Time well spent?

At last, managed to finish the first big scribble drawing last night. At last, because this thing took far, far longer to do than first imagined. Although the style might look quite quick (and it seemed as much at the start) it required a lot of time to move around the drawing, continuously teasing out the many details in order to create the right feeling of depth and movement. It is a very satisfying process but requires a lot of patience. This technique is definitely one where knowing when to stop is an undefined line somewhere amongst the thousands of little bits of shading.

Capturing the little sideways glances of the riders as they vie for supremacy is my favourite bit, although it’s a close run thing between that and the slightly out of focus nature of the image, which lends to the feeling of movement.

Another one has already been started (am I a glutton for punishment?), again using a fine nibbed Steadler 430 biro and an A2 sheet of 220 gsm heavyweight cartridge paper. What with all of the other things I’m playing with it may be a while before an update on its progress can be posted. Watch this space.

Slow progress is still progress.

It’s been a while since the last post and it is great to say that the time was spent doing something incredible. More about that at the bottom of this post my friends.

Although finding the time to sit and draw of an evening can be a challenge when working, the days are long, it’s really only the pace of things that changes. This drawing above has taken some time as a consequence, at least it feels very much like that. When you’re in the groove, getting these things finished has a most satisfying pace to it. If things are a bit rusty or periods between drawing are lengthy and sporadic it’s very much a different story. An apparently inordinate amount of time seems to be spent staring at the page wondering what to do next. And then, when you’re ready to put pen to paper a wave of unfounded nerves descends as if to ask, “are you sure you want to do it like that?”. Known in my lexicon as “scribblers block”, it is a battle royal sometimes to get out of it and break the cycle. One has to accept it and work through it, though it can be a kind of agony at times.

As mentioned elsewhere on the blog, there are lots of little strategies to get over it. Switching between a number of drawings is one, getting a sketch pad out and going nuts for five minutes or so is another. Getting out of the chair and going for a short walk helps too. Whatever you do it becomes easier as time progresses and can even be used to limber up or refresh the mind even when things are going great.

This drawing continues with one of my current themes which is playing with chassis forms which are enclosed or wrapped. Granted it doesn’t allow as much detail to come through from the engine but, this is not an issue frankly. It gives the bikes a cohesive form factor which pleases me greatly. By keeping bodywork shading to a minimum the aim was to get the eye to focus on the stark contrasts that run from right to left. I hope you like it.

You will recognise this other image from the previous post. it’s coming along nicely and work will be continuing apace to finish it soon. It’s a strange thing but this drawing says something different every time one looks at it, particularly as it’s not finished yet. Maybe it will find its voice when done, but then again…….

Now, as promised a quick bit about what work was keeping the author from his doodles. After all this is meant to be a blog as much about making as drawing. Certainly what we’ve been working on fits into the amazing category in my book as it’s been as much a learning experience as just another job. Anyway, my friend Mandy Smith, a modelmaker of considerable skill, and I have been busy making plastic chocolate for an advertising campaign. This strange endeavour has introduced me to the world of resin casting, making silicon moulds and making double castings. At first encounter this process appears quite complex but after initial ignorance is overcome one begins to see that like many things in this field it’s as much about being methodical as much as grasping huge levels of technical knowhow. It was fun and when the time is right there will be something about it featured here on the blog, but currently confidentiality prevents me from showing more. If this tickles your interest and you’d like to learn more about what we do you can visit Mandy’s site here:

 http://cargocollective.com/mandymaker#1656991/About. 

There are some more works in progress to show and tomorrow I want to play with some paint so who knows what the next post will contain.

Two pens are better than one.

Ok, so here’s the final finished version of what’s called Megatwin 1. It took me some time to finish as working on getting all the shaded areas seemed to consume me. Knowing when to stop fiddling with an image can be such a difficult thing to learn, but with practise the end result becomes easier to see earlier, one would hope.

 

Working on this Bristol Board type of paper provides you with a very smooth surface which is ideal for pen work but its smoothness also seems to encourage the ink to flow with only the merest touch of the pen to the surface. Training your hand to almost hover over the drawing whilst shading, maintaining the lightest of touches consistently is quite difficult, not to say quite tiring at times. Thus getting consistency in some of the shaded areas with my usual weapon of choice, a Bic medium point, can be hard. As a way to get around this, and to create a wider variation of tone I have started to use a fine point pen, Bic again the one with the yellow barrel, in conjunction with the medium point pen. Not only does this give me the variations I’m looking for but also means it’s easier to achieve differences in the density and thickness of the cross-hatching. Ultimately you get greater control everywhere and it really helps in bringing out the forms in certain details like the belly pan underneath the engine.