Scractboard Inspiration Corymbia Ficifolio . Cristobel Spafford
The art of scratching, etching or engraving lines into a surface is a very old, primitive method of communicating ideas, stories and events. Over the centuries people around the world have left their marks carved into bone, stone, and earth.
Throughout human history people have expressed themselves and written their stories in bone and stone. Indeed the scratched line into a surface formed the basis for hieroglyphs, petroglyphs and pictographs and cuneiform. More recently, artisans scratched lines into wood, metal and linoleum to decorate; to portray and communicate ideas; and to record important events.
Scratchboard (Scraperboard) came into its own in the 19th Century in response to an increased demand for illustrations used in magazines, posters, books, handbills, newspapers and other official documents – which made hand engraving and lithography techniques both artistically and economically impractical.
A variety of qualities of board is available. Student quality comes as a very thin board, while the artists’ quality board is more substantial. Various qualities are made by a number of manufacturers, including Essdee. My own preference is black Scratchboard which is produced in the USA by Ampersand Art
Supply. Because it is backed with 3mm MDF, it is much stronger and less likely to bend than the similar paper-based products.
Scratchboard, whatever the quality, is a layer of kaolin white clay laid over either light board or MDF (masonite); and finished with a surface of black ink, which is removed to create the white image.
THE DEMONSTRATION
This piece is titled ‘Corymbia Ficifolia’. For the demonstration I used a piece of black Ampersand Claybord measuring 176 x 126 mm.
For this piece, I first traced the composition onto the black board; and lightly marked the outline and the leaf surfaces, scraping a little heavier on the areas to be highlighted and leaving blank the darker areas and the blemish spots.
In the next stage, I worked on the flower caps (gum nuts) and the tiny flower bud. On the foreground nut, I softened some of the bright white on the shadow side with some diluted Indian ink to create a softer shadow side. The shape at the tip of the leaf in the centre was developed a little; as was the tiny bud on the left. As more black was removed from the leaves, they began to take form.
The white was built up from a few widely spaced lines to heavier more closely packed lines (which gave the bright whites in contrast to the darker unworked areas). The contrast provided the form, definition and depth which made the piece exciting.
As the image progressed, the flower gained form and the gum nuts came alive. The contrast between lights and darks was more balanced.
Close-up shots show more of the detail and fineness of the marks. On the close-up shots of the leaves, note the highlights on the areas nearest to the viewer; and the treatment of the peaks and troughs in the leaves.
Firstly, prepare your board. I find that attaching my board to a piece of stiff cardboard or core board reduces the risk of marking the fragile surface, as I am handling the holding board rather than the work surface. At the end of
a working session, I tape a piece of paper over the work to keep it clean.
STEP ONE
Select your subject matter and compose your image.
STEP TWO
It may be helpful to use a tonal (black and white; not coloured) image – a photograph, or a tonal drawing in graphite, or pen and ink image – as support material.
STEP THREE
Trace your composition onto the board using white pastel pencil on the reverse side of the tracing paper; or use white carbon tracing paper. Because the surface of the scratchboard is delicate and prone to scuffing, it is recommended to wear white gloves and/or rest your hand on a piece of clean white paper as you work.
STEP FOUR
Using light pressure, carefully mark the outline of the image using a sharp instrument (an Exacto blade or similar). I have personally used a range of tools, including various blades and sewing needles.
STEP FIVE
Gently brush away the scraped material with a soft bristle long haired (2.5cm) make-up brush or similar.
STEP SIX
Notice where the light and shadows fall on your subject. Carefully remove the black surface, starting with the areas which will be lightest and gradually working towards the darker areas to create form; following the venation in the plant you are portraying.
STEP SEVEN
Identify and mark the distinctive characteristics of the subject.
STEP EIGHT
Gradually build up the piece, moving from the general details to the finer details. It is possible to create a variety of shading and textural qualities by varying the direction and weight of scratched lines, and applying different cross hatching patterns.
STEP nine
When completed, seal the work with acrylic varnish.
ABOUT THE ARTIST
Christobel Spafford was born in the small country railway town of Hamley Bridge in South Australia. She is now a resident of Adelaide.
This talented artist has always loved drawing. As a child, her uncle showed her how architects drew buildings and gardens. She drew hundreds of interesting house and garden designs as a result.
Christobel is passionate about portraying flowers, plants and plant material with interesting and unique structures and forms. She loves the challenge involved. About two years ago, she did a Scraperboard piece of a small cluster of gum nuts; then made a birthday card with the image and sent it to a niece in America. Friends and colleagues who saw the piece encouraged her to do more.
While this artist loves working with flowers, she recently completed a portrait of a Blue Heeler. A major source of her artistic inspiration is the work of other artists; their skill; and how they capture the light and the essence of special features – especially plants which reflect the light in interesting ways.
Her own work has been widely exhibited. She is an active member of the Friends of the Botanic Gardens art group in Adelaide, and a Friend of the Royal Melbourne Botanic Gardens. She is also a member of a local community art group in Mitcham, South Australia.
Works of art produced by this lady are quite labour intensive – taking up to 100 hours per piece. As a selfdescribed ‘developing artist’, she encourages others to maintain the passion and keep practising.