November 17, 2013
These were made by one of my course participants after our pen & ink sessions. They are particularly heartening because she had a hard time getting a handle on the medium most of the session. Then right in the last 5 minutes she totally ‘got’it. The next week she came in with these sketches from a recent outing. Aren’t they lovely.
The last session this season, we combined collage and oil pastel to create a drawing from our imagination. We leafed through magazines for pictures which suggested a story, cut those out, then pasted them on white paper and worked into them with oil pastels. The results were free and colourful.
November 9, 2013
It seems like some of my best drawings happen during demonstrations for my ‘Creative Drawing’ class. We worked on reflections recently. I wanted them to get a feel for ink line combined with wash tones; and silver shiny objects seemed to lend themselves to this. It was a complex assignment, but they did really well. Unfortunately I forgot to take pictures of their work this time.
The next week, to continue with the technique and work on perspective as well, we worked from old IKEA catalogues. They chose an interior or part of one, to draw, then work with in pen and ink and wash.
This chair was a nice challenge, and since in the first lesson I emphasised loose, rather non-chalant application of strokes and wash, I wanted to demonstrate with the chair that pen and ink wash work can get detailed and precise if wished. The teapot was done quite quickly and directly. The chair was built up out of light, then subsequently darker layers of wash which were left to dry between layers. It took the better part of an hour.
If you keep a sketch book or are interested in trying these for yourself, they are nice exercises. In this first demo below, I let the wash bleed as I added subsequent layers.
You might find that the tendency with this technique is to blend too much or begin ‘scrubbing’ the paper. Try to avoid this and work staccato, leaving out too much detail and applying cleanly separated areas of grey. Where there is a subtle gradation from light to dark, you could add some wash while the first layer is wet. But for the velvety sharp darks which define the silvery surface, it is better to let previous layers dry before adding the darkest tones.
Have an extra clean damp brush at hand to soak up unwanted sharp edges if necessary.
I used India ink, but Pelikan fount india is also nice, and normal fountain pen ink can give some unexpected effects by breaking up into blue or green tints when water is added.
I briefly worked into the bottom cup drawing with coloured pencil. This technique forms a great base for multi-media work.
November 1, 2013
Rende, my husband has designed 3 books of his photography and has had them reproduced. They are one-offs and they are gorgeous in themselves as well as being beautifully reproduced.
And here you can see LEAVES.
Here you can look through BOATS .
And here is the one on DOORS and WINDOWS from his recent trip to France.