Beyond Line Drawing: Texture, Pattern, and Shape with Pen

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Beyond Line Drawing Texture, Pattern, and
Shape with Pen Ink and Continuous Tone
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Techniques

• PEN INK
• Stippling
• Hatching
• Scratchboard
• CONTINUOUS TONE
• Coquille board
• Carbon dust

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Stippling

• Use a rigid pen point, traditional or technical
• Pen size dot size use uniformly sized dots
  throughout
• Place dots close together for dark or shaded
  areas, increase spacing for lighter areas
• Dots should not touch each other, except in
  darkly shaded areas
• Place each dot carefully in relation to others
  around it avoid a mechanical pattern and
  careless pecking
• Very small stipple will not reproduce

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Hatching

• Generally faster than stippling
• Traditional pen works well for weighted hatches
• Plan hatches in pencil first
• Avoid hooking ends, except to indicate
  indentations or creases
• Follow contours where appropriate
• Increase density or use cross hatching for shadow
  or darker areas
• Avoid 90 intersections, cross-hatch at acute
  angle

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Scratchboard

• Purchase good quality board, such as EssDee (all
  white or pre-inked) can also use frosted (matte
  1 side) acetate drafting film
• Cut board to size with X-Acto knife
• Leave sufficient margin for handling
• Mount on a sturdy backer board
• Dont touch surface with fingers
• Burnish entire surface with Pink Pearl eraser,
  then wipe with pounce
• Transfer pencil sketch to surface
• Plan out areas to be inked with pencil

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Scratchboard

• Paint black areas with brush and ink (dilute
  slightly). Apply ink smoothly and uniformly
• Apply lines with pen or brush avoid gouging
  surface with pen
• Allow ink to dry thoroughly
• Scratch in white lines with X-Acto blade or
  scalpel, but avoid gouging the surface with blade
• Use perspective techniques to suggest depth and
  shadow
• Can re-ink to correct errors, up to a point
• Avoid very fine lines or scratches

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Coquille Board

• Good board hard to find try Aquabee Coquille
  Stipple Board from Dick Blick or Bainbridge
  Coquille Board from Hyatts (www.hyatts.com).
• Fast and inexpensive
• Reproduces as line art
• Fine and course grain available
• Plan illustration for no more than 50 reduction
• Prepare a detailed pencil sketch on tracing
  paper, include tonal areas
• Lightly transfer sketch using graphite paper

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Coquille Board

• Dont touch surface with fingers or tape
• Ink all hard lines, including setae, spines, etc.
• Emboss or burnish sharp highlights
• Use sharpened pencils to shade the tonal areas
• Use carbon pencils 1st, then graphite,
  carbon/wax, and lithographic last
• Establish color pattern first, then shadow and
  contrast, gradually building up values
• Use ink to define edges, white paint for sharp
  highlights
• Use sharp edged eraser for defining crisp edges
• Spray completed drawing with workable fixative

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Carbon Dust

• Also known as Brödel technique
• Combination of drawing and painting
• Excellent for capturing smooth surfaces,
  brilliant highlights, strong contrasts,and fine
  detail
• Numerous surfaces available (see supplies list),
  but integrity and cleanliness of surface must be
  perfectly maintained
• Lightly draw or transfer sketch to surface,
  indicating areas that should be shaded
• Prepare carbon dust or sauce before hand

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Carbon Dust

• Dip large, fluffy brush into sauce, shake off
  excess, and apply
• Use sweeping strokes and cover entire area
• Establish main values then add more layers to
  increase tonal value apply darkest values last
• Use a paper stump to smoothen and blend areas
• Use a sharp edged eraser to add crisp lines or
  X-Acto knife to add sharp highlights
• Ink or pencils can be used to sharpen lines,
  edges, or add details white paint can also be
  used for highlights

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Recommended readings

• The Guild Handbook, 2nd ed, chapters 5, 7
• The Guild Handbook, 1st ed, 7
• Wood, chapters 4, 5
• Zweifel, chapter 5, pp 46-59, 64-67