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    Pen & Ink Techniques
    Pen & Ink Techniques
    Pen & Ink Techniques
    Ebook219 pages1 hour

    Pen & Ink Techniques

    By Frank J. Lohan

    4.5/5

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    • Sketching

    • Art

    • Art Techniques

    • Shading

    • Drawing

    • Artist's Journey

    • Attention to Detail

    • Nature as Inspiration

    • Personal Growth

    • Historical Setting

    • Artist's Struggle

    • Creative Process

    • Overcoming Challenges

    • Learning From Mistakes

    • Nature's Beauty

    • Texture

    • Sketching Techniques

    • Nature

    • Shadows

    • Drawing Techniques

    About this ebook

    This reader-friendly guide allows artists and would-be artists at all levels of achievement to experience the satisfaction of drawing with pen and ink techniques. Richly illustrated and containing dozens of simple exercises, it covers everything from the basic tools and materials to the production of advanced effects.
    A seasoned instructor, author Frank Lohan presents dozens of exercises for beginning, intermediate, and advanced artists. His topics range from the creation of hatching, tones, and stippling to dealing with the problems that can arise when adding texture, light, and shade. An extensive reference section features examples of landscapes, trees and foliage, flowers, faces, animals, and a wealth of other subjects. Helpful suggestions include tips for copying, reducing, and enlarging sketches; instructions for easy matting; and guidelines for reproducing sketches on greeting cards and notepaper.
    LanguageEnglish
    PublisherDover Publications
    Release dateMar 22, 2012
    ISBN9780486137681
    Pen & Ink Techniques

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    • 4/5
      il tratteggio mi è piaciuto molto ottimo libro da cui attingere per imparare grazie

    Book preview

    Pen & Ink Techniques - Frank J. Lohan

    Bibliography

    Introduction

    Each art form developed certain conventions as it evolved through the centuries. Sculpture deals with form, surface, and dimension but generally ignores color—except for the long-forgotten cigar store Indian. Painting deals with color and generally ignores both line and a third dimension in the finished product. Pen and ink sketching has neither dimension nor color to assist in creating a visual illusion—just lines, dots, and black areas on white paper.

    These conventions—restrictions—still allow for a vast amount of individuality of style, approach, and interpretation in each of these mediums. Each individual’s technique is as personal and distinctive as his or her handwriting. Your technique, your style, that distinctive way you have of making and arranging the lines, dots, and dark areas to create your own statement on the paper will evolve if you really have the desire and if you persevere. It will by and large give your sketches that uniquely personal quality that will be recognizable as yours even before the viewer sees your name on a work. This does not happen immediately. First you must train your hand, wrist, and arm to the pen; you must learn and practice the fundamentals; you must make mistakes and learn from them. As an important part of your practice you must—heresy of heresies to some purists!—copy the work or portions thereof of other accomplished line artists to learn just how they created their particular effects. All the practice work you can manage becomes your inventory of ingredients from which you select those you need to create your own original works.

    This book evolved from several years of teaching pen and ink sketching in adult education facilities. It was developed to meet several needs, those of the artist accomplished in some other medium as well as those of the artistically inclined person who has done little more than write his name with a pen. Persons at all levels of achievement can experience that particular gratification that comes with creation of a unique and personal artistic expression with pen and ink. I have seen it happen at all levels of achievement in my classes and have enjoyed each such creation just as much as the student did.

    Next to pencil sketching, pen and ink is the cleanest, simplest, least expensive medium to work in. At the minimum, an artist’s fountain pen and some unlined index cards can be taken in a pocket virtually anywhere and used with no elaborate preparation or set up required. Some of my students carry them on vacations, on business trips, and even to the doctor’s or dentist’s office and use them to good purpose.

    Pen and ink line work is especially suitable for printing inexpensively. You can make your very own note paper, greeting cards, and even limited-edition reproductions for very little more than the cost of having typewritten material printed. See Part III for some ideas on how to lay out what you want printed.

    Pen and ink is a totally absorbing medium for those who become serious about it. It can be excellent therapy for anyone whose mobility is limited and who has time hanging heavy on his hands. Hours can literally seem like minutes when working on a sketch. This last statement may seem trite, but only those who have done some sketching with the pen know how long even an apparently simple sketch takes to execute effectively.

    This book is divided into four sections. Any of the four can be approached as your needs and level of accomplishment dictate. There is, however, a good bit of logic for the beginner to start at the beginning and seriously practice the hand and wrist training the various suggested practice exercises will help to develop. Before you can sketch really well you must know your tools, not just the types of paper and pens, but also the kinds of marks you will make on the paper. Dexterity and control in making the marks is all important to successful sketching. When you want to cover an area with hatch marks to produce a gray tone, you must be able to make uniform marks to avoid a patchy, unorganized effect on the paper. To do this will require some diligent practice until you can make uniformly spaced hatch marks of uniform line weight when you need them. Similar control will be required for graded tone effects. This control will only be achieved by practice and more practice.

    Part I: Basics, covers some of the things you should know about the tools and materials you will be working with. It shows the simple grid system for copying, enlarging, and reducing a sketch. It contains some guidelines for making your sketches the proper size for inexpensive matting and framing in standard-size frames. So many

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