Nature in Ink and Coloured Pencil

CONTENTS

Introduction

1Materials

2Techniques

3Woodland

4Farmland

5Meadowland

6Wetland

7Heathland

8Mountain and Moorland

9Coastline

10 Island

Index

INTRODUCTION

This book is an exploration of two familiar media in an unusual combination. Having worked as a printmaker for many years, I was searching for a look that had some of the qualities of an etching and chanced upon a pairing of waterproof drawing pens and coloured pencil. The strong ink markings and the soft textures of coloured pencil were reminiscent of etching and aquatint, and I realised that I had found my new way of working.

Shingle Beach, etching (20 × 25cm). An image from my time as a printmaker, showing some of the similarities between working in etching and aquatint and ink and coloured pencil. My approach to textures like chalk cliffs, pebbles and plant forms owes much to my years spent printmaking.

Having first written about landscape, I have chosen the natural world as my focus for this book. The chapters are arranged by habitat, moving from woodland and farmland to the more specialised environment of the island. If this is also a journey through nature, I make no apologies, as it has been my area of interest and artistic inspiration all my life. In writing and illustrating this book, I have learned to look more closely in the present, and also revisited many of my favourite places and subjects.

I have taken my images from several sources. For many subjects from the natural world, it is not possible to work from a living specimen. This applies to birds, animals, butterflies, and plants that are officially protected or should not be picked. For the most part, I have used my own photographs and sketches, backed up by natural history reference books. I am also indebted to my lepidopterist friend, Konrad Pidduck, who has generously shared his excellent photographs of butterflies and local wildlife. You will certainly need to use images for information, but be selective and use them as a starting point, making the artwork your own. Many wildlife artists work in this way… catching your own lion is not usually an option.

I have worked on Bristol board throughout, as it suits both ink and coloured pencil. For simplicity, I have chosen to work mainly with Faber-Castell Polychromos pencils, with Prismacolor Premier for additional shades, but have included a guide to other makes.

This is not a ‘step-by-step’ book, but I have included one such detailed exercise at the start of every chapter. Each environment is divided into five sections, with subjects (usually three) taken from a different natural history category. I have based these on habitat, suitability for ink and coloured pencil, and personal preference. You will find birds, butterflies, moths, insects, animals, reptiles, flowers and sea life, all chosen to encourage you to practise and experiment.

Finally, I have included a few works by my students at the end of each chapter. Many of them are well on their way to an individual style, and I am always fascinated by the differences in their approach. There are recommendations but no rules for working in ink and coloured pencil, and one of my pleasures as a tutor is to see people find their own style. I hope that alongside my own images, you will find others that appeal and maybe encourage you to find your own way of working.

CHAPTER 1

MATERIALS

One of the advantages of working in ink and coloured pencil is that it does not require a vast studio space. It is useful to have an area where you can leave work, but this can be as simple as a table or desk with good lighting. It is also something that you can pick up and leave whenever it suits you. There are no pervading smells and no paints and brushes needing to be cleaned. Sometimes, just working for an hour or two and ‘getting into flow’ can feel refreshing and productive. Writing as an ex-printmaker, after years spent inhaling white spirit, working in filthy overalls and clearing up after myself, I enjoy the low-key requirements of ink and coloured pencil.

Studio space.

Art materials are constantly being developed, updated and promoted, and the choice can feel confusing for someone at the starting point. Artist-quality materials are expensive because they need to cater for the professional market, and are researched, manufactured and presented to the highest standards. This applies to paper, pencils and inks; even the wooden casing on pencils will affect performance if it breaks repeatedly when sharpened. You may feel that as a beginner you can make do with budget pencils and paper. Unfortunately, this may just deliver a disappointing result and make you feel that you cannot manage the medium successfully. My advice to beginners is to start small in quantity, and to go for the best materials you can afford. It is much better to have 10 artist quality pencils that will mix and match and blend perfectly than a set of 120 with insufficient pigment. Paper that has a surface ideally suited to the medium will always be preferable to paper that is too thin, too shiny or too coarse.

Artists have their favourite brands and learn what works for them. Some continue to experiment all their lives, and others stick to what they know works. When I am teaching students on a short course, I advise beforehand on paper and pencil choices, as it is disheartening if there is a mismatch, with little time to start again. If you are working at home or in a regular class, you may like to experiment with different papers and pencils over time before deciding on the best for you.

The best artists’ materials are made to a high standard and are also easy to use. It is better to invest in a few good colours, the right paper and some useful extras. Poor-quality materials can affect the result and discourage the beginner.

