This piece is called Twist. It was drawn for my other blog, And Ink in Unfailing Supplies, where I do a monthly drawing challenge with another artist based on a prompt phrase. For the rendering, I used a pen & nib, something I’ve been going back to lately – I find it more interesting to work with than the technical pens that have been my mainstay for the past 20 years.
Maybe it’s comparable to the analog/ digital debate in musical circles. I love the way the nib is a little bit unpredictable. Not all of the dots are the same. Lines are more varied. The flow of the ink is a little more “dangerous.” Sometimes it’s sublime, sometimes it’s like working with venom on the end of a snake’s fang, when the nib bites into the paper fiber – fuk. Still and all, working with nibs is overall more fun.
There will always be a place in my work for the trusted Rapidograph. I actually started drawing with steel nibs in high-school. It was exposure to the work of Moebius (Jean Giraud) through Heavy Metal magazine that set me on a search for the Rapidograph. I wanted to emulate that incredible clean style. Later, I met this guy called John. John was a painter, but he encouraged me to develop my stippling style – he knew a guy that used stippling to render mining scenes in northern Ontario. John taught me a lot about work ethic: produce, produce, produce! That was back in the 1980s. I fell in love with meticulous, tightly rendered drawings. It became my thing.
I never lost that original love for the nib though.
Of course, I have one aim, the grotesque. If I am not grotesque I am nothing.In an interview with The Idler (1896), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 309
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