Lesson video

Hello, and welcome to today's lesson.

My name is Ms. Holland, and I'm gonna be teaching you today.

Shall we see what we're gonna be learning about? So today, our lesson is called "Hand-Rendered Working Methods: Dry Media." And this is from our unit "Foundation Workshops: An Introduction to the Areas of Study." By the end of today's lesson, you will have explored dry media techniques to create varied textures, tones, and expressive graphic designs.

Our keywords today, so our really important words, are dry media, which is non-liquid materials such as pencils, charcoal, pastels, graphite sticks, any other dry media you can think of that is used to create marks on paper, hatching, which is a drawing technique where parallel lines are used to create shading or texture, cross-hatching, which is a method of shading or texture that uses intersecting sets of parallel lines to build up tones and create depth.

And we'll be looking at those in far more detail as we go through the lesson, and then smudging, which is the technique of using fingers, blending stumps or tissue to blur and soften the edges of marks, and tonal range, which is the range of light to dark tones that can be achieved in a piece of artwork.

So we'll be looking at these keywords in far more detail as we go through the lesson.

Our lesson is in two parts.

The first part, we're gonna be exploring dry media techniques, so really looking at those keywords in more detail.

And then the second part is about applying that within graphic design.

So let's get started exploring dry media techniques.

And an outcome for today may well be something similar to this piece of graphic design we can see here, "Grow," and you will be able to see as we go through the lesson, a lot of the techniques, the dry media techniques that we've been talking about being shown within this example.

So how can dry media techniques be used to create effective and varied graphic outcomes? Dry media refers to materials that do not involve liquid solvents or water.

So examples of these might be pencils and graphite sticks, pens or markers, oil or chalk pastels, and charcoal.

Have you ever used any of those? I'm sure you have.

Think back to a time that you've used those and think about maybe some of the techniques that you've used.

And dry media materials are highly versatile, so they can be used in lots of different ways.

And so it could be used for a variety of techniques from fine detail to bold, expressive work.

And we have a lovely illustration here of an artist using dry media materials to smudge.

And the ability to create precise, controlled marks, as well as these more expressive textures and atmospheric effects, makes dry media ideal for recording ideas and sketchbook work, as well as more refined pieces.

So it's incredibly versatile in its use.

A check for understanding, which of these is a type of dry media? And remember back to what the meaning of dry media is, our keyword.

So is it, A, watercolour paint, B, chalk pastel, or C, acrylic? Think.

Well done, of course, it's chalk pastel because dry media does not include any solvents or water.

How can dry media techniques help us create textures, tones, and expressive graphic designs? And we can see here an example of an artwork featuring lots and lots of different mark-making techniques.

Have a really close look to try and identify the different techniques.

Well, we can answer that by exploring this further.

So certain basic techniques can be practised with dry media.

And by practising this, we can explore a range of effects, textures, and forms of graphic communication.

And you can see here an artist practising these different drawing techniques.

These techniques can include hatching, cross-hatching, smudging, stippling, and scumbling.

So we've got three of our keywords there, as well as stippling and scumbling.

Can you remember what they mean? Let's have a look.

So hatching involves creating parallel lines to build up tonal range, so the range of tone that creates depth and value, and parallel lines are lines that run equidistance from each other.

We can see here they don't cross over, and they don't verge towards each other.

And these types of parallel lines are often used for shading or adding texture to an artwork.

And hatching can be created by drawing repeated parallel lines in the same direction, so repeated parallel lines that don't touch or intersect.

cross-hatching, and have a look, really close look at this.

It's basically layering those hatching, those parallel lines in different directions.

So here you might have created a set of parallel lines, and then you could turn your page or your pen and create a set of parallel lines in the opposite, so intercepting those other ones, and it creates this brilliant sense of tone, depth, and texture, and you can really see that here, how the artist has created these different directions of parallel lines.

And so to use cross-hatching, we build up a layer of hatched lines and then add another layer of hatched lines in this different direction.

And we can continue doing that as much as we want to experiment with different tones and textures.

Smudging, our third keyword, can be used to blend and soften marks.

So this is far more about tonal gradients or transitions, so smoother transitions of tone.

And blending stumps, cotton buds, brushes, or the tip of a finger can be used to blend dry materials.

And we can see that happening here in this illustration.

And using the different tools will change the degree of control you have when smudging and the amount of smudging.

So a cotton bud is obviously very quite fine.

