Do you give mark making much thought? If you employ them, are they created with conscious consideration or are they purely intuitive or even after thoughts? If you don’t see a lot of mark making in your work, is that intentional or have you not spent a lot of time considering them? This chat will give you a chance to consider pretty much everything about the design element of marks and mark making, with an eye to giving you a new appreciation for this humble but oh-so-important building block of visual art.
I’m going to define what marks are, expand your idea of the possible different marks that can be made or found, go through the various ways you can use them, and talk about ways to mix and match types of marks with types of applications all through this next month in order to discover how the simple mark can change up the message, the energy and the anesthetic of your pieces.
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CREDITS:
Cover design by Sage; Illustration by Olga Kostenko
Cover art by E. A. Séguy
Music by Playsound
For Transcript click on the episode here: https://rss.com/podcasts/thesagearts/
TRANSCRIPT
Speak 0:01
Just remember that masks are not a sideline item. They play a very important role in the design of your work, in the composition, in the message and the aesthetic of what you’re trying to get across to your viewers. It’s really tremendously valuable for you as an artist.
Hello, all my fabulously fun in making friends. Thank you for joining me on the Sage Arts podcast. This is Sage, and we’re on our second month of looking at design as a monthly focus and an easy passive method of learning or getting a refresher on design in art. So this episode will be about a strangely little talked about element of design referred to as marks. I’m going to define that for you. Go through the different ways that you can use it and talk about how changing up the way you use your marks can change at the message or aesthetic of your pieces. And then we’re just going to let you go and have fun with it. It’s just me in the studio today. I was going to have Bret with me, but his work got a little busy at the last minute, so just me and a couple of dogs in the studio today. It was interesting because Bret and I talked about the whole subject of Mark making and even though he couldn’t join me, it really struck him and he ended up doing a bunch of like Mark making sketches or pages in a sketchbook. And he said he had so much fun just letting himself go and exploring Mark and just getting into that whole kind of Zen of kind of doodling. But just with Mark’s, which is actually why I titled this Fun with Mark Making, because honestly, it is really fun. So your listeners can look forward to doing your own version of that. But we’ll start by talking about the subject matter and coming to hopefully understand the design element for what it is, and then you just go and do your mark making and have fun exploring it. We’ll get into all of that in the podcast today. If you want to come in and join me here in the studio on this comfy chair, the dogs haven’t taken it over. I’ve got a nice, sunny, not too warm day here in Southern California, so it’s really pleasant. Maybe come in and bring an iced chai or I don’t know if it’s evening. You could bring in a cocktail or an iced tea or whatever. I have made myself a little iced berry tea. I make it with dried berries and green tea and matcha, a little lemon for tart, some hibiscus, just a bunch of stuff in there. So a good little mix I got going myself. So you get yourself settled in, maybe in your studio space or with a sketchbook at hand if you want to start making marks as we talk about them. That could be kind of fun to write that way you can get visuals. Also, I can’t provide you visuals through the podcast, which is kind of sad being an art podcast. But as we wind up for this mark making fun, you can make your own marks during this episode. And speaking of marks, let’s stop and think. A few people who have made some marks on my life and for us and for this podcast, first, a deeply felt thank you to Libby Mills and Kelly Hoffman and Nina Martine Robinson. I think I called that last week as well. But, you know, hey, these are all generously supporting listeners of this project, and I want to just say it means the world to me to know that you value what you get here to the extent that you take time out of your day and a bit of your wallets to support this project and your fellow creatives, we all thank you and appreciate you. And if you, my other listeners, if you want to give back or just send a comment or need to get on that newsletter list so you get set up for the Zoom chat that we’re going to be having this coming Sunday. You can get all of that on the website at the Sage Arts dot com donation buttons are halfway down the home page in the news notes. Buttons are kind of towards the top, so you can get those there. You can also reach out to me on social media, on Instagram or Facebook at the Sage Arts podcast, leave comments in the postings or message me there. All these links are also in the show notes of this episode. Pretty much wherever you’re listening to it, there should be show notes there for you as well. And a quick reminder for those of you catching this right after the release of this episode. We do have that Zoom chat this coming Sunday, the ninth at 5 p.m. Pacific, 8 p.m. Eastern, which is like 1 a.m. Monday in London. If you’re a true night owl or 10 a.m. in eastern Australia, 8 a.m. in Western Australia. If you missed this chat, I’m going to do another one mid-month on July 18th at 11 a.m. Pacific Time. I set that day and