This week I was asked about using pen and ink under a watercolour. This is a method Ive used over the years that gives me much pleasure since I love to draw. I can get lost in the pen and ink for months.
This is a pic of the pen and ink drawing for Primordial Mound. I spent about 3 months working on it, on and off. I was asked if I could leave it as just the black and white image, but the final image was already in my mind and was in colour so after the drawing was done, I started to pour watercolour on it. Always a risk since the colours could turn to mud if not done properly. And that would mean 3 months of work down the drain! But I love complicated and challenging paintings.
This is a pic of the pen and ink drawing for Primordial Mound. I spent about 3 months working on it, on and off. I was asked if I could leave it as just the black and white image, but the final image was already in my mind and was in colour so after the drawing was done, I started to pour watercolour on it. Always a risk since the colours could turn to mud if not done properly. And that would mean 3 months of work down the drain! But I love complicated and challenging paintings.
Here is the piece after the first pour. Ive masked off the areas where I want the whites held for the water flowing over the falls. I use only artist quality transparent watercolour. 5 colours were used for the first pour: french ultramarine, cerulean, burnt sienna, permanent rose and raw sienna. If all 5 colours mix together you get a muddy grey that kills the light so I am careful not to let them all run into the same areas of the painting. By manipulating my paper ( Arches 300 lb cold pressed) I can funnel off the paint. I dont stretch the paper so it can move easily. After this step the painting has to dry thoroughly.
Further into the painting now... Ive removed the masking fluid and exposed the whites of the flowing water. I used 5 blues on the water: french ultramarine, cerulean, cobalt, winsor blue (pthalo) and turquoise. Some were poured on and some were applied traditionally with a brush.
Now I begin working on the old root and tree trunk with direct painting with my brush wet on dry. I make sure all layers are dry before putting on another layer. I work on shadows and negative spaces.
Now I begin working on the old root and tree trunk with direct painting with my brush wet on dry. I make sure all layers are dry before putting on another layer. I work on shadows and negative spaces.
At this stage Ive strengthened the cast shadows, worked on the tree roots and added a bit of colour to areas that need it. Now it's time to stand back and carefully work my way to the end, always checking at a distance if it's working.
The finished painting. Primordial Mound, 22 x 30 in.
One comment I must make about using pen and ink under a watercolour, is that the drawing must stand on its own before you even add any colour. Otherwise you may get a weak under-drawing that cannot hold up to all the layers of paint. No point in using the pen and ink underneath at that point. I use this method when the subject gives me the rich textures and shapes that I can work with. Some paintings I do have only watercolour and no ink drawing beneath. All depends on what the subject is asking... let the work talk to you and it will tell you what it wants!
Palette for this painting: All are winsor & newton artist quality watercolour unless stated otherwise.
French ultramarine , Cerulean , Winsor Blue, Cobalt , Turquoise ( D. Smith), Permanent Rose , Burnt Sienna, Raw Sienna, Quinacridone Gold ( D. Smith).
One comment I must make about using pen and ink under a watercolour, is that the drawing must stand on its own before you even add any colour. Otherwise you may get a weak under-drawing that cannot hold up to all the layers of paint. No point in using the pen and ink underneath at that point. I use this method when the subject gives me the rich textures and shapes that I can work with. Some paintings I do have only watercolour and no ink drawing beneath. All depends on what the subject is asking... let the work talk to you and it will tell you what it wants!
Palette for this painting: All are winsor & newton artist quality watercolour unless stated otherwise.
French ultramarine , Cerulean , Winsor Blue, Cobalt , Turquoise ( D. Smith), Permanent Rose , Burnt Sienna, Raw Sienna, Quinacridone Gold ( D. Smith).
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