This anecdote underlines how Blackedraw is as much a as a finished artwork.
The series consists of ten large‑scale sheets, each measuring 36 × 48 inches (91 × 122 cm), rendered on heavyweight Bristol board. The subject is the same woman—a model named , an activist and poet who has been a longtime collaborator of Collins. Over the course of a year, Collins visited Mara in three different cities (London, New York, and São Paulo), each time sketching her in a distinct emotional state: contemplation, defiance, vulnerability, and quiet joy. kelly collins blackedraw
| | Method | Tools | |-----------|------------|-----------| | Observation | Long, unhurried sittings (2‑3 hours) where Collins records Mara’s gestures and micro‑expressions. | Notebook, ball‑point pen | | Pre‑Sketch | Light graphite underdrawing to map out composition, later erased. | 2 H graphite, kneaded eraser | | Ink Layering | Multiple passes with a dip‑pen nib (size 0.5–1.0 mm) to build depth; each pass is allowed to dry fully to avoid bleeding. | India ink (black, high‑viscosity), sable‑hair dip‑pen | | Wash & Stippling | Areas of deep shadow are achieved by controlled wash techniques, while textures are rendered through stippling and hatching. | Fine brush (size 3), stippling brush | | Final Details | “Ghost lines” – faint, almost invisible strokes that emerge only under angled light, giving the portrait a latent, moving quality. | White gouache (used sparingly), silverpoint (for ultra‑fine line) | This anecdote underlines how Blackedraw is as much