Drawing in Black & White_ Creative Exercises, Art Techniques, and Explorations in Positive and Negative Design ( PDFDrive )

C 5. For detail, cut windows by
D making small nicks into the
stamp with your cutting tools.
100 DRAWING IN BLACK & WHITE You can also use a ballpoint
pen to make divots in the rubber
stamp. Remember that what you
cut away will be the negative
space, and the part of the block
that is raised will be the printed
design, so the image will appear
in reverse when printed.

6. Use the V-shaped tip to make
pattern details on the facades,
and use the U-shaped tip for
carving away large areas. Be
sure to cut away excess rubber
around the design so it is raised
and only the shape touches the
paper when printing.

7. Brush away excess cuttings
on the stamp using a clean, dry
art brush, or rinse it with mild
soap and warm water, then pat
dry with a lint-free towel and air-
dry. Use either method to clear
away any residue from cutting.
If rinsing, the block needs to be
completely dry before printing.

8. Secure the art paper to 11. Place the stamp on your art VARIATION
your work space using tape. paper and apply even pressure
Have scrap paper handy for with your palm. Stamp your
test prints. city facades (rectangles and
squares) first, moving from
9. Press the ink pad, ink side left to right. Re-ink after each
down, all around the cut block impression.
for full coverage. Or with small
blocks, you can hold the block, 12. Now stamp the rooftops
design side down, and press into with triangles. (See D.)
the ink pad. (See C.)
13. Experiment with the
10. Test prints on the scrap pressure you apply to the
paper to see if there are any stamp. If you vary the pressure,
stray marks from spots not cut you can make the design appear
away or not cut deep enough. If rustic and worn. With solid,
needed, make adjustments to even pressure the look is more
your stamp and test again. graphic and clean.

14. To clean up, rinse the block
in warm water and mild soap.
Pat dry with a lint-free towel and
let air-dry.

BLOCK-PRINTED SCENES AND CITYSCAPES 101

EMBELLISHEDExercise 35:
BLOCK-
PRINTED
SHAPES WITH
LINE WORK
AND PAINT

IN THIS EXERCISE, YOU WILL USE A
BLOCK-PRINTED SHAPE AS YOUR BASE
ARTWORK, AND THEN EMBELLISH IT WITH
GOUACHE AND GEL PEN TO ADD STYLE AND
DIMENSION. PICK A DESIGN YOU CARVED IN
A PREVIOUS EXERCISE OR CREATE A NEW
ONE. I AM USING A FAVORITE NAUTICAL
MOTIF, THE WHALE.

VARIATION

102 DRAWING IN BLACK & WHITE

MATERIALS White, gray, or tan Carved stamp from Palette Brushes (I used a
smooth lightweight previous exercise round brush.)
Newspaper or large or heavy cardstock, (or to create a new Black or white
craft paper Bristol, or one, see page 90) gouache Black or white paint
watercolor paper pen, marker, or
Artist tape Ink pad, black or Inexpensive brush gel pen
Scrap paper white depending on for mixing
paper color

A

1. Cover your work space with VARIATION
newspaper or large craft paper.

2. Secure the art paper to
your work space using tape.
Have scrap paper handy for
test prints.

3. After first testing your stamp
to make sure the impression is
how you intend it to be, place
the stamp on your art paper
and apply pressure with your
palm for small stamps. For
larger stamps, I use a piece
of plexiglass to apply even
pressure. You can also use a
book, if needed. Stamp your
design(s) using the ink pad,
reapplying ink to the block if you
choose to print your design to
fill a page. Let it dry thoroughly.
(See A.)

4. Study your work and find
areas you wish to embellish
with marks.

5. Mix the gouache on a palette
and, along with the paint pens or
other marking tools, paint and
mark both the printed and the

B negative spaces. (See B.)

EMBELLISHED BLOCK-PRINTED SHAPES WITH LINE WORK AND PAINT 103

STITCHEDExercise 36: MATERIALS
BLOCK PRINTS
Newspaper or large
THIS EXERCISE INCORPORATES SIMPLE craft paper
STITCHING AS AN EMBELLISHMENT TO
BLOCK-PRINTED ART. YOU CAN ALSO 1 or 2 pieces heavy
APPLY THIS TECHNIQUE TO PAINTED cardstock, 5" x 7"
OR DRAWN PIECES YOU HAVE MADE. (12.7 x 17.8 cm)
THE RESULT MAKES A GREAT GIFT OR
GREETING CARD. Artist tape

104 DRAWING IN BLACK & WHITE Scrap paper

Carved stamp from
previous exercise
(or to create a new
one, see page 90)

Ink pad

Hole punch,
1/16" (2 mm) round

Embroidery needle

Embroidery floss

Scissors

Glue (optional)

A 1. Cover your work space with A WHIPSTITCH

newspaper or large craft paper.

2. Secure the cardstock to your
work surface with tape. Have
scrap paper handy for test
prints. Always test out the stamp
on a scrap piece of paper before
printing onto your final paper.

