Module 3: Walking the Line – Chapter 1

 

3.1.1. Trying out tools and methods of making a line

All the work is done in an A4 sketchbook, if not otherwise indicated. I bound this stitched book using different sorts of paper, including brown Kraft paper which is slightly smaller than A4. Although the book is nothing special I have felt more comfortable working in it so far than with any purchased sketchbook. 

 

		Making Lines DIASHOW ANZEIGEN ALLE HERUNTERLADEN

 

The cola pen is an idea I picked up in a book by Swiss calligraphist Denise Lach, Schreibspiele (ISBN: 978-3-258-60085-7), with inspiring ideas what to do with handwriting. I found cola pens easy to make and good to use if you sand the edge smooth.

With tools like calligraphy pen, fountain pen and dip pen where pressure does not make such a great difference other than grooves in the paper I found that the speed of the drawing the line can vary the character.

 

3.1.2 Drawings of matchsticks fallen at random

As you can see I did not so much try to draw a perfect image of the matchsticks. I was more interested in the varied character of the lines. The cotton stick in image 16 up left  renders the dark tips and lighter wood of the matchstick nicely.

 

Extra Activity: Drawings of pebbles fallen at random, compositions with different scales

Here also I concentrated on the line rather than on a “correct” drawing. Als I usually tend to draw an image to death, I find this approach liberating.

		Pebbles DIASHOW ANZEIGEN ALLE HERUNTERLADEN

 

In both composite drawings I felt compelled to use a variety of lines – fine pencil lines, calligraphy pen, broad lines made with a chunky graphite stick, a wash of graphite, outlines – for the various scales of the original drawing. In the last drawing (image 27) I made a sort of frame with a coloured pencil.

 

3.1.3 Moods and Feelings in Line

 

The upper drawing was made with black ink and a dip pen on a print. Lower: water soluble wax crayons.	Made with acrylics and the broad side of a credit card,  thin lines made with calligraphy pen. My tomcat had brought in a dead bat from the roof. This gave me the idea for the black heap at the bottom.

  The left drawing was made with charcoal and sanguine, the right with soft pastels. In the left drawing I think the combination of the lines expresses more  than the lines themselves.

  My colleague who saw my sketchbook and was very interested asked me: You are not really in such a bad mood, are you? Fortunately, I was not.