ol
tle loot and tle legs.
*( is tle lormal a||roacl +( is tle gestural
a||roacl, and ,( is tle mixture ol tle two
styles.
l92
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A |en, ink and wasl drawing can |e
a||ro|riate lor any su|ject - still lile,
ligures, interiors - |ut l |elieve it is |est
suited to landsca|e work, |ecause ol tle
atmos|leric ellect one can create witl tle
wasles and tle textural marks one can
make witl tle |en. For tlis landsca|e
drawing, you need to stretcl a |iece ol
watercolour |a|er to a|sor| tle wasles
tlat are going to |e |ut on tle |a|er. You
will also need lndian ink, water, a disl to
mix tle wasles in, a di| |en, a |encil and a
llat-leaded |rusl to a||ly tle wasles. As
witl all tlese drawings cloose your
com|osition using a window mount to lel|
you in tlis decision making. Vlen you are
ready, draw your |icture outline ligltly
using your |encil, drawing tle contours ol
tle land, tle outline ol tle |uildings and
tle trees, and any otler o|jects in tle
scene. Tlen |egin to draw and im|ly tle
textures sucl as tle |rick work on tle
|uildings, tle leaves on tle trees, tle grass
and |lants, tle stone walls and so on.
l93
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.( tle windows in tlis instance
lave lots ol dots tlat give tle
im|ression ol a curtain |elind
tle glass. Vlen you are la||y
tlat tlis is correct, you can tlen
start to work witl tle ink and |en.
/( in tlis illustration tlere is
tle trunk ol a tree and tle
|rancles - a series ol downward
marks gives us tle idea as to wlat
ty|e ol tree it is.
0( tle variety ol lines tell us
a|out tlis llower. At tle |ase ol
tle llower, a lree llowing line
indicates tle ty|e ol leal. Tle
stem is a straiglt line tlat im|lies
tle direction ol tle growtl ol tle
|lant. Vlilst tle circle witl tle
s|ikes |rotruding lrom it tells
a|out low tle |lant looks wlen it
is a|out to seed. Tle otler arced
marks witlin tle circular centre
*( im|lies tle idea ol llowers -
tle mark consists ol a series ol
|uckled circles witl a dot in tle
middle.
+( tlree rows ol stagger squares
gives tle im|ression ol tle stone
work on a cottage.
,( Buncles ol squiggly lines
tlat are |laced close to eacl otler
so as tley overla| gives tle
im|ression ol a ty|e ol tree.
-( tle outline ol a |ost las
|een drawn and tlen lilled in witl
a series ol |arallel straiglt lines.
Tlis gives tle im|ression ol wood
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indicate low it llowers.
1( lere are a series ol marks tlat inlorm
us ol tle structure ol tle climney |ot.
2( a row ol o|longs witl diagonal marks
ol varying density give tle im|ression ol
rellections in glass windows.
*)( a rounded V mark wlicl is |ut
down at random a||ears like a ty|e ol leal.
**( a series ol sla|es to im|ly a stone
wall and |ost are tlen lilled in witl marks
tlat im|ly tle texture ol tle wall. Tonal
crosslatcling las |een added to give tle
illusion ol lorm.
*+( a series ol quickly made directional
lines witl a small llicked mark at tle to|
give us tle visual understanding ol a ty|e ol
grass.
Your aim now witl tle |en is to load it
witl ink. Di| it into tle ink, and in tle lirst
instance make some |ractice marks on
anotler |iece ol |a|er until you aclieve
tle riglt llow ol ink lrom tle |en to create
a steady, even llowing line. Now you can
|egin to draw tle line over tle to| ol your
|encil drawing, re|licating tle marks you
lave made witl tle |encil. Over tle to| ol
1<E" @EB 7E; L7I? ;H7L@E>
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tlis, you now need to lay down tle wasles
using a llat lead |rusl. Tle wasles will give
you tle tonal contrast in tle drawing. l
suggest tlat you start witl tle ligltest tone
lirst |ecause il you do not make tle tone
dark enougl at tle lirst attem|t you can
always add to it to make it darker. ll you
work tle otler way round it is more dillicult
to correct, and you will lave to use
correction lluid to cover u| your mistakes. l
lave closen a landsca|e lor my exam|le as
l tlink landsca|e is very suited to tlis way
ol working witl wasles and |en and ink.
