Last night I tried out some of the Strathmore 400-Series Mixed Media paper I bought, recently. I was, in part, just intending to see what the new aquarelles (Supracolors, see here and here and here) looked like on top of this tinted paper, which is fairly predictable given what I’ve seen online. But still, it is nice to see this without any photographic editing or distortion applied (some of which is inescapable, as we can see more colors than computer monitors can accurately reproduce — not to mention that I’ve heard scanners can “see” more variations in tone than human eyes recognize).
I also tried out a black Dr. Ph. Martin’s Bombay India Ink, using Speedball nibs. This stuff is amazing — it goes on thick and solid black and dries quickly to a finish that I could not lift with my brush (a real brush, not a travel waterbrush) with significant application of water.
This is — in my experience — better performance than using a black (Faber-Castell) Pitt marker, which I’ve found to run under water washes, and which I’ve been told (by a former fellow student) runs even after 24 hours of drying. (As a note, I have only experienced this with the Black pens, not the other colors.) The Pitt markers are relatively excellent, though, so far as the depth of black ink goes. Until I ran across the Derwent Graphik Line Painters (I’m not sure how long these will continue to be made, considering an experience I recently had), I could not find a blacker tone of black in a marker — granted that I generally have not used paint markers.
But the Bombay ink may actually surpass the Pitt black. (I have not yet tried the other Ph. Martin’s black inks.)
The Copics and Microns are also decent, if you’re looking for fineliners — though as I said before, my Micron Graphic 1 pen did run under Supracolor laydown and wash (even when it was fine under a pure water wash). I haven’t tried Supracolor over Bombay yet, though. And I have also not found Copic or Micron to be as deep in tone…I did some experiments in my youth with black inks; at least in the early 2000’s, it was hard to find a good, deep black ink which would not fade or lift. I think that at the time, I settled on black Higgins Calligraphy ink, though I can’t be absolutely sure without digging out my archives.
The only downside to the Bombay ink is that it almost immediately dries to stick to the metal nib. Luckily, Ph. Martin’s does sell a pen cleaner (which I have yet to try; last night was all about soap, water, fingernails, and rubbing alcohol with Q-Tips (the last of which, works) — but I was using Speedball B-series (round) nibs, which are made of multiple metal layers…and I wasn’t into separating them and then trying to get them to go back to where they were before — I’ve found it relatively futile. The bright point about the B nibs is that they glide over the paper (the tip is flattened), instead of incising it.
I have a variety of steel nibs, a lot of which I want to try again. They are not all as pleasant to use as these, though, and I am not certain if it is because of the famed anti-rust coating (which I read, a very long time ago, needs to be burned off), or if a sharp new steel nib just rejects ink in general. I can try again after singeing the nib I tried to use last night, but seriously…I am going to have to get a new lighter, and find the Third Hand…(a free-standing pair of jaws which can stand getting hot — I’ve used these for hard soldering/brazing, before. Though all the nibs may need is a small flame, I’ve unintentionally softened plier jaws before by the addition of heat — even with as little as a cigarette lighter).
Back to what I began this post talking about…the Strathmore 400-Series Mixed Media paper. This is much heavier than the paper I’ve seen sold in Canson XL Mixed Media paper pads. The latter is 98 lb/160 grams per square meter (gsm), while the former is 184 lb/300 gsm. My lesson on how to interpret the given weights of paper was so long ago and so de-emphasized that I know that one of these weights is relative and variable and the other is not, but I can’t remember which.
In any case, the Strathmore paper I have is very stiff and resistant to warping, almost like Bristol board (or heavier), while the Canson paper is much lighter, possibly better for everyday use — it is something which I wouldn’t feel bad about using up in experimentations or journaling. Also, the Canson XL pad has 4x as many sheets (60) as the Strathmore pad I’ve got (a high-quality pad with 15 sheets)…though I think I saw this in a thicker pad…which I didn’t get, as I needed to try it out, first.
Strathmore Mixed Media paper, though, comes in tan and grey as well as white — which is a big reason I tried it (I have been curious about tinted paper — particularly the tan Strathmore variants which can take water-based media, since I have decided to stay away from pastels, at least for now). In addition to watercolor pencil and ink, I also played around with the FW acrylic inks on this, last night. I did tape the paper down, but at this point I don’t believe that was necessary. Using tape actually may be a disadvantage with this paper, considering that the Artist’s Tape damaged the paper when it was lifted off…and I didn’t seem to need it.
