For the creation of my graphics I use the technique of “stippling”, which is achieved by means of black ink pens on parchment-like paper.
This particular type of paper has a very delicate surface that is easily damaged (during processing) by contact with excessive amounts of liquid (ink), excessive heat (such as that produced by direct contact with the palm of the hand) and mechanical rubbing with the eraser. On the other hand, unlike ordinary drawing paper (even the smoothest), it does not absorb ink from the dots, which remain the same size as the tip used: a 0.1 mm dot remains 0.1 mm.
In order not to lose this property of the parchment paper by altering its surface, I proceed to prepare the drawing on the common “dust paper”, which allows extensive manipulation with graphite pencils and erasers, both of different hardness.
Once the final sketch is done, I trace the outlines on the parchment (usually using a light table).
The next step is to give shape to the figures by placing dots and, more generally, creating textures on the spot. In fact, this method (putting down on paper only the outlines of the sketch) doesn’t envisage a pre-
visualization of the final result, which I achieve, on the contrary, by creating and researching textures and structures as the graphic composition progresses.
As I mentioned at the beginning, Indian ink pens (the classic pens used until a few years ago for architectural drawing, felt-tipped pens and nibs in various shapes and sizes) are the main tool for my work.
Over the years, I have also made specially shaped small tools to “scratch” small portions of ink, thus creating more or less pronounced areas of light and shadow. At all stages of this process, which I have briefly summarized here, I make extensive use of a magnifying glass to obtain as many nuances as possible.
Here are some pictures
