Experimenting with brush and ink

Following on from working through my ideas generated by Colin Crumplin's diptych paintings I experimented with oil and ink on Fabriano using various techniques.  I regretted using the oil paint and found that some of the imagery became very muddy as I applied different layers. It became difficult to remove colour even when applying turps as the paint had become too embedded in the surface of the paper. However, there were some more unexpected happy accidents and a technique of building up an image evolved.  As is my habit I sought to find some redeeming element in the sketches.  The paintings reflected an oriental aesthetic and I found the 'failed' worked presented better when placed in a cylindrical form, taking the form of oriental tall vases with the oak tree design being glimpsed in a very subtle way.  A more comprehensive journal entry can be found on file in regard to these exercises with some 'happy accidents' which developed from using sugar paper to remove excess ink and paint from brushes before making work.

The following day managed to have an hour or so in the studio experimenting with brush and ink. Using various tones of diluted ink to make a variety of images based on oaks in the landscape. Using watercolour paper of a good weight I used wet into wet, wet on dry, transfer and line.  It can be a difficult medium to control, but this is part of its appeal - the unexpected. I used the reverse of the textured paper which was smoother as I did not like the weave type texture. Working on A4 was
restrictive and movement were inevitable tighter - need to work larger. Some good tonal values were achieved in the first landscape image and I felt overall I responded more to shape and space - lots more practice required.

 

Small A5 sketches with texture created by blind monoprint and then worked over with various washes and marks. The right hand image atttempted to represent depth of landscape with oak trees which are often found growing on boundaries of fields dictating the dimensions of agricultural fields.  I have also noticed that there is often a solitary oak tree left, almost like a sentinel looking out and keeping watch.  

Rather too realistic and very little variation in tone.  The line work placed on top made the image a little more interesting!


The images below provide a good contrast into design elements and composition in regard to oak trees in the landscape.  I aim to experiment further using shapes and blocks of varying tones and not include too much detail - keep it simple.

Are these recognizable as oak trees?  I am not sure and feel there are elements of trees growing by water when in fact my intention was to indicate a field in the foreground.