Tle wasles lor tle |icture slould |e mixed
witl water in a disl. Tle more water tlat is
added to tle ink tle tlinner tle wasl will
|e, and tlerelore tle liglter tle tone. So
wlen you lave mixed your lirst wasl try it
out lirst on a |iece ol |a|er, to see il you
lave tle a||ro|riate tone lor tlat section
ol tle drawing tlat you are going to |ut tle
tone too. ln tle lirst exam|le, you can see
tlat tlere are six tonal wasles tlat range
lrom a very liglt trans|arent tone, gradually
getting darker until in tle last tone we lave
a |lack o|aque tone. ln tle next exam|le,
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tlere is a similar tonal transition |ut instead
ol tlese tones |eing se|arate tlere is a
gradual continuous transition. Remem|er
tlat tlis drawing is |ased on tle o|ser -
vation ol tle landsca|e and tlat tle liglt in
tle landsca|e can ra|idly clange so |e
|re|ared lor tle clanging liglt. Vlen you
lave made a commitment to an area in tle
drawing remain witl it or you will |e
lorever clanging it. A good suggestion is to
limit tle amount ol tones tlat you are going
to work witl in tle drawing. Say a range ol
live tones ranging lrom |lack to tle wlite ol
tle |a|er, leaving you witl tlree tones in
tle middle ol varying greys lrom liglt to
dark. One can |re-mix tlese tones to work
quickly ca|turing tle clanging nature ol
tle liglt. Once you are ready to start all you
lave to do is to |ut down tle tones on to|
ol your |en and ink drawing in tle
a||ro|riate area. Vlen l go out landsca|e
working, l tend to take a num|er |re-
stretcled |a|ers to work on to get tle most
out ol tle day`s excursion.
1<E" @EB 7E; L7I? ;H7L@E>
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Tlis is a very striking way ol working, in tlat
it |rings sucl a luminous ellect to tle
drawing. Drawings using tlis medium rely
strongly on tle ellects ol liglt.
For tlis exercise you will need a selection
ol |rusles tlat you tlink are a||ro|riate to
tle marks you need to make. You will also
need to stretcl some |a|er |ecause in tle
rst exam|le we are going to cover tle
surlace ol tle |a|er witl ink. lndian ink will
not do lor tlis work as wlen it dries it
|ecomes water|rool and tlerelore
|ermanent. l use a |roduct called Quink,
wlicl is solu|le in water and does not dry
|ermanent. Vlen |leacl is a||lied it allects
tle ink |y |leacling out tle colour and
leaving a |riglt stain tlat gives tle dynamic
ellect ol liglt against tle dark ol tle ink. Tlis
a||roacl to working is tle o||osite ol wlat
we would normally |e doing - in ellect we are
adding tle liglt ratler tlan adding tle
darker tones.
To start, cover tle |a|er witl ink. For tle
rst trials let it dry. Tlen take tle |leacl and
di| one ol your |rusles in it. Vake some test
marks, tle test marks in my exam|le ratler
look like Clinese calligra|ly. You can
|ractice as mucl as you want |elore you do
a drawing. Get to know tle |otential ol tle
|rocess. However |e aware ol tle lealtl and
salety as|ects ol using sucl materials as
|leacl and lollow tle directions tlat lave
|een |ut on tle |roduct to |rotect yoursell.
ln tle rst drawing ol tle |ortrait l set
tle sitter u| so tlere was a strong liglt
coming lrom one side. Tlis gave me a strong
contrasting tonal su|ject. l tlen di||ed tle
|rusl into tle |leacl and started to draw in
tle strongest areas ol liglt, and like magic
tle liglt and luminosity a||eared. Vlen you
rst do tlis drawing tle ellect is quite
startling, it`s like doing a drawing in reverse.
