Exploring Black Inks

I love working with inks. Whether I am sketching outside or creating larger pieces in the studio, ink is one of my favorite materials.

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Like many of you, early on I began working with India ink. It’s rich deep darks provided a boldness that was, and still is, alluring. I know, sometimes it was a little scary too! Over the years I’ve tried lots of other types of ink and grown fond of quite a few. So, I thought that I’d explore the attributes of some inks that have I used, share a bit of basic info about them, and see what you like about them as well.

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Below you can see a page of ink tests that I made today. With each of the inks, I have kept my testing pretty basic, using four simple steps. In order to see how each the inks look and behaves on a dry paper surface surface, I applied a large brush-mark of each ink to the paper. Then I added a few parallel lines using a small brush. Because I also want to know how the inks interact with water, I conducted two additional tests; first I heavily wet a small area of paper and dropped a tiny bit of full strength ink into that wet paper surface. And, because I’m interested in the re-wetting of the inks, after those short parallel lines were completely dry, I brushed a liberal amount of water over parts of the lines to test test the ability of each ink to resist the effects of water.

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[ Note: When using ink, the substrate (or ground) will likely have a profound effect on how the ink performs. I do employ inks in my large mixed media drawings on Mylar (my Natural-Family-History series) and occasionally on large sheets of various Arches, Rives, or Fabriano papers. Since I use inks a lot for sketching, I conducted these tests on a Canson 140 lb cold pressed watercolor paper. (I also use Fluid Easy Block papers, Canson Multimedia sketchbooks, and Pentalic watercolor journals for sketching). I chose to use the Canson because of its subtle texture and the fact that it isn’t too heavily treated with a sizing. This would allow both water and ink to penetrate the surface at a moderate rate.]

 

IMG_4606 copy, edittedAbove is a strip of inks that I have tested in this manner. Now let’s get a bit closer look at the results.


To the left you can see a close look at three of the first inks I tested in this way. The Winsor Newton and Higgins (#4415) are both traditional India inks. When dry the large areas of ink where pretty even and flat (the Higgins a slightly less flat, a tiny bit less dense) and were only barely transparent. Both also had that “metallic carbon in shellac sheen” we associate with India ink.

The Higgins (#44041) Eternal Ink was very different; in fact it may be a renamed versions of a Higgins ink I remember from my college days. You can see that it is bit less dense than the first two and in the re-wetting test, it obviously isn’t water resistant … much less waterproof. This ink displayed something I used to associate with all black Higgins inks; it is definitely made with a non-black pigment. When younger, I was always aghast (and secretly a little intrigued) that Higgins would often break down into a violet and a yellow brown or olive green) when exposed to water. Here, in both of the water tests, we can see some of the warm and violet casts of the ink. On the plus side, it being labeled “Eternal” should mean it is archival (Ph neutral and fade resistant in light). So it is a good ink; just do be aware though of the visual surprises it may provide you when in comes in  contact with water!

In part because of the Higgins pigment issue, I have tended to use the Speedball Super Black India ink as my “go to” ink in the studio. The Speedball company has been creating art supplies for over a century (Hunt-Speedball-Bienfang) and they make some fine products. This ink definitely uses a black carbon pigment and has a very dense pigment load. Washes made with this finely ground ink tend to be a quiet flat and very even grey. Opaque at full strength, it flows readily in water but when dry it is very permanent. When using this ink during drawing or painting sessions, I have also noticed that at full strength, it also seems to repel/shed any water (or watercolor) that is laid over it. This may be due to the shellac binder included in this ink.papers

Another black ink I use a good bit now is the Yasutomo Sumi Ink. Sumi inks are derived from the same Chinese ink traditions that gave us India inks. I enjoy the velvety look of this one a lot; it is a rich, intense ink black ink. There is much less of a “shellac” shine to this ink and it makes a luscious grey wash too.

Everything I read on the bottle, in commercial descriptions, and on the product website says that Yasutomo Sumi is permanent. But, as you can see, re-wetting it produced a beautiful dark grey wash!  I re-did my experiment and waited six hours to allow the inks to cure more. It still re-wet producing a wash. Now, when reading about inks, you will often hear the term “bullet-proof” in reference to an ink that bind permanently to the cellulose fibers of paper. So, “bullet proof inks are waterproof when allowed to dry in contact with the cellulose fibers of the paper. Perhaps the Canson watercolor paper’s sizing kept the ink from coming chemically into contact with the cellulose … or maybe my ink application was so dense that the upper layers of ink where unable to reach the paper fibers? So, I have to wonder if claims for this inks permanence were negated by the way I was conducting my test with a sized paper. Maybe on an unsized Sumi paper, this ink is permanent as soon as it is dry?

