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Pen And Ink

Water Color Technique
Pen And Ink

Quick & Easy Landscape Watercolors (BEGINNERS)

By Martin Holland

Subject Matter:

Firstly you will need a subject to paint. I always work from photographs, usually that I have taken on my travels. If you can't get out to take photographs I find that the photo section on Weather Underground is an excellent source for inspirational landscape and seascape images.

Tools & Materials Required:

1/ You will need a fairly heavy weight watercolor paper, any local arts & crafts store will be able to point you in the right direction.

2/ You will need a selection of brushes, I find that I usually just need one wide brush (2" wide) for laying down flat color and washes, and then a brush with a fine point, you will also need an old fine point brush (see step 7)

3/ A simple dish cleaning sponge works great for laying washes of color.
4/ Two water jars filled with clean water (one for cleaning brushes and the other as a supply for your painting.)

5/ A small set of good quality watercolor paints. I always use Windsor & Newton and think they are the best available.

6/ A sharp pencil and a fine line ink pen.

7/ Artists masking fluid and an old fine point brush.

8/ A large roll of kitchen paper.

9/ An artists eraser.

Getting Started:

1/ To get started you need to select the subject matter and sit with it printed out in front of you or on a computer screen.

2/ Loosely sketch the horizon line (where the sky meets the ground) right across the canvas.

3/ Again loosely sketch in the rough detail of any houses, hills, boats, people etc. (Don't sketch these in too deeply and do not be afraid to bend the truth! You can use your "artistic license".)

4/ Using an old fine point brush simply paint in any strong foreground objects with the artists masking fluid such as boats, people etc.

5/ Once the basic scene is sketched in and your foreground objects are painted in using the masking fluid you can begin to apply some colored washes.

5a/ Wet the sponge with clean water and wipe it across the entire canvas several times to saturate the canvas. Wipe of any excessively shiny areas with kitchen paper.

5b/Mix an appropriate shade of blue for the sky and water it down slightly with some clean water. Use plenty of pigment as the wash will dilute somewhat when applied. Make sure you mix plenty, probably will need twice as much as you expect. Load up your dish sponge with the mix and starting at the top of the page simply swipe from side to side working your way down the page stopping at your horizon line.

5c/ Repeat this process for the ground or water at the bottom of your picture just work your way from the base of the canvas back up to the horizon line.

6/ Let the washes dry out completely and don't be too worried if they look streaky at first. The streak lines with blend together as the picture dries.

7/ Once the wash layers are completely dry you can use the artists eraser to rub away the masking fluid to reveal white canvas beneath.

8/ Now you can paint in the detail and lay thicker washes over your background to begin building some foreground layers. Remember to look at the subject matter just as much as you stare at your canvas. Try and divide your time 50/50 between looking at what you paint and your subject image.

9/ Finish the painting by outlining any buildings, people, boats etc. in black ink. The ink will make the objects really pop of the canvas but use this effect sparingly and keep stepping back from the painting to check you don't go overboard!

The Finished Product

You should now have your very own watercolor. Don't be discouraged if your first attempt doesn't look perfect. Just keep trying and trying.

I find that any watercolor looks 100% better when placed in a nice frame. Don't be afraid to take your artwork to a framers, Michaels will frame any painting for you.

Now you can hang your artwork proudly on a wall at home or in the office!

Sketch - The Art of Expressive Drawing

By Annette Labedzki

The Concept

A sketch is a quick freehand drawing, which may or may not be called finished work. Mostly, it is made in a two-dimensional plane to record visual data for later use. Being preliminary outlining step, sketches help try out different ideas and establish a composition, before being painted or embellished finally.

The Details

Sketching is an outline of the desired work, which helps sharpen the artists' ability to focus on the crucial elements of a subject. While, dry media, such as pencil, chalks, and pastels are the preferred tools for drawing, graphite pencils, charcoal, pen, and ink are also used. A quick watercolor work or even modeled clay may be considered sketching in broad terms. The commonest platform for drawing is paper. Certain other materials, like cardboard, plastic, leather, board, and canvas however, are also used for the purpose.

