SK BU Pha on Co ee WwiTtH __ MARKERS SECOND EDITION HOMAS C. WANGTo Joseph, Andrew, and, Matthew Original sizer 917 2 ‘Maghom: Pict ac pr Techniques 930"PREFACE Markers are probably one of the most popular sketching medka They are ver Sotle, expreseve, color, and above al easy to use Yet, becouse ofthe abity to adapt oa wide ange of drawing tech ques, rarare ae tl used primary a8 ‘substitute for othe tadona sketching ‘media. Fer example. tha fine pont marker canbe used to dente the performance of an ink pen, Likewise, the ‘aintow Solcton of Fa pons if used tke an ordinary colrpenci set. Markers ore popular becuse ofthe eace in handing ‘end. empty. rather than for their Uunqueness, constucton, and range of fib 5205 and inks. The, unfortunate, doesnot enzourege the development of ‘aming techniques special fr mark rf ths patter persis, markers may ‘ways hold a secondhddle poston to fen ard pene, which have an ancient and respectable hertage Ths book emphasizes the unusal ver. satity of ths remarkable drawing instr ‘mont ond demonstrates ia unique sity {o combine te own qual harmonious ‘ah many other media such a8 water lor pen, pene and ink is my intent to encourage the use and increase the awareness of the marker af 2 superior sketching Leo! wth unque quali tat canny be expreased thoroughly trough the at of hatching Mesto arta cn wht rig paper Techniques gc siehOriginal siz:Degree of AbstractionEQUIPMENT ‘The style and quality of markars are con tantly improwng. Henry C. Pit, in his book Sketching with the Fetsio Pen (1950), refered tothe felt pen ae "the rw tol.” At that time i wa a new i Venton and was certaniy 2 novel oat ‘sts. The marker has since evlved into fone of the most popu dravang madi, replacing pen. penci, and ther cok media, It wiely used fr @ number of good reasens 19 empl to work wth Shes fast and usualy does nt smudge 4 comes in numerous pre-ivod colors anda variety ofp downs, ens often Soft and penetrating, and. above al the ‘marker convenient ‘The marker also has its drawbacks, Is rot ar inexpensive medium It alsa has 2 restvely shot shel Me. The penetra ng effect of most markers requires spe ial paper. and bleeding ss extremely Sffcut to predet and contr. The can ‘enon of premixed colo elminates the creative posses of clor ming, Over i, te ease n handing fe welcomed by tmoat student, who thn of a ly man's too, “The marker should be loked upon 3s 2 unigee medium, Ite nether pen ror Pencil and should not be ued as such ft fas a unique tp tht responds to pres sure, surface constions, ane fud char fcterstcs. These features make markers fxcellert sketching tools. Therefore an Inumate understanding of her character ‘tics ews to succeestucketchng, Titer Ta She Original sans 1117 rches Medium fatip mors one “Tectinigues ne rowing testa shangthe folowng thckebonded + Bristol board a Wy Wm : Yj 1 LYETechniques ine‘Types of Lines. Thore are many types of nes: rom lok to nght ine pind (gue ‘onpage 16) + ines crown in 2 eeries of short pauses at random intervals wth the marker re: tang on te pape repo st random intl wth the marker ‘moved from the pape ne por) + short strokes nes drawn with @pointed-nb marker ‘varying the pressure onthe pont Fig + lines drawn with a pointed-nt marker, ‘wing ard varying the pressure + caguat stor nondrectonalstrckes ire poind Ponted-nib marker + lines cravn with 2 semichy pointed marker + wide ap marker soko + sees of smal At ope rown with @BASIC TECHNIQUE: TEXTURE Texture conssts of semsbstret graphic symbo's that sig the sutace or mate nal of tho drawn object. Tho toral ofect ation of depth i two dmensioral rere There oe two basic types of texture Ines and dots (screens). The meaning and effet ofthese textures depend voon the nterpretation of swe, overal denety line asertaten, spacing, and over tonal ect Une texture can be divided into paral ‘and nonparal! (better known 38 "equ; es" oF “senbbles"? pattems. Parl Ines Gncucng cross hatching) ere often Used 10 express vertcal or honzental planes that have a smooth surlace. The Spacing Between ines ad the le wth rendered pare. Iss an abstract expres ‘Son, anathe artist should not be too con ered th the eral meaning of the ‘material Nonparalel ines are a bundle of Tooee treads, The spacing are often vaned in order to facheve 9 desred densty and tonal et fect. These nes are idea symbols to pit vegetation and for undulting sur feces‘Types of TextureAl ne ESSNlLine, Texture and ToneGray Markers ‘be appearance and tends to stand out. bee 2 ‘ ° vc kets ‘ ‘ ek