Z05 study of the head of an infant

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Medieval Crosshatching Techniques Brenda Hoddinott

Z-05 ADVANCED: DRAWING ON THE MASTERS This article is modified from a small section of an academic documentation for a drawing I recently entered in an Arts and Science Competition for The Society for Creative Anachronism, Inc. This drawing represents my first attempt at using contemporary counterparts of medieval drawing tools, and while I am very critical of numerous technical problems, I am very happy with all that I have learned. Other excerpts from this research paper are included in Z-02 Advanced: Examining Styles and Techniques.

This article is divided into the following three sections:

INTRODUCTION: Even though the masters’ drawings are far superior to mine, and their subjects are specific to medieval times, the fundamental techniques of crosshatching and chiaroscuro are the same.

PLANNING AN ORIGINAL MEDIEVAL DRAWING: I introduce my drawing subject, discuss anticipated challenges, and provide a description of media and tools.

GOALS, POTENTIAL OBSTACLES AND MEDIA: My primary project goal is to get a feel for working with pen and ink, while incorporating the hatching and crosshatching styles of Leonardo da Vinci and Albrecht Dürer.

ILLUSTRATED DISCUSSION OF PROCESS: Readers are invited to either follow along with a visual presentation of my drawing process, or render their own version of my subject by incorporating their own drawing styles.

Suggested drawing supplies include 100% cotton paper, nibs and holders, black and burnt sienna inks, white gouache, paintbrush, and containers to hold water and ink.

This lesson is recommended for artists with strong drawing skills, as well as home schooling, academic and recreational fine art educators of advanced students.

12 PAGES – 24 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2006

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.

E-mail [email protected] Web sites http://www.finearteducation.com and http://www.drawspace.com

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IInnttrroodduuccttiioonn The Society for Creative Anachronism (commonly called the SCA), an international organization, with over 30,000 members residing in countries around the world, is dedicated to researching and re-creating the arts and skills of pre-17th-century Europe.

As a member, I dress in clothing of the Middle Ages and Renaissance, and attend events throughout Eastern Canada and the Northern United States, that feature arts exhibits, classes, workshops, dancing, feasts, and more. I am currently on a quest for a specific period identity. Graphite is my favorite drawing medium; hence, I have decided that my persona’s lifespan will include the late 1500’s when graphite made its appearance as a drawing medium. My goal is to explore the diverse drawing and painting techniques of the renaissance, and pursue a dream to become a student of the masters. Renaissance, derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

In this article, I discuss the process of rendering a study of an infant’s head by utilizing contemporary counterparts of medieval drawing materials and tools, and my own personal drawing style. Technique refers to a well-defined procedure, such as hatching or crosshatching, used to accomplish a specific effect or ambience. Style refers to an artist’s individual approach to making art, and is an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. Throughout the actual execution of the drawing I provide a heavily illustrated journal documenting my successes and frustrations working with the unfamiliar medium of pen and ink.

Drawing media and materials used for rendering this type of drawing during the renaissance included quill pens, styluses, inks, and white gouache. A quill pen is a very flexible and versatile writing or drawing instrument made from the scraped and cut feathers of birds. Stylus (sometimes called metal-point) refers to a drawing tool that was made from a relatively soft metal, such as lead, silver, gold, or copper, and cast with a fine point at one end and a blunter point at the opposite end.

I use easily accessible modern-day drawing materials for my drawing, including

Arches 140 lb. hot pressed, 100% cotton, watercolor paper

Speedball, Number 20, General Purpose nibs and holders

Windsor and Newton, black and burnt sienna inks

White gouache

Small script-liner brush

Even though the masters’ drawings are far superior to mine, and their subjects are specific to medieval times, the fundamental techniques of crosshatching and chiaroscuro are the same. For example, their crosshatching techniques are very similar to those I have used for most of my life. Crosshatching is a shading technique in which one set of lines crosses over (overlaps) another set creating a dense grid-like pattern. Chiaroscuro refers to the technique of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface. Chiaroscuro was first introduced during the Renaissance.



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PPllaannnniinngg aann oorriiggiinnaall mmeeddiieevvaall ddrraawwiinngg The primary goal of this pen and ink project is to create a study of an infant that looks like a renaissance rendering. I introduce the subject of my drawing, discuss anticipated challenges, and provide a description of media and tools.