I will have to explore that more at a later date!

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The next ink I tested, Pen & Ink Sketch, is also an India ink but of a quite different kind. It is made by Art Alternatives out of the UK. They make this black India ink and sell it bottled and in the smaller international size fountain pen cartridges. As soon as you know that it is for fountain pens, it is obvious why it is different from standard India ink. It has to be. Inks with shellac can dry and stubbornly clog the tiny ink channel inside a fountain pen and/or the nib very quickly. It isn’t a nice way for a fountain pen to die.

This ink is lovely though. A soft satin black, not made shiny by any shellac or super sticky gum/sap based binders, it flows beautifully into water. As you see to the left, it re-wets a tiny bit too. Most of the black ink stayed in the paper’s fibers or on the paper surface; only a small amount became active when I added water and gently rubbed the surface of the ink marks. This could make it an excellent candidate for sketching when you need or want to spread only a tiny bit of light washes from previously applied pen or brush drawn lines.

(PS.  Art Alternatives also makes some nice and fairly inexpensive fountain pens for artists under the same brand name as well!)

My next three inks are Holbien Special Black, Liquitex Professional Carbon Black, and Royal Talens Amsterdam Oxide Black. All are dense rich blacks. They all handle well in the brush and the pen. While they seem to react slightly differently when dropped into water or onto wet paper … the Holbien seemed to break down a bit and both the Liquitex and the Royal Talens ran pretty freely … they were equally permanent when I tried the re-wet test. This shouldn’t surprise us though. Each of them is in fact an acrylic polymer emulsion based ink.  Of the three the Hobien seemed the most opaque to me. The other two came close when seen as a mass of color, less so when in thinner applications.

The fact that all three are not re-wettable means they are great for using under additional wet mediums. The Talens and Liquitex seemed to flow well but I must admit am a little leery about using the Holbien to create washes.

These last four inks are really fun. Those first two are specifically made for use with fountain pens. Manuscript Black and Noodler’s Lexington Gray. The last two were both made locally. Fleagall, in the brown bottle with the dropper cap, is made by an artist/graphic designer who teaches at a local community college. The other ink, the Iron Gall is made by a local artisan/craftsman who makes a lot of his own artist’s materials .

As the names imply, Manuscript Black is a bit darker and more densely pigmented than the Lexington Gray. The Manuscript ink spread easily and pretty evenly in the water drop at the top of the test where as the Noodler’s reacted a bit oddly in water. Despite being lighter, in the re-wetting process the Lexington Gray appears to be more permanent than the Manuscript Black.

The last two inks are both iron gall inks. Iron gall inks were the primary inks used in European countries since about the 4th century and were only supplanted by other forms of ink in the 20th century. One of the reasons they were so popular is because they are easy to make and darken with age. Another advantage they have is that once they are thoroughly dry, they do not re-activate with water and hard to scrub off a surface.

Notice both the Flea Gall and the Iron Gall inks are slightly violet when they are diluted. That is a characteristic that I like a lot. The slight transparency of both when applied even at moderate applications make both excellent candidates for ink wash drawings and paintings.

There are two issues that limit the use of iron gall inks in the modern age. One is the tendency for them to be acidic. If not made properly they may be too acidic and can slowly “eat” through the paper. The second problem is they don’t play nicely with closed system mechanical pens. The iron-gallic particles that make up the ink’s pigment can slowly accumulate in a pen’s ink feed and clog it with a hard to clean mass of hardened ink. This isn’t a problem in a brush or a dip pen which are easier to clean.

In the Upper Canopy, a 5×7 brush sketch using India ink

As you can see … I can be more than a bit nerdy about art supplies butI do hope this hasn’t been pedantic or preachy. I would love to hear what inks you like to work with too. Also, tell me if there any inks you think that I ought to try out …. for sketching or for using in the studio? And if you disagree about the qualities of a specific ink that I have talked about here, that is  cool too; please do let me know. I am always open to re-evaluating materials … and to changing my ideas, my opinions!

Now, it is time to get back out there and do dome sketching! There is a 30%-50% chance I will use some ink. Wish me luck.