latencies ne3 ie sia Seis ; 1 It i rfl .amSelection of Color Markers Color choices of markers are ever in creating Iie indeed effet to start 2 Useful colton because of the many ‘eriaions of sivles and coors and be ‘ouse of the cost fector, You should choose colors according to basic need father than on impulse. Lock fr alors that bend wal wth each other instead of setting up a joecope sovetan Lint your selecton to not more than fifteen or twenty markers. You can aways add 10 your colecton as you progress. To er Sure intligent and practes! choices. there ae tree major enter fer cons teton. The fret color There are tee Separate but Sooaly rested Furctons of ober + Prme colors thase colors) ae used 10 cover 8 l:ge area such as vegetation, drntectre water or chy They shouts be aft and warm and shouldbe able ‘end wall vith al the sdjcert coors + Supparing colors erhence prime cel one cg ‘ors. They are used for textural bul, shang, ard edge sharpening + Accent colar ae for nghightng. They ‘re usualy bight, atractve ard contr ‘etary. They ae often used for car, 9rs, clothing, ard the lke. The loca ton ofthese colors shouldbe corey setcted. dant overde them Since the ares of coverage is relatively smal pontea-n marsers a more sutable than wider arers The second enteron for marker selec: tion's uncon, Markers come ncflerent rib szes and materals. soft ft op oro- duces 2 broad and even stoke while & hora nylon tp produces avn ard cons tent teak, The bra and soft marks fers are efor fling nlarge areas, while narrow tos are sited for ine ar texture Growing. Lines define spat edges ora clan objects in space It suggests vk lume ‘and claifes depth. The: decison here les in the subject matter end the ‘ype of artiste expression thatthe artet semernty cere seeks to communicate through his/her The last selection erteron involves comenience. Ths catepory has less dh rect impact on the qulty cf the sketch but ronathelese affects the sketching tet. Here ore some considerations: the design ofthe cap and the ease of recap ing the marker propery: the shape of the cartidige to prevent the marker rom roling of an incined surface: the shape ‘265, and weight ofthe markers andthe ease of earpng them tothe held: the ‘abity ofthe nb t0 stay shop: emel fume, and safety concerns: end peeps cost and affordably, Many ofthese foc tors re So trv 2 personel thet they sare mattos of individual reference, In conclusion, the choice of markers should never become a burden that may take the fun oway rom this creative act ‘called skething, To enjoy sketching, the choice of what kinds of marker to buy shoul te lexble ard spontaneousDEMONSTRATION 1fe ipl ages wane Spal ees fo rng ut he eng eoSPECIAL TECHNIQUES Mixing Colors (ne ofthe most intriguing techniques in motler sketchieg 1s called mang, or Bending, tt takes adhantage of the Iraraperentsstre of rarkers by blend: fog stferent colors one on top ofthe ther to erate new colors and to pro duce new elects, For example, ming land blending ferent shades of green on 4 tree cenopy produces a more realistic Sppeararce. Likewise, Ighter spots on dorkblue water tend to capture the spar es ed ceflectve nature of the water's surface. Plan marker strokes ca loo fat and cul when applied evenly. bt mi 18g and blending wil bring out the thee Aimensicns quay of he sketch However, this process can be risky. wth often unpredictable results that are Cu to contre. The ris bes in the us predetabity. Since mong i often done halfiay into the sketchng process. er ‘ors of this hind are ireverbie and can [eopardze the entire sketch The ony anc moat effective way to eam tis technique 18 by Wal ard eror through which one an learn precictable pattems and results by testing and mixng different colors Keep in mind tnt citfrert brands of markers and diferent types of papers also produce diferent resus To mix clos, yeu shoul be fariiar withthe color wheel and te nature of oor For example, red med wth yellow Produces orange, and bive med wth elon produces green. However, due © the chemical content and the rote at Which the marker cries on = partcular Surface, yolow on red may be oferent from red‘onyelow. Agen, ene must pre test to become familar wih this bind of reaction In adstion the markers used n rmaing wil longer rtan thar ong ‘olor du to contamination on th fot tis. They should be stored separately and lboled for easy éerteaton, To ereste the “bleedng’ eftect of wotercoor,syetematially lace salectve Colors ontop ofthe ori layer to dst the ongnal color while ¢ dying. For 