Mark making technniques
1)Holding the drawing implement:
2) Practising with various drawing media
charcoal and conte crayon applied in differing strengths:
compressed charcoal and pastel:
charcoal pencil, black conte and aquarelle:
Fountain pen, biro and water soluble pastel:
wax crayon, oil pastel and felt tip:
Mark making techniques Looking at techniques and materials
Stippling and Hatching
The fireguard in three forms of charcoal:
Line and Other Marks
Line and other marks using other media such as ink and stick, needle and syringe,oil pastel a rubber band as a drawing implement and finger dipped in ink:
Which drawing tools work best for different kinds of mark making?
Holding pens and pencils
Holding the pen near its top produces lighter and less controlled lines.
large gestural marks are variable in thickness, usually curved and sweeping although I did manage some that curled back on themselves.
Pressing on the pen or pencil lightly produces fine light and wobbly lines, pressing hard produces dark, thicker and on the whole straighter lines.
This was a little forced,in my mind in order to doodle it is necessary to think about something else. It was interesting however how the doodles themselves were dictated by the medium in which I was drawing, biro and felt tip producing harsh lines and charcoal, fountain pen and pencil softer lines. I love fountain pen and pencil for their old fashioned qualities, so I am swayed by my present opinions.
Line and Other marks
Mark making techniques
Cross hatching is neat and covers large areas but it necessary to be careful that the direction does not change with the shape of the object unless it is following its curves, as this confuses the eye—but it is probably better to hatch at 90o than all in one direction. I did not find it easy to follow the curvature of a curved object.
Stippling is time consuming but probably good for areas of water where the shade is interspersed with patches of light.
I like the soft block shading of charcoal or pencil which covers large areas quickly and has no defined direction of its own.
Charcoal I don’t like on the whole–it is dirty and smudgy and when you have finished (if it is not smudged all over the page and clothes ) it rubs off onto the next page-I am using hairspray to fix it. THe thin charcoal breaks easily and the thicker compressed charcoal is too thick for smaller pictures (see drawings of fireguard). It is however, good for covering larger areas of paper and can be quite soft and atmospheric, although not good for drawing small detail or very fine lines, its tone can be easily varied with changing pressure. Charcoal pencil is less smudgy and gives greater control.
Line and other marks
Calligraphy pen –I like this, it gives clear clean marks even when split.
Syringe and needle–Splodges making thick and thin marks depending on how fast the syringe plunger is pushed -I enjoyed spreading a spilt area of ink with needle or a twig.
Twigs- I like the marks made both by the firm end of a twig and the fronds of a pine twig, and also the marks made by dipping a rubber band into ink which gave thick regular curved lines and small blocks.
Finger dipped in ink also good in varying size of mark. Also easily made smudges and blurs by pulling the ink with the finger.
The marks made by using wax crayons under pen and ink or pencil crayon are also interesting.
I am not keen on oil pastel or wax crayon because there is insufficient feeling of flow in the medium, although the colours are good.