Just one last note on this before I move on: I have just found heavier Canson Mixed Media pads online — reading as 138 lb/224 gsm, still a bit lighter than the Strathmore, but decently heavier than 98 lb/160 gsm. They just are not the ones which are sold as XL pads. The XL ones are just the ones you’re most likely to see, if my experience is anything to go by (they often go on sale and may be some of the only inexpensive Mixed Media papers to be apparent, depending on what stores you have available).
Anyway, last night I splashed around in some acrylic inks…I do have a test paper, but it’s largely calligraphy (Japanese and English). What I realized about the FW inks is that you don’t need to have many colors to get a pretty wide range of tints and shades. The White tone is good for making things more opaque, though the shimmer colors will also opacify a mix (I’m pretty sure I have Sundown Magenta [a pink, sparkly ink which looks like nail polish], which hasn’t really proven all that useful, but it’s interesting to play with).
Last night I was using Flesh Tint, White, Red Earth, Marine Blue, and Purple Lake, before I began to play around with the sparkly Sundown Magenta to make shimmer teals, and started wondering what I was doing.
It is really possible to get a wide range of colors out of not so many of these inks, though. I got a muted lilac, a muted teal, an inky violet-blue, bright teal, bright violet, pale red-leaning floral violet, a series of skin tones, and a very muted grey (the last, from Red Earth [orange overtone] plus Marine Blue [green overtone]. It looks better than it sounds, apologies for no photo!). It’s got me wondering what would happen if I intentionally limited my palette…and what this would have looked like on a white paper, as versus a tinted one.
The colors looked relatively thinned out on the scrap of white Canson Mixed Media paper I used, but it’s very possible that this is because I was running low on ink in my palette. I’ve noticed that the FW inks tend to get thin if only, say, a drop or two are dispensed at a time. Coverage is great and intense for a little while, then things start to get paler with the addition of proportionally more and more water from the brush.
It needs to be decently thick — maybe like egg-yolk consistency, or a little thinner — to be able to appear brilliant. And then the tinting strength of each ink is extremely variable, though that should go without saying for any paints or inks. It’s just that some of these inks will run out (much) faster than others…again, a common sentiment.
With this stuff, I’m also using disposable palette sheets — I’ve already ruined one palette by letting the acrylic inks dry to a film on there…at least with the sheets (reliably white background), I know I’ll be able to tell what colors I’m mixing and what they actually look like.
If things happen the way I plan, tomorrow, I hope to get FW Flame Orange, Indigo, and Prussian Blue inks (I really want to mix decent greens, as I dislike the Emerald Green color I’ve got — and I was mistaken in assuming I had Prussian Blue. I also want to see if Indigo is violet-leaning enough to give decent violets…I don’t think so, but it’s worth a shot). I also should check for other B-series Speedball nibs (I have B-6, B-5 , B-3 , and B-1: leaving B-4, B-2, and B-0). I actually haven’t used the calligraphy Speedball nibs I got at the Japanese stationery store — but I think C-5 was the one I destroyed as I was trying to fix it.
Aside from that, I want to get a Dr. Ph. Martin’s Pen Cleaner. I’m also thinking about a decent detail watercolor brush — my favorite one is a size 3, which may still be a bit big for comic illustrations. I’d just be looking for something tiny, sharp, and stiff — not unlike my Niji waterbrush, but not my Niji waterbrush (I wouldn’t be able to get acrylic out of there). The great thing about this is that tiny brushes are often cheap — even really good ones.
I was also thinking about sepia ink, but at this point I think that would be overkill, especially as I still have about half a bottle left of Walnut Ink (though I’m not sure if it’s waterproof). And copying Koko Be Good isn’t high on my list of things to do. I’ll see if I can make things work with the acrylic inks — and check out the Bombay inks sometime after I can earn more…
One last note on process, and that is: if I do want to make a webcomic or graphic novel (the former is preferable for a number of reasons), and I want to make it by hand and then do the assembly on the computer, it will be to my advantage to create the art larger than it has to be, and then resize it and letter it, after scanning.
This also means that I don’t have to draw the final artwork by hand, in position, and then scan it in. I should also be able to fit in much more detail, this way. The big thing that I might want to learn how to do, prior to this, though, is how to create what I think is a Layer Mask (in printmaking, I think this would be called a “Key”) which has all of the black components selected, so that I can scan a black-and-white copy of the linework, go on to paint the original artwork, but then also be able to overlay the outlines back on top of the scanned and colored image, in order to preserve the integrity of those lines.
Or, I could color things digitally (not what I want to do, for a number of reasons), or use (actually) transparent inks so that it isn’t an issue, at all.