Friday, January 30, 2015
Thursday, January 29, 2015
I was considering that that is maybe a function of image size. If the drawings were smaller, there would be less ground to cover. I am not so far any kind of a Moleskine-sized drawer. 18 x 24" still feels constraining. But for some drawing situations, like a crowded Collective session in a small space, working small has definite advantages. And the Pentel pens being self-contained have a lot less mess factor for onsite drawing anywhere where carpets or such are a worry.
Another consideration with water-based media is warpage; thicker paper stocks are the best alternative to stretching paper, but they get costly, unless subdivided.
All of these have lines with a Pitt medium-point pen. The top two studies here are on 18 x 24" Canson Recycled Sketch paper - nice and slick, and washes stay up top, but buckles quite a bit. The more creamy paper is an 18 x24" 90 LB Somerset Book which doesn't buckle much and ink sinks really nicely into it., with mild buckling.
The next two are on Strathmore Series 400 paper, which I find fights the ink a bit. The last two are on Canson XL Watercolour paper sheets. The ink behaves quite well on these and stays more on top for making for easier blending, and I succeeded in bringing the scale to much smaller than usual, which meant less time needed for patchy filling of areas, and more time for building up.
I also worked out that if I touched a brushpen with a pale wash in it on the tip of a black pen, it gave me a brief dark tone that is easily graduated to a lighter value, which really expands the rapid tonal possibilities.
I typically crop out the excess blank paper in these studies, but at the bottom is a picture of the whole 18 x 24" sheet of the last study.
These are four 1-minute studies above and three 5-minute ones below. All are Pitt pen on 18 x 24" sheets of Canson Recycled Sketch paper.
Monday, January 26, 2015
I was liking how the brushpen was working, but a little frustrated by how much slower its flow was than what I wanted, which led to lots of drybrushing. Which, overall, was not the worst thing to be doing,
It had been almost a month since I was working on short poses from life, but I feel I was using the media quite confidently that night.
Sunday, January 25, 2015
On the Sunday afternoon, I was over at the ARC studio. Alina was working, and it was another atelier black velvet backdrop. The drawing got going slowly, and building up values took a while, so there's just the one for that afternoon.
This is Chinese ink, water-soluble graphite and oil-based pencil on an 18 x 24" sheet of Canson XL Watercolour paper.
The paper was buckling a fair bit under the washes, which got me thinking about heavier paper, at least where extended drawings are concerned.
Thursday, January 8, 2015
The top four are Pitt pen and gray brushpen. The ones below that also include a black Pentel brushpen. All are on 18" square sheets of Canson Recycled Sketch paper, except for the bottom one, which is on a sheet of 140 lb. Maidstone paper, the same size.