8 ‘more dyname result, the wet on wet technique ia very effective, To achieve rmaximam resus, ler ighter colors on top of darker ones. Though not absolut, the reversal of ths process often leads toa dork muddy elect. Te achevo a satstactory ming result {a slow-dryng drawing surface is requred Wht tracing poner i an excelent me lum for test ming markers. dees not ‘bsorb quickly and it ches roistvaly Sowly The colors seman brillant ard tie. Another excelent medium i photo graphic poper The special coating an Idea surtace for mixing and blencng. and coloes ae erasable. However. ths spe- 2 plastic coating tends to lighten the overall color ellet. Ancther dronbeck with photographic papers cost tis very ‘expensive! One should tr to avid any kird of bonded papers made fom fle. This includes watercolor paper, biol paper. and eny paper stocks that have a high edsorpton cae Use lighter fud—such as Bestine—to erase markers, ora reguor white eraser fon photographic paper To erase 3 large ara, a few crops of rubber cement so ‘vent on a dinner rapkn pickup and clean 2 lxge area. Bearin mind thatthe ype Of paper so the coating an the aning Ssuface dctates the eectweness of easing tdi) Tiles Acie! Stidy Original sine 12 char Modis markers on cred pencle Techniques ning of markersTiles Hovsna Susy Original sizes 18 robes ‘Malm: rarkrs or presoerane pape Technique sick etch Original size: 12 robes Medium: ro rather on vite Technique cbr marker on flip Ine tot some ving ard corMarkers and Pencil The beauty ofa sketch done wan color trey of ears, The Bold marker strokes and the broad coverage all become pats af the ungue “marker style.” However. thes nd of coverage tonde to produce a Tale Archaeal Susy nisi Techniques tc ni chotaraohe relatively fat appearance and lacks fne (gain and textural effect. Color pencis onpensate for the defioancy. The strokes from color peri and ther deli erate directions become the counterpoint to the flat marker sveaks. Pencle odd sparkle ar 22 tothe sketch. Tre overall effect refreshing ancrotoves boredom,Markors and Watercolor Akhough the effect of marker sketching is qute simlor to that of watercolor, the two meda are actually quite diferent in nature ané appicaton, Markers strive for Instant effect. The colors are premixed ‘and come ready to use, The result © bright. oud, and perhaps pungent both to the eyes and the nose On the other hand, watercolor must be mixed: takes time 10 achieve the desived effect: is baht, quet, and reserved. However espite the diferences in stye and per sonality between these two meda. watercolor and markers can complment ‘and. support each other. Markers. ore Used routinely to supplement watercolor land to increase the intensity ofits calor effect. Feline markers are olten used Instead of ik pen to create the lne-crow- ing base for watercolor application Titer Howsing Sy Original sizes 1418 nchos Mediums cscs morkers 0 Botoyaphe pope Technique: suck ne drawing on rach fave: belre cong potsgraphcaly ming fm a.Use of Gray Markers ge _ notrioks It _ Just practic eS + Le xSKETCHING ‘Skotchingisanantcte act, There are two types of skatehing fe rowing, Ge, you sketch what you see) or recall sketching Ge, sketching rom menor). Sketching 's. very compleated interacwe process between the eyes and the hands In the course of wansforming real mages to symbols. one goes through trae distret stages: object enificaton, shape sn pifeation, and finaly image recording, Keep in mn that ths is an oversimplified snalyes ofthe sketching process, What realy goes on in your mn nd how you ‘raphealy express an image ae complex fd beyord our understanding. Sketch ing te 2 gradual leaming process, You ‘must learn how to draw before you can sketch. ike leaning how to walk be fore you can run. Beng able to draw pre ‘sel carefull and realistically is a recessory dscpine before attepting Tiles Uiton Space Sty Original sizes 61 chee Madam: rarkrs cr wit tocha per Techelaues uch scion the more acu task of graphic shor: hand. Life drawing, therefore. a rereg Liste sil that enables you to lear how to dron precisely Life draving sets up the fundamental of sketching, is an exercise for your tyes, hande. and the entire nkape Sy tam. Life crowing not ony ets you study the object with your eyes, sometimes Involves taking real mensurement of the mensions ard andes, or recording the mmateras and texcures wih photograps These routes habitual fore your eyes to keenly record the imoge and, there fore, remember tt The fet that you re meme the mage