My reference is a photo of my grandson Kaiden, taken by my daughter, Heidi. The overall composition seems fine for a study, but I will add the top of his head that is cropped in the photo. I love the tilt of his head and will accentuate this a little more in the composition. The body will be faded below the neck by using a graduation of values from dark to light.

The primary light source, from the upper right, will be accentuated to allow for a greater contrast in values and a stronger sense of three-dimensional reality. White gouache applied over the cream colored paper, will accentuate the highlights, sepia colored ink will produce the light and middle values, and dark brown ink will work for the darkest values.

The compositional pathway begins with the eye on the right, moves toward the eye on the left, travels downward along the edge of his face to the nose and mouth, and then counterclockwise around the perimeter of the head, back to the eye on the left and then across to the eye on the right; in other words I will attempt to prevent my viewer’s eye from leaving the drawing.

My primary focal points will be the eyes; their shading will be rendered in more detail than the rest of the face and hair, and the pupils will be the only part of the drawing shaded with full strength black ink. The nose and mouth will be secondary points of interest.

Figure 1: Photograph of Kaiden, taken by my daughter, Heidi.

The eye, which is cal led the window of the soul , i s the principal means by which the central sense can most completely and abundantly appreciate the

infinite works of nature. ( L eon a r do d a V in c i )

GGooaallss,, ppootteennttiiaall oobbssttaacclleess aanndd mmeeddiiaa My primary project goal is to get a feel for working with pen and ink, while incorporating the hatching and crosshatching styles of Leonardo da Vinci and Albrecht Dürer. While the initial concept seems daunting, research has served cathartic in that I find that I already have many of the basic technical skills need to execute this project.

My major concern is whether or not I can acquire enough skills with the media and tools to make the final result believable. I find ink to be an incredibly intimidating and tedious medium in that I know I can’t erase mistakes. Almost 40 years have passed since I last used these types of pens; believe it or not they were commonly used for learning formal writing skills.



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I set up my supplies and practice a few different types of lines on a small piece of paper. Needless to say, this drawing tool is nothing like my favorite pencils.

According to my research, metal nibs do not flow as smoothly across cotton paper as did the smoothly rounded quills of the masters. As expected, the nib makes a gentle scratching sound as it moves across the surface of the paper.

I’m gaining an increasing admiration for the masters of the Renaissance; students no doubt spent many years practicing drawing before their lines flowed as smoothly as their masters’.

Figure 2: Various styles of hatching and crosshatching lines rendered with pen and ink.

Trial and error helped me put together the following guidelines for working with pen and ink:

I made sure that I dipped the pen deep enough into the ink to fill the reservoir (if I dipped only the tip of the nib, I ended up having to re-dip the nib after each line I drew – very annoying).

I found it helpful to wipe the underside of the nib on the side of the container to wipe off extra ink.

As I worked, I frequently wiped the tip of the nib with a soft cloth or piece of paper towel before re-dipping it in the ink. I also checked the tip each time I reloaded; nothing is more frustrating than having a fabric fiber or hair attached to the tip of the nib (a stray hair can quickly ruin your drawing by forming a big blob instead of a line).

Nibs, holders, and brushes need to be cleaned immediately after use with warm soapy water (otherwise the ink has to be scraped off). However, when I neglected to wash up right away, a soft toothbrush (not your own of course) was fantastic for cleaning dried-on ink from the nibs.

I pre-mixed the following three values of ink, and then covered each with plastic wrap to keep them from evaporating until I was ready to draw:

Light: Drops of burnt sienna ink are added to water. I test the mixture with a small brush after adding each drop of ink, until the color is what I want.

Medium: Burnt sienna ink, full strength

Dark: Drops of black are added to burnt sienna, until I get a dark brown (almost black).

Figure 3: Three hues of ink - light, medium, and dark



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IIlllluussttrraatteedd DDiissccuussssiioonn ooff PPrroocceessss I begin the drawing by setting out my materials and very lightly sketching the shapes of his head and features with graphite (my lines are so faint, they didn’t show up in the scan); the masters often used metal point for this process. Sketching accurate proportions is integral to achieving a likeness to my subject. No matter how well my shading turns out, if the proportions are off the drawing will not be successful.

Let proportion be found not only in numbers and measures , but also in

sounds, weights , t imes, and posit ions, and what ever force there is . ( L eo na r d o d a

V i n c i )

I modify the sketch for increased accuracy, with pen and diluted sepia ink. My contour lines are jerky as the metal nib scratches its way across the paper’s surface.

