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INTRODUCTION TO INKS – Fujiko Rose
We loved watching Fujiko show us how to work magic with ink and paper, unlocking the tips and techniques of her practice, which we hope you will enjoy incorporating into your own.
Reference Image
Materials
Paper
Pencil
Indian Ink – Black
Dip Pen
Pigment liner pens
Masking Fluid
Dish Soap
Putty Rubber / Eraser
Paint Brush (We recommend a firm oil brush)
Tissues
Water
Find these items at cassart.co.uk
Preparatory sketch
Using a bit of scrap paper, take a pencil and roughly map out the bones of your image to help you discover where the light and dark areas of the composition are.
The preparatory sketch does not need to be detailed and can be any size. This is a rough plan to help you know what you are doing before you commit ink to paper.
Transferring your preparatory sketch onto larger paper
The first step is to transfer your preparatory sketch onto your paper. Before you start inking, take a pencil, and map out your proportions loosely. This is very basic shape blocking and should not be overly detailed.
Masking fluid
Masking fluid is a liquid latex and its purpose is to protect specific areas of the paper from ink/paint, by creating a barrier. When you eventually remove the masking fluid, the white of the paper will emerge brightly next to the ink.
When working with masking fluid, you want to apply it to your paper to the top working down to prevent any smudging.
Start to apply the masking fluid to the snow on the mountains, bushes in the foreground; anywhere you do not want the ink to touch. To add texture, gently tap the brush above the paper to leave a speckled effect. This would be great for the snowy mountain range.
Let the masking fluid dry before moving on to the next stage.
Top tip- Work quickly when applying masking fluid as it dries quickly. Do a test run on scrap paper to grow your confidence.
Dip your brush in some dish soap before applying the masking fluid. This will protect the bristles of the brush from the latex.
Applying ink
Before committing ink to paper, experiment with the ink and dip pen on scrap paper and discover the variety of lines it can make (thick, thin etc.).
When you are ready, use the dip pen to draw the darkest areas of your image. This includes the shadows of the trees.
Adding detail to the trees and mountain
Look at your reference image and remind yourself of where the light is hitting.
Using your pen strokes, add more texture to the lighter areas, whereas you want the darker areas to look like a solid block of ink.
Blot your ink as you go. Allow it to dry and then layer more ink on top. This will also help to add texture.
Top tip – Do not draw every single branch. You need to make edits as you go to not overcomplicate the scene.
Building texture in the foreground
Take a pigment liner pen and sketch the bushes in the foreground.
Do not worry about sketching on top of the masking fluid, focus on the bushes and the fluid will do its job.
Once the area is filled in and shaded, it will look quite messy. Eventually, when the masking fluid is removed, this will give you a nice contrast.
Working on the mountain
The mountain is the main feature of this piece and you want your eye to be drawn to it.
Use an oil paint brush with ink to paint the mountain. Oil brushes have slightly firmer bristles and are good for texture. Even better if the brush is older, or its bristles have been cut.
Dip the oil brush in your ink and paint the shadows on the mountain. Going in first with the brush allows you to see what works. You might not need to add as much detail as you thought. Sometimes when you work with the pen first, you add more detail than you need.
Your brushstrokes can be organic at this point and move with the direction of the mountain (diagonal/ flicking across etc.).
Blot the ink throughout but do not blot the ink evenly. You want some areas to be darker. This will leave you with a mottled texture.
Top tip – move your hand in different ways to add texture.
Finishing touches with ink
Use the pigment liner pens to draw on top of the masking fluid at the top of the mountain. This will create a rocky texture.
Also, use the pigment liner pen on top of the ink that is already there to darken any areas that you think this would be beneficial to.
Return to your ink pen and oil brush and play around with any areas that you feel need more ink.
Removing the masking fluid
Once you are happy with your ink work, let your piece dry fully, before removing the masking fluid.
Take an eraser and gently rub it over the top of the masking fluid. It should come away and your work will be complete.