Vy next ste| was to |ut in tle tones tlat
were ol tle middle range. To do tlis one
dilutes tle |leacl witl water to take away its
strengtl. Practise |elore |utting down tle
next tone on a |iece ol |re|ared |ractice
|a|er so you lave tle riglt strengtl ol mix
to give tle riglt tone. Tle two landsca|es
are done tlrougl tle |ower ol suggestion -
a |rocess l lave mentioned |elore witl tle
images you see in cloud lormations. Tle
same |rocess is a||lied lrom tle |eginning,
and tlat is to lay down tle wasl ol ink in tle
rst instance. However, |elore letting it dry,
|aint wet into wet witl dillerent strengtls ol
|leacl. As a suggestion do tlis in tle area at
tle to| ol your |a|er to suggest tle sky. At
tle |ottom |art ol tle drawing l lave
allowed tle ink to dry to work into it in a
dillerent way giving a contrasting mark in tle
drawing. Otler teclniques l lave used to
make marks in tlis drawing lave |een
s|lattering tle |leacl on to tle |a|er witl a
tootl|rusl, drawing lines witl a di| |en
witl tle |leacl, and laying diluted areas ol
|leacl down to vary tle tonal as|ect ol tle
drawing. As l ex|lained earlier, tlis drawing
las |een done lrom autosuggestion ratler
tlan o|servation. However, tlere is notling
to sto| you lrom doing a drawing in tlis
medium lrom o|servation.
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sideways across tle |a|er getting liglter as it
reacles tle otler end. Tlen tlere is a strange
little star witl leet lollowed |y two lorms
drawn witl line and tlen a squiggly line
drawn down one side to suggest tone. Tlat is
wlat la||ens on tle to| line ol tlis sleet.
Tlere are no lard and last rules tlat a||ly to
making doodles - you just do tlem and enjoy
doing tlem. Ever since man las made lis
mark on tle cave wall or in tle eartl we lave
instinctively jotted tlings down wletler
re|resentational or not. Tlis is just tle
modern day equivalent ol tlat need to make
a mark, and a lot can |e gained lrom it tlat
does not lave |reciousness to it and
sometimes does not lave meaning to it. See it
as a natural ex|erience tlat comes lrom tle
instinctive act ol drawing.
H<8 54@@DC=BH D8B
On tlis |age you will notice a series ol
doodles witl tle |all|oint |en. Starting in tle
to| lelt land corner l will descri|e tle to| line
ol marks, and ex|lain tle ty|e ol marks.
However, |ear in mind tlat many drawings
done witl tlis ty|e ol |en are lrom tle
su|conscious mind and are really scri||les
tlat are made wlilst we slould |e locusing
our attention elsewlere. Ve usually do tlese
drawings in |oring meetings or on tle |lone
|ad wlen we are laving a long conversation
witl someone.
Tle rst mark is a circular scri||led line
tlat |roceeds down. Tle second doodle is a
gestural line drawing ol a lead. Next to tlat
are a series ol small vertical lines, witl a series
ol lorizontal lines crossing tlem. Tlen next
to tlat is an un|roken line tlat moves
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H<8 9=5F8 H=D D8B
On tlis |age tlere is more order to tle
marks. From tle to| lelt tlere are a series ol
dillerent marks tlat lave |een made witl tle
|re |en. Tle rst mark is an o|en squiggle
ol a line tlat las a sense ol rlytlm and
movement to it. lt is a owing line |ut it las a
20l
certain s|eed to it. At tle end ol tle row is a
very similar ty|e ol line |ut it a||ears to |e a
laster line. Tlerelore, two lines tlat are
similar in nature lave a dillerent idea or sense
ol time to tlem. ln tle middle ol tle two
squiggles is a series ol |arallel vertical lines -
one gets sense tlat tlese too lave |een done
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202
quickly suggesting an action to tle mark. At
tle |eginning ol tle next row, tlere are tlree
circular elli|ses tlat lave |een done at s|eed.
Drawing quickly ena|les us to |e more
relaxed and lreer a|out our a||roacl to
drawing. Tlis is a good way ol drawing an
elli|se, lor tle very sim|le reason tlat all
students want to as|ire to |erlection straiglt
away witl one ne |eautilul line. However, il
tlere is any inaccuracy in tle line it is o|vious
to tle viewer tlat it is wrong. ll lowever you
try to ex|ress tle elli|se using a num|er ol
lines tle eye las more o|tions to cloose
lrom and usually tlere will |e one ol tlese
o|tions tlat is riglt. Tlis ena|les us to leel
la||ier witl our attem|t. Tle next series ol
marks slow a series ol diagonal marks in
rows, wlicl im|ly a sense ol direction, and
|attern. Next to tlis is a series ol dots tlat are
made |y sta||ing tle end ol tle |en onto tle
|a|er and tlis creates a textured like surlace.
