I divided the art board roughly in half—both horizontally and vertically—with a t-square, traced the inside and outside of a triangle from a few positions at every innermost corner, and made circles with a compass at random intervals.
This was my first time using a Derwent Graphic Pencil, and possibly my first time using a 2H. I’m not a big fan of graphite, but I liked the feel of this pencil, and I’m hoping to give the 8B that came with the set a run once Slowvember runs out. (I also had to check out Wikipedia’s information on pencil grading, because—again—not a big fan of graphite.)
Once I was done playing with the drafting tools, I began inking the lines that I was sure I wanted to keep and use. The obvious shapes were a flat, jagged, mountainous form and a 331⁄3 RPM vinyl record, the latter of which could easily be mistaken for a sunrise or sunset.
The challenge, then, is to take those conspicuous shapes, use them, and find a way to make them become more than what they obviously are.
One objective I want to accomplish with this project is to make a piece that will be simple to mat and frame. I have not just a tendency, but a compulsion to work to the edges, so, on the rare occasion that one of my pieces gets framed, there’s a professional framer involved.
This was my primary motivation for using manga board: The guides around the board’s perimeter necessarily constrain me, forcing me to be conscious of, and work within, the established layout.
I inked over those rules and numbers with my Pentel Pocket Brush Pen, taking the black to the edges. And, since frames were a part of my thought process, I inked the outermost section with old, dried-up, gold ink from Winsor & Newton. It was thick and clumpy, and provided great coverage when applied with angled synthetic brushes.
I still haven’t landed on an actual concept for the project, but I know what my next step is, what tools are involved, and that it will be important to this piece’s discovery process.