So that will smudge in very small areas.

And stippling is the technique of creating tone and texture by applying lots of small dots or points of ink or graphite.

So you can see here, so lots and lots of dots repeatedly done.

And this technique can be applied by gradually building up dots with your drawing tool.

And of course, you can do different areas, some really dense dots, some less dense to create those different effects.

And then scumbling involves creating random swirling marks that gradually build up texture and tone.

So apply scumbling by creating small circular motions with your drawing tool.

So we've gone through patching, which is about parallel lines, quite controlled parallel lines, cross-hatching, which is about layering those hatchings in different directions, smudging, which is very smooth, stippling, which is essentially lots and lots of dots created in a controlled area, and then scumbling, which is these swirling marks.

So each of these techniques can be applied in ways that affect the tonal range.

And remember, tonal range refers to that range of light and dark tones.

I'd like you to have a look at this illustration.

What can you notice about the use of hatching, those parallel lines, and cross-hatching, layering those parallel lines in different directions in relation to tone? Have a really close look.

Yeah, you can see that the more they're layered in cross-hatching, it creates a darker, more dense tone.

And when it becomes just the hatching and single hatching, it becomes lighter.

What is the purpose of cross-hatching? Check for understanding, what is the purpose of cross-hatching? Is it A, to build up tone, depth, and texture, B, to create fine details, or C, to create smooth transitions? Well done, it's to build up tone, depth, and texture.

Moving on to our first task, and I would like you to be like the artist we saw earlier, practising using dry materials to explore tonal range in each of these techniques.

So I'd like you to create an area of pencil hatching, then marker pen cross hatching, charcoal smudging, pen stippling, pencil scumbling, and then eraser into smooth pencil shading.

So you need to have a pencil for your hatching, your scumbling, a marker pen for cross-hatching, charcoal for smudging, and then a pen for stippling.

And then I'd like you to use a pencil to create some shading and eraser to rub into it.

Always feel free to pause the video and look back at the different techniques if you'd like to remind yourself now pause the video, and off you go.

Well done, I wonder what your exploration looks like.

And here we have an example, so we have pencil hatching where we've started with the parallel lines far apart and then coming closer to create a denser tone, a darker tone, the same with marker pen cross-hatching, charcoal smudging, pen stippling, which is really effective, and the scumbling, and then an eraser into smooth pencil shading.

I wonder what yours looked like.

And do you prefer one out of all the others? Which one do you think looks the most effective? Well, let's move on to our second part of the lesson, applying dry media in graphic design.

So dry media can also be experimented with to create different types of marks, such as rough, jagged lines and smooth, flowing strokes.

Different marks can create unique textures and effects, which can change the mood of the artwork.

The choice of dry media can influence the type of marks you can create.

So let's have a look at a couple now.

So chalk pastels and charcoals can create really rough textures or smooth blending, which you did in task A, whereas pens and fineliners can create sharp and crisp lines with different thicknesses, and these can be very effective for cross-hatching and hatching, for example.

Pastels create a rougher, larger stippling effect when compared to the precision of fineliner pens, and we can really see this here.

The pastels on the left, the blue pastels, create a rougher, larger stippling effect compared to the pen.

And then the cross-hatching on the left is created by a large graphite stick, whereas the cross-hatching on the right is by a fineliner, and you can see the different effect there and what mood that may affect your overall artwork.

I'd like you to discuss with a partner, or if you're learning from home, I'd like you to think to yourself how you could use dry media and techniques to convey ideas, mood, or emotions in a design.

And here we have an example of artwork featuring loose, gestural marks.

How could you use dry media and techniques to convey ideas? There is no right or wrong.

Have a think or a discussion.

Well, we have Lucas and Aisha here discussing, and Lucas says, "To create a sense of atmosphere and space in a design, I would use chalks and pastels on their side rather than the tip.

And this could result in rough, textured effects." And Aisha says, "I might experiment with different pressures with pencil and charcoal to create contrasting dark, bold, and heavy lines with light, soft strokes." What may you experiment with? Let's now have a look at some artists that have used dry media.

Julie Mehretu was born in Ethiopia in 1970, and she's an American artist known for her large-scale, dynamic, abstract works.

And she uses a variety of dry media, blurring the lines between representation and abstraction through experimental mark-making.

Frank Auerbach, who was born in 1931 and died in 2024, created bold and striking images with charcoal that effectively explored tonal range.

