Two studies of the head of an old Man by Rembrandt, pen and brown ink

Parallel lines or hatching

Parallel lines or hatching

Crosshatching lines

Crosshatching lines

Crosshatching lines

Crosshatching lines

Crosshatching lines

Stippling dots

Stippling dots

Stippling dots

A. Durer - Hands Study - drawing A. Durer - 6pillows-drapery - drawing

Eduard Thony 1866-1950

Casanova y Estorach

Franklin Booth

Franklin Booth

John Nicholson - self-portrait -pen sepia ink

Ink & wash

Ink & wash

coloured pen ink drawing

Visible Spectrum
What we perceive as the colour of an object is actually the reflection of light of certain wavelength off the surface, as this reflection is received by the retina of the eye and perceived by the brain. It does not belong to an object itself. The wavelength that humans can see (only a tiny fraction of electromagnetic radiation) is collectively referred as the VISIBLE SPECTRUM

Colour Wheel
Centuries ago, Sir Isaac Newton proposed that the ends of Visible Spectrum could be joined and made into circular of colour relationships that we now call the COLOR WHEEL

Colour Combinations

Colour Contrast
The seven colour contrasts as identified by Johannes Itten (Bauhaus teacher) are: - Hue - Light and Dark - Cool and Warm - Complementary - Simultaneous Contrast - Saturation - Proportion

The Contrast of Hue

If you decrease the percentage of the pure hue you will decrease the contrast, and therefore, the dimension of the blocks. The top row, which displays the purest form of the hues appears in front of the other two rows, which recede because of their lesser hues.

The Contrast of Light and Dark

Dark colours come forward; light colours recede. And the reverse is true depending how much light and dark are used in a design. As seen in the squares, the contrast of light and dark works with both black and white, and colour.

Contrast of Cool and Warm

Cool colours relax us and make us feel at ease. By contrast Warm colours jump forward. The use Cool or Warm colours alone can create subliminal feelings. When used together, Cool and Warm colours create powerful contrast and dimension.

Contrast of Complements
Take a look at the top row of the colour blocks, which show how 100% pure complementary colours create contrast and dimension. As with the contrast of hue, the lesser percentage of colours, the less contrast and dimension they make.

Contrast of Saturation
Saturated colours create very subtle and sophisticated contrast. Saturated tones echo real-life colours