is crucial ta sketching from recolecton or memory. Often you cannat recall images because you dont have them in your visual data bank. The 'eea that we ant draw often derives from the lack of anjthing to recal. i rota mater of kil ib cabo xk moses shetching process aE sb mall otaurirnneketeh‘The Art of SeeingSEEING METHODS * Identify the prominent mass a coverage inside the picture Fire, + Idently the perspective type and lo the horizon ine. projection rays, and reference planes igure ©) + Classy the visual fed into foragroun, rmualegrourd, and background. (Fg + Identify the light source and sketch out the tora contrast of the mor planes Puree) dently the shape of masses ty folow teal. and dagansd (Purers . iG eo tar ie ih eG ee eee a eese292 OVP B cal) na ae‘Three-point PerspectivePicture Plane Stetchng records » thee-dmensional Belore the mage is drawn, must be ‘on a hypothetical tre frame This fae Invwhic the mage recorded on fm n Tous than a second. The pcre frame i toed to determne the size of the sketch fnd the amount of the coverage. It frames those odects that ye and blocks out = (Figure 2. The 0 ture frame shous be proportoral tothe paper used Emoty side mounts are very onenient tools for framing purposes ‘Stnpy hold the mount in font af you and move t back and foth to determine how uch you want fo sketch. If he frame over tothe object, the amount of cov feage is reduced and the sze ofthe ob Jest is increased. On the otter hand, the frame ie closer to you. the amount of ‘coverage screases and the size of ob jects becomes smster Fgure 6). Most fxpenenced arts bypass this step not because they the because ther eyes e the cropping within the peture frame venecessary. but 2COMPOSITION Location of the Horizon The hoxzon i the eye lve (vee The locaton of th Caton of the principal etments. I ‘so dive the sheet into two honzontl ech other, Ths horzontal dvi.on of the sheet is extremely mportant nthe com postion ofa sketch, (ne should avoid placing the horizon the shoe into to equa portions and pro ‘duces a state and boxing moge For the ‘zon at either a three-quarter oF @ one {quarter positon. A low horzon (Figure) has more sky space ar tends 1o erp: size the vertcaliy of objects. A hgh ho zon (igure b) cea for bi s-eye oF ‘blue views, Due to the vewng angle the depth dimension dows not Foreshor ten a8: quchy a8 dogs a low horizon £0 most foreground detais. must be ‘nelided “Technique: socio ssh coergercisPositioning of the Masspoint PerspectiveLIGHT EFFECTS Light eects bring out the tonal contrast, between planes and this wtensfy the feelng of depth. They ae aso used © separate ard closlfy the diferent ayers ‘of vial lds For example, a in fron of @ dark background fects ae alao used to detine corners and spat! edges and to sot 3 mood "Thee are two kinds of reliste boht sources, both with a definite drecton [Natura ight orginates rom one single source—the sun--and the Ight bears ‘re poral Arca! ight has 2 radiating pattern and can emanate from more than fe source. In sketching, 9 chiaroscuro ye can aso be uaed, Ths is 0 ctor representation oflht. rather than 2 iste interpretation ofthe souce and ts bohowor. rie used to achive 9 certan ‘acd and atmosphere eed yields an ef fective and abstract expression of ight done correct, yl . ” ‘seuss seuss ee . } oo . ne often a backgroud tone se of ayo bacoround ob othe contrastExpression of Light EMfect,‘A SUCCESSFUL SKETCH ‘A good skatchis ke 9 breath of freh a Lookng at shout! be an enightenng experince. The subject matter should be Interesting, the campostion should be ‘sppropde ard pleaang, and viewers must be able to see themselves inthe ‘etue rather than functionng merely as ‘cnlockers. The ine shout be forceful and should flow in a mearingh way. The strokes of the marker and he colors you tse should evoke a sane of rlexoton fd redem ‘Sketch beyond the four borers ofthe sheet Allow the lies to Row and exten teyord the page. The most unconstr te Mable Sketching I 0 contin yout self wthn a fixed border. Marker rmovernent should be fast and precise ‘void hestation, whch can cause bleed: fag ard uneven line width Let the marker rotate rely at your fingertip. Aogure a ‘200 sence of eal, proportion, ard per Spectve, ond ether eke wil come auto: rately wth practice, “Tats Kotor. Hong KongDEMONSTRATION tt color marker on Aqua fo ip maker paperDEMONSTRATION V fie ine meker. watersler on wateccer paper Po razor: 1b snniy watercolor tte alors aay go st gray app darker values eher receding cost dred, be patent