[music]
Thank you for joining me at Grahame Booth Watercolour Workshops
Today I'm going to be looking at Pen and Wash
Pen and Wash is a medium that uses watercolour but is fundamentally different
It uses line to create an edge rather than a difference in tone
I find it more relaxing than watercolour because the pen creates the structure of the painting
allowing much more freedom when applying the watercolour
I use hot pressed paper for pen and wash
HP paper is very smooth which helps when using the pen
This can cause some problems with the wash
The paper tends to almost repel the colour
but when the paint dries there is less dulling than with more textured paper
I use two brushes
I use a size 6 rigger and a small squirrel mop
I use this pen rather than indian ink
just make sure the ink is waterproof
The subject is a restaurant in Belfast
College Green House is the building to the right
It has political connections to both parts of Ireland
It is important that pen and wash subjects have plenty of line work
An open landscape wouldn't really be suitable
but an architectural subject like this is perfect
I draw directly with the pen
Using an initial pencil drawing can make the subsequent pen work look too planned
Using the pen directly will result in mistakes
but mistakes give more interesting lines!
I begin by lightly applying the line and when I'm happy I strengthen the line
[music]
Don't commit to detail too early. Make sure your initial drawing is simple but accurate
To create extra emphasis I simply use a stronger line
I stop the drawing before I think it is finished
I like to add more pen after the washes have been applied
I apply the washes simply and freely
using a variety of colour and strength
You can see how the wash is repelled
Don't worry about this. It will be fine
The red brick colour is a blend of burnt sienna and alizarin crimson
Don't colour in!! The effect is better if the wash does not precisely meet the line
Remember that the pen has already created the structure of the painting
so be free and fresh with the wash
I'm using ultramarine and burnt sienna for the doors
It is extremely difficult to paint around the white lettering
That is why I'm not going too dark with this wash. Artistic licence!!
Allow the first wash to dry
I now basically repeat the first wash
but only partly covering the first wash
This is simply to create more variety in the painted wash
Remember that painting is not copying a photograph
You must create interest in the paint itself
even at the expense of " accuracy"
[music]
The figures are only suggested
It isn't a painting of a family group
It is a painting of a building
The figures should support, not dominate
[music]
Allow the second wash to dry completely
It is now time to add the shadows
The shadows will create tonal contrast and impact
The shadow mix is ultramarine + burnt sienna + alizarin crimson
[music]
Allow the shadow wash to dry completely
The final brushwork will add dark details
Mix ultramarine with burnt sienna and very little water
It should be as dark and strong as the ink
Using the brush I can create bigger darker areas that add to the impact
The pen could be used for this but the brush is cleaner, fresher and faster
These little dark areas are so important
They really add impact
Edges of windows and doorways will always be darker
[music]
I also strengthen up some of the lighter areas
It is vital not to cover all of a previous wash
Keep light in your painting
Light must be left. It cannot be added
[music]
Finally I will use my pen to reinforce some existing lines
and to add a few new lines if necessary
[music]
Thank you for joining me
I hope you enjoyed the demonstration
If you haven't tried pen and wash
Have a go. It is really good fun
but remember the waterproof ink