MAGAZINE
PEN AND INK
By: P. Roger Elliott
There is a long tradition of pen and ink drawing, its particular
incisiveness being found useful for recording fine detail. The studies
for the major works executed by Michelangelo and others include a number
of pen and ink studies. With the invention of photomechanical methods of
printing, the pen and ink drawing has taken on a completely new significance,
and we now live in the long shadow of its influence. For the first time,
pen and ink is no longer being used for the planning of larger and more
significant work, but is used to create the finished work itself.
Prior to the invention of photomechanical
printing, the draftsman drew the image on to wooden blocks. These were
then engraved by superlative craftsmen so well that the resultant woodblock,
ready for printing in the books and magazines of the time, almost totally
simulated the character of the original drawing. However, because of the
timely and costly process of engraving in this way and the necessarily
static feeling imparted to the finished work, it was difficult to transmit
the calligraphic feel in the original drawing.
Much finer lines, with closer interstices
are possible than those seen in such results; melting the edges of
lines by drawing on to dampened paper, rubbing the still wet ink to contrast
with the sharper drawn lines will create and suggest further possibilities.
PEN TYPES AND SUPPORTS
Pens are made in a wide variety of sizes and styles and the
supports suitable are of great number. From mapping pens -- extremely fine
nibs developed for cartographers -- to coarse steel, inflexible nibs and
variations in between, all are readily available. The making of pens from
quills and reeds is well worth persevering with, and varying the size of
the nib will result in a great variety of variations. Making use of unlikely
sources of nibs is not to be discounted. Those made for us in lettering
will make a mark fatter, fuller, and more flowing than most of the standard
types. Again, the paper used will affect the appearance of the finished
piece of work.
The range of supports does not necessarily
stop with those available from the artists' supplier. Absorbent surfaces
-- those treated with size -- are sympathetic upon which to make certain
images. Wrapping paper, blotting paper and tracing paper take the ink from
the pen in entirely different ways.
TECHNIQUES
An interesting result can be achieved by making drawings
by means of the offset technique. On a sheet of highly sized paper -- tracing
paper or similar -- tick in the main points of the drawing and bring it
to a finished stage with pencils. When you consider the picture ready for
transfer, hinge the sheet of paper along the long edge to a sheet of blotting
or semi-absorbent paper with adhesive tape. Make sure that the original
drawing can be folded flat to present the entire drawing image neatly on
to the other sheet. Then fold it back and draw in a small portion over
the pencil marks in pen and ink. Follow this by again folding the top sheet
down on to the absorbent paper and rub gently over the back in the location
of the freshly drawn ink marks, thus transferring it in reverse on to the
other surface. Continue this process through until the whole image is transferred.
This technique is of interest not
only in its own right but also in combination with others. Traditionally,
pen and ink has been used in association with washes of diluted inks and
line reinforcing broad masses of simple tones. Splattering tone across
and into dry and wet pen and ink lines is one technique, and the use of
masking devices to prevent them is another.
COLORED INKS
As in the case of colored pencils, the range of colored inks
is now a part of the artist's repertoire, and a relatively recent phenomena.
If used as a part of a technique including black and white, these inks
are interesting; however, attention should be drawn to the extremely fugitive
nature of the color and their tendency to fade with time. Because of this,
it is preferable to avoid combining color inks into pictures to be considered
otherwise permanent -- e.g., gouache or watercolor.
MIXED MEDIA
Whether hatching finely or running lines freely over the
page, pen and ink will respond in a great many ways. Mixed with other media,
a good deal of invention can take place with colored or black ink on colored
grounds; or black lines on a carefully rendered watercolor will bring forth
fresh results. Combine several types of nib and brush marks. Don't forget
the newer types of pen such as the rapidograph and ballpoint pens.
ERASING
To erase false marks, make sure the ink is dry and scrape
gently with a knife or razor to remove the unsuccessful area. By carefully
burnishing the erased area, one can render the surface suitable for redrawing.
LANDSCAPE
Pen and ink has a long tradition in both landscape and architectural
drawing. It is especially well suited for the latter as a variety of lines
and textures can be created without losing the linear qualities inherent
in a cityscape. It is a good medium for working out of doors as well. With
pen, pad, and bottle of ink, the artist can situate himself anywhere for
either quick sketching or detailed drawing.
