Research Point J.D. Hilberry

J. D. Hilberry
Using a technique he developed of blending graphite and charcoal, J. D Hilberry successfully obtains an amazing realism to his drawings. His objective is to focus on drama created by light, shadow and texture by producing all his drawings in black and white, and to evoke a certain emotion or follow a narrative.
The drawings are so realistic that they easily fool the eye of the viewer into thinking they are real objects on
display; he has been successful with trompe l'oeil – traditionally the realm of oils.
He takes a large amount of time to ensure the arrangements are perfect; right down to the tiniest detail, such as arranging the crumples in a paper bag (as in this drawing of Onions and Garlic). The composition is set up so as to lead the eye through and around his meticulous arrangement, he says, using techniques of 17th century Flemish classical realism. The result I think looks totally unpretentious yet appears to serve the purpose.

Onions & Garlic

Exhibition Jennifer McAuliffe

Exhibition Courtyard Gallery, Midleton, Cork - 3 November, 2010.

This is a bright yet cosy little gallery with a permanent collection and temporary exhibitions. I didn’t have a lot of time to spend browsing round at the time, so I narrowed down quickly what inspired me enough to want to find out more.

 Church on Princes Street

I discovered I was soon absorbed in a number of paintings and prints giving off a feeling of atmospheric otherworldliness. These were by an artist named Jennifer McAuliffe whose work was amongst the permanent collection. They were oil paintings of buildings and scenes around Cork City.

The soft, misty, muted colours and sepia tints of all her work on display appear to be bathed in gentle light; reflections seeming to bounce around and to give off a very expressive hazy shimmering quality. These features combined, somehow also give off an aged and comfortable, yet fresh and buoyant look, glowing with light and character.

City Reflected

Research points Kate Atkin and Peter Paul Rubens

Two artists whose work exemplifies mastery of detailed drawing:

Kate Atkin is a contemporary artist who concentrates on form and medium in her drawings and  investigates the separation of certain features from their surroundings. She begins her drawings by taking photographs of objects from different and unusual angles, then combining and transforming  them (ie. a plant or a tree) and re-arranges the subject matter in order to abstract and  expose its curious  side.

She says of her work that the main concern is to remove any lingering associations by concentrating only on form and texture. The process results in large drawings which are mostly black and white and incredibly detailed. As her drawings are so large and detailed,   by repeatedly checking the drawings from as far away as possible as they progress, she is able to make out a sort of geography in them. But the difficulty is knowing when to stop – I could understand why! And it helps to stop a day early – how does she know this?

Kate Atkin

Kate Atkin











Rubens

The Flemish baroque painter Peter Paul Rubens,  (1577–1640),  was the most prominent northern European artist of his day and is also now widely considered to be on of the foremost painters in Western art history.
By combining the realistic tradition of Flemish painting with the imaginative freedom and classical themes of Italian Renaissance painting, he was responsible for the revival of northern European painting.
Rubens was a great admirer of the Italian Rennaissance artists, drawing in the same tradition during his stay in Italy between 1600 – 1608.
He was dedicated to careful anatomical study and  went a step further by filling his works with energy and dynamism as illustrated in this drawing.  Rubens used cross-hatching in pen to define the muscles and sinews of the flayed body parts that he studied from casts, a technique Leonardo also used for his own anatomy drawings.

He has superbly demonstrated in this drawing, an energetic composition consisting of contorted arms in unusual positions, by invented details, and by placing the models in a very complex spatial association

He succeeded in  combining the traditional realism of Flemish painting with the freer and imaginative classical Italian Renaissance painting, thereby  injecting  northern European painting with a new lease of life. In Venice he was also greatly influenced by Titian and spent much time in Rome where he produced altarpieces for the churches of Santa Croce di Gerusalemme (1602); now in Hopital du Petit-Paris, Grasse, France) and the Chiesa Nuova (1607); his first widely acknowledged masterpieces.

Exhibition John Philip Murray

This was a solo exhibition I visited during October, of roughly 25 drawings and paintings by the artist John Philip Murray. They were on display in a purpose built and well lit room at the Cork County Library, which is a very modern glass fronted building. 
Some works on display form part of an earlier series called ‘Sacred Paths’ based on the perceived human need for travel/pilgrimage. The ones on show in this exhibition are taken from actual roads in locations around County Cork. The theme also explores the idea that we humans are constantly searching for something and ancient roads/paths become a metaphor for this ‘quest’.

