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
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.
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
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