pencil underdrawing is not needed when working with ink and brush; while it may improve accuracy, it compromises speed and spontaneity.
Wipe the brush to reduce its ink load and add tone to the model's back. Create an uneven texture by using the side of the brush here and in the hair. Fill the black tone of the chair and the deep shadows under the arm with heavier strokes.
Use the tip of the brush to indicate the presence of the chair legs; there's no need to draw them in detail - indeed this would detract from the strong graphic form made by the model's body.
8 Draw the line of the spine very lightly -make a smooth curve, pressing harder onto the paper only at intervals to create a flowing organic shape. Add some light tone to the lower leg to produce a sense of form.
Make several attempts at this drawing, pausing to critique what you have done before moving on. Working with a brush takes time to master; part of the challenge lies with the lack of tactile feedback from the paper.
HlSeven for one
Quick, gestural drawing was used to make seven drawings, each of which took about 10 minutes: the best selected drawing, shown right, is expressive and surprisingly accurate, despite being made up of very few lines. Drawing with a brush emphasizes the beauty of line, and even small variations in pressure create organic variations in its thickness and density.
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