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I am going to make a drawing
with markers
and
the first thing I do is use the color green
this one
to make a first framework
I call this the underdrawing
So first I
make the whole drawing more or les in one color
and then I will use other colors later on
to draw through that
here I have a photo
which i made not so long ago of a model
on my phone
and I will take this as a source for my drawing
I am considering to make paintings of this model
this series of photos
and this is a try out
to make a drawing, to see the effect of these colors
so I just start with her face
and first I try to pick characteristic
elements
putting them on the paper
sparingly, so I know more or less
where I am
You can that I started drawing the face with her forehead
I found this a prominent part
and
I use a combination of stripes and dots
and
well
her face is more or less defined now
here is a larger darker area
and she is standing by the water
and
I used a kind of backlight situation
she was standing at a sort of
light yellow beach
this was in the Vondelpark in Amsterdam
and
the light came from behind her
but because the sand reflected the light
her face turned out reasonably light
on the photos
so that went better than I expected, in fact
I found the water a beautiful mysterious element
I was afraid the sunlight would overexpose everything
but I thought it turned out nicely
I think the light in her hair is beautiful
and still her face is well lit
clear
now I am looking wether the face is correct more or less
and so there arises
a pattern of stripes
you, for example, see that here I
use a very consistent pattern of hatchings
here
It is not my preference
to do that throughout all of the drawing
I like to vary that
sometimes you see me do this
that's to have a sort of rythm
you can also do this
sometimes I also do this
those are all varying
and it is quite intuitive how it varies
as I draw
I hardly think about it, but
that just happens
I am watching wether I made the face a little too elongated
I think it's not that bad
I don't like it when it becomes too regularly
then I prefer to do this
or this
I don't know wether you could really call it cross hatchings
because those hatchings go all directions
but... you want to have a tonal value
without forming too much of one pattern
the directions become a little diffuse, in fact
I am actually waiting too long
I am not defining this side properly now
it has to...
the point is that this has to light up
and I am working
drawing dark on white paper
so now I am in fact drawing the reflection in the water
in the background
and here is that jacket
sometimes you see me do this with that hand
with that marker
that's just to determine a proportion and a direction
here is becomes darker, of course, so...
then the hatchings are more solid
this is getting a little too dark already
oops
see, I want to determine this in relation to that, so I do that
well yeah
I am here roughly
and
this darkness I must
draw around the model
because I have to
save something in the hair
now I am looking at this lighted area here
It's roughly here
so I have to save that
sometimes you can put dots around it
then it doesn't really show that you consciously
do it that way
I'm not sure wether I can show these hairs
blowing in the wind convincingly
I can try
but anyway, now there arises in green
a sort of framework
a sort of basic drawing
and
I'm still looking at her face
to see wether I have the proportions correct
I'm not totally sure
it's a quick sketch but I do want
yeah, this here
I do this a little to the right
I doesn't have to be perfect, but
in the meantime you want this all to...
one way or another it has to be in there
the person on there has to be in here
now I work with these kind of dotted lines
show some directions, in those hairs
I have the tendency to make these kind of dotted lines,
and on the other hand do this aswell
it's like this is less harsh than this
this is slightly less dominant
than such a line
when you put such a line in a drawing
it can appear quite dominant
when you do this
you do have a sort of seperation
you can accentuate something
but it is not very harsh visibile
so it is a kind of softer approach
and I continuously change direction
of those hatchings
it does not go one way, or so
I like to use green throughout the whole image in such an underdrawing
I don't want a large area of white
where there is no green or so
now I feel, I find the face
it has to have a sort of tonal value without it being
darkened or
so I just added some dots
I'm not sure wether that was the best approach to a solution
I don't want to give the impression someone as a skin disease
but I am approaching the moment at which the green underdrawing is finished
and
now I am going to start with red
red forms quite a
contrast, I like that
it's like there is a certain kind of vibration,
the contrast between green and red
so that
makes it lively
it gives a sort of contrast
and
all kinds of rythms
are going to play a part
because it stays
you still can see it, I mean
a red dot in this technique
even while other things are put throughout this
in the end you still see where all the dots of red are positioned
to put it that way
it is so nicely bright
it contrasts with the green aswell
I don't want to use too much red in the water
but I do want to use throughout the whole imnage
one way or another
a sort of
veil of red dotgs
and hatchings
small accents
and now I want primarily
concentrate myself on the face
I have the feeling that it slowly gets better into it
it has a certain calligraphic quality
these kind of
hatchings and dots
varied with each other
I also have the feeling I want to do something with it
in the water surrounding
and, in a moment I will change the color... blue
then I have in an optical way
used the primary colors
when you mix light with each other
then green, red and blue are the primary colors
so
those are tinhs I sometimes think about
when you want to show a goldlike
area, you could put red an green dots in there
it wouldn't distort, seen at a distance
because green and red
green and red light mixed makes yellow light
mixtures of light are different than mixtures in paint
so
when you mix colors optically
that will play a part, I think
that what I think about in my own painting
what I want to do again, in didn't paint much in recent years
those thoughts run through my mind as I am doing these kind of things
I am going to concentrate really on the face
I actuallty want to have the lighting correct
of those hairs
so you can see when I want to make it darker
I am using those cross hatchings
and... because there is gold yellow in there
I talke yellow ochre
I don't know the actual name of this marker color
I call it that
much of what I do is intuitive
so I am constantly looking at the source image
to this
and
gradually... there is a sort of eye-hand coordination through which
the hand follows one way or another
I am not consciously deliberating all those movements
there is a sort of automatism
I always like to add this blue
and now I want to see wether I can define the face better with red
going to work precise
so now it's all dots
really with the tip of the marker
when you use less pressure
you can make the dots smaller with which you draw
that way...
now I'm going to try to
draw the hairs blowing in the wind
when you paint you can keep it nicely light
or you must save it with great emphasis
but I try to use red to indicate things
and
it is also important to not want to execute this too precise, too detailed
because it has its charm by having the defintion
dissolving onto a calligraphy of dots and stripes
so
that is the actually the charm of this technique I think
it's not too precise and too detailed
but saying that, at the same time I want
a number of things are adequate in proportion and are drawn correctly
now I want to see wether I can make the face
more colorful
it's stil a little too light for me
in fact
and continuously I am considering, to what extent
can I make it tighter with hatchings
without going over a certain boundary
I must avoid that it becomes very heavyhanded
with hatchings
there must be a certain airyness kept in there
and I think I am slowly approaching a moment at which I conclude... well
ehm... this is it
I want to use some blue in a moment
this is quite nice, this
these are quite large hatchings
I don't know inhowfar she is still recognizable
ah well...
I think it still improves
one has to stop at a certain moment
and I am quickly headed towards that point
I keep it at this