Thank you for joining me at Grahame Booth Watercolour Workshops

Today I'm going to be looking at Pen and Wash

Pen and Wash is a medium that uses watercolour but is fundamentally different

It uses line to create an edge rather than a difference in tone

I find it more relaxing than watercolour because the pen creates the structure of the painting

allowing much more freedom when applying the watercolour

I use hot pressed paper for pen and wash

HP paper is very smooth which helps when using the pen

This can cause some problems with the wash

The paper tends to almost repel the colour

but when the paint dries there is less dulling than with more textured paper

I use two brushes

I use a size 6 rigger and a small squirrel mop

I use this pen rather than indian ink

just make sure the ink is waterproof

The subject is a restaurant in Belfast

College Green House is the building to the right

It has political connections to both parts of Ireland

It is important that pen and wash subjects have plenty of line work

An open landscape wouldn't really be suitable

but an architectural subject like this is perfect

I draw directly with the pen

Using an initial pencil drawing can make the subsequent pen work look too planned

Using the pen directly will result in mistakes

but mistakes give more interesting lines!

I begin by lightly applying the line and when I'm happy I strengthen the line

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Don't commit to detail too early. Make sure your initial drawing is simple but accurate

To create extra emphasis I simply use a stronger line

I stop the drawing before I think it is finished

I like to add more pen after the washes have been applied

I apply the washes simply and freely

using a variety of colour and strength

You can see how the wash is repelled

Don't worry about this. It will be fine

The red brick colour is a blend of burnt sienna and alizarin crimson

Don't colour in!! The effect is better if the wash does not precisely meet the line

Remember that the pen has already created the structure of the painting

so be free and fresh with the wash

I'm using ultramarine and burnt sienna for the doors

It is extremely difficult to paint around the white lettering

That is why I'm not going too dark with this wash. Artistic licence!!

Allow the first wash to dry

I now basically repeat the first wash

but only partly covering the first wash

This is simply to create more variety in the painted wash

Remember that painting is not copying a photograph

You must create interest in the paint itself

even at the expense of " accuracy"

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The figures are only suggested

It isn't a painting of a family group

It is a painting of a building

The figures should support, not dominate

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Allow the second wash to dry completely

It is now time to add the shadows

The shadows will create tonal contrast and impact

The shadow mix is ultramarine + burnt sienna + alizarin crimson

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Allow the shadow wash to dry completely

The final brushwork will add dark details

Mix ultramarine with burnt sienna and very little water

It should be as dark and strong as the ink

Using the brush I can create bigger darker areas that add to the impact

The pen could be used for this but the brush is cleaner, fresher and faster

These little dark areas are so important

They really add impact

Edges of windows and doorways will always be darker

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I also strengthen up some of the lighter areas

It is vital not to cover all of a previous wash

Keep light in your painting

Light must be left. It cannot be added

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Finally I will use my pen to reinforce some existing lines

and to add a few new lines if necessary

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Thank you for joining me

I hope you enjoyed the demonstration

If you haven't tried pen and wash

Have a go. It is really good fun

but remember the waterproof ink