Route to the Bogboat - watercolour

Forming another part of the exhibition, ‘Measure’ - a large triptych and some small watercolour studies, explores the theme of the annunciation paintings by Fra Angelico. The large triptych ‘Measure’, part of which focuses on the angel’s enduring gaze, also treads on the ‘Sacred Paths’ theme and other themes the artist has used in the past.


Journey Started - graphite on paper




Afar - graphite on paper 2009 50x35cm



 I was suitably fascinated by a certain drawing - ‘Afar’ (part of the ‘Sacred Paths’ series) to focus my attention on this one in particular. It was actually one of the very few drawings on show and a fairly small scale work in relation to the huge triptych, but it did have quite a big impact on me. It portrays a landscape with a path or track extending away into the distance. Incidentally, when browsing around the artist’s website later I discovered that this drawing in fact has a partner which precedes it. The first drawing ‘Journey Started’ shows two figures walking away into a darkened landscape. The second landscape ‘Afar’ is an altogether brighter composition.

I can’t help thinking that the whole effect could have been enhanced if both drawings were on display alongside one another; however that, of course is only my interpretation.

To return to the drawing displayed, what most interested me about it was:  

I have a fascination with images which are suggestive of a path/track or passageway leading inwards or into the distance; it always leaves me wondering what could be around the corner or over the hill. They have the effect of drawing me in, and the way these two drawings are done are particularly interesting as they extend away through an undulating wilderness with numerous endless looking horizons. The contrasting areas of light and dark, (the paths are very light and flat in relation to the roughly textured and darkly rendered areas) to me are suggestive of foliage and vegetation. I think the dark areas could also represent possible obstacles along the way; this is most hinted at where one forms an almost unbroken dark thick horizontal band across the paper, giving a look of foreboding, just before the background. These textured areas, made up of multiple squiggly marks, add further to the distinct contrast with the paths. They begin in the foreground with the largest squiggles, alternating as the path recedes with the lighter, plainer areas, gradually reducing in size and adding to the sense of vastness and distance.

'Afar' - sketch made at the exhibition

Sketch of 'Route to the Bogboat'

Detailed Observation

Detailed Observation

1. Which drawing media did you find most effective to use, for which effects?

For the drawing of a piece of driftwood (getting tone and depth in detail) I found the versatility of soft pencils from 2b to 6b were very suitable for both building up soft areas of shadow, yet with some noticeable hatching and for underneath quite detailed areas. Also a sharpened pencil on the point was just the thing for producing very thin wavy and broken lines.

Detailed observation - driftwood

 I enjoyed the wispiness and energy of the line produced by the ballpoint pen - used for the shell drawing (stipples and dots). It lends itself well to a tentative delicate line or mark and the building up of tonal depth in areas of shadow, with a sketchy mesh like structure – marks interweaving and crossing over on another. In these areas the marks were quite short quick frenzied flecks and scribbles formed by a flick of the wrist. Depending on the pressure applied and how the pen was held, I found it was relatively easy to create various weights of line, from faint and delicate to quite dark and bold.

 2. Did you enjoy capturing details or are you more at home creating big broad brush sketches?

I generally prefer the freedom of doing larger less detailed sketches, although I have to battle with an enduring nervousness about using broad brush effects if it’s work to be critiqued or put on display. In the past (and often still do) I had a tendency to become bogged down when trying to include a lot of detail, resulting in a sense of frustration and irritation. Unsurprisingly perhaps, in recent years this has resulted in my increasing attraction to more free and expressive work by other artists. Surprisingly though, I did enjoy doing these exercises. I think this was because the object was to concentrate on detail and create interesting texture in only one object rather than the whole composition.

Above are some notes and sample marks which might work well to create tone, pattern and texture and ways I could improve the composition of each drawing.

