Page 23 - sarah-simblet_sketch-book-for-the-artist

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Unfamiliarity:The habitual
movements of our handwriting
style will sometimes infringe
upon our drawing. To stop this,
find an unfamiliar, alternative way
of holding the pencil, or change
to the wrong hand. This can give a
new lease on life to your mark-making.
ALL MEDIA
There are no rules as to how you should
hold your drawing media. As long as your
fingers, arm, and body are not restricted,
hold your material as you find most
comfortable, depending upon what it
is and how large you are working.
Soft media: Short materials such as
pastels and charcoal can be accommodated
in the palm. But be careful not to tense your
fingers. Remember you can also draw just
by dipping your fingers in pigment—this is
howmany women draw in rural India.
Large scale: This loose POSTURE AND GRIP
"candle" grip is very useful
when drawing with your
arm extended, roughly
marking out a large-scale
work. It is most comfortable
when reaching to draw
above your head.
GRAVITY
Remember that gravity affects the flow of ink
and paint. If you turn a brush or dip pen up
into the air to draw above your hand, liquid will
run down your hand, not up to the paper
Brushes can be used on
upright paper but dip Anticipating effects: A fully loaded
pens need a level surface. brush pressed against an upright
surface will cause a dribble of ink to
run down your drawing. This can be
used to great effect, or it can spoil
your work if not anticipated.
Brush calligraphy: This comfortable, upright
way of holding the brush near its base is
similar to the Japanese way used in Zen
calligraphy (see pp.232-33). Large amounts
of ink can be applied without fear of
uncontrolled running if the paper is flat.