time up so Europeans could maybe, you know, have dinner and then join us before they go to bed. And then us people, A lot of you might be on your lunch break or could take some time off in the middle of your day to join us. But stay with me through the episodes and for the wrap up at the end and I’ll get you all those details. Okay. On to the months dip into design. Let me just remind you that I’ll be talking about design elements and design principles. The difference is that design elements are the things that make up the design. They’re the marks, the lines, the colours, the textures, etc. While the principles are the outcome, the concepts created to express your thoughts or aesthetic, such as balance or rhythm, movement, emphasis, that kind of thing. Elements are not principles, and principles are not elements, but elements are put together to create principles of that’s not too confusing. Just think of elements as little bits and pieces that make up the work, and the principles are what you do with those bits. Just don’t want you to get confused. If you’re joining us for the first time and aren’t familiar with the terms the other thing I want you to understand in my approach to learning design is it’s geared to be a fairly passive thing and one that will hopefully become purely intuitive later on. My thought has always been that the best way to learn design and many things is the same way that we learn language. Our first language when we’re small children. Exposure and the use of the concepts will work better and serve you best in the long run versus intensive study. So like it’s often thought now that the best way to learn a language is to have conversation, not learn lists of vocabulary and grammatical rules. And I didn’t explain this particularly well or much at all really in the last designed it, although we’ve talked about it in the previous episodes of this podcast. But just listen to the podcast, check out the reels and notes on the Instagram Facebook pages for the Sage Arts podcast, spend time looking at artwork in museums and galleries and that kind of thing, and just try to recognize the things that we’ve been discussing. That’s one of the reasons why I’m doing this once a month. So for one month you can focus on that particular design element. When you’re looking at artwork. I think this way you’ll become more familiar with the ideas with that simple process and eventually that should work its way into your subconsciousness or that you unconsciously recognize opportunities and issues when you’re creating your own work. Knowing the terms and understanding the way they work does come into play later on when you know you’ve created something that doesn’t feel quite right and you want to try to figure out what you can do, then you can access the more conscious parts of your knowledge to work through it and find those tweaks and changes that get the work to where you want it to be. And if I may, I would strongly suggest when you are looking at artwork and thinking about design, that maybe you don’t look at your own medium so much, maybe half the time, maybe 80% of the time, it’s some other medium. I think when you’re trying to understand design, you want to not have the distractions of translating things that you see into methods and techniques that you can use in your own artwork. Because of course that happens when we’re looking at other artwork and we get excited about what other people are doing. And at least I have found that to be true for me. And it’s how I’ve taught through the years. Not only that looking at artwork that is not in your medium can really bring up innovative ideas that you might not reach if you are saturated with the trends and common compositions, structures, applications, whatever in your preferred medium, Just do yourself a favor and get out to museums, galleries, art fairs, See art in person. That’s like a best way. It’s a very different experience than looking at it online, right? And we definitely spend more time with artwork that we see in person than we do with artwork that we see online. At least I think that’s true for most of us. Books and magazines are also a great way to look at really good art, because we do again tend to spend more time on something we see on a page oftentimes because it has more information. So on social media, we’re used to scrolling rather quickly because there’s nothing more than just looking at the image that comes up. So there’s not a lot of context for the work that we see. Whereas in magazines or in most books, there’s text explaining and giving you more information and background on the pieces that you’re seeing. So you’re more likely to spend extended time with some of the work and gain more understanding and connection with the pieces. Like if you have any interest in polymer art, even if it’s not your medium. I have these great polymer Japanese books. There’s two editions with everything from sculpture work to illustration to basically painting and of course lots of jewelry art from artists all over the world to talking about their artwork, why they made it, or the processes that they use. Just lots of interesting background information which really gives the artwork so much more meaning for you. So if you’d like, you can purchase those books that are discounted right now on the website at 10th Muse Arts Icon, that’s ten spelled out t A.H. MOOC r TSC Tor.com and the books are all like 30 to 50% off. Now, excluding just the Christie fees and digital editions, I have Christie fiction in print as well. Those are discounted, but in any case. So yeah, the Polymer Journeys books have really amazing, cool and