A num|er ol vertical interlocking curly lines
give us a sense ol intertwined wire like clain
mail. To im|ly a ower draw a s|ot lor tle
centre and tlen make a continuous loo|ing
line around tle outside ol it - and underneatl
tle lead ol tle ower we lave a series ol
closely knitted lines tlat im|ly tle texture ol
a certain ty|e ol leal. Tlen a series ol vertical
lines wlere tle s|acing |ecomes closer to tle
riglt land side gives tle im|ression ol a
gradual tonal clange. Next to tlis is a
continuous line tlat lorms a series ol o|longs
to create wlat a||ears to |e a geometric
s|atial we|. At tle end ol tlis row, tlere are
many quickly drawn lines tlat s|lay out lrom
a central stem giving tle im|ression ol some
ty|e ol natural lorm. At tle start ol tle next
row, we lave ve rows ol sligltly overla||ing
vertical lines - il you look at tlese lines lrom
tle side one gets tle im|ression ol a woven
material, like a |asket. Tlen next to tlat we
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203
lave a set ol wavy lines tlat lollow eacl
otler`s direction to give tle im|ression ol
wood. A|ove tle wood are a series ol
zigzagging lines tlat give a jagged im|ression,
and next to tlat anotler series ol interlocking
squiggly lines tlat im|ly tle sense ol a woven
ty|e ol la|ric. Going down to tle next row it
starts witl a series ol dot-like marks in rows.
ln tle clarcoal section using conte crayon l
remem|er using tlis ty|e ol mark to im|ly
tle texture ol a straw lat. Inderneatl tle
dots is tle al|la|et. l lave always lound tlat
tle image ol a letter is visually very
interesting, and so next to tlis l lave used
letter-like marks to make an interesting ty|e
texture tlat looks as tlougl it moves or
|ulsates across tle |icture surlace. Next to
tlat is a continuous line drawing ol a ower
tlat is done quickly lrom o|servation. Tle
line starts at tle |ottom ol tle stem. lt ra|idly
works its way u| around and across tle sla|e
ol tle leaves. lt tlen |icks u| tle stem again
until it lits tle lead ol tle ower wlere tle
line ows around tle sla|e ol tle |etals,
nisling oll tle lead ol tle ower witl an
intense scri||le. Tle line tlen nally esca|es
into s|ace. Inderneatl tlis is a series ol lines
tlat are drawn in a very direct manner almost
witl a ick ol tle wrist. Tlese are slort lines
tlat travel in dillerent directions. Tlese marks
im|ly tle idea or illusion ol grass. Finally tle
last mark on tle |age is a vertical zigzag line
witl dots |laced into tle s|aces on eitler
side ol tle line. Tlis gives us a clear sense ol a
|attern. And sometimes wlen drawing
textures, |attern can |e an integral |art ol tle
drawing. Iook closely at tle drawing in tle
|ook ol tle garden gloves. Tle descri|tion ol
tle |atterning ol tle texture ol tlese gloves is
integral to tle making ol tlat drawing.
8RK[N ]RY YNW J[]R\]e\ RVY[N\\RXW&
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7=D D8B 4B7 98@H H=D D8B
As witl tle |re ti| |en one must ex|eriment
and lere again we lave a series ol exam|le
marks tlat l lave made using tlese
im|lements. Vitl tle |re ti| |en, l lave
descri|ed in detail wlat tlese marks lave
im|lied. Vitl tle lollowing exam|les (di|
|en, tlin lelt ti| and tlick lelt ti|) l
lave |roduced lor eacl a |age ol dillerent
marks wlicl you slould now |e a|le to
inter|ret. Try to re|licate tlese exam|les,
and ex|and u|on tle mark making witl tlese
materials.
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20
6CB6@IG=CB
Now you lave com|leted all tle exercises in tlis |ook you
will lave gained an overall knowledge ol drawing. You will
lave ex|erienced, and know low to use drawing materials,
you will know wlat materials are |est used lor, and you will
know low to a||roacl your drawing. A|ove all, lowever,
you will lave a clear understanding tlat drawing is a|out
low to communicate your o|servations, your tlouglts, and
your ideas in res|onse to nature and tle world around us.
P V Stanyer.
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253 198;73<3 0996 94

Ra|lael, da \inci, Rem|randt, riglt u| to tle

lunctions on tle edges ol |lanes giving tlem

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