The History

During the pre-historic times, artistry found place on rocks and caves walls. By 12th-13th centuries AD, monks in European monasteries started making illuminated manuscripts, vellum, or parchment. Soon, silver was employed for sketching and drawing. Reused wooden tablets were the drawing platforms until paper was available from the 14th century onwards. It was used for both, preparatory studies and finished works.

Types of Papers

Papers come in a variety of forms, sizes, and quality ranging from cheap newspaper class up to high quality individual sheets. When wet, they differ in texture, acidity, hue, and strength. Smooth paper is apt for fine sketches, while a toothy paper holds the drawing better. Newspaper and typing paper are great for rough sketching. Acid-free archival quality paper retains the color of sketch longer than the wood pulp based paper, such as newsprint or typing paper. Tracing paper may also be used for duplicating and transferring a drawing to another platform, like paper, cloth, board, etc. Cartridge paper is a basic yet standard drawing paper, mostly sold in spiral or hardbound pads.

The Artists

Some of the most famous artists with popular sketchbooks were Leonardo da Vinci (Italian, 1452-1519), Peter Paul Rubens (1577-1640), Nicolas Poussin (French, 1594-1665), Antoine-Laurent (1743-94), Jean-Baptiste (French, 1744-1829), Francisco de Goya (Spain, 1746-1828), Jacques-Louis David (1748-1825), Edgar Degas (French, 1834-1917), Paul Cezanne (French, 1839-1906), Claude Monet (French, 1840-1926), and Vincent Van Gogh (Dutch 1853-90). Their pages depict more thoughtful studies rather than mere artistic sketches.

The Artworks

Some prominent sketch concepts include 'line drawing in sanguine' by Leonardo da Vinci, 'Orlando Furioso defeating a monster' by Gustave Dore (French, 1832-83), two point perspective drawing, and Chiaroscuro study drawing by William-Adolphe Bouguereau (French, 1825-1905).

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. Please visit the website at http://www.Labedzki-Art.com It is a great site for art collectors to buy original art. Artists can join for free and their image upload is unlimited.

Pencil Drawing - How to Take the Challenge and Draw an Amazing Dandelion

By Murtaza Habib

You know what a dandelion is? It is a humble plan that gets avoided by the gardener.

Even though it is avoided you should take a clear note of it as it will literally help you to enhance your painting skills flowing your creative juices. It is a beautiful plan. You require a steady hand and some patience to come out with a high quality creative picture. Select the best pencil and sharpen them before you get started your drawing stuff.

Depending upon the width of the lead pencils are numbered. Here are some examples...

1. 1B-6B pencils are widely used to draw dark and broad lines.

2. H1-H6 pencils are best used to draw light lines.

3. Want to draw a sketch? Use specific pencils.

Make sure that you observe the subject well. Observe the Colour, shape, look and curves before you get started.

Make sure you have a dandelion in front of you before you get started. Observe its stem and see how it curves upwards and flow your hand on the paper while taking its sketch.

Make sure that you visualize it before you get started seeing it in your minds eye.

Draw more than one line to feature its stem as they are much thicker.

Draw a circle and feature out the step within the circle using a soft pencil. Now start drawing the petals which get extended from the center of the circle right to the edge.

Keep doing this step until you overlap certain petals and have a natural look. While coloring the petals make sure that you keep the top petals much darker than the ones behind the flowers.

Once you have completed the flower make sure that you have a look at the live dandelion and take note of the leaves. Add them to the bottom of the stem. Make clear shades of green that resembles the leaves before you start painting them.

To take a look at more articles just like this one, click here: Pencil Drawing

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Watercolour Painting

By John A Burton

The first most significant component of watercolour painting is the "water."

Before you even start a painting, you need to be working to accommodate the properties of "water". Paper and water do not sit well together. When wet, paper swells and stretches, which manifests as rippling and buckling. Watercolour paper therefore needs to be prepared, before painting begins, to prevent buckling.

Preparation involves "stretching". Briefly, the paper must be soaked: 4 minutes total immersion is enough for a heavy weight paper. Next it must be stretched and secured to a support. Finally, it needs to be allowed to dry. As the paper dries, it shrinks back to its original size and, if properly secured, becomes taught and flat. This tension prevents further buckling when the paint is applied and the paper becomes wet again.

