Size mat­ters

ImagineFX - - Traditional Artist Workshop -

Best prac­tices I don’t be­lieve in thumb­nails. They’re too small to see ac­tion­able de­tails. I start at 8.5x11 inches, then go to 22x30 inches.

11 Flood the background

Boom! Colour. I use the big­gest brushes and pour on colour with fresh, damp paint. (No dry cakes. You can’t pick up enough pig­ment.) I work fast, so each wet stroke placed next to an­other will in­ter­min­gle. Also, see the tobacco-brown stains bloom­ing out of the snakes in the lower half? That’s the pay­off from the sol­u­ble ink.

10 Time for black ink

Black ink is my favourite. Such a huge step for­ward, and so quickly, too. I see now I could have drawn the whole thing with a brush and saved a lot of time get­ting here if I wasn’t do­ing an Imag­ineFX work­shop! Also, this is a nat­u­ral point to scan and go to dig­i­tal colour, but there are still some tricks to come.

8 Why use sol­u­ble inks?

Here’s the deal with th­ese coloured inks. I’m switch­ing be­tween water­proof (black, red and green – look for pig­ment or acrylic ink for sure-fire proof­ness) and wa­ter sol­u­ble (blue, gold and brown). Al­most all dye-based foun­tain pen inks are wa­ter sol­u­ble. Why use sol­u­ble? I’m plan­ning ahead for the way th­ese lines will bleed into my washes.

9 Ink paint­ing – block­ing in shad­ows

I’m fi­nally paint­ing. The prep took about half a day and I’m ex­cited to be plac­ing darks with a sable brush. This is when things start to look solid. Note how the side of the brush is dragged over the tex­tured pa­per. The fine point can be splayed into a wider ‘rake’ for par­al­lel lines.

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