![]() ![]() But once i give up this element of control, the reward is a sense of freedom and anticipation to see what emerges and a more direct connection to the drawing and the subject. when drawing directly onto the carbon, all my drawing marks transfer, although this is countered by the fact that I can’t see the drawing. I much prefer drawing directly onto the carbon as the layer of layout paper also ‘muffles’ the tactile sensations of drawing which are important to me. It isn’t until the paper is peeled back that the drawing is revealed and I need to reassess the pressure I exert during this particular drawing process. ![]() I thought biro would be a good drawing implement as I could exert a fair degree of pressure but I actually preferred dwg with a B2 or B4 pencil as it creates more variety of mark.Ĭarbon drawing means working within certain constraints: some loss of control in constructing the image and an acceptance that the drawing will have a different quality to ‘fully seen’ drawings. I eventually found that layout paper or thin photocopying paper worked best for me. Light marks were lost as they didn’t transfer through a layer of tracing paper and carbon. The paper I used over the carbon in order to see what I was doing also had an effect on the carbon drawing and made me very aware of the touch I was using when making the drawing. The colour effects that are revealed are always a delightful surprise. The choice of colour in the drawings was arbitrary and now I have some experience of the process, I would use one colour per carbon sheet (or a selection of values of one colour) depending on my subject, as well as continuing with a mixed palette. I decided the only option was to go out and buy a box of lovely new pastels to try. Detail disappeared in a number of drawings under patches of pastel left when I peeled the paper off. This first dwg was using some old oil pastels that I had had for ages but they tended to stick in patches to the paper, as you can see. I packed them into an envelope to carry with my sketchbook when out and about. I tore A4 carbon paper into A6 pieces to fit the pages of my small sketchbooks, laid colour in random blocks over the surface and layered greaseproof paper between the sheets to keep them from sticking together. ![]() Hi, here are a few experimental drawings trying out the oil pastel and carbon technique. ![]()
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