PS Coming soon, A review of other colors of ink. …. and some ink pens & brush pens too!

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View South On US 11, Mount Syndey, Ink brush sketch, 5×11

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Wishing for Warm Weather Sketching?

Today was one of the last days of the 2018-19 winter.  So in tonight’s Intro to Watercolor Sketching class, did I celebrate the passing of Winter … or embrace the arrival of Spring?

No, I pulled out a photo of late summer and proceeded to create a demonstration piece. Now before my sketching colleagues tar and feather me, let me assure everyone that we have been working for the past few weeks from real objects, objects that were right there in front of us.  This evening, I needed to prep them for a bit of landscape-based sketching homework.  So, by having them do a landscape from a photograph in class, I avoided them going out into the breezy, cold, and dark outdoors tonight.

Each of the student picked a rural or urban landscape image photographed during the winter or spring. (I have a trove of old images that I have made over the years while I was out sketching or painting.)  But me, not really thinking, I just grabbed a photograph and started my demonstration.

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a detail of tonight’s class demo piece

With my photo, I showed them several alternative ways that I might consider cropping it. Next, I demo-ed how they could avoid doing a detailed drawing and instead just lay in a few quick lines to get a sense of where the major shapes would be placed.  We then created very quick images with large blocks of colors. Besides my demo, I shared a blog post by Mari French Early Autumn Sketching At Thornham Roadbeds and links to several more of her posts that I thought would inspire their efforts ( Burnham Overy Marsh , Reed Beds and Tidal Mud ).  I really like her work and find her approach to sketching to be just wonderful.

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Sea Lavender Sketch, Thornham Saltmarsh, by Mari French, 2018

After that I let the students develop their images with as little or as much detail … and in any direction as they wished.

As I moved through the class, coaching, encouraging, and occasionally stopping to do mini demos beside the students, I returned every once in a while to my demo piece and took a few minutes to continue developing this watercolor sketch too.  This is the way it appeared as the class session concluded; all of preliminary pencil lines still intact.

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Summer Fields, Valley Pike,  5″x 7″ watercolor w/ink over pencil,  2019

Here it is. A bit out of place. Late summer’s golden light on mature foliage and a sky thick with milky humidity. Maybe it is wishful thinking?

 

 

Winter Sketch w/Water-Soluble Inks

Sometimes you just want it to be as simple as B&W.

That was what I had in mind when I stopped along a rural highway on the way home and began sketching. It was a raw day … cold, wet, and grey as I pulled behind the local convenience store onto the side road. It wasn’t a grand or striking landscape, certainly not a pretty one. I was intrigued though by the scruffy roadside melange of signs, utility poles, foliage and winter weeds. I was confronting a normal image; I wanted to embrace the complexity yet distill it somehow and finding something interesting. Perhaps beauty.

Grey and scruffy; yeah ink seemed to be the perfect choice.

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First starting with a pencil layout (above), I was soon using both a Waterman fountain pen and a Pentel brush-pen; working the major shape contours along with some areas of value/texture.

Soon, to take advantage that I have this fountain pen loaded with a water-based and soluble ink, I had a water brush in hand and was manipulating, modifying the marks into small grey washes. The Pentel brush pen’s ink is pretty water resistant when it dries but, while is was still freshly applied, it too was soluble. Taking advantage of that … I dragged softer greys almost anywhere I wanted in the composition.

I liked the sketch as it is above but I didn’t get the sense of overcast light. It felt as if I had  turned on some bright light and cleared away the gloom, robbing the place of its subdued, even, wet light. My grey day wasn’t here yet.

So I continued on, adding a more blacks marks, dry brush, and washes. I even decided to include a bit of dry and wet color (using Caran d’Ache watercolor leads and wet Daniel Smith watercolors) to the image. It was beginning to feel a lot more like like the dark day and sodden day that it was. As I applied the bits of color, I was trying to integrate them into the greys and darks.

I wasn’t being quite as simple as B&W and while I was ok with that … the color was becoming a little too strident, too prominent.  As with the earlier, “lighter” version, I actually enjoyed the piece quite a bit at this point but I really felt I had deviated too much from the grey of the day.  So, with the aid of water, a touch or two of gouache, and of course … more ink, I reasserted the dark grey-ness by softening, muting, replacing, and overpainting some areas of color.

