9
CREATE A TONE LAYER
On the duplicate layer I exaggerate the dark levels
greatly, so the dark range overtakes the piece. I create a
new layer, choose a base colour (cyan), and set the layer
to Screen mode. Next I merge this layer with the darkened
image beneath it, then set this to Multiply. So now I have
a cyan layer on top of my inks, creating a cyan wash.8
SCANNING IN THE ARTWORK
Now I scan in my inked image at 600dpi to capture all those details. I don’t
mess too much with the settings quite yet – I can do that in Photoshop, where you
can fine-tune things a little more accurately. So I open the scan in Photoshop and
duplicate the inked art layer. On the original art layer, I start by adjusting the levels
(values) and contrast to my liking.
7
KEEP YOUR VALUES STRONG
I constantly check my values, trying to not have too
much grey and keeping a nice balance of black and white.
Contrast is important. Squint at your image and if you can
still make out your shapes, it’s good. If it loses contrast and
focus, punch up black and white areas. I use white-out pens
and FW Acrylic ink to resurrect highlights and white areas.6
WASHES
My wash is a 40 to 60 per cent grey mixture in tone
(0 per cent water, 100 per cent ink), a consistency that
enables me to start relatively light, but I can add layers to
achieve a darker grey. It’s important to know how much
water your paper can take, so test, test, test!ARTIST INSIGHT
KEEP YOUR
BRUSH CLEAN
When transitioning
from black to red/
white, it’s important
to have a source of
clean water so your
colours stay bold and
don’t become muddy.
This helps your values
stay strong as well.PHOTOSHOP
TIP
HUE/SATURATION
Play with a colour and
how it relates to others.
A quick shift in colour
can transform
a piece.Workshops