He linked these covered areas to give a pattern to the doodling and thus made way for irregular designs, free-flowing ribbons, grotesque faces, and birds. Tagore's interest in doodling and scribbling developed from 1924 onwards when while modifying his poems in Purobi and later in Kheya, he started covering some words with ink. Rabindranath Tagore's manuscripts remain the most challenging to analyze as they contain non-text scribbling by the same ink which overlaps or touches the textual region. Its aim thereby lies in carrying out a critical inquiry of forms, structure, and emotion through the complexity of Tagore's manuscripts from a typographic standpoint. In exploring the unconventional and more artistic approach of typography through Tagore's handwritten manuscripts, this article emphasizes on the expression of emotion rather than only having a concern for legibility. It focuses on examining the presence of visual scribbling or doodling in the handwritten manuscripts of Tagore on the production of linguistic meaning. This study is an exploration of the visual and literal aspects of Nobel Laureate Rabindranath Tagore's handwritten manuscripts in the context of experimental typography. I personally always associate a very liberated and dynamic type of drawing with this material, and if you approach your drawing in this fashion with the graphite you will get the best results. You don’t have this facility with the pencil, and you will be surprised at what you can achieve with this potential in terms of mark making. Because it has no outer casing you can make so much more use of the side. It is a medium that is very versatile, and before you start to draw with it in earnest you should experiment with the potential that the medium has to offer. It is also more appropriate for larger drawings rather than smaller ones for obvious reasons. Mood is very easily effected with this medium, and it is definitely not suited for drawings of a technical nature. The type of drawings we would produce with this type of medium would be quick, heavy, dramatic drawings using strong, dark lines, large areas of dark tones, or interesting textural marks. Instead it is more suited for robust drawings of an expressive nature, and it works well together with a plastic eraser. As you might gather from the illustra - tion this type of material is not meant for detailed accurate drawings. They are in fact solid lengths of graphite that come in different thicknesses and grades of hard and soft. The difference being that pure graphite is not encased in wood. Graphite is the same medium that pencils are made of.
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