On this page there is more order to the marks. From the top left there are a series of different marks that have been made with the fibre pen. The first mark is an open squiggle of a line that has a sense of rhythm and movement to it. It is a flowing line but it has a certain speed to it. At the end of the row is a very similar type of line but it appears to be a faster line. Therefore, two lines that are similar in nature have a different idea or sense of time to them. In the middle of the two squiggles is a series of parallel vertical lines -one gets sense that these too have been done
quickly suggesting an action to the mark. At the beginning of the next row, there are three circular ellipses that have been done at speed. Drawing quickly enables us to be more relaxed and freer about our approach to drawing. This is a good way of drawing an ellipse, for the very simple reason that all students want to aspire to perfection straight away with one fine beautiful line. However, if there is any inaccuracy in the line it is obvious to the viewer that it is wrong. If however you try to express the ellipse using a number of lines the eye has more options to choose from and usually there will be one of these options that is right. This enables us to feel happier with our attempt. The next series of marks show a series of diagonal marks in rows, which imply a sense of direction, and pattern. Next to this is a series of dots that are made by stabbing the end of the pen onto the paper and this creates a textured like surface.
A number of vertical interlocking curly lines give us a sense of intertwined wire like chain mail. To imply a flower draw a spot for the centre and then make a continuous looping line around the outside of it - and underneath the head of the flower we have a series of closely knitted lines that imply the texture of a certain type of leaf. Then a series of vertical lines where the spacing becomes closer to the right hand side gives the impression of a gradual tonal change. Next to this is a continuous line that forms a series of oblongs to create what appears to be a geometric spatial web. At the end of this row, there are many quickly drawn lines that splay out from a central stem giving the impression of some type of natural form. At the start of the next row, we have five rows of slightly overlapping vertical lines - if you look at these lines from the side one gets the impression of a woven material, like a basket. Then next to that we
have a set of wavy lines that follow each other's direction to give the impression of wood. Above the wood are a series of zigzagging lines that give a jagged impression, and next to that another series of interlocking squiggly lines that imply the sense of a woven type of fabric. Going down to the next row it starts with a series of dot-like marks in rows. In the charcoal section using conte crayon I remember using this type of mark to imply the texture of a straw hat. Underneath the dots is the alphabet. I have always found that the image of a letter is visually very interesting, and so next to this I have used letter-like marks to make an interesting type texture that looks as though it moves or pulsates across the picture surface. Next to that is a continuous line drawing of a flower that is done quickly from observation. The line starts at the bottom of the stem. It rapidly works its way up around and across the shape of the leaves. It then picks up the stem again until it hits the head of the flower where the line flows around the shape of the petals, finishing off the head of the flower with an intense scribble. The line then finally escapes into space. Underneath this is a series of lines that are drawn in a very direct manner almost with a flick of the wrist. These are short lines that travel in different directions. These marks imply the idea or illusion of grass. Finally the last mark on the page is a vertical zigzag line with dots placed into the spaces on either side of the line. This gives us a clear sense of a pattern. And sometimes when drawing textures, pattern can be an integral part of the drawing. Look closely at the drawing in the book of the garden gloves. The description of the patterning of the texture of these gloves is integral to the making of that drawing.
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