varied artwork and the sales that are made there fund this podcast. So it’s kind of another way of giving back if you like. But mostly I just want you to get out there and look at other artwork and think about the design elements that we talk about in the design principles we’re going to talk about and just learn through that kind of passive exposure. Then of course, when you’re on social media or scrolling through artwork that you do find online, you could consciously stop and try to ask yourself the questions about design that we’re focusing on or that you’d like to focus on and just be more intentional in your viewing of artwork that you see every day. And I think you’ll get a lot more out of it in terms of your design education. Okay, enough of that little spiel. I just do want you to get as much out of this as possible. But let’s talk about Mark making questions you might want to have on the brain as we chat about this is how do you use marks in your work? Do you employ them? And if so, are they created with conscious consideration or are they purely intuitive or even afterthoughts? If you don’t see a lot of mark making in your work, is that intentional or have you not spent a lot of time considering them? This chat will give you a chance to consider them now and see if more or less mark making is something you want for your artwork. I guess the first question you probably have for me is why do we even need to talk about Marks? Well, we don’t really write, but it’s one of those things that it just seems so much a given, so much a part of art that it doesn’t seem like it needs to be discussed, but then it kind of gets ignored or thought of as nothing to put any thought into. But there’s really so much to discover about Mark making if you do put some thought into it. The second question is probably like, What exactly do you mean by Mark making while we’re talking about anything that is a single element, a single spot, something that exists on its own and is not defined by any of the other elements. So the things like dots and dashes and brushstrokes when they’re shown as individual brushstrokes, there’s also dings and singular impressions made by our tools. There’s a lot of things that can be considered marks and some are even a matter of opinion marks can end up creating shapes and shapes are just a two dimensional defined space. Right? Then sometimes marks represent or create lines, so they kind of have some crossover there as well. But for our purposes, we are going to speak of the mark as a single item produced by tool or inherent in the material, such as wood having grain or whorls or stone having inclusions, that kind of thing. For some artists you may have noted, especially historically speaking, marks don’t seem important to many of the big artists like Mondrian, who was all about blocks and lines, or Rothko and his big shimmering fields of color or Brancusi were those sleek, unmarred sculptural forms. The absence of marks were likely a conscious decision for those kinds of pieces and for those artists. An absence of marks is a statement about the other elements and their importance. So Marks can draw away from form in line. They can partner with texture as an element, often being the source of energy in the work. When other elements are allowed to create the energy. Instead, in the absence of marks, there tends to be more flowing or uninterrupted movement, which can be very energetic or on the other end of the spectrum of it. No marks can also be employed to show common serenity. When lines and shapes are grounded and still you can make marks. You cannot make marks, But they still all fall under the idea of making a decision about Mark making. So let’s talk about how to define the marks that you make. Not only can it help you to make intentional decisions about using marks, this breakdown of Mark making can help you discover more options for Mark making and increase your vocabulary of Mark’s in your art medium. I try to break these down to kind of easily digestible categories so they’re easier to think through. I haven’t seen a lot of other people try to do this in the same way, so this is kind of my organization of the concepts, but I found it does make it easier to communicate and talk about this concept with a few descriptive categorical terms. So let’s start off with just basically the types of marks you can make. Well, the first thing that probably comes to mind are thoughts like, you know, single pencil marks, a pen pressed briefly on the paper, a small dab of paint and an impression in clay with a needle tool or pencil or anything that can create a single pretty uniform and brief mark. Those are dots. Dots are obviously marks. There’s also things like dashes, right? Ink includes a brief line drawn with your tools or your pen, your pencil, your paintbrush. And then there’s things like scratches and hatches which can be thought of as dashes. But I think they’re usually a little bit longer. They’re not quite as well defined. We call them scratches when they’re done with tools on receptive materials like clay or wood or stone or metal, they’re referred to as hatching when done with pens, pencils and other precise drawing materials. And then we have dense and it’s kind of sounds like we’re talking about car damage doesn’t dents scratches, Right? They actually are car damage, if you think about it. Anyways, dents are marks usually made by a tool other than sharp, pointy things that are usually applied with some force. So like hammers or handle ends punched into soft materials or fingers punch in the soft materials and they’re used to impress marks on a wide range of things