The Artist - UK (2020-03)

62 artistMarch 2020 http://www.painters-online.co.uk

INK

YOU WILL NEED

� Ink: I use Winsor & Newton black Indian ink

(NOT acrylic ink)

� Paper: this must be watercolour quality

either HP or Not, of at least 140lb (300gsm)

in weight and masking-taped to a surface; if

a watercolour sketchbook page, secure well

with bulldog clips

� A selection of brushes or implements to suit

your plan

� Water, pots and mixing areas

� Blotting paper

� Tissue or cloth

� Pencil and sketchbook

p STAGE ONE
I started with a pencil drawing, which helped
me to focus on the subject matter. I looked
for the darkest and lightest tones then
marked out the key ‘landmarks’ of the picture
in pencil. A few guidelines were adequate
because the remaining drawing was to be
made directly with a wet brush

p STAGE TWO

Next, and most importantly with all works

on paper, is to identify the white areas. In

both ink and watercolour working, the paper

acts as the white and must be identii ed

and preserved. In this exercise I preserved

the white by identifying it and leaving it

untouched. Working wet-in-wet I mixed a

 STAGE THREE

Using a similar approach, and varying the

drying time between applications, I built up

the remainder of the i sh’s body and then

added i ner details such as eyes, by dipping

the hard pencil (4H+) into dif ering tonal

mixtures of ink, and dragging it as though it

was a dipping pen. I pressed the hard pencil

into the wet ink on the i ns to add detail

before blotting way any excess

DEMONSTRATIONFish

Collect together some items similar to the
ones here. Buy a cheap i sh, i nd a patterned
plate and tonally contrasting surface to
place it on. Try to look beyond the colour
and select for tone and pattern

mid-tone ink; I placed a few mid-tone ink

strokes along the darker edge of the i sh,

keeping it wet. I wanted to manipulate this

wetness before allowing it to dry. Next I

quickly washed out my brush until mostly

clean and used the water in the brush to add

very subtle tone to the centre of the i sh’s

body. I left a gap where the white (lightest

tone) is, then dragged both areas together

using a 4H pencil to create a diagonal pattern

for the i sh scales. Whilst it was all still wet I

pressed down into the tail area to create the

linear pattern of the tail i n. I watched the

dif erent tones run in together, checked there

were no large puddles that might smudge

(if there are any puddles remove them with

tissue or a damp brush) and then carefully

blotted away the general surface wetness