Closely Observed Art Materials

Sunday, 12th February 2006


Version one: Line drawing in F grade pencil, wash in dilute Chinese ink.

More practice with tonal washes: in the soft light from the skylight window, on a dull afternoon, I paint these, the lightest toned objects that I could lay my hands on in a few minutes rumaging around the art materials drawers.

I'm trying to solve the basic problems of working with washes here in the studio because I'm hoping to get out on location again this week.

  1. I want to mix a wash that isn't so dark that it obliterates the sense of light on the illuminated side of the object but I still want it dark enough to make an impression.

  2. I need judge how long to leave a wash before adding the next. I'm rather impatient about that, with blotty results.

I found that I couldn't match the tones of the objects without indicating the labelling on the objects, although this works again what I was after, which was exploring three-dimensional form, not the surface markings.

The second drawing (right) was made without any initial pencil line. Next Page

Liquid Paper typewriter correction fluid (although it's years since I used any for that purpose; I use it on infrequent occasions to blot out mistakes in drawings), Manuscript Calligraphy writing ink, Pritt Stick solvent free adhesive, Rowney Cryla Titanium White acrylic.

Richard Bell,