I then erase the graphite. Assuming a master used lead-point (which was erasable), erasing a preliminary sketch is an authentic part of medieval drawing.

Figure 4: Contour drawing of Kaiden’s head and facial features establishes the proportions.

I use a light value to mark the locations of basic facial forms. To identify a section of high contrast shading, I add dark and middle values to a section of the background, along the side of the head.

My next step is to lay down a full value scale within one section of the drawing, so as to give myself a reference for adding shading. I chose the eye on the right because it has the darkest darks (in the pupil), and will also have the brightest highlight.

Figure 5: A guideline for a full range of values is established.



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Further research will eventually (hopefully) allow me insights into the actual drawing processes used by the masters of the renaissance. For this project, I’ll rely on one of my favorite methods of drawing, in which the values are added in three stages from light to dark. The three highlight sections of the nose are left the color of the paper for now.

Figures 6, 7, and 8: Light, middle, and dark values create the illusion of form for the nose.

Figure 9: An overview of initial drawing stages.

Figure 10: Close-up view of the eye on the right

Figures 11 to 24 demonstrate the completion of the shading of the drawing.



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Figure 11: Close-up view of middle values added to an ear, and crosshatching added to a section of the background

Figure 12: Overview of the entire head and face with middle values added

Figure 13: Detail of curved crosshatching lines on the cheek

Figure 14: Detail of eye on the left



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Figure 15: A paintbrush is used to add middle values to the shadow sections of the hair

Figure 16: Dark values on the shadow side of the face, and middle values on a section of background (on the left) are added with a brush

Figure 17: Overview of head and face with darker values and more details

Figure 18: Dark values are added to the shadow section of the neck



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Figure 19: Chiaroscuro creates bright sections of hair that contrast successfully against the dark values of the background.

Figures 20: White gouache is added to the cream-colored paper with a tiny brush, to enhance the highlight on the cheek

Figure 21: Crosshatching is an ideal technique for shading human skin.

Figure 22: Hatching works well for shading hair



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Figure 23: Final shading on the forehead shows a full range of values

Figure 24: Final drawing of the head of an infant



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Despite numerous frustrations, this project has been a lot of fun, and my research has taught me well. I’m even inspired to find, or maybe learn how to make and use, period tools and materials in order to bring my work closer to authentic medieval renderings.

On another note, I’m feeling relieved that many of the drawing techniques utilized by the masters’ are already in my repertoire of skills. I’m also motivated to focus on maintaining my own individual style. In other words, I need to remain true to my intrinsic style while expanding my skills with techniques and media.

As I continue to study the drawings of the masters, I must be careful to constantly separate style and technique. As a student of drawing during the high renaissance, I will incorporate the skills and techniques of the masters with my own personal style, which will continuously evolve as my skills improve. In closing, I have learned that with each new skill, technique or snippet of information I learn, there is an infinite amount of knowledge still to be learned.

CChhaalllleennggee Try you hand at drawing another infant! If you decide to work from a photograph, make sure the facial features are in sharp focus. Also, keep in mind that you can modify the composition, as I did in this project, by tilting his head a little more than in the photo.

May I suggest that you use drawing media, materials and techniques that are the same as, or very similar to the following:

MEDIA MATERIALS TECHNIQUES

Black ink Small script-liner brush Hatching

Sepia ink General Purpose nibs and holders Crosshatching

White gouache Arches 140 lb. hot pressed, 100% cotton, watercolor paper Chiaroscuro

BBiibblliiooggrraapphhyy Eichler, Anja-Franziska. Masters of German Art: Albrecht Dürer. Germany: Konemann Verlagsgesellschaft, 1999.

Mitchell, B. Great Artists: A Treasury of Paintings by the Masters. Toronto: W. H. Smith, Marshall Cavendish Books Limited, 1987

Teiche, Jessica and Tracy Barr. Da Vinci for Dummies. Indianapolis, Indiana: Wiley Publishing Incorporated, 2005

Zollner, Frank. Leonardo da Vinci: Sketches and Drawings. Taschen, 2005



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BBrreennddaa HHooddddiinnootttt As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints.

My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and

academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable.

>Brenda Hoddinott<

BIOGRAPHY Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”.

Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites.

Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.

LEARN-TO-DRAW BOOKS Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is

available on various websites and in major bookstores internationally.

The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.

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