Off the Valley Pike, Winter 2019

No, I don’t think this piece is pretty. It wasn’t a pretty day. The damp air was bitting cold, the ground was a slippery, oozing, wet mess … and the sky was deep dark grey; it was gloriously miserable. I think the sketch pretty much got there.

 

 

 

 

 

 

 

 

Rainstorms or not, Sketch!

We’ve had a very wet summer. And an astoundingly wet early fall too.

That has made dodging or finding ways to work around all the rain a bit pretty much the norm the last few months. This last week and a half has been more of the same … whether I was working on my own or when I gathered some fellow sketchers  to visually explore a 100 plus year old local landmark.

In the piece below, while it had stopped raining for a bit … I wanted the lowest vantage point; sitting on ground  However, our recent over abundance of “precip” has been further augmented by the previous hurricane which passing this way the afternoon and evening before …. so almost everywhere was a muddy mess.

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( Southside Harrisonburg Skyline, ink watercolor and pencil, 5×11 )

To avoid all the rain, I have sketched from under overhanging eves and even my car.  This one, done yesterday from inside a local fast food joint, was an attempt to dodge

IMG_3389_WEBthe remnants of our most recent tropical system (Hurricane Michael) as it slip up the east coast. Eventually, I had to get wet anywayEarlier in the week, I met up with members of the Charlottesville chapter of Urban Sketchers to draw the old Silk Mill building.

 

 

( From Behind The Glass Door , ink watercolor and pencil, 4×5 )

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Silk Mill Tower, Ink and watercolor over pencil, 5×7 )

It is a grand old structure, built about 1895. I think the original part of the building and the 1940s addition was restored and much of it repurposed just a few years back. The complex now houses a number of professional offices, new tech companies, and even a large co-op clay studio/teaching/exhibition space.

I started this piece thinking that I might just work it up with only ink … maybe partially in the spirit of October’s month long “Inktober” challenge (#inktober, #inktober2018). Despite my intention to use mostly a fountain pen, a brush pen, and perhaps a little ink wash, I soon found myself reaching for a bit of color. Autumn’s hues are such a lovely enticement; even when the changing leaves are, as they are here, mostly backlit.

That was not a completely smart choice as the blue grey clouds where quickly thickening and darkening. I really did have to race to stay ahead of the impending rain. I made it with about 9-10 minutes to spare.

Damp, but undeterred; I will be back at it again soon.

 

If you would to see more of my sketches you can check out:

http://www.instagram.com/hancock_john_a

or

http://www.johnahancock.com/photogallery/sketches

 

 

 

 

 

Working Away from Home

I sketch, draw, or paint almost anywhere.

It has been a busy late April, May, and early June for me. These past eight weeks, I have made most of my images while working away from home quite a bit. Mostly it has been around Virginia but also out in Utah, and even some while actually traveling. It doesn’t hurt that I will happily work in the full view of others … almost as easily as I do in the privacy of my studio.

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Abandoned Power Station, Staunton Va.

I was invited to participate in two plein-air events this spring, one in Staunton and the other in Lynchburg. Sketching in and near the urban environment has always been an interest of mine. It shouldn’t surprise my urban sketcher friends that I began to get serious about making art way back in my teens when I would go draw the “brownstones” of Wichita KS. I still like those Hopper-esque cityscapes.

For the Lynchburg event, I was even asked to do a demo while I was there. It was fun to do the demonstration and the onlookers asked some wonderful questions. I sure hope I was informative and maybe even a little entertaining.

Fredericksburg

Market Square Steps, Fredericksburg

After being invited to demo at the Lynchburg Plein Air event, I had the distinct privilege, a really rare treat actually, to be able to attend part of a workshop offered by the Urban Sketchers of Fredericksburg. The instructor/leader of the event was Shari Blaukopf from Montreal. I have followed her work for several years now and have even recommended her to some of my students. It may seem like something of a busman’s holiday to some but I have always found it interesting to observe how fellow artist-educators go about presenting ideas to students.

The artists of this urban sketchers’ chapter and those that traveled to the workshop did some really wonderful sketches and Plein-air paintings. They were also a nice group to get to know. 

And, to be sure, Shari did a marvelous job! I will definitely still be recommending her work and her workshops to students. 

Here is a link to her blog.

 

 

 

 

 

 

 

 

 

Harrisonburg

After attending a family friend’s wedding in the small town of Broadway recently, I stopped in the city of Harrisonburg to get myself an iced tea. I then settled in along a street that I have driven down many, many times since coming to Virginia. What was drawing my attention this day was the sweep of a low brick wall and the deep shadows that played in the trees and inside the walled area beyond the entrance. After three to four sketches to work out what interested me the most, I was able to execute a fairly fresh and simple watercolor of the scene.

