2019-04-01_Artists___Illustrators

NEWTOBLACK&WHITE?HANNAH ON

THEPRODUCTSTOGETYOUSTARTED

“Nitramcharcoaldoesn’tbreakeasilyandcanbesharpenedtoafine
pointwithasharpeningblock.Itallowsfordeepdarkshadeswhile
stillbeingeasilyerasedforluminouslighteffects.Kneadedrubbers
arefine,butIfindthestraightedgesoftheserubbersuseful”

Sennelier

Fixative

Soft and fi rm

rubbers

Nitram Maxi Bâton

De Saule

Jakar

Compressed

Charcoal

Fabriano 4

200gsm paper roll

Winsor & Newton

Willow Charcoal

of lines, the size or shape of something or whether it is

too light or too dark for instance.

5. ECONOMICAL MARK MAKING
   I found that the ability to develop your mark making is
   improved when you have to fi nd different ways of making
   marks to suggest the features of landscape, rather than
   just resorting to colour.
   Crushing bits of charcoal onto the paper, using card or
   masking tape to mask sharp white lines, brushing off the
   dust to create abstract marks... All are examples of ways to
   describe texture and convey movement. Black and white
   simplifi es everything, which in turn highlights the impact
   these beautiful marks have on a fi nished piece.


6. ATMOSPHERIC RESULTS
   I have always found monochrome images to be incredibly
   evocative. What you lose in not having colour to do the
   telling for you, you’ll gain in quality of composition, form
   and tone, as well as the ability to communicate mood and
   atmosphere in a totally different way.
   It is so easy to think ‘fi eld’ and start using the colour
   green or think ‘sky’ and start mixing blues, but when
   you describe these same features in black and white it
   results in a portrayal that is every bit as bold, sensitive or
   descriptive as any colourful painting, often in a way that
   can be timeless and utterly unique.
   Hannah’s work features in Out from the Downs: A Study of the
   Sussex Landscape from 7-29 March at Highgate Contemporary
   Art, London. http://www.hannahivorybaker.com

ABOVEWave Study,

charcoal on paper,

16x18cm