Ink is a very flexible medium and
can be used in a variety of ways. The usual technique is to use only the
pen, nib, and ink; this in itself will provide you with an unlimited choice
in terms of line and tone. In the example to follow I have chosen the traditional
use of line for the initial sketch only and then proceeded to develop the
picture through the use of innovative and unconventional tools. A thumb
can be used to create unusual shadows and textures; the side of a box,
when dipped in ink and pressed on to the surface gives an intriguing "architectural"
effect. Splattering the ink with a toothbrush will create a fine mist similar
to an aquatint.
If working out of doors there may
be many interesting objects around you which can be used in a similar fashion
-- drawing with a stick, "printing" with a leaf, dipping some grass in
ink and drawing it across the page.
Begin by directly sketching in the main
verticals and horizontals of the picture with a fine nib. (above left).
Use the back of the pen to create a thick, emphatic line. The thumb can
be used to develop an interesting shadow texture as in the tower. (above
right).
Use the back of the pen to develop the
foreground objects. Dip the end of a small box in ink and press lightly
to the surface for a brick-like effect. (above left)
Build up dark areas by defining geometric
shapes and details with a medium nib. (above center)
Dip a toothbrush in ink and mask the
area not to be covered with tape. Run a knife blade quickly over the brush
to create splatters. (above right)
When using the traditional pen, nib,
and ink it is important to note that it is basically a linear form of rendering.
The marks are definite and not easily erased, and "colors" must be created
by hatched and scribbled strokes rather than blending. It is important
to understand such characteristics and limitations which will enable you
to focus your attention on aspects of the subject which will lend themselves
to the descriptive qualities of the medium.
When working in pen and ink, look
for a subject with a strong, linear emphasis, well-defined motifs and dense
pattern or texture. A good range of colored inks is available; there is
no need to consider this a primarily monochrome medium. The colors from
the intermediary tones between black and the clear white of the paper.
Until you feel confident in handling color, however, it may be well to
restrict yourself to a few basic tones.
Start by roughing out a simple linear
framework for the drawing and then work in each area in detail, gradually
building up the overall pattern. Develop a range of marks which correspond
to the natural forms and textures without trying to reproduce every shape
in detail. As the work progresses, adjust the density of the colors and
patterns to achieve a satisfactory tonal balance.
Draw up the general outline of the image
in black ink using a large, broad-nibbed pen. Indicate the main elements
with fluid, linear strokes. (above left)
Work over the whole image again in
black starting to define the shapes and forms in detail, using thick and
thin nibs. (above right)
Build up a textured surface to suggest
the grass with scratchy, criss-crossed marks, overlaying green and black.
(above left)
Draw into the large tree in black,
making heavy shadows with broad pen strokes. Work over the black with green
and yellow. (above right)
Contrast the strong black textures with
a thin layer of green crosshatching in the background. Draw with a fine
pen using quick, light strokes. (above left)
Fill in the central area of grass
and leaves with a woven pattern of green and black marks. Draw together
the separate sections of the image. (above right)
Fine, linear drawing with pen and ink
requires a careful, deliberate approach. Tonal shading must be developed
gradually and crosshatching cannot be rapidly blocked in. The crisp, emphatic
lines of a pen drawing have no equivalent and it is worthwhile to acquire
the skill and patience to handle the pen to produce the dramatic, graphic
effects of this medium.
The next drawing gives a general impression
of a landscape by starting with a loose sketch which outlines shapes and
positions of trees and bushes. Each area of hatched lines and irregular,
scribbled marks correspond to the basic tonal and texture structure. While
the elements are treated separately, the whole image is constantly considered
as a whole and brought together in the final stages.
Your technique should be controlled
but not rigid -- keep the pen well charged with ink and make decisive,
fluid strokes. Even if the drawing is quite small, the marks should be
as vigorous as possible, since it is texture, not color, which provides
visual interest. Keep a lively balance in the tones by working some areas
more densely than others and by varying the direction of the strokes and
character of the marks.
Make a light sketch of the layout with
an HB pencil. Start to draw with the pen showing rough outlines and tones.
(above left)
Develop the tones using the large
tree as a focal point and working outwards. Build up the texture with fluid
scribbled marks and crisp lines. ( above right)
Work across the paper sketching in shapes
and elaborating forms. (above left)
Extend the hatched tones, establishing
receding planes and overall shape of the image. Develop details in the
foreground with small, irregular patterns. (above center)
Concentrate on details, particularly
in the foreground, and work over the outlines of the shapes to soften the
contours. (above right)
This is part of Artist World Magazines
continuing Instructional series. Mr. Elliott will continue his study of
pen and ink in the next issue.
P. Roger Elliott teaches art on the internet from his
FREE site called Art School On Line. The MOST visited art school on the
World Wide Web.
VISIT
ART SCHOOL ON LINE HERE
