Project 1 - Making Marks - holding pens and pencils and doodling

Throughout all the exercises in this very first project, I concentrated on holding the pen or pencils in as many different ways that I could think of i.e. near the tip, near the top, half way along and variations on these. I also tried out the effects of using light and heavy pressure and using both smooth and textured papers.
The huge variety of effects resulting just from changing the way I held the drawing tool was often quite surprising.
Generally, holding the drawing tool near the tip promoted the most precise detail – good for small dots, spots, dashes small patterns and shapes, especially where accuracy is important. Holding the implement at or near the top had the least control and forced a looser more expressive kind of line or mark (especially when standing) which I really like. Small is also possible, but with less control than other grips.

Holding the pen or pencil half way along was like a half way house - found to be good for shading larger areas,  loose gestural lines with more freedom of movement than holding near the tip, but with more control than holding near the top – again this was easier when standing up or using an easel on large paper.  Placing the forefinger on top of the pen/pencil made it easy to apply firm pressure. With the forefinger underneath and thumb on top, held at least half way along so the pencil was at a low angle to the paper, was good for covering large areas.

During the first few exercises I enjoyed the freedom of being able to include
drawing on a large format. From the beginning, I consciously used as wide a range of media as possible, including those I hadn’t used much in the past - these consisted mostly of pens and inks, because I hadn’t been too impressed by them when trying them out. After this experience I realize I dismissed them too hastily, as I find most of them definitely have many positive attributes.

 I used a variety of pens in many different ways, beginning with fine markers, ballpoints, calligraphy pen, dip pens and fibre tips. Some of the finer pens – ballpoints, fountain pen fine dip pens and fine markers were good for fast, spontaneous, scribbly and sometimes scratchy looking lines almost disappearing completely when pressure was reduced. Some of these tentative looking lines could be used to emulate creases in fabric or tangled undergrowth. Shorter versions - for fragile branches and stalks. Thicker felt pens and dip pens - ideal for giving plenty of definition in lines if twisted around – wonders of the great rotating pencil/pen!

Dip pens, quills, bamboo and homemade pens such as teasel and coarse grass gave a quite interesting variety of thickness of line, especially for accidental effects and produce a spidery line when held near the top.

Most drawing mediums can be used for producing uneven zigzag up and down lines – to emulate long grass and foliage on trees, but I think pencils or fine nibbed pens are ideal. They also proved to be good for curving and straight criss cross lines – for areas of undergrowth, tufts of grass or dead grasses, heavy clouds and the base of waves. Infact, lots of loose textured effects with scribbly random lines in a multitude of ways.
and quick short flicks of most drawing tools.
A whirlpool effect was produced by drawing fast ellipses and circles and spirals with ballpoint pen, charcoal and pencil.
Calligraphy pen - for producing a varied thickness and density of line.
Ink dropper and straw (for blowing ink).
Homemade sticks and ink i.e. bamboo, teasel, reed, feather, coarse grass seemed to have quite an alluring way of producing a diverse range of marks, with an element of unpredictability, from dense masses of ink to a minutely thin line hardly visible, just by adjusting where and how it was held. I found it became quite addictive.

Many and varied emotions or feelings were brought to mind in the resulting marks, by employing certain techniques with certain tools. Below is a selection:

Sketchbook - ballpoints, markers and pencils - scribbly, tangled lines convey confusion, anxiety and perhaps indecision when the lines suddenly change direction. Sharper lines - frustration. Sharp, light and tentative – nervousness, fragility. Fast marks – confidence, aggression. Jagged fast marks – fury, anger. Slow deliberate – determination, desisiveness. Jagged knotted/tangled (some reversing back sharply) – resentment, turmoil. Quick tight lines close together – tension. Graphite stick, conte crayon, soft pastel - smudgy fuzzy marks – calmness, tranquility. Smudgy swirls – inner turmoil. Charcoal (Page 18) - heavy smudges over lighter – depression. Side of charcoal – circles – dizziness, vertigo. Pen, ink, pencil - groups of swirling lines directed outwards – joy. Straight lines reaching outwards – freedom or desire for freedom. Ink, charcoal - crisscross lines – claustrophobic, suffocating, trapped. Spirals/swirls – intrigue. Similar marks are continued on the larger paper.
NB - There are also many notes on emotions/feelings in the sketchbook exercises in Line and Other Marks.