3. Press the ink pad, ink side 7. Thread your embroidery

down, all around the cut block needle with floss and stitch

for full coverage. Or with small your hole-punched card with

blocks, you can hold the block, a simple whipstitch. (See C.)

design side down, and press into

B the ink pad. 8. Make a knot to finish the stitch
on the back of the card, trim the

4. Place the stamp on your art floss, and secure with a piece

paper and apply even pressure of tape. If desired, sew a simple

with your palm. Re-ink after each running stitch around the edge to

impression. (See A.) add a frame to your art.

5. Allow the artwork to dry for at 9. You may cover the back

least 15 minutes. by gluing on another

5" x 7" (12.7 x 17.8 cm)

6. Decide where your sewing card.

embellishment will appear on

your card. I chose the negative

C spaces within the leaves. Hole

punch the card to allow for

sewing. Space the holes far

enough apart so no tearing

occurs between holes. (See B.)

STITCHED BLOCK PRINTS 105

GALLERY

106 DRAWING IN BLACK & WHITE

GALLERY 107

GALLERY

108 DRAWING IN BLACK & WHITE

GALLERY 109

GALLERY

110 DRAWING IN BLACK & WHITE

GALLERY 111

ABOUT THE AUTHOR ACKNOWLEDGMENTS Jewel Gentile Merrell, artist, To my Creative Squad: Julie
poet, and writer, who has been Hamilton, Kim Green, Mary
Deborah Velásquez, a Brooklyn Thank you to Mary Ann Hall for my creative sounding board Tanana, Heather Neilsen,
original, lives the creative life in offering me this brilliant project from the start. Thank you for the Barbara Chotiner, and Stephanie
the wooded hills of New England and the opportunity to bring my inspiration behind the Word Path Ryan. Thank you for all your
with her husband and two vision to life. Your guidance, Series©. support—the phone calls, Skype
boys. She is an award-winning encouragement, and calm calls, critiques, and creative
artist and designer who loves helped me see the possible. Jane Rainwater, artist, millinery chats, and thank you for being
the mix of design, words, art, muse early in my career, and there as my art community.
and craft. Her work is modern, Thank you to Anne Re and the Martha’s Vineyard drawing
sophisticated, graphic, and bold Quarry team for designing a friend. Thank you for giving me And to my customers, followers,
and reflects her love for the beautiful book that shows my platforms to show my work. and online community.
simplicity of line. She makes creative voice page after page.
art digitally as well as using Pia Sjolin, artist, who opened my Courage, love, and laughter
traditional methods, including Thank you to Meredith Quinn eyes to my strengths and gave make everything possible.
gouache, watercolor, and for all of your guidance as the me the push to experiment and —me
printmaking. project went from start to finish. “see’’ art. Thank you for your
guidance. “Your style is the way you talk in
Deborah is a graduate of the Thank you to my family and paint.’’ —Robert Henri
Colorado Institute of Art and friends for all of your love Jane Beard, designer and design
the University of Hartford and support. instructor, who caught me in “Line is the most powerful
Entrepreneurial Business a creative support net. I am device of drawing.’’
program. She has studied To John, my champion. forever grateful. —John Sloan
textiles and fashion design
at the Fashion Institute of To my boys, Elán and Auguste: Russell O’Conner, art director, “Every master knows that the
Technology (FIT) in New York, You inspire me every day who helped me build the material teaches the artist.’’
where she received her Millinery with your kindness, love, foundations of a fantastic art and —Ilya Ehrenburg
Certification, studying under hat and big hearts. design career.
legend Ann Albrizio. Her artwork “You can never do too much
has been exhibited in numerous To my forever girls—my sister, Lisa Ludwig, artist and designer, drawing.’’ —Jacopo Comin,
galleries and juried shows, Felicia, for always having my who took the time to guide me known as Tintoretto or Jacopo
and she teaches workshops back, and Nya and Emee, through many creative projects Robusti
in her Connecticut studio. my creative nieces: I love and taught me so much about
Her designs can be found on you to pieces! the home décor industry.
products such as rugs, wall art,
ceramics, stationery, textiles, Thank you to those who came Marie Zimmerman, teacher,
and mobiles, and her hats were before. You inspired me, created whose belief in me made me
featured at New York’s Henri opportunities, and opened the believe I could make a career in
Bendel. She has been featured pathway to live a creative life. this business.
in UPPERCASE magazine and I will hold you forever in my
is carried by Minted, West heart: Magdalena, Iris, Uncle Rod Carey, artist, who taught
Elm, CarpetVista of Sweden, Pio, Aunt Jennie, and Aunt me to “see’’ that everything is
and giftware and home décor Blanca. an art supply. Miss you.
licensing companies.
To my creative mentors and
Visit her website at friends for all the inspiration and
DeborahVelasquez.com support along the way:
or follow her on Instagram
@velasquezstudio.

112 DRAWING IN BLACK & WHITE