Stipples and Dots - shell in ballpoint pen

5. Did doing a line drawing get you look at space more effectively?

Because the spaces in the drawing (sliced cabbage) were devoid of detail I think they became much more apparent and larger than a drawing containing tonal shading, greatly emphasizing the contrast between open plain areas and patterned areas. Because of this the effect is more 2 dimensional and less solid. As there are no directional shadows within or around the object, it could almost be a flat cut out shape floating in space, apart from the fact that, it is safe to assume I think, it is in front of the white background of the paper surface.

Line drawing - cabbage section

Part 2 Observation in Nature

Coloured Media

Most expressive media:

Wax crayon and Oil Pastel
Pros and Cons: Quickly covers large areas, expressive and bold, can be used as resist under ink and watercolour washes. Oil pastel can be used in a wash technique when diluted with thinners, easily blendable.
Cons: not conducive to fine detail


oil pastel



Watercolour crayon

Pros and Cons: Can use as wash under or over pencil, pastel, wax crayon or pen, versatile – can use dry or wet – diluted with water, easily blendable, covers large areas quite quickly, expressive and bold, not a good choice for fine detail.

Conte Crayon
Pros and Cons: Detail possible with corners and edges, quite sturdy, slightly less messy, more controllable and less dusty and doesn’t wear down as fast as soft pastel, quite good for detail although not as good as pen or pencil.

Soft Pastel
Pros: the texture is more velvety and colours are vibrant, and more powerful than their equivalent in Conte, but the brand may have and influence on this. Lighter shades are more vibrant if combined with darker shades than when used alone. Also vibrant on tinted paper. Easy to blend.
Cons: Both Conte and soft pastel are messy – powdery and dusty and need to be fixed. A large range is needed to achieve the optimum no of colour variations.
All above crayons and pastels are more convenient than paints for sketching on location.

Best for both expressive and more detailed work:
Coloured ink on stick, feather quill and dip pen.
Fine detail is possible but can be unpredictable and more difficult to control the flow of ink than commercial pens, but when things go right the results can be more rewarding when expressive and delicate lines and marks start to emerge. Areas of tone must be built up with lines, dashes or dots of some kind, which can often be very time consuming depending on the amount of detail used. A brush can be useful to wash on smooth areas of colour and/or tone, under or over dry mediums such as soft pastel, pen etc. Ink used on a sponge or rag is effective for suggestions of rough textured surfaces such as rocks and tree bark. Being eraser proof can be a help as well as a hindrance, in that most other dry mediums when used over ink, can be erased without interfering with the ink layer. This could be desirable or not.



ink

2. Media more suitable for detailed work.
Coloured pencils
Pros: non smudge and comparatively easy to control, clean and convenient when outdoor sketching or on the move. Fine detail is easier than with crayon or pastel, but comparatively slow to cover open areas.



coloured pencil



fibre tip

Felt tips
Definitive, incisive marks and lines, pure uniform colour, good for adding definition and detail. Not possible to soften or graduate areas by smudging or erasing, very uniform thickness of line, slow coverage, lighter colours tend be gaudy, unless expensive pens are used.

Gel pens
Very precise line – good for detail, scratchiness of line can look expressive depending on how it is held. Very time consuming to build up areas of tone/texture especially with dots or dashes, lines can be hit and miss and can be blotchy.

3. Most enjoyable
Watercolour pencils and crayon - shading with tip moistened in water giving a deep rich impasto effect and vigourous lines by rubbing side of tip.
Wash on hatched areas producing smudgy texture where lines remain visible.
Applying washes using watercolour crayons or oil pastel hardens the outlines and intensifies colours,
Dry shading applied on dried wash – good for intensifying narrow delicate lines as on a cabbage.
Oil pastel and watercolour crayon and pencil blending - harmonious colours, then applying twisted dots or flecks of much lighter or darker shades or colours over top builds up a very textured look
Pushing side lengthways in opposite directions in random fashion – many possible uses including foliage, rocks, bark, flowers, seed heads, shells and cones - (all on oil pastel on A2).
Producing muted colour combinations by blending certain bright colours such as lime green and yellow orange.
Scraffito
Wax resist
Soft pastel and conte crayon - building up webs of colour by hatching in random broad strokes - optical blending (as Degas). Blending (shading), then loose hatching over top (also coloured pencils). Long wavy lines using harmonious colours.
Soft pastel – very vibrant colours especially when very light and very dark hues (not blended) are combined.
Flat end of stick rotated producing broken lines.