Auerbach was born in Berlin but moved to the UK in 1939, and he is renowned for his expressive portraits and urban landscapes, and he had a very, very distinctive technique which involved layering and scraping paint to create textured, emotionally charged works.

Finally, we have Ian Murphy, and Ian Murphy is a British fine artist and educator known for his textured mixed media works inspired by global architecture and the passage of time.

And Murphy captures mood and atmosphere in his drawings by using dark tones and gestural mark-making techniques.

He wants to capture the essence of a location by both showing its physical form and also its emotional atmosphere through these richly layered drawings.

True or false, dry media can only be used for fine, detailed work.

True or false? Well done, that's false, but why? Well done, yes, dry media is highly versatile and can be used for bold, expressive textures and atmospheric effects, not just for precision.

Artists also integrate the use of dry media for a range of graphic design purposes.

And we have an illustration here of an artist adding highlights to a colourful artwork.

Zita Holbourne is a British multidisciplinary artist, poet, author, and human rights campaigner.

So her work combines visual art and poetry to address issues of racial and social justice, and often highlights the experiences of marginalised communities.

And she utilises dry media, such as pens, to create evocative illustrations and design.

Woodrow Phoenix is a British comics artist, writer, and designer, and he's known for his experimental and genre-defying approach to visual storytelling.

And he creates these comics and designs using pencils and pens that demonstrate the descriptive quality of mark-making.

His distinctive style ranges from bold graphic illustrations to minimalist conceptual formats, which often challenges traditional comic conventions.

And lastly, we have Mary Kate McDevitt, and she is an American illustrator and hand-lettering artist known for her playful, vibrant styles.

And she creates illustrative lettering and typography with marker pens and parcels and produces beautifully colourful designs.

She has worked with lots and lots of different clients, and her art blends storytelling with colourful, humorous typography that feels both nostalgic, so thinking back to the past, as well as looking forward and contemporary.

Dry media techniques can be used in graphic design for both detailed line work and bold, expressive textures.

We have an example here of "Grow." This is a simple text design, and we saw that this may be a possible outcome at the beginning of the lesson, and now we start to see how we can build it up.

When designing, we must think about the balance of elements like the shapes, the lines, the tones, the textures, as well as the placement of text.

The overall composition, so the overall arrangement of these elements can influence the way different elements are seen, so it helps create a visual hierarchy.

And a visual hierarchy is what is seen first or what is perhaps noticed first.

Expression and mood can then be added to text through mark-making techniques like hatching, stippling, or smudging, and we can experiment with varying letter thicknesses, tonal range, so remember that range from light to dark, and texture to achieve an effect, which resonates with the chosen theme.

Check for understanding, I'd like you to look at these dry media techniques, and I'd like you to match them to their correct visual outcome.

So this is thinking back to our task A.

Right, shall we have a look? Let's have a look.

So hatching is, of course, the second one down.

Cross-hatching is the last image down, and that's the layering of parallel lines.

Smudging is the fourth one down.

Stippling are the dots and the third one down, and scumbling is the top one, which is of those circular motions.

Well done, so onto our last task.

So I would now like you to go and choose a word that resonates with you.

And that word could be something like grow, strength, chaos, determination, power, anything that holds some form of meaning to you.

And I would like you then to create a typographic logo design using dry media, those dry media materials we've looked at today.

So think about charcoal, think about pen, marker pen, pencil.

And my focus for today would be on tonal range and texture, so using tonal range and texture to convey the meaning.

So express the meaning of the word through your mark-making.

Pause the video, and off you go.

Right, we know that there could be a range of different outcomes here, but let's see what our pupil has done.

So here, our pupil has created this word, grow, and they've used shading to create a clear tonal range, and they've used cross-hatching and smudging, erased lines for the background, and stippling on the decorative leaves around the word.

So they've really used both tonal range, dry media, and different techniques to create texture and to express the meaning of the word.

Thank you so much for joining me today for this lesson, "Hand-Rendered Working Methods: Dry Media." So we've learned that dry media refers to materials such as pencils, pens, markers, and pastels.

And they can be used to convey a range of textures and moods.

And we've learned and practised the techniques of hatching those parallel lines, cross-hatching, layering those parallel lines, and smudging.

And we've used them to create different parts of a tonal range and to create different moods.

And we know that dry materials are ready to use immediately, making them beneficial for quick sketches and that on-the-go work.

Thank you again, and I hope to see you soon.