№2. 34 Intrinsic Black Line Drawings

H.G. Wells, Julian Huxley, G.P. Wells, The Science of Life: A summary of Conemporary Knowledge about Life and its Possibilities, London: The Amalgamated Press, 1929.

Black line drawings, I suggest, are not to be overlooked. We often were raised with these types of images in our school books, where just a simple line may have enclosed some shading or some textural marks in their representations of objects. I wish to celebrate the way black line drawings can show how connected or repeated segments are part of these tiny plants, shown above. There is an economy of line, every mark means something, and not even the smallest detail is overlooked, it seems. Diagrams were traditionally devoid of colour, though as commercial printing of books improved, more variations in their presentation were possible. Current diagrams, formed by computer programs, can seem capable of infinite aesthetic possibilities, though this exercise urges a return to ‘plain’ basics in drawing.

What are their repeating patterns of that plant that you can draw?

Are there varieties of the same plant that have stark differences? Think of apple varieties as an example of this task. This will be a challenge to attend to black line drawings of different varieties of apples using the simplest of lines, rather than a photo-realistic approach. Using colour, alone, would be too easy for my task. How can you make black line drawings to share those particular differences between different breeds of apples?

An initial survey of a plate of various apples may require a word search for their differring qualities. Using the early diagrams of cells, pictured above, the thoughts that arose within me when looking at the differences between the cells include such key words or phrases such as clusters, waving hairs, widely spreading but thin branches, chains, downward spurts, thick stems, bulging burrs, outreaching arms…where ever there is a spare space, self contained and guarded, easily released segments and looped stems.

These words arrive upon an overall analysis, but they could become a tiltle for a new individual drawing. For instance, an imagined cell called “waving hairs” could have a certain look, as compared to one entitled “self-contained and guarded”. Perhaps several versions of each diagram would be useful before deciding on the effort that had the clearest and most promise for communicating what it was you wished to share about that cell.

As an opposing task, it could be possible to also make a diagram similar to a chosen black line drawing you have completed, but this time use only a wide variety of brightly coloured pencils. What differences would be possible within this diagram?What would be lost when creating a coloured version? What would promote improved comprehension to a new audience? Ask a family member which diagram they may prefer for the transfer of information/ your aims. There could be a difference. one diagram may be filled with concise and clear information, another may be a pretty decorative motif.

There are great artists who have brought together great black line drawings with art, and this could be said to be an ‘entrance way’ into the rich world of printmaking. Etching, lithography and engraving has a long history of presenting intricate black lines to the viewer.

When presenting black lines only, it requires the simplification of lines in what plant is before you, and we may learn more by carefully observing children’s drawings. They can share that great gift in being able to ruthlessly, quickly, unemotionally, and instinctively, simplify lines.

I have looked at specifically simplified black lines in unusual places…catalogues of leather stamps where metal motifs are hammered into leather crafts such as belts and horse saddles, for instance. This could be said to be an adult point of reference, though, and a child may not have wider knowledge of such leather crafts and cottage industries that date back to earlier centuries. That is why I suggest you glean motifs and diagrams from things you come across, but also to share time with children, or the elderly, and their drawing. Asking someone, an adult with decades since their last art-making experience, would also be a cause for celebration, in my opinion, for they will have to rely on their own innate simplifications and essential knowledge that is before them when drawing a vase of flowers.

Perhaps this process of bypassing the carefully honed drawings or diagrams of master craftsmen and, instead, learning from the original and fresh lines of the untrained is a new direction for you to take. It may richly reward all parties concerned.

Use plant resources from all that comes your way, or connects with you. I scribble diagrams of plants leaf and flower patterning in my journals, more so than more comprehensive sketches. I try to note the essential knowledge I see before me, just as a three year old does.

Sue Michael, Journal pages sharing diagrams and rough sketches.

I have displayed, above, some of the pages from my many journals ( I have 100’s of journals). Within the pages I often glue in quick sketches made when visiting various locations. If something aesthetic resonates with me, then I reach into my handbag for my tiny companion/journal. I take drawing materials wherever I go. My car’s drivers’ door compartment is like an art room box, full of a variety of drawing materials, rather than maps. I have then a capacity to record, to take home and think about, and later develop, gleaned inspiration into a design of my own.

Sue Michael, Flowers from my front yard, 2024. Felt tipped pens and graphite pencil on cartridge paper.

My garden images, shown above, began as black line drawings only. One day, without much pre-planning, I drew some line drawings of the cottage garden plants in my front yard, using a Sharpie pen and lead pencil. Later that evening, I added brightly coloured felt-tip pen areas and the strange fringes to each shape. I still can not tell you why I added those fringes, but perhaps they signalled the outreach in kindly energy I felt from my garden.

I am an artist. I can draw whatever I want.