A useful tip I discovered: If I apply a wash over fibre tip pen, colour cannot be trusted not to bleed (although this can be attractive at times), but if dry pencil or watercolour crayon, in same hue as wash, is rubbed on line first, the line doesn’t appear to smudge.

Part 1, Assignment 1, Man Made Objects

Made Objects 
To some extent I was influenced as to what I wanted to use for this part of the assignment, by previous experiments with textures and frottage. There were certain  textural techniques I felt inspired to use again more than others. Among them were: bristles of a decorating brush, dull metal finish and plaster board tape. I considered objects that I could connect to various themes but when I looked around my surroundings, DIY related objects were literally crying out to be drawn! I considered pencil to be the most suitable medium for the same reason (it was used in the texture experiments)  and I have to admit, because it's such a familiar medium to me, I felt relatively safe with it. So with the inclusion of some uncertain type of slim decorating/dusting brush with long rough bristles, a piece of zinc plate (a boiler part), a roll of plasterboard tape and a wood plane (amongst others), I began with a short lived attempt at sketching my first choice of objects. I say short lived, because I began to sketch the wood plane and after just a few lines I gave up in frustration and removed it from the line up altogether - slightly  too overwhelming a prospect  for me to continue with at that stage, particularly along with several other objects.  I continued with the rest of the objects (above) in combination with a long narrow wood file, then a chisel, sandpaper and measuring tape until by the third small sketch I had settled on the objects I was reasonably happy to use for the remainder of the assignment. By then I had also cut down the number of objects in the arrangement, as it was rapidly becoming too crowded.

 At this stage I was ready to move onto a larger scale sketch in pencil, followed by a colour sketch in coloured pencil. I did consider using neopastel crayons, but decided I might have problems gaining sufficient detail with these and as it turned out, I was glad I opted for coloured pencils instead. The resulting relative scarcity of colour reflected what was there in reality.

I’m glad I cut down on the number of objects and in places replaced one or two with something elso, as I think I finally ended up on the whole with a composition I was happy with. The relationships between the various parts are helped I think, by directional shapes leading the eye around from one object to another and there are interesting textural contrasts, which I tend to notice more than the actual identity of the objects themselves. There is a tendency also for my eye to be led outside the picture, by the drill bit and the sandpaper being cut off at the side edges, which for some reason,  I also quite like. (see also end paragraph).

On reflection, after completing the two parts of the assignment I was quite surprised and pleased with this one in comparison the other part.
Natural objects would always have been my first choice of subject material in the past, yet on the whole, I consider that I did better with made objects on this occasion. Perhaps the practice from previous exercises has paid off.

However, it was a struggle for me at times with certain objects, such as the brush and the plasterboard tape and when trying to obtain accurate proportions between these and the tape measure, so I took great care with this in the final drawing. Up until this stage I hadn’t had any success with the correct shape for the brush so I measured the width of the handle and roughly doubled it for the ferrule and brush part, making sure the lines along the length were parallel. However, before later adjustment (as my tutor confirmed) the perspective was still out. I was uncertain of the best way to render the mesh tape as it is actually white, so I drew it in the negative (with darker mesh) as I couldn’t think of any other way to obtain a convincing interpretation. I did consider using pen and ink for this drawing, yet once again, confidence was lacking - so this is another thing I need to persevere with...

Both Drawings: For the two parts of the assignment, by the time I had done three small sketches with notes, a large sketch, and a large colour sketch, being certain enough of the general layout, I was ready to go onto the final drawing;  the only alterations necessary were to move the odd object around slightly. It was a case of going along with what I had built up by then, or at the other extreme, starting again from scratch and I certainly wasn’t going to do that! Then again, I can see how important it was to try out several different arrangements, utilizing various elements and their positions from certain earlier stages and incorporating them into the final drawing.

The size of the paper for both drawings is A2 and all parts seemed to fit on this quite well. Although the layout of the natural forms may have benefited from an A1 size, as this probably would have helped to give more impact to the whole drawing and it may have looked less crowded.

