It may sound rather overblown to make the claim above but, it does seem to be invariably true. Yes, of course it depends very much on what you’re looking for, and let’s face it, some of our hobbies and interests are somewhat esoteric in nature but, armed with an open mind and an open eye it’s amazing what you can find. Discount bookstores, like charity shops, are always worth popping into because you never know what they’ve got on offer, and any purchase it thus unexpected and a surprise.
Hence the reason for sharing the above book with you today. I found it quite by chance a couple of weeks ago in just such a store in Chiswick in West London. My good friend Ben mentions it regularly so I thought I’d drop in one day and take a browse. Immediately I saw this book I knew I had to have it, and at four quid it was a steal.
Recently I have been attempting to learn how to get a bit more digital with some of my drawings. A request to design a t-shirt has prompted a flurry of rather uncoordinated activity as I grapple with the process of converting a complex ink drawing into a vectorised artwork for screen printing. Luckily there are myriad guides and tutorials available on-line to assist me in learning the ins and outs of image tracing in Illustrator, and pixel fiddling in Photoshop, all of which have proved invaluable.
I mention this because this learning activity has given rise to a couple of thoughts. Firstly, the whole process of vectorising images would be a whole lot easier if I created drawings better suited to vectorising in the first place. The second is that in order to do that I need to learn some new tricks to apply during the drawing activity which help in the division of an image into dark and light areas and create ways of texturing, when needed, that translate well when making the jump to digital. This is where this book comes in as it is stuffed with information on how to create all manner of drawing details that can apply to the above.
The books author, Robert Gill, is a technical illustrator by trade and the book is full to the brim with his observations, expertise, tricks, hints and learnings, all garnered from a lifetime of experience. There are chapters that cover everything from basic perspective techniques to creating textures, from rendering plants and trees to drawing basic figures. There is even a section on equipment with a great segment covering Rotring technical pens and how to get the best out of them. I love it.
There is one more aspect to why I’m so enamoured by this book, and it is this. Drawing is a lifelong learning experience and something we all want to be better at. Through constant practise and experimentation we do get better at it but, there are times when you need extra input to boost your learning and skills. Since leaving art college and witnessing the transition from analogue to digital media within the design studio environment, I don’t recall being taught or learning anything new relating to analogue drawing techniques, other than what I’ve learned through my own scribbling. What lies behind a persons ability to create images through drawing is a large reservoir of accumulated knowledge covering everything from proportion and perspective, to materials and techniques. Design school stuffed a great mountain of this knowledge into my head many years ago. Outside a formal teaching program we have to add to this learning through self discovery, using practise and experimentation to hone our skills. But there are some things which we need to learn in different ways. This book is just such a tool for this purposes. Pen and ink drawing is one of my favourite drawing styles but, finding an easily accessible reference for learning new techniques has always been hard. This book has most of what I’m after, right in front of me in black and white.
It’s like finally having the analogue equivalent of a cool set of digital plug-ins for Illustrator or Photoshop. I don’t need to use it all the time, copy anything from it or read every page but, it is there to refer to and glean information from whenever I want to consider creating new effects through better mark making. Much of it may seem rather old fashioned but pen and ink drawing is just that, a pen, some ink and a piece of paper, nothing complicated. The complex part is training the soft, organic creature holding the pen and the little grey matter engine that powers it.
Here’s a link to the book, I found it on Amazon here.