from metals to clays to wood, even to paper. And then we have what I like to call divots. And they’re different than dents in that they refer to the carving out or leaving out of material instead of the kind of forceful impression that is the approach of dents. A lot of carving tools will make divots and wood or stone or clay, even leather, or when they’re left out, it’s usually because of applications of thick paint or the way glass is formed or some clay techniques work. Small sections are left open during the building up of the materials. So I call those divots and then we have interruptions and disruptions. This is when the usual flow of material is changed to make a mark. And I wanted to include this because in a lot of forms like fiber arts or wire work or pretty much anything that deals with kind of like strings is a primary medium shape. The marks are made with the actual material, but it plays the same role as marks in a two dimensional field like knots and hand pieces, changes in a weave, bends and compressions and wire work. These all work is kind of like three dimensional marks, but as you’ll see, they work the same way visually as dents and dots and all those kinds of things. And then there’s also inclusions in jewelry. For instance, we often embed gems or other materials into the metalwork as a base, or it’s every bead in beaded work. Those are all marks as well, beads that are not in themselves a composed piece of art that is, they’re all marks, beads and other materials, like when they’re woven into fiber are marks and the addition of discernible materials in like clay, such as embedding of stones or glass bits, or even like think about glass when they purposely leave bubbles in the glass. Those are like marks inside the glass. It’s kind of cool. In resin, they embed seeds or beads or all kinds of things and mixed media painting, talk about throwing all kinds of things into something especially heavy acrylic. They can include all manner of small bits that act as marks. All these create the same effect as marks on paper would to visually interrupt the continuity of the primary material or substrate or space. Now note that I’m talking about all these marks as something that you do to or add to the material. Does that mean there are no mark making techniques in photography or collage or found objects? Well, visually speaking, they usually are still marks. You just didn’t add them like windows on a city landscape photo. They are marks on the buildings or walls in wood or tiny fossils in stone. They visually act like marks. Now, you may not have put those marks into the photographs or the wood or the stone, but you can still usually make a decision as to whether they become part of the work, part of the design, because you decide whether you keep them or you eliminate or obscure them. Right? Like photo editing. You can do anything with your photograph, so you can take out anything that looks like a mark that you don’t want there. So in other materials, you can carve it out or paint over it or attach other materials to obscure those things that are acting as marks. Taking away marks is also under the umbrella of Mark making, again, like I was saying, with artists who choose not to have marks, choosing not to have the marks is part of that particular design element. You intentionally include or eliminate those types of visual marks from the work, even if you’re not literally putting them on it. So that’s kind of my list of types of marks. I bet there’s some more that you guys can define, and that’s completely up to you, especially in particular materials or maybe other things that you do that I’m just not thinking of because the subject is not just about the dots or the dashes or the hatches or the scratches, all those things you want to study the application of those marks, you arrange these things, determine the amount you use and identify how they work visually with the composition, with the design. Right. And this is where we get to talk about how Mark’s work visually. Like any element, you can relay very specific emotions, messages and energy with Marks a single mark on its own does not usually do a whole lot. You actually could have a single mark that relays some of these things that you would like your viewer to see, but it only works in relation to the other things that are around it. It’s like when you have a dot on an image that is otherwise made up of large forms and straight lines. That dot is going to become a focal point because it’s a singular mark. It’s going to feel very dramatic and very isolated. And so it could be pertaining to emotions of isolation and loneliness or maybe persevering in confidence, depending on the other elements and the colors and the textures and the lines and everything else that you use. But if you put that dot on a piece of paper by itself, and for those of you who like to be contrary, I’m actually one of those. When I’m listening to things, if someone says something as an absolute statement, I try to figure out how that might not be true. But in any case, you actually could use certain principles of design to make a single very powerful actually say something about a piece of paper by itself, but that would employ principles in order to make a dart, which doesn’t mean much to us by itself into something more. And that’s what I’m talking about. In terms of marks, they’re kind of like a grain of rice. We know what it is. We kind of know what it does. But by itself, it doesn’t do a lot for us. Get a lot of grains of rice and add spices and other foods to it, and it can become the basis for a really wonderful meal. And that’s why you