Large sketch A2

Colour Drawing A3

Final Drawing A2 before adjustments

Final drawing (adjusted) - man made forms

Additional Note:

After reading my tutor’s comments in relation to the drawing (before adjustments) and on re-examination, I  spotted some inaccuracies, particularly in the perspective of the paint brush handle. Suddenly  it became glaringly obvious and I wonder how failed to spot it!

Perspective Distortions

-         These are something I’ve seen used occasionally  in certain pieces of art, but I never looked into the process used to obtain them. I found some information in the book Drawing, Seeing and Observation by Ian Simpson, and this helped to clear up the mystery for me:

-         First of all to obtain accuracy in perspective he suggests, as in most information available on perspective, to put in the vanishing point/s at eye level as a straight horizontal line across across the drawing, so that angles going into the distance can be related to this. Otherwise it is easy to end up with inconsistencies in perspective, ending up with more than one eye level. The vanishing points (with connecting angles and shapes) must be constantly checked so that they relate to the subject. Although this only works if the viewer has a fixed viewpoint and is looking straight ahead.

-         But when making a drawing, what you see infront of you is much more than the 60° of vision which perspective allows – the angle of vision. This is when objects at the edges become distorted and what materializes is a series of separate viewpoints. It becomes evident when comparing photographs and drawings of the same place. Several photographs would need to be joined together to encompass the amount of information taken in by the drawing. Faults should become obvious in a perspective drawing if there is more than one viewpoint. So, drawing what you see in front of you is really a series of different viewpoints and this translates into something quite different.

-         It became clearer to me when it was pointed out that when you look at a drawing your eyes do not travel over it in the way they do over a subject. I guess it is like looking at a photograph in that sense, unless the drawing is so large that it cannot all be absorbed at once. I would imagine that this happens with landscape more than other subjects, as there is usually such a vast expanse on view,  it would be more difficult to reduce the size of the space - the head would need to move so as to take in the view. Using a viewfinder would reduce this vast expanse but it is still very hard to keep it in a fixed position and things can again become distorted. Therefore the wider the angle taken in, the flatter things towards the edges become, like a plan view. My tutor remarked about the faulty perspective in the brush handle in my drawing prior to alteration and I think this is the mistake I made - it looks to me as though the handle could be at the upper edge of vision, giving it a flatter appearance. Certainly there  appears to be a delicate balance between the laws of perspective and relying on observation alone. One may want a drawing to look convincing, while not sticking rigidly to geometric formula.
      I later made some adjustments to the same drawing  - see above. The perspective at the top of the brush handle has been altered and now appears much more convincing. The cast shadows have been softened around the edges and darkened in certain places under or beside the shaded side of an object, such as between the brush handle and rear tape and to the left of the tape. This has been darkened in the foreground seeming to create the illusion of shadows underneath. I softened the curve of the ellipse slightly on the roll of tape and added extra variety of marks such as on the measuring tape to the right.  I think (hope) these changes combined have the effect of improved cohesiveness and interest to the arrangement as a whole. Faulty perspective is now also very evident in my attempt at the boxes and books exercise.

Part 1 Assignment 1 Natural Forms

Natural Forms

The initial arrangement looked crowded and quickly turned into a tonal sketch; otherwise I didn’t think it would have been possible to make any sense of it. When I started on the third sketch, I had changed round the arrangement three times. As I think there was too much empty space at the bottom I later reduced the size of the rectangle there. I liked the way the pepper was given more prominence in this third sketch and there appeared to be more directional flow than in the previous versions. 

   After starting the large third sketch in pencil, on an impulse I decided to try using charcoal. First I tried out a few ways of rendering the various surfaces in charcoal, which seemed to lend itself well to these objects, especially the textures of the broccoli and cauliflower. I like the expressiveness of this medium, yet I didn’t think it was too challenging to obtain an accurate depiction of most of the objects. While at the same time they weren’t overly realistic. It became a rather messy affair doing the colour sketch, for which I used soft pastels. The shape of the pepper in this one became a little elongated in relation to the actual pepper and I thought there were too many sliced vegetables, so I replace the sliced mushroom with a whole one to match up with the broccoli.