PAPERS

Choosing a paper that will suit both ink and coloured pencil is a prime consideration. Papers with a definite texture, like cold-pressed (NOT) watercolour paper, will produce a more uneven coloured pencil effect; the pigment will catch on the raised fibres and skip over the lower ones, picking up the texture of the paper. Ink lines are likely to be more broken and unpredictable, making the process harder to control. However, if this is the look you want to create, experimentation with coarser paper is fine. Not everyone will want to adopt my style or smooth-textured look, and there are no rules. Coloured pencil can be applied in different ways, and you may prefer to go for a more broken, textural approach.

Hot-pressed watercolour paper is suited to both media, and if it has a fairly soft, springy texture, embossing is easy and effective. Makes of paper vary and should always be tested first. Manufacturers change their production methods from time to time, and not always with improved results. My first works in ink and coloured pencil were done on a paper which took embossing beautifully and produced a coloured pencil surface reminiscent of aquatint. Sadly, the newer version does not have the same effect.

My surface of choice is now Bristol board, and specifically Strathmore Series 300 smooth. Bristol board is less expensive than watercolour paper, but is good quality, thick paper which comes in a range of sizes and surface textures. Some papers are very white whilst others are more cream-coloured; surfaces may be shiny, matt or very slightly textured (e.g. Strathmore’s Series 300 vellum). Shiny surfaces suit ink, which flows smoothly across the surface, but may be less receptive to repeated layers of coloured pencil, especially the waxier variety. Very white, silky Bristol board is good for snow scenes, where ink dominates, and the muted colours require only one layer. When I am teaching, I now recommend Strathmore, as I can be sure that the results will please rather than discourage the students. However, there are other manufacturers of Bristol board, such as Daler-Rowney, Winsor & Newton, Lana and Hahnemühle, so do experiment once you have some experience of the two media and your brand of pencils.

Coloured pencils will have varied results depending on the paper you use. On rougher textured papers the colour will tend to miss bits, showing the white underneath, rather like scumbling in paint. The pigment will penetrate the fibres of a smoother textured paper more easily and produce a more even effect.

PENS AND INKS

There are many makes of drawing pen, and the market changes so rapidly that a list would soon become out of date. Instead I shall give some advice on what to look for and why, and examples of the pens and inks that I currently use.

A choice of inks

Drawing inks can be pigment-based or dye-based. The latter are very quick-drying, and the dye disperses evenly in a water-soluble environment. Available in bright colours as well as traditional black, they are particularly suited to artwork for immediate reproduction e.g. posters and fliers. They are less lightfast, and therefore not recommended for works for exhibition and sale.

A combination of ink and coloured pencil designed to last would be better executed in pigment-based ink and artist-quality coloured pencil. In pigment-based inks particles are suspended in the ink binder, and both flow and vibrancy are reduced, but they have superior lightfastness.

Indian inks with a base of high-quality shellac medium and purified water are also good with coloured pencil. Rather than using them as for pen and wash, allow the ink marks to dry and form a water-resistant film. Do check that the Indian ink you buy is water-resistant, as water-soluble versions are also available. They can be used with dip pens or purchased as drawing pens. Faber-Castell Pitt black pens come in a range of sizes, including a brush shape, and have a rich Indian ink finish with a characteristic shine.

I have also experimented with some unusual inks such as Cornelissen’s French Sepia and Daniel Smith’s Walnut. A number of artists, especially those who work with textiles and natural found objects, have derived their inks from natural sources. These may produce exquisitely subtle colours, but lightfastness is often a problem. However, if you would like to experiment with this on your own, I am sure that natural inks would combine beautifully with coloured pencil for a limited wall life.

A selection of waterproof pens and inks available on the market at the time of writing. Staedtler, Faber-Castell, Copic and Sakura all produce good pigment-based pens. Indian inks and speciality inks are produced by Winsor & Newton, Cornelissen and Daniel Smith.

Pens – tried and tested

You may like to experiment with makes of pen and find your own favourites. Just follow the guidelines for pigment-based inks, waterproofing and lightfastness. Pens that are described as ‘water resistant’ are just that; the manufacturers cannot label them waterproof if they are not. Some can be used, but will need to be completely dry to prevent smudging.

Examples of lines, broken lines, dots and cross-hatching using different pen types and sizes. Makes are (from top) Copic Black Multiliner, Sakura Pigma Micron, Staedtler pigment liner and Faber-Castell Pitt artist pens in black, sepia and sanguine. The final section shows Winsor & Newton Indian ink, Cornelissen French Sepia and Daniel Smith Walnut inks with dip pens.

Staedtler pigment liners

This fineliner for writing, sketching and drawing is available from most stationery and art shops. It is sold in nine sizes, from 0.8 to 0.05mm, and has a long, metal-encased tip, keeping it firm for use. The ink is pigment-based, waterproof, lightfast and indelible, making it an inexpensive and reliable sketching tool.