usually see Mark’s in groups with more than one. We can establish a number of characteristics that may lean into other elements, like I mentioned earlier, possibly creating texture or shape or line, even value changes. It all depends on how you use them. So I’m breaking up the use of marks into two areas or categories, which I’ve called arrangement and concentration. So concentration, that’s an easy one. It’s how much you put on your substrate or on your material. So it can be sparse with lots of space between the marks or it could be dense. A lot of them really close together, right, or moderate somewhere in between sparse and dense. Right. So that’s concentration. Now play with arrangement. Arrangement includes things like whether it’s orderly or is it random, is it expressive and expressive. This is about when placing them in a way that portrays certain ideas of like energy or flow. So like in a cartoon, when someone’s shocked or surprised, they often do these short, quick dashed lines around their head to show like energy emanating from the head. They’re directional, but they’re not necessarily orderly or neat, are all the same size, but they can feel very energetic, especially because of the differences between them and slowly undulating Placement of marks can actually feel peaceful, while strong directional placement can feel forceful. So you can be very expressive with the arrangement of your marks. There’s also contouring of marks. It’s kind of like orderly and it can be expressive. But I like to differentiate these two push your thinking about types of marks so if the marks are flowing continuously or they are placed, so they turn in on themselves and develop a sense of contour, this is where the arrangement can start to define, shape or even form. There’s also the fact that you can create other elements, as I kind of already mentioned with your arrangement, if they’re place in one long, narrow space or in a row, you create a line. If there is a definite boundary where the marks stop on the space will visually see an edge which then defines shape. And of course, depending on how you put it down, it can look like texture. If there’s just so much of it that you don’t really notice the individual marks, then you need to consider as far as arrangement. Okay, you don’t need to consider it. I would like you to consider the
consistency or evolution of the marks consistency across a space evenly and the same arrangement, orderly or random or whatnot, or evolving slowly or quickly, going from one type of arrangement or concentration to another set of characteristics. So you can have marks on the page that are very dense on one side, but slowly become very sparse on the other side of the space. Or you could have them orderly and then go random, or they can be contoured and then just go straight. You know, you can change up the way the marks move across the space in which you’re placing them. And that’s where consistency and evolving arrangement comes into play. Having those on hand now you have this set of categories and ideas about concentration and placement. It’s now up to you to develop a vocabulary of marks in your particular medium for your particular forms and your type of artwork that you want to create. And when I say vocabulary, I mean like a catalogue or encyclopedia of marks, and you can make them with your tools and your medium and specific to what you do. So building that gives you all these options for Mark making if you’ve already predetermined what your options are. Right? The important thing here is not to be able to define what the marks are in your work, but rather have an understanding of your options to ask yourself, Is Mark making something that has been weighed and considered in my work? Are there elements of Mark making that can improve parts of the work that you’re looking at? If things are feeling too busy or complicated in the piece, can the elimination of marks help the work? Or are the marks in the work the right type for the sensibility or the story or this static that you’re going for? And once we get into some of the other elements like Line and Texture, you’ll be able to better define why those elements are different from Mark making so that you can consider them in terms of the various things they can do for your work. Basically, just what I’m getting at is that the words don’t matter so much. The terms and the definition are as much a tool for you as, say, like a compositional grid. If you used one or colour wheels or anything that helps you look at your work in a critical or alternate way to how you’ve been seeing it as you work on it, just really explore what you can do with Mark making in your medium and with your tools. So I’d like to make a suggestion, spend some time goofing around with Mark’s, play with them, get out your sketchbook or roll out a slab of clay or go through a tray of beads. You could primarily do it with a sketchbook. Any of us could. But if you can manage to do this with your own medium, I think you will get a lot more out of it because you’ll see the actual effect of the tools on your material. And personally, I think that can be so super exciting. There are days I remember I would just sit there and figure out how to create different types of marks and different types of textures from those marks because I’m a really big texture person. But for you make marks for whatever it is that you need. Just remember that they’re not a side line item, that they play a very important role in the design of your work, in the composition, in the message and the aesthetic of what you’re trying to get across to your viewers. It’s really