Canoa Can resketch using Fude pen. Was cold and dry, which made pen dry up on thin lines. Pen ink hasn’t been changed for a month, so that may have affected thickness of ink in pen. Cleaned pen after this.
Sketching off the Anza trail, right by pump no. 2. No pencil, just Fude pen with watercolor. For the foreground tree, more side strokes used ‘painting’ towards outward growth, and pen flipped for background detail.
Guess the reason they call it a Fude (‘brush’ in japanese) pen is because it kinda does handle like a paint brush. I’ve had not much luck when I hold it like a pen, except when it’s flipped backwards and makes a really fine line. But I decided to not choke up on it and hold it instead like when painting on an easel or sketching in figure drawing, farther back on the handle. This way I just sketch and don’t even think about what angle makes what width mark, because thinking of that is really distracting/confusing. 6” × 9” Mix Media paper, Platinum Carbon ink in a Sailor Fude pen, Watercolored.
Back in Arizona again. This was about 4:30 in the afternoon. Temperatures in the low 50’s. Water color on 3 × 5.5” light off white moleskin paper. This paper is actually terrible for watercolor, gets soggy and wrinkly right away.
This is a sketch using a Sailor Fude De Mannen Fountain Pen. Still trying to get the hang of it. I put the supplied cartridge in, which is not waterproof, so to color, I had to use prismacolor pencils to avoid smearing ink all over the place for that. I don’t know why colored pencils are promoted as a beginner art supply. Every time I try to use them I want to give them all away. A blender pencil helped darken values, and I had some luck switching between complementary colors as the darkening progressed. Generally a tedious process, except for the fude pen, which was like driving down a hill with the steering wheel disconnected. Wheeee! 6 × 9” mix media paper.
Last sketch of Elephant head for a while. Actually wanted to finish this later on location because the color tones shifted orange at the days end, but when I rode out to my spot the next day, I found I had brought another sketch pad. Coldpress acquarelle 140lb. paper, 9.5 × 6.2”. Drawn using W&N Burnt Sienna in a crowquill. Cereulean sky, but too heavy.
Watercolor sketch using crow quill for line work. Used Cerulean blue in the sky and Viridian green in the water, colors I haven’t used much in the past. May use Cerulean more, I noticed it’s a less staining pigment, compared to Pthalo or Ultramarine. 4 × 6” coldpress.
An experiment on a cloudy day, to make a composition consisting of 3 separate views brought together in one sketch. Barrel cactus first, walked about 20 feet away and added prickly pear parts behind, turned 180 degrees added sky/clouds last. Good for collecting interesting objects in one spot, but harder to ‘visualize’ a composition. The actual background for the cactii was gray overcast. 4” × 6” Arches cold press, using vision pen and watercolors in about an hour, and about 20 minutes at home darkening values, using dip pen/india ink. Changed the barrel cactus form with pen & ink without adding too much distraction. Rollerball was drying out again.