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In this ink drawing, a small grid experimenting with different line techniques has been included in the top left of the work. Some of these have been selected to apply tone to the work, carefully replicating reflection and shadow. This image was completed using a sharpened bamboo stick dipped in black ink.In this sketchbook page Samantha imitates and analyses a line drawing by Vincent van Gogh, discussing the suitability and appropriateness of each technique. Note that when learning from artists, it is rarely necessary to slavishly copy an entire work; replicating small pieces (as in this example) is often all that is needed.
When we first picked up a pen or pencil and started making marks on paper, we began with line. Whether self-taught, through trial and error, or guided by others, we learned how line defines form, creates structure, divides a frame, traces contour, creates tonal variation (cross-hatching, for example) and leads the eye from one part of a work to another. Initially a mechanism for getting outlines onto paper – identifying edges – we begin to applaud lines for their own merit: celebrate their presence…whether a quiet flick of charcoal on paper or a streak of graphite.
This delicate cross contour drawing helps to communicate the bumpy surface of the shell. Note how the shell pieces that are furthest away from the viewer are thin and light, whereas those that are closest are darker and thicker. Note also how the direction of the contour lines relates to the shape of object that is drawn, with lines projecting outwards from the centre of the shell.
The angle that these techniques are applied may remain constant within a drawing, or it may change in response to the angle and direction of the forms. For example, cross-hatching may flow around the surface of an object in a similar direction as cross contour lines. These techniques are also a great way to create the illusion of texture (see our article about observational drawings).