Sakura Pigma Micron fineliners

These pens are permanent, fade resistant, chemically stable and use pigment-based ink that will not bleed or run. They make a useful 0.03 size which is suitable for ultra-fine lines and dots.

Copic Black Multiliner

This is a slightly more expensive technical pen with a range of sizes from 0.7 to 0.03. The ink is pigment-based, waterproof and lightfast, with refillable cartridges.

Faber-Castell Pitt artist pens

These are Indian ink pens with four different nib sizes: super fine, fine, medium, and brush. They are available in sepia, sanguine and a very intense black. The inks are fast drying, waterproof and smudge-proof and can be used with watercolour and other media. I find the SX rather wide for extremely fine work, but the set mix and match very well with other makes and the Indian ink has a real richness.

For more experimental work I sometimes use dip pens with Indian ink or one of the speciality inks. Whereas a branded drawing pen will deliver a standard, even line according to its size, dip pens are more unpredictable. Pressure, how much ink has been picked up, and steadiness of hand will all affect the result. Small (or larger) blots can make their appearance and you may need a tolerance of ‘accidentals’. However, this will give a freer, spontaneous look which can mingle well with coloured pencil in, for example, an autumn tangle of foliage.

Unusual inking tools

I love mark-making in ink in unconventional ways, using natural found objects and items from my mixed media box. I have used these in some of the experimental sections, applying the ink by dabbing, scrunching, trailing, scraping and printing. When I tried this out with my students, one of them said delightedly that every spray of leaves created its own unique pattern, and it is so. Here are some of the unusual natural and found objects that you could use to make marks in ink. The results can be combined with finely blended coloured pencil to suggest a background, or with more broken colour.

These are just a few of the things I have used recently to create random effects in ink. Top row: silver foil, cling film, steel wool and bubble wrap. Second row: cotton buds, matchsticks, credit card pieces, twigs, lollipop sticks. Third row: leaves, stems, flower heads, dried seed pods.

COLOURED PENCILS

How to choose

There are manufacturers of pencils in many parts of the world, often first established where graphite mining was to be found. Graphite was a vital component in the lining of cannon balls needed for warfare, but other uses for it developed as weapons of war moved on. Bavaria had a good supply, as did Borrowdale in the Lake District, together with the wood needed for pencil casings. Faber-Castell and Derwent were established in 1761 and 1832 respectively, with Switzerland’s Caran d’Ache following in 1915. As new pigments were developed, coloured pencils were manufactured as well, resulting in the wide choice we have today.

Coloured pencils vary in texture from hard to waxy and soft, presenting a choice for the first-time buyer. New sets are promoted, promising the perfect pencil. If you are new to coloured pencil work, you may not be familiar with the idea of building up layers, so it is tempting to opt for pencils that advertise rich, bright colour at one stroke. We are conditioned to expect quick results and spontaneity in art, and people often run out of patience with the longer, more thoughtful processes. However, it is the careful layering of colour, starting with medium-hard pencils and finishing with a pop of more waxy colour, that will deliver real richness and complexity.

From hard to soft, here are some of the quality pencils on the market.

Prismacolor Verithin (very hard)

An American brand, good for very fine edges in botanical work and tidying up, but not recommended for covering larger areas.

Derwent Artists (hard)

Quite hard work, as they may appear pale at first, but it is possible to build up considerable depth of colour with careful layering.

Hard pencils. Making charts of your pencils is recommended and will help you to make accurate colour choices. Prismacolor Verithin pencils are very hard and fine, but are useful for sharp edges and subjects requiring minute detail. Derwent Artists pencils are thicker, but also quite hard, and may require patient layering to get rich colour.

Faber-Castell Polychromos (medium hard)

These very high-quality pencils are easy to use and a reliable choice for a first collection. They have very good greens and browns for foliage and landscape, and an excellent series of warm and cool greys. I have used these for all the ‘step-by-step’ exercises, so that you do not have to invest in too many brands if you wish to work through them.

Established in 1761, Faber-Castell is the world’s oldest branded writing instrument company, and has been overseen by the same family for over 250 years. The original factory, built in Stein near Nuremberg, is now a museum.

Derwent Procolour (medium hard)

Derwent developed Procolour after the original Artists and Coloursoft ranges. They are between soft and hard, fairly easy to use and have a silky feel. Almost all the colours are also available in the Artists range, but a few are new.

Caran d’Ache Pablo (medium hard)

I am increasingly fond of these coloured pencils with their slightly pastel-like texture. They have a beautiful range of colours, especially for botanical artists. Their palette is quite unusual, with some excellent ‘in between’ shades like Brownish Orange, Granite Rose and Olive Black.

Tombow Irojiten (medium hard)

These exquisitely packaged Japanese pencils resemble a little set of nine volumes. They have a silky feel, and are easy on the paper. Unusually, they are arranged by tone rather than spectrum. Their Very Pale