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Ink & Watercolor Sketch, Liberty Street Harrisonburg

 

 

 

 

 

 

 

 

 

 

 

Late May on Liberty Street., Harrisonburg

Back when I was a professor, as spring would melt into early summer, teaching would wind down and a bit of a respite would settle into my routine. I am reminded that back then summers were often the time of year that I traveled most. (Truthfully, it probably also had something to do with being a parent as well.) As I have re-organized my life to be pretty much a full-time artist … I still find that I end up doing many of my major trips away from home during these three to five months of summer-like weather. And for the past few years, when early June comes around, I get to judge art for about a week. So it is back on the road I go! 

This year, I definitely had to travel to that gig. I will post more about traveling as an artist (on the road and in the air) very soon.

 

 

 

 

 

 

 

 

From Chicago; Then Back Home Again …

As I promised, I have finally gotten around to posting some more of the sketches from my recent trip to the Urban Sketchers gathering in Chicago a few weeks ago. This first image was actually done in the morning of the last full day of the symposium. I was on Michigan Avenue just south of the Chicago River watching the morning light and shadows play across the tall buildings across the bridge.

Early Morning Shadow, Wrigley Building

After doing the watercolor sketch above, I shifted a few feet on the sidewalk and completed a second sketch using just ink (both fountain brush pen and fountain pen). Here again, I was drew the Wrigley Building but it was after the full eastern façade was in light. (As an aside, I’ll admit that I really like the light poles and lights I found throughout the Loop and Grant Park  parts of the city!)

Wrigley Building, Chicago

Earlier, during in the first full day in Chicago I participated in a session led by Lynne Chapman, an illustrator and urban sketcher from England. Lynn had us concentrate on using line and color separately … finding ways for them to harmonize or counterpoint one another rather than always controlling our color with line. It was an interesting experience; one that I have many times worked on with my adult students in classes … but which I need to remind myself to incorporate often in my own work.

For our first exercise we glued down several pieces of arbitrarily shaped pieces of color paper onto to our sheets of watercolor paper. Then, using inks and other materials (I chose to use dry color marks made with Caran d’Ache watercolor leads), we drew a view of the skyline across Michigan Avenue. Here is my 2nd exercise piece from that session.

My 2nd exercise piece from the Lynne Chapman’s workshop USk-Chicago

I had lots of fun with this … it felt good to be back in “student” mode a bit, It resonated with how I imagine my adult student feel when I push them to try a new type of project. After several more related exercises, we all went off to try and incorporate some of this idea into a piece on our own. I worked up a watercolor sketch using a different part of that skyline viewed through some of the bushes and trees of the arboretum in Grant Park. I worked very loosely, applying color and lines … sometimes together, often separately; trying to define forms using both line and color … but rarely directly conjoining the linear and color shapes.

stage 2 of  my watercolor sketch of the Chicago skyline across from the arboretum

Chicago Skyline (as completed in my USk-Chicago workshop w/ Lynne Chapman)

One of the last pieces of my time in Chicago was again down along the river on Michigan Avenue. This one is in some ways my least successful piece of the symposium. I was working on a large-ish (1/4 sheet, 7.5 x 11) watercolor paper. It is a sketch of an icon of early modern architecture in Chicago … the Tribune Tower.  It proved most difficult. The building is a soaring mass with an ornate gothic style top; it  is so distinctive and so very impressive. This sketch had big shoes to fill; it needed to feel solid and yet leap towards that intensely complicated and powerfully graceful beauty that graces the upper portion of the building. My sketch feels too overworked: I should probably have diminished the visual weight and attention it gave to the dark building immediately behind (to the left) of the Tribune. Those shadows along the road and bridge are a bit necessary to ground the building and were also real … but they also seem a bit heavy handed to me.

I guess it an honest attempt … that just falls a bit short.

North on Michigan, Towards the Tribune in

Frankly, like trying to sketch the Tribune building, everything about the experience was SO very intense. There were many, many fine folks there; right at 500 or so talented and committed sketchers from all around the world. I worked with several great teachers and workshop leaders. Besides Lynne Chapman, I also had wonderful sessions with Uma Kelkar (the beauty of mystery) and Jane Blundell (she spoke on one of my favorite topics, the permanent watercolor pigments). And I got to meet some favorite artists, Marc Taro Holmes and Sheri Blaukopf … both hailing from Montreal.

