Material Differences
My initial plan was to try and replicate the small thumbnail I had drawn in the previous exercise up to A2 size.
I liked the vibrancy and ‘easiness’ of this picture. I was also very aware that this is one of the first times I have preferred a landscape format rather than a portrait one. I am pleased to be using this for this picture.
I knew taking this image very much larger would present many different challenges. These loose pen marks work on a small sketch of this size, but the relative thickness of the pen compared to the size of the sketched image is closer. Would such a fine pen have a similar impact on a large scale piece of work? What kind of marks would I make to create tone? I am a little wary of just hatching and cross hatching to create tone as I feel it can create lifelessness and predictability in a drawing. Should I opt for a thicker pen so that the relative thickness of that nib is more suited to the bigger drawing? Did I even have a thicker, water soluble pen?
Whilst reflecting on these questions, I drew up the layout to A2. I decided to stay with the fine pen and began putting in tone from the left of the picture so that I would not be dragging my drawing hand over marks I had made.
I chose to make random little scribble marks to create tones rather than using big cross-hatching lines, it gave me more scope to be subtle about how I moved from one tone to another. The cross-hatching can be very formulaic and sometimes there is an obsession about painfully drawing lines at the same angles and the same distances apart. I was aiming for a looser and more enjoyable way of creating tone as I knew there were large areas with various tones to complete. I got to this stage and wondered if I should use the water to blend the tones.
It was now that I decided that I was reluctant to use the water after all. Whilst I had chosen a smooth white paper with the pen marks in mind, it was only around 120gsm. I thought, at this size the paper might not take varying amounts of water in washes very well. I did not want the paper to end up buckling in any way, and besides, I was liking the tone creation effect as it was. As the drawing began to develop I found I liked it more.
I found it was useful to keep pens that were running out of ink and separate those from fuller, newer pens. These pale ones were really effective at helping to create the lighter tones. As I added more to the picture I was able to adjust the relative tones of things I had already drawn.
From the photo I had taken to ensure consistency of light, and consequently, tone, I was able to work out where my eye level was. This information helped me identify whether the lines that formed the edges of the fireplace plinth went slightly up, down or just about straight.
At times I became a little frustrated about how much time this drawing was taking. Initially I had been hoping to create something that, whilst visually accurate was a little less ‘tight’. However, I persevered into the second day.
Ironically, as the tones were so very much lighter on the right side of the drawing, it was finished relatively quickly after that. The lightness and negative space with the white wall and lone picture, counterbalance the darker ranges of tones on the left of the picture.
I do like it, and it is an accurate representation of the corner of the room as I see it.
I was however still keen to just explore what this might look like in a slightly looser style and perhaps even with some colour. As this part was just a personal ‘extra’ enquiry I did not want to spend a lot of time redrawing the picture again. So, I photographed it, and reduced the size to A3 and sent it to print. I then used a lightbox to redraw the essential aspects of the drawing.
I used the Derwent Inktense and Staedtler karat aquarell pencils, but was really disappointed with the effect. I had been right to suspect that the paper might buckle with the water added. That is helpful to know that about this particular paper for future projects and exercises too. Admittedly this was executed really quickly but it definitely looks like a rough sketch than any considered drawing. In light of this, I appreciated my black pen one considerably more.
Reflections following Feedback from Tutor about this exercise
TUTOR: ‘The drawings I like are in the composition interior section and are the sketchbook pen and wash drawings that feature the chair and the living room. The resultant large drawing of the same scene is a good exercise in using graphic drawing notation weakening on the right hand side with the preponderance of white. If it is light outside a window it is going to be darker on the wall beside it and continuing this drawing in this way will improve it’
In light of this helpful feedback from my tutor, I have reworked the final image to take account of his comments. I had not seen this myself, but recognised how the wall should be toned, once it was pointed out. Having began working adding this tone, I also found that there were other areas in the composition that would benefit from the addition of more tone, in particular, shaded areas around the seating.
This is the final image:
In addition to the window behind the settee, there is a whole bank of patio doors facing the lone chair. The light source comes from both of these windows and falls brightly on the chair. There is a little more tone on the edge of the settee we can see as it is at an angle from the patio door windows.
I think, after these revisions there is more ‘substance’ to the image and a greater sense of 3D shapes with these added tonal values.
Value of the exercise
- This was a good exercise to really see objects as shapes and lines that go in particular directions for a particular amount of time, rather than seeing the objects as ‘chairs’ or ‘fireplaces’.
- It was exercise where positive spaces were as important as negative ones in ensuring a good likeness in creating an image of the subject matter.
- To see the importance of tone to help create the sense and understanding of 3d items and spaces on a 2d piece of paper.
What I learned
- I liked creating a relatively busy picture as there were lots of things to relate each line you made to, so that you could check proportions and shapes and spaces as the drawing developed.
- To persevere and be patient with a piece of artwork even when it feels like it is so time consuming and you are not sure if it is working, even as you continue to draw it.
- Be prepared to change your plans if you feel something that you had not anticipated is working ie. not blending the lines with water as originally intended.
- If I am considering using water or paints then make sure that the paper is heavy, absorbant and suitable enough for the task.
- If you have a wondering, and if there is a relatively simple way of exploring it, just give it a go!
- I was pleased to find a way of building up tone with a pen on a large scale that did not rely only on hatching and cross hatching.
Wondering
I would still like to experiment, maybe as an A3 size on thicker, more absorbant paper, with the pen and wash as a medium,, but perhaps on another exercise.
Cathy's OCA Drawing 1 Blog 