21. Oktober 2011

Marram - Strandgras

Slowly I get used to ink. Yesterday I bought a selection of nibs and a penholder. I tried them in the evening. Now, I know that I don't like the hard ones, but the softer ones. I did ink work in the art lessons at school long ago, but now it's easier to understand what is important and what is not. In landscape it's the reduction.

Langsam gewöhne ich mich an Tinte. Gestern kaufte ich eine Auswahl von Federn und Federhaltern. Ich habe sie abends ausprobiert. Nun weiß ich, dass ich weniger die harten als die weichen Federn mag. Ich schon damals in der Schule gemacht, aber jetzt ist es leichter zu verstehen, was wichtig ist und was nicht. Bei Landschaft ist es die Reduktion.

24 x 17cm, ink on drawing paper, Tinte auf Zeichenpaper

Kommentare:

  1. Hi Ulrike, in the very words of Carlson it is indeed all about reducing what we see before us in the landscape to make a pleasing picture. I am so pleased to hear you bought the pen and nibs and ink too Mine have arrive too! we work on.... very nice reeds by the way I like the variation of the pine marks.

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  2. I find in ink drawing there is even more reduction than in oil paintings. No colour, but just a few marks that show what is there.... especially in the background. Where are your exercises? O:-)

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  3. Well the ones I posted with the stone are all ink work. But now I have to do some more. I read up on Carlson last night and also on Tonalism too. Oh I ordered the Birge Harrison very old book from Amazon. It was printed a long time ago but it is a reprint. They are now reprinting some of those very old books. Reasonable to buy too. I also bought Corot's little drawings, your drawing book and also a large book on ink work also an old book. I have so much to read!!

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  4. So, which large book on ink work did you order? O:-)

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  5. Arthur L. Guptill's clasic 'Rendering in Pen and Ink' has long been regarded as the most comprehensive book every published on the subject of ink drawing.

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