large sketch with more work

large sketch 1- willow charcoal

In the final drawing: Generally I liked the way the rendering emerged. I was attracted at an earlier stage to the way the vegetables overlapped, seeming to form a kind of zigzag pattern from top to bottom and vise versa. However the arrangement didn’t work out as well as I’d hoped. I decided to move the broccoli further back and upwards, away from the pepper, to create more space in between, but now it looks as though doing this and by moving the cauliflower further over to the right resulted in the cauliflower appearing too insignificant. Applying more shading to the left hand side of the composition makes it appear too heavy in comparison to the lighter area on the right, having the effect of knocking the drawing off balance. It may have helped to simplify the flowers on the cauliflower and to have given them a little more definition, similar to the third small sketch. The area around the base of the broccoli where it meets the top of the pepper doesn’t look quite right to me. I think there is too much going on around the mid section causing it to look confusing. Despite this, I tried to arrange things so that a series of lines in some shadows and objects would lead the eye around the drawing, but I'm not certain if this has been successful.
Changes:

  I set up most of the arrangement again a few months later to have a go at some tweaking. I thought all three drawings looked a bit disjointed. Again this was confirmed by my tutor’s comments. I noticed this time the mid-tone shadows in the set-up and adding these to the negative spaces in all three drawings, with some smudging and erasing, helps tie the objects together more successfully than previously. I included the effect of reflected light on the shadows, which really added to their variety. Applying more mid-tones and blending there, prevents them from otherwise looking over fussy. More tonal shading (particularly mid-tones) and extra marks were also applied to the objects. I concentrated on the soft pastel so called sketch, last of all. I had built up a mental aversion to soft pastels for some reason, but through this experience I now feel a bit more relaxed with them. I shut out thoughts of possible outcomes and pushed myself into focusing on enjoying the process instead, despite it being part of an assignment piece. An advantage was that I returned to a previously fixed drawing and now I realize that fixing underlying layers prevents white from mixing with them. This was something that didn’t occur to me previously, but should have done - duh! I had completely underestimated its effectiveness. But something to guard against is fixing then trying to erase as that didn’t work for me.

Same drawing after more work

It only seems to make sense now to make comparisons between the altered drawings, as  the initial versions no longer exist, except as photographs. What I will mention is the following:
I have tried to remedy their faults as mentioned above. There are obvious size and location differences between the same objects in each drawing, ie the cauliflower has reduced in size in the final charcoal  drawing (bottom right) and the pepper is shorter and fatter. The extent to which I reduced the size of the cauliflower in the last drawing seems to make it look a little out of balance with the broccoli. This possible fault was something I decided was too risky to try changing so was left alone. I think the additional rendering within and around it have helped to redress the balance though.

Colour drawing 1 - soft pastel

I'm happier that there is more of a difference between the outside and inside of the pepper in the final version in charcoal (below). It appears smooth and shiny in relation to the inside. To do this I used a combination of the side and end of the charcoal stick in a mostly horizontal direction.  The features of the inside of the pepper go in a vertical direction as opposed to the outside, which to me is an accidental but fortunate spin-off. I prefer the broccoli in the first charcoal sketch to the one in the final drawing as it looks more understated - it blends into the background more comfortably. Whereas the final version of broccoli is shaded heavily, causing it to compete too much with the pepper. This also probably adds to its over dominating effect on the cauliflower.(see paragraph above).In spite of this I think the background objects now recede more, thanks also to adding some shading in the negative spaces and blending of edges has softened their previous impact. What I am certain of is that there is an improvement in all three drawings now.

Final drawing 1- willow charcoal

Same drawing as on left, after more work

Enlarging an Image

There were a few items I think I went a little haywire with, such as the ellipse on the bottom of the cup which was too shallow. I altered it slightly when copying onto the second drawing. I didn’t find the acetate grids very useful, even though I made a mount for each of them. I think it didn’t help that the mounts I made for around the borders were too wide, so it was easier to measure by drawing a grid of squares onto the paper. Although  the small grid was useful as a viewfinder.
In the second exercise I had more confidence doing the initial drawings and the grids helped here in obtaining the general placement of the objects within the picture frame.
All of the objects were easier to place and copy, with the help of gridlines on the paper. It was then a fairly simple procedure to scale up to the larger image in both exercises. I drew the lines of the jug handle in the wrong place but I didn’t erase, instead I drew around it, which felt slightly liberating. Of course when using this method normally, it would be easier to erase the gridlines afterwards if they are drawn in lighter.