Paint "wetness" is a crucial factor in painting with watercolour. Tint strength is controlled by wetness, and not the amount of pigment used. The wetter a colour mix, the weaker the tint will be. Generally, watery washes should be applied to wet paper. Areas to be washed should first be painted-over with clean water, and this helps the pigment wash to flow and disperse more evenly.

Conversely, strong colour comes from a dryer mix of pigment, and dry mixes should normally be applied to dry paper. Dry mixes do not creep and flow, and the paint will remain exactly where you have applied it. Dry mixes generally have greater opacity, and are inherently more uniform. Areas of strong colour can be softened at their edges, and this leads me to my next point.

The water solubility of the pigment is a crucial factor in its manipulation. Water is used to carry the pigment to the areas of a painting where you want it to appear. Water can similarly be used to dissolve and remove paint from places you do not want it to be. This makes corrections, such as softening and pigment removal possible. For example "bloom" can be removed by using a damp brush (Bloom is the pooling of pigment at the edge of a wash, which appears as a darker line).

The solubility of watercolour pigment can have accidental consequences. Application of a second wash over a first will inevitably remove some of the underlying pigment. The trick here is to use this attribute to your advantage. For example, don't draw a layout sketch with a pencil; paint it with a pale mix of an appropriate colour, and the sketch will disappear as colour washes are applied. A neutral coloured (or even a plain water) wash can be used to retrospectively soften neighbouring washes of different colours, since some of underlying colour will be dissolved and moved or removed (dependant on the wetness of your brush). Clean wet brushes move pigment: clean damp brushes remove pigment.

Most watercolour students are taught to work from light to dark: this acknowledges pigment. However, there is also a need to work from wet to dry, and this acknowledges the water. The dry washes usually need to be done last, because a subsequent wet wash over a dry application will move and lift that paint.

The second most significant part of watercolour painting is the "colours".

Pigments are not simply different colours; they are chemically different have dissimilar characteristics in terms of their permanence, opacity, granularity and staining effect.

Reds and blues tend to be less permanent, and should be a just little overstated. After just a few weeks, they will mute down.

Some colours (some yellows for example) are more opaque than others, and this can influence colour wash sequences. For instance, crimson over yellow can look different to yellow over crimson (but the end result will depend a lot on the make and quality of the paints you are using). Cerulean blue is granular: expect to see little pools of deeper colour within a wash.

All pigments work via a combination of staining and surface deposits. Some colours enter the fibres of the paper. They stain, and are impossible to completely remove by re-wetting and dabbing away. Others dry on the surface of the paper, and are easily removed.

I could no doubt write a list of the characteristics of common colours, but I think it should suffice to advise of the need to become aware of differences between pigments.

In summary

Although watercolour painting has a lot to do with mixing colours, tonal graduation, colour depth and texture are achieved through controlling wetness: both the wetness of the paper, and the wetness of the paint.


No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical.
Michael Ende

Not many architects have the luxury to reject significant things.
Rem Koolhaas

Nothing requires the architect's care more than the due proportions of buildings.
Marcus V. Pollio

Proportions are what makes the old Greek temples classic in their beauty. They are like huge blocks, from which the air has been literally hewn out between the columns.
Arne Jacobsen

Rome has not seen a modern building in more than half a century. It is a city frozen in time.
Richard Meier

Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us.
Arthur Erickson

The bungalow had more to do with how Americans live today than any other building that has gone remotely by the name of architecture in our history.
Russell Lynes

The dialogue between client and architect is about as intimate as any conversation you can have, because when you're talking about building a house, you're talking about dreams.
Robert A. M. Stern

The frightening thought that what you draw may become a building makes for reasoned lines.
Saul Steinberg

The higher the building the lower the morals.
Noel Coward

The interior of the house personifies the private world; the exterior of it is part of the outside world.
Stephen Gardiner

The loftier the building, the deeper must the foundation be laid.
Thomas Kempis

The Romans were not inventors of the supporting arch, but its extended use in vaults and intersecting barrel shapes and domes is theirs.
Harry Seidler

The work of art shows people new directions and thinks of the future. The house thinks of the present.
Adolf Loos

Those who look for the laws of Nature as a support for their new works collaborate with the creator.
Antonio Gaudi


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