Intermediate Drawing: final project evolution: part 2

Alright, so I’m happy today.  🙂

I just spent the last hour figuring out a color combination to use on the finished project — or, one potential color combination.  I have a lot of warm earth tone Pitt markers that I just bought, which range from mid-saturated red-orange (Sanguine) to yellow-orange (Green Gold).  I figured out that if I add a relatively centrist blue (neither heavily green nor violet leaning), I should be able to make an expanded-complementary palette.  I’d been confused about it until I realized that I could make the earth tones secondary to the blue.

I have one Tombow which is the perfect color for this, but the Tombows are water-based, and so will flow if I brush watercolor over them.  I also found a Micron brush pen in blue, but it may be too greenish.  I know there was at least one Pitt marker which will work (Dark Indigo) which I passed up last time; but on looking at the colors which are at the store?  On my monitor?  I am thinking that I may have to make it a little greenish if I want to use the Pitt markers.  The biggest reasons to use them are their lightfastness, coverage, and waterproofness, plus cleanliness.

Last night I was thinking “earth tone + blue + green,” and I may go with that nonetheless — and just use relatively desaturated greens and blues.  If I can find an earthy green, it may energize my compositions, instead of making it all meaty-looking.  😛  Sanguine just kind of screams “shrouded blood,” even in name.  And then there is the question of whether I use the Pitt pens I already have at all, or go with an entirely different palette…

I still haven’t tried the blending trick with the Tombow brush pens; I should probably try that.  I do have a disposable palette I could use to pool the ink.

Neither have I combed over these philosophical records for key ideas yet.  I can do that after I finish this.  That should give me an idea of the overall feel of the series, which should in turn give me ideas for color schemes.  I wouldn’t be surprised if I end up depending heavily on linework or gesture.  Nor would I be surprised if this turns out a bit dark/celestial, in which case earth tones?…may not be entirely appropriate.  But in that case I’m probably strongly going to be going for black and white plus tints.  I have so many intense colors of Tombow that tints could be fun, if I could blend them.  🙂  I just don’t want to do “bright + graphic” for this project, again.

I did find that a white gel pen I have will work great for making patterns on top of marker paper with a black background.  Too bad they don’t make black marker paper?  😛

If I do end up using the marker paper with brush pens and fineliners, I need to get a new Pitt black B pen — I screwed up the tip of mine doing gesture drawings on rough paper.  But there are really so many directions I could go with this, if I opened up to the possibilities of using something like Canson Ingres with colored pencil and/or chalk pastel or pastel pencil; or watercolor paper with watercolor washes, with ink drawing directly on top of it.

I’d not wanted to use colored pencil again because of the lack of dense coverage combined with the tightness that such a tiny point of contact with the paper can encourage.  I can counter that by using charcoal or pastel…it’s just that I really dislike using those media because of the dustiness/messiness.

And holy…I just realized that if I wanted to do watercolor, I could easily — extremely easily — mix my own colors by buying three earth tones plus a green and a blue, plus something to knock down the intensity (was it Raw Umber plus Ultramarine to desaturate the hues?  Or Raw Sienna plus Ultramarine?  Looking at the swatches, I think the former…).  This would be infinitely more variable than using markers.

I think it would be interesting to utilize watercolor plus pencil, charcoal, or ink drawing over the colors.  The problem is that I’ve never taken a watercolor class, and it’s been a good number of years since I painted with watercolor at all.  The last time I did so, I was using gouache in my Color Theory class.  The tubes of which, I can find nowhere at all, but I did like using it.

A brush would likely free me up from being too tight/restrictive, which I think would help, and which I think my teacher would encourage — which means that by pushing myself, I’d get a better chance at a better grade, even if the thing turned out messed up.  🙂  And actually, that plus pastel pencil (which I don’t have) or watercolor pencil (which I do have — in stupidly bright colors 😛 ), could be really nice.  I’d just have to be sure that I didn’t ruin my fineliners by drawing over watercolor pencil…I’ve read they’re wax-based but water-soluble…and both fineliners and markers can be clogged by waxy materials, like oil pastels.  I’m just not sure whether watercolor pencils are really waxy enough to worry about.

However:  I do also have Derwent “Drawing” pencils which are waxy and nice on rough paper, in a range of earth tones…those would be fabulous on top of earthy compositions drawn in earth-tone watercolor…and to go with the “sutra” theme, this could add a nice look of age.  Because they’re so waxy, they will be opaque.

Yes.  I think I’ve discovered a solution.  No water-soluble fineliners, no markers.  Earthy-toned gouache (+ blue, green) and Drawing pencils on Watercolor paper.  Marker or Layout paper as separators, with text (and designs) possibly on top of that paper, in black fineliner and white gel ink.  If I use markers, they’ll be for layout and trial copies only; not included in the final work, but shown with the final drafts.

Hoo ah.  😛


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Haru ("Codey") is a third-year Master's student in Library and Information Science, hoping to find a way to fuse their desire to make the world a better place and to finance their art.

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