Tag Archives: biro drawing

Back to black.

Posted on by Soulcraftcandyman
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On goes the ink.

A catchy title to todays post but, for all music fans out there I’m not going to be offering comment on the great studio album by the late, great Amy Winehouse, though I would say that Tears Dry On Their Own is my favourite track by far. Anyway I digress.

 

As you can see above The TT racer is nearing completion with a healthy dose of inking being done. As the title of the post implies this is very much an exercise in chasing all of the colour washed areas back towards black in the darkest shadows. This has proved quite tricky for a couple of reasons. Firstly it is incredibly easy to get a bit carried away and over do it, so teaching oneself when to stop is a constant challenge. The second reason is more techy in the sense that it’s about the touch of the pen on the drawing surface. Water colour paper is quite heavily textured relative to normal papers and so maintaining a delicate touch across areas is quite hard as you are not engaging with a smooth surface, so the line can be a bit inconsistent. It’s just something you have to get used to and work with. This also catches those little blobs of ink that gather on the pen tip every now and then so constantly cleaning the nib is a must do habit to get into.

 

It is coming together well though and should be finished soon. Then I’ll be able to release the paper from the back board, give it a proper scanning without there being a large bit of wood attached to it, and post it up here. Here’s a close up which reveals some of the dodgy line work.

 

We are all story tellers, Part 1.

Posted on by Soulcraftcandyman
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Old sketch, new life.

In the previous post I alluded to my attempts to find new directions in which to take some, or all, of the drawings that pop out of the studio here. For a long time now there has been a persistent challenge in completing the ink drawings in particular, which has somehow not diminished or been overcome no matter the approach taken. It is that old thorny issue of context. Whether the inability to get this nailed is the result of never being formally trained in illustrative techniques, or some weird hangover from years drawing objects as a product designer I’m not sure. The more I think about it, the more I’m persuaded it’s a combination of things, some of which go right back to when we learn to draw in the first place and how we look at the world we are trying to capture.

 

The connection between ones minds eye and the imagination is a fascinating one and is undoubtedly different in all of us. How we imagine things, scenes, objects and the like also varies within us from moment to moment. When drawing from life one is saved from creating context because, in a way, it’s right there in front of us, and we are able to use some visual editing to eliminate that which we feel is surplus to our requirements. In imaginative drawing this is almost reversed, we must “fill in” first before editing down.

 

What’s this got to do with stories you might ask? Well, part of the success or failure of an imaginative image, I believe, lies in providing enough information to not only hold the eye of the viewer, but also to captivate their imagination in the hope that we allow them to extract as much as possible from the image. In a way we try to tell a story, or at least provide enough to start a story off, to allow the imagination to take us somewhere. Although a fairly simple sounding premise it has taken me some time to work this out in my own mind, which I’d much rather do than read it in some book or other. Because I’m a person who sees objects more than scenes in the minds eye, providing this context is always a struggle. Previous attempts have had mixed success. Shaded geometric shapes have helped to place the image on the page, but no more. Inserting scenes such as horizon lines inhabited with trees and buildings have helped too but run the risk of pulling the central image back towards reality and becoming repetitive. What I wanted to find was a format that would give more flexibility whilst being very much in tune with the language of the images.

 

The little drawing above might give you a fairly clear idea as to where this is going.

 

Engines, old and new.

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Before getting on to the main purpose of todays post, an update on another of the biro drawings, there is just enough time to show you one more of the Cyclomotor drawings unearthed the other day. As you can see this is a colour one and as far as I can remember it was quite a big one, something like A1. What does remain firmly in the memory is how it was done. My tutor at the time insisted we make some of our drawings in colour and as this was a drawing project brushes were out. I had had a small tin of these oil pastels kicking around at home for a few years but had never used them, so this was a perfect opportunity to give them a try. They are called Neocolour by Caran D’Ache and are quite hard in their consistency. They are not at all appropriate for any kind of detail work but for big jobs they rule. They go down quite evenly for a pastel and what is really nice is that you can smudge them in a very controlled way with your finger and blend the colours into each other with some control. I’m wondering if I can use them for some of these bike drawings if I can get the scale up big enough, could be fun.

 

Looking at this old drawing today gives me real pleasure. It represents something that I work constantly to rediscover these days, a kind of naive confidence in the way the drawing is made that lies beyond the bounds of the years of formal training that followed this period of my experience. The errors in perspective and construction seem easily carried by the sheer boldness of the enterprise. I still have some of those pastels somewhere, perhaps it’s time to dig them out.

Drag bike half done

On to the main thrust of the post, oddly a much shorter paragraph, and this is a kind of progress snap shot of the second drag racing picture being worked up in biro. This one is taking a little time as I’m kind of learning as I go. In a break from usual practice this one’s being done on a different paper than usual, Fabriano Drawing Paper, whiter than cartridge with a slightly different texture. It’s a learning exercise as the pen engages with the surface in a softer way which means needing to be much more delicate with any pressure. It also tends to be much harder to hold a crisp line, though having said that it does give shaded areas a looser feel than that achieved with Bristol Board. The big test will be to see how it deals with larger areas of black and the fine feathering used on wheels etc. It is probably better suited to larger drawings where a softer medium can be used like pencil or crayon. I’ll persist though and see how it turns out.