Odilon Redon’s Two Trees, c.1875 creates the atmosphere of a somewhat sinister wood by the contrast of tones. The lighter tones on the trunks and branches and in the foreground against the darker pieces create mood and a sense of three dimensions.
This is also apparent in Redon’s The Marsh flower, illustration from Hommage a Goya, 1885. In this lithograph darks and lights together with the strange, suspended face create a dreamlike atmosphere. 
This exercise made one aware that there are no lines as such in Nature and that tones define objects.
Giving a sense of the reflected light was difficult and realise that my attempt was poor but the best I can do at present.
Tried pencil. dip pen and ink, biro and drawing pen. Liked the dip pen best as felt the marks created a sense of reality. Any sort of shading added to the 3 dimensionality of the objects. Shadows were deepest nearest to the object. This was a useful exercise in that it showed that each medium produced a different effect. 
Like the hatching technique – it reminds me of Edward Ardizzone’s drawings which are full of different kinds of marks that add life and movement to his pictures. For example
Had a go with this technique drawing a stranger in a cafe. 
Research: Been looking at the atmospheric drawings by Seurat that were created using extremes of light and shade. In ‘Prints and Drawings, a Pictorial History’ by Gottfried Lindemann there are two reproductions (p.325) that evoke mood with the use of black and white. One ‘Study for the Grande Jatte’.
Used a dip pen for this with all the objects – only trouble with pen is that it can leave blots. Making dots is time consuming and needs patience – resorted to a brush with some. 
Used conte on an A2 roughly sized paper with 2 lit objects with shadows. Shadows were of different tones as were the objects. Found the conte quite hard work as have a sore shoulder. However managed over two hours with a break. Negative shapes as interesting as the objects – obviously an abstract element to it all. Liked the way tooth of paper created a pattern. 
Research Point. Project 1 : Feeling and Expression. Asked to look at contemporary drawings so chose Frank Auerbach and Leon Kossoff.
I find all Auerbach’s drawings expressive . One of many examples is Plate 101, ‘Head of E.0.W’. 1960 in (Hughes, (1990) ‘Frank Auerbach ‘, Thames and Hudson. The constant rubbings out and re-drawing that mark Auerbach’s practice and, in this work, the patching of worn out paper, speaks of the past and adds to the strong feeling of a presence. Contrasts of black and white and the textures created add to the expressive effect.
Leon Kossoff’s drawing after Poussin ‘Bacchanal before a Herm No.3 ‘-Plate 24, p.80, (Kendall,(2000,) ‘Drawn to Painting’, Merrell Publishers, London), is full of movement that creates the expressive atmosphere of Poussin’s painting. The rendering of charcoal, pastel, felt-tip pen and watercolour add to the exuberant mood of Kossoff’s work.
Was rather dismayed at this effort – I find angles so difficult and drawing through things was a challenge. The one good thing was that I managed to fill the portrait sized paper A2 without having to bring in the setting. I have so much to learn must keep going with my sketchbook.
On the oca gmail recommendation of Margaret Davidson’s ‘Contemporary Drawing’ (Watson-Guptill Publications).
Got it and seems useful – lists things important to drawing such as: Choice of surface, mark making, space, composition, scale, materials, crossing of media boundaries. Uniqueness of drawing as an art form.
This reminded me why I was doing the course – just love making marks. Associations were fun .
Anger – slap, bang, hurt, pierce, wound, shout, push, pull, violent, explosive, red, engulf.
Calm – float, smooth, still, straight, lapping, water,soft, quiet, gentle, blue.
Joy- bubbly, fizzy, jump, dance, jig, jest, jig, smile, exuberant, reaching out, halo, orange .
Shock- sudden, horror, judder, jerk, grimace, hair-raising, gasp, silent, slump, curve, zig-zag.
lesleynormandrawing1 