This is a recent demonstration that I produced for Wetcanvas.
I enjoy using the line and wash method.
For me the quality of the line is important, it is for that reason that I use an assortment of materials to achieve this such as, sketching pens, nib pens, cocktail sticks and twigs, yes twigs!!!
My aim is to create an interesting quality of line. This demonstration will involve the use of a dip pen, a twig, a pot of black ink and monochromatic watercolour washes to add tonal values to the finished work.
Below are my ink, a stick from my garden, which has been sharpened, and my dip pen. I have also included some examples of the type of marks that can be obtained by using the point of the stick, dragging it on its side and splattering ink by tapping the stick when it is loaded with ink.
I am using a Bockingford watercolour paper with a rough texture.
I start by lightly pencil sketching my image onto the paper, this is only a rough outline there is no need to spend long putting in pencil detail as I intent to use the ink to do that.
I am using my dip pen to start the drawing but will only use this for the initial outline.
I am now using the stick to produce tree shapes, branches and foliage tone by dragging the stick on its side. The ink will splatter a little but I don’t mind as this makes the drawing less precious and I intend to splatter more ink later.
I am now starting to produce some shadow tone onto the buildings by dragging the stick that is loaded with ink.
This image shows how I can create the shadow/tone of the buildings by dragging the nearly dry ink into the darker side of the buildings.
I am now working further down the paper to create the old stone wall and foliage, I am still using my stick to drag and splatter the ink onto the paper.
It is now time for the watercolour washes, this will aid the overall unity of the painting and help to define the tone.
I am using SAA Burnt Sienna, a flat one inch brush and a large round brush. I am going to cover the whole of the paper with this wash so I will need a large quantity if I am to cover the whole of the paper.
I start at the top of my paper, the sky area, and begin to lay a flat wash. By adding more water this wash becomes slightly weaker as it comes into the foreground area.
The whole paper is now covered with the weak sienna wash and allowed to dry.
Once the paper is dry I start to lay a darker wash into the buildings, notice that this wash is only slightly darker than the last.
The foreground stone and foliage now begin to receive the same treatment, I apply dark washes of the sienna into the darkest areas of the ink drawing.
For me this method of working is all about the drawing not the painting, it is for that reason that I ensure that the watercolour washes are not too strong and allow the ink drawing to show through. After all, why cover all that work!!!!
The same watercolour wash is applied to the side of the buildings and into the shadow area creating shape and form to the building and helping to deepen the shadow areas.