If you are an artist of the first kind, one who wants too much control over the processes, you will find this section of the book challenging. Ink in its most fluid form and used in conjunction with non-traditional applicators will expose you to the experience of letting the processes and the nature of the medium be your guide. This approach may bring you unwittingly to satisfactory visual conclusions that you would never have entertained in your work previously. You will find, however, that your innate sense of control will always act as a safety net and stop the processes getting completely out of control. This is exactly the type of balance we should be striving for as artists. 'I do not seek I find', said Picasso.
If, on the other hand, you are a more emotional kind of artist who sometimes becomes frustrated because you have a propensity to allow the process to run away with you, and the results usually end in a mess, you will find exercises to curb your excesses. Ink will offer you the tight, controlled effect that you may sometimes feel is lacking in your drawing. If you are in this category my advice is to start your drawing with the freedom you feel is necessary to your style - one cannot deny the instinctive flow, it comes naturally. I would do a wash drawing - a landscape would be a good choice of subject - with ink and a flat-headed brush. This combination will allow your instinctive creative energy to be released into the drawing. It is now time to bring that element of control or detail into the drawing that gives it that much needed sense of balance that we have talked about previously. To do this take a rotring pen or a dip pen and put in the fine detail over the freer wash drawing to give it the contrasting sense of tension. We call this approach working from the general to the specific.
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