Producing a Large Scale Drawing using a Mixed Media Approach
Working at a large scale is something I have wanted to do throughout the project. It is something that I prefer to do because it allows me to draw at a scale that I am more comfortable with, making the outcomes stronger and more interesting. As well as this, showing someone how to approach a drawing is often done better if the piece is larger, because you can see the marks, details and other different elements that make up the drawing far better. I have decided to work at A1 rather than A2 for this drawing to challenge my own creative abilities. Further to this, from my outlined intention to produce there larger pieces within my statement of intent, this piece is an important aspect of the project thus far. I decided on a mixed media approach to incorporate what I have learnt from the use of charcoal, and how to combine it with fine liner because I wanted to create a piece with an interesting tonal range, as well as something that was visually appealing and moody in its presentation.
I began the piece with a simple outline. This is something I have filmed for the benefit of my Drawing Skills workshop, as I think working at such a scale with a mixed media approach will help those participating in my workshop understand how to combine mediums and use the effectively.
The outline itself was done in pencil, using my prior charcoal sketch as a reference point. Using a different reference point to a photograph is also quite a freeing process because you are drawing from directly what you have seen in an initial sketch, rather than a photographic image. I prefer this process because I feel that I can get a truer representation of what I can see, making my work more authentic.
Once I established an outline that I was satisfied with, which required lots of adjustment and alterations, I began adding some depth and tonal range. This is something that is often lacking in my work because I use fine liner pen exclusively. Now that I am trying to approach my work in a more mixed media approach, I am able to work in clear, distinct layers to get an accurate tonal range throughout the drawings I produce. To do this, I began adding layers of charcoal, and
rubbing them into the paper. That way, I was gradually layering the charcoal up, which gave me the control over the tonal range that I desired. I used lots of crosshatching for this aspect of the piece to build up a level of definition, depth and tone that I was pleased with. Rubbing it into the paper locked it in and allowed me to work over the top of it in pen. As you can see, I put light layers in some areas, and darker areas primarily on the floor to create adequate shading. I like this process because it gives me a more freeing way of working that does not solely rely on me adding every single detail I can see, but rather I am working in identifying areas of light and dark, which is sometimes more important.
After establishing a tonal range I was pleased with, I decided to add fine liner over the top, which is my main source of details. I was able to effectively work over the charcoal which was a big help
at this stage of the piece, because I didn’t have to re-apply charcoal to the paper at any stage, unless I wanted to increase the darkness in a specific area. Another element I decided to incorporate was brush pens. These pens are effective because thy add another level of tone to the piece in a smoother way. As they have a brush tip, they allow you to work over the top of the scratchy fine liner and almost mix it with the charcoal. This was a big help at this stage of the piece because it gave me a way to mix all of the elements together, without anything getting lost. As you can see by the photographs, I was able to
add trees, details on the floor and the shape of the metal sheeting to the drawing using the fine liner, but making sure it complimented the charcoal underneath. My mark making process varies in drawings such as this. The use of crosshatching, my wood grain method and little curved matchstick lines are all useful in producing drawings with varied textures. I was able to mix and match the mark making techniques I typically used to create shape and depth in the places I required it. Especially in areas such as the corrugated metal where there are clear
bends and curves, the fine liner really benefitted from being there. I did find it hard to get a soft mark to work on the paper because the paper didn’t have much texture to it, making it too smooth to be light handed with. However, I think the charcoal compensated for this immensely.
FINAL DRAWING
This is the final piece, completed in a mixed media approach at A1. I am very pleased with the outcome of the drawing because I feel it best represents the progress I have made within my own practice, as well as being a good exemplar of how to approach a mixed media drawing. I think working at a larger scale has improved my work because I have been able to focus on details that are larger, as well as the use of light and dark. I like how the tonal range has improved from this, and how it now looks like a more complete drawing as a result of this addition. I intend to use charcoal and pen together for the remaining drawings I do at A1 size, and will aim to make them a series for exhibiting. Overall I am pleased with the outcome.
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