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Graham Scandrett: WORKSHOP, 19 & 26 Sept. 2014

Pen, Ink and Watercolour

Week 1 - Week 2

Pen, Ink and Watercolour, Week 1
Theme: Architecture (Photos provided)


We were asked to bring materials:
Heavy cartridge paper or hot-pressed watercolour paper
Pen and ink (permanent)
Watercolour paints

This is a workshop, not a demo, so Graham spent only a short time outlining the idea of doing fairly detailed drawings of buildings in pen and then adding watercolour.

Rotten photo of Graham's demo. Sorry. Sam
You might use a pencil, lightly, to place the main verticals and horizontals but don't do so much that the pencil work could just be traced over in ink - all spontaneity would be lost.

The waterproof ink can be put on with any type of pen. Graham strongly recommends either
a conventional nib (which has the advantage that the width of the line can be adjusted by pressing down more or less heavily) or
a glass pen (which holds lots of ink and can be used to make strokes in any direction). The same might be said for fibre-tip pens but he is not so keen on those.

Remember, lines need to get thinner as you move into the distant background.
When it comes to the watercolour, he prefers to keep it loose: paper wetted with a fairly large flat brush, followed by touches of different colours allowed to bleed and blend.

He demonstrated this in the sky and in one foreground building but time was pressing. We needed time for an hour's drawing and then watercolouring.

Some general views and examples of work done follow.

It was a great evening which led to some interestingly different results and left us intrigued at how different next week's method would be.

.Week 1 - Top - Week 2

Pen, Ink and Watercolour, Week 2
Theme: Woodland Scene

This week we were asked to bring materials as for week 1 and also
our own Woodland photos.

Graham's talk was even briefer tonight. For the sake of people who missed last week he repeated some of the more important points about drawing in ink. He had pre-prepared a piece of paper and started the short demo with a dip pen and caligraphic ink before asking us to get going, while he walked around criticising (always constructively) and suggesting improvements.
The procedure we were to follow this week was to dampen the paper, loosely add colour in areas roughly corresponding to those wanted in the final painting, letting it dry thoroughly before drawing detail in ink.

There is a compromise between making the paint thin enough to merge and run in an interesting way but thick enough to leave strong enough colour behind.


There were big differences between our various efforts but, as always, Graham gave us another really stimulating evening. Thanks again, Graham.

Week 1 - Top - Week 2

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or Graham's other years:1999 - 2001 - 2003 - 2004 - 2007 - 2008 - 2009 - 2010 - 2011 - 2012 - 2013 - 2014 - 2015 - 2016

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