Pin Prick Portrait Development 1: Testing Substrates

Pin pricks in cartridge paper; tonal values only

Photograph worked from showing pin pricked areas

Using sunlight to project image to highlight pin prick detail

Rather than creating an outline portrait using pin pricks I decided to experiment with picking out only the tonal values of the face.  I used a black and white copy of a photograph, using it as a guide to make dense patterns of pin pricks where tonal values were darkest and more thinly spread or left untouched where lighter areas and highlights were present.  I think the result was fairly successful in that it is recognisably a portrait, but I think the detail and definition have been lost.  It has a subtlety and softness which I think could be improved on by making different decisions about the areas of detail to be included and excluded.

Pin pricks in black paper using same photograph; tonal values only

Using sunlight to project image to highlight pin prick detail of black paper work

Detail - front

I had hoped that using black paper might alter how the pin pricks appear both laid flat and in bright light because I thought it would intensify the effect of light passing through, but I don't think this is the case.  There is little difference from the white paper version.  However, as the paper was thicker than the white cartridge paper the raised effect of the needle pushing the paper aside was intensified creating a thicker 'mound' on the front of the image.  I will try using a thicker white paper (watercolour paper?) to experiment further with this effect.

Detail - reverse

Projected image

Experimenting with different sized pins and needles and directional movement of the needle through the paper

Improvising tools!

Tissue paper

Tissue paper in window

This was not such a successful experiment - laid flat the mark making was barely visible, and even in bright light was very subtle.

Thin copier paper

Thin paper allowed for distinct mark making, but once it had been worked into it began to curl at the edges.  This could make for interesting collage pieces which, if not fully adhered to the edges, would create a pattern of light and shadow.

Detail - reverse

Watercolour paper - reverse

Watercolour paper - front

Due to the thickness of the paper I was able to experiment with both a darning needle (right) and an awl (left).  The mark making using the awl was particularly successful, making deep enough impressions that shadows were created.  I think the contrast in mark making was also successful, creating more and less deep impressions in the paper created a sense of tonality.  I will definitely watercolour paper again.

Acrylic painting (sponged)

I think there is a subtlety here, although the mark making is not very distinct.  It might be useful to experiment with different colour schemes and with different types of paint (eg watercolour, gouache) and ways of applying it.