Micro Project: (Line of Action part 2)- Mark-making

Mark-making is the bread and butter of any illustrator. It defines their style, their approach, and dictates how loose and free, or tight and precious a drawing can end up. In this sense, I prefer the more looser approach. As previously stated before, Storyboarding is a tool for solving narrative problems, and for communicating readable performances whilst being economical. 

In conjunction with the Line of Action methodology, as covered in the previous post, this second part looks into mark-making in a contextual manner. Below are my numerous quick, loose, mark-making studies relatable to the needs of Storyboarding.

Figure work.

A large man with physical weight will likely be better communicated with thicker, more rounded lines.

Juxtaposed mark making can create crude illusions of distance between one form to another.

Sometimes the Line of Action can almost dictate an approach to the subsequent mark-making. Below the LoA is very angular, jutting to the left horizontally. The following lines enhance this rigid manner.

With the same LoA, the more smoothish, thicker, and rounded lines almost disguise the LoA. This may hinder clean expressions in poses, but it is by no means 'wrong'.

Reversing this, a rounded LoA arc works well with harsh jagged lines.

But perhaps mark-making that compliments the form of the LoA itself lend themselves more effectively; rounded, smoother lines.

When dealing with perspective, changing the thickness of your line can denote a sense of weight and mass; and moreover, the change in perception the further 'away' the image appears to recede. The head feels the smallest, not only in size, but in the width of the line. The closer to the frame we come, the lines are bolder and thicker.

Mark-making can help with facial definition, when not concerning itself with the LoA. These below studies show a varied way in which this can be achieved via economical line-control. Less is more.

Methodology summary:

In short, both mark-making and the Line of Action can be paired to help inform key elements to Solid Drawing: weight and form to postures, readable stances and expressions (body and face); and knowing where and when to place your lines, rather than over-compensating, or using up precious time over-rendering.

Below is a breakdown of the symbiotic relationship between both methodologies into the Principle Solid Drawing.