tremendously valuable for you as an artist. And I would suggest giving this month to having some kind of goal for Mark making like maybe you could spend just ten or 15 minutes every day making marks. It’s kind of fun to do that over a period of time, over a month to say, And then you collect all these mark making bits that you have. It’s really cool to see after you’ve done something for a month, your progression through it, so you can look forward to that. I also suggest giving yourself limitations during this mark, making exploration, such as focusing on a different kind of mark or arrangement each day, like use dots one day and scratches the next day. Do dense mark making work one day and sparse the next day. Try to give each term that we talked about a little time in your explorations so you become familiar with most all of them. I think you’ll get the same thing out of it that Brett was getting, which is that this is just fun to make marks and it’s just a time to let yourself go and basically doodle with them. This stuff is not unlike Zen Tangles, which is actually kind of a lot of mark making, but it’s it’s very Zen and very meditative, and it’s one of the ways you can get yourself into a flow state really readily. And I’m actually going to talk about flow states later this month and how to get yourself into it real easy. You can also use this mark making exercise as a way to transition from whatever you’re doing during the day into your studio time. And I think because this kind of exploration just becomes you and your material, there’s no expectations, There’s no idea about the income, because the whole goal of this is just for you to practice your mark making and expand your mark making vocabulary. So if you’ve been taking notes or tried to take notes, don’t worry. If you didn’t catch it all, I will actually include a list of categories and terms in the next newsletter. That’s the easiest way to present this material to you and I’ll see if I can get some on social media. It may actually end up in the comments of the announcement of the episode. So look for the cover art post for this episode on Facebook or Instagram to find those types of marks and terms on arrangement and concentration in a written form. But remember, that newsletter is also where you can get in on the Zoom chat. The first one of those is going to be this Sunday, the ninth 5 p.m. L.A. time. This first one’s going to be pretty casual so we can work out any kinks and I can get some feedback from you super dedicated people on what you’d like to see in those Zoom chats. So please come join if you can. There is a suggested donation of $4, just $4 or whatever you want to give. I’m not going to track who’s contributed those. The thing is, is I don’t want to spend time monitoring a list when I can spend time on developing really good podcast material for you. But also I don’t want people for whom this small amount is really not going to fit into the budget to not attend because of the costs. So this will be on the honor system. I’ll put out a reminder during the chat for sending in that voluntary contribution. So you don’t have to do that right now. But if you want to attend, be sure to sign up on the newsletter on the stage at WSJ.com on the home page, get that news and notices button, click it and it’ll get you signed up or be a member on the Facebook group the Sage Arts Share Space and the links will be posted in both of those things by Sunday morning. I am going to bring examples of Mark making to the chat so we could talk about that, but I hope those of you who will attend will bring your own work and we can share and talk about the marks in your work. I’m also there to answer questions of any type on the previous podcasts about podcasts in general, or me in general or whatever. As long as the information is artistically relevant to most everyone in the group, I will totally be game. I also want to encourage you to set yourself up in your studio and join the chat from there. I’m going to actually try to do that as well. Although I’ve been rearranging my studio space so it’ll have to be done by then, so we’ll see how that goes. Now if you can’t join us on Sunday, but you do want to give me some commentary or feedback or whatever your thoughts are, some stories of your own. It has to do with Mark making. You can go to the contact page at the Sage Arts dot com to send me an email. Reach out via social media on the Sage Arts podcast pages on Instagram or Facebook. And if you value what I’m doing here and you want to give back, you can find those people and buy me a coffee buttons on the home page of the Sage Cars.com about halfway down or in the show notes. Again, everything I talked about, if there’s a link, it’s going to be in the show notes. And then also if you’re listening on a podcast player, please do hit the follow button. That way you’ll be first to know when a new episode has come out. The files also help in the show’s search ranking, which means we get more people listening and grow our little community here. You’re also welcome to leave a review or a star rating, so I know how I’m doing and other people interested in the podcast can see if other people are enjoying it. Okay, all my lovelies, it is now time to go grab some tools or pens or pencils or whatever it is that you use and start trying out some mark making on your materials. If you do the exercise before the Sunday chat, please bring your exercise with them. I so want to see what you’ve done. If I don’t see you on Sunday, do please get out and feed that muse of yours. Stay true to your weirdness and join me again next time on the Sage Arts podcast.