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Max Ernst

Max Ernst was a well known surrealist artist, who also (along with others) founded the Dada art movement. This was a protest against the horror of World War One and against conformist social attitudes of the time.

Max Ernst and Frottage
Frottage – was a technique he began to use extensively, and he is credited with being the first artist to use it, although I find it hard to believe this – I think he was probably the first well known artist to use frottage. Among other experimental techniques he used were decalcomania and collage. The term decalcomania - a method I hadn’t previously heard of, is one in which the artist transfers paint from one surface to another by pressing them together. Later on in his life his work became more abstract.
Many of the themes he used are disturbing, which makes his work oddly fascinating,  because they tend to have a profound effect on me.  Also,  now that I have some knowledge of the techniques he used to obtain his textural effects, the effect on me is to be able to appreciate his work that much more.

The Great Forest 1927

©The Bridgeman Art Library - London, New York, Paris. 

Here is a LINK to a quite illuminating video showing Max Ernst demonstrating his frottage technique

Using Texture

Texture Squares
When doing the texture squares I discovered a few new ways of using various drawing techniques to depict surface texture: Blending pencil dust with the fingers I found quite fun, and useful for dense grey or black smudgy areas, then erasing to depict lighter areas or reflections.
A blending stump was helpful to soften tonal transitions with control and has more precision than using fingers or a cloth. I used this to emulate dull metal.

For paper pulp I used ink, rubbing the paper with grass stick and quite dry ink,  producing scratchy rendering.

Ink in a dropper was dabbed and pulled to make tadpole like circles and smears for a certain type of rock.

 

 

 
 
 

 

 

 

 

 

 

 

 

 

 

 

 

Frottage

I find this to be an exciting experimental technique and ideal to use a point of departure for drawing, or to incorporate into other artistic applications, such as printmaking, collage and painting. I had real fun with this exercise. Apart from helping me to understand and appreciate the textural make up of surfaces of objects around me, it also helps to build up a library of textural marks. Even what I thought were the most unlikely of surfaces, such as the relatively smooth ones of brown paper, a candle and a chair cover gave surprisingly interesting results and would make  good contrasts to the more obvious textures. To use frottage directly in a drawing, I think texture rather than form would be the objective, although it would be interesting to see the results possible.

In the Drawing with Textures – after spending quite a long time experimenting with different materials I decided to try a combination of media for the natural objects, and begin with an open mind. I took a chance with some new effects with ink, including a cotton bud to dab in very dark shadow areas, dark holes in the bark,dragging it (with quite dry ink) for broken texture and for the rock fissures and textures in the bark. I knew I wouldn’t be able to render every object with ink, so I started by using an 8B pencil on the side of the point to apply smudgy tonal shading to the rock at the rear. Then I decided to try charcoal and was so impressed with the results, I continued rendering the bark with this. It seemed the the perfect medium for applying broken texture when I dragged it along lengthways on its side. Certainly it was so easy to smudge with the fingers or blending stick and manipulate on the side of the point for the fissures in the rock, particularly using the thin sticks. For the foliage overlying the large rock I made squiggly marks using a black Conte Pierre Noire pencil.

It is the first finished drawing in which I’ve used my opposite hand (right hand) for some otherwise awkward areas and it felt rather liberating - so not before time! Before very long, charcoal seemed to be dominating other mediums in the drawing – I just found it was ideal for achieving the right textures in so many areas, apart from the large leaf at the front. For this I used a 7B pencil to do the short diagonal veins. It would have had more impact on this occasion (from a textural point of view) if I’d used a grass or bamboo stick and ink,  as I’d originally intended, after trying it out during the experiments I did beforehand. If I’d used tonal hatching with ink and pen for the dark leaf at the top left it might have implied form better, but it probably wouldn't look balanced unless other parts of the drawing were rendered with ink also - the berries and leaves may also have been improved by the same treatment. I think the rock and bark aren’t too bad in this respect, as they seem to have more tonal variations, although I concentrated on bringing out the textures more than anything else. I also included the wooden texture of the supporting surface and the fabric background in this drawing.

A few earlier experiments

 

A Drawing with Textures - my final attempt.