And I must not forget to mention the friendly, gracious, and magnificently helpful members of the Chicago Urban Sketchers chapter (including Paul Ingold) all of whom worked tirelessly as volunteers.

Charlottesville Rooftop View

We did make it home of course. And I have returned to sketching between and in the cities and towns near where I live. It feels really good to re-acquaint myself, to re-adjust, to be back into my more normal practice.  And if I struggled a bit with the immense height that the central core of Chicago presented me with … my hope is that some of what I saw, did, and experienced in Chicago will rub off on my work as well as my teaching of sketching.

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Ink and Watercolor

We have lots of contrast based pairings in our verbal and visual vocabularies. In our heads … and in our popular culture … we use or hear a number of them pretty regularly. It is common for us to hear references to iron and velvet, leather and lace or fire and ice. Some of them are used as cultural icons, as trade or service marks, as well as tag lines in advertising, books, movies.

We have stories within which we associate these pairing; we have truism that play over and over in our heads as soon as we hear them uttered. “Oil and water may not mix.” They convey a sort of tension, a tension that drives drama, fear, or even an ironic twist – all kinds of excitement.

It even occurs in the world of art. In fact, I had a lovely conflicting duality that played out in my head for years. As many of you have figured out, I really enjoy many forms of mixed media … and I can also be a bit of a purist at times as well.

In the past I found myself thinking that using watercolor and ink together was too often the last resort of someone who could not make watercolor work without ink as a crutch. And I mused that an ink sketch or drawing really shouldn’t need some weak color washes to make it more appealing. We didn’t need to be in the business of gilding lilies.

On the other hand, I LOVE mixed media. I have been exploring mixed media drawing and painting myself for over forty  years and lately I have been doing a lot of aqueous and mixed media sketching outdoors. Somewhere along the continuum between urban sketching and plein-air, these sketch have usually been done with either watercolor or ink. The ink has been with fountain pens, Japanese style brush pens, as well as ink washes. And, of course I continue to create watercolor sketches in monochromatic, limited palette, and even sometimes a full range of color. But quite a few have been fully hybrid pieces, straddling the line between watercolor and ink.

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So, YES, I have been using ink and watercolor together. Actually pretty frequently.

For this one I worked up a super loose set of pencil lines to get the visual movements I wanted in the piece and the barest indication of relative sizes and locations. From there I quickly started laying in ink line in the upper right corner where sky, rooflines, and the chimney meet laid. Realizing  that I was using a water-soluble ink, I stopped using my ink, got out a brush to put the lightest values of the middle areas of the paper. These were the hues of the sun lit portion of the building that I could see being the poles, trees, and bushes.

Once those initial washes dried, I added addition ink lines and color layers pretty freely. I paid attention to what was dry and what remained wet so that everything didn’t run together. However, if you look, you can see that I did allow some mingling of ink and pigments.

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Now, my initial idea was to showcase the brightly lit space around the synagogue’s front steps seen through a gap in the dark foliage. As I worked on the sketch, I soon realized that my fairly high key colors were dominating the composition … and the darks were really nowhere to be found … except in the ink line work.

On Jefferson, at Beth Isreal copy

On Jefferson, View Towards Beth Israel                                                                                                                                                     Watercolor and Ink over pencil, 5×7, July, 2017

This one ended up being a relatively strange little sketch, an odd angle and odd vantage point … looking at a tree, hedge and bushes while focusing (but not to much) on the color of sunlight on the bricks and steps that are just visible between/behind them all.

Here are two others, both from yesterday, that combining multiple materials. I was working with one of my sketching classes and, once I got them started, I made quick little pieces. The first includes watercolor (Caran d’Ache watercolor leads) and ink (both fountain pen & brush pen).

The second one, below, is just a detail of an unfinished sketch combining water-soluble graphite and ink (again my ink brush pen).

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As you can see, my tendency to be a purist is only partially evident. In practice, the duality … the dichotomy over combining watercolor and ink in my head leans towards the inclusivity.

PS These are probably the last two sketches I will be getting in before              I head to Chicago later this week to participate in the Urban Sketcher’s International Symposium. I do hope to post about that experience… maybe even from Chicago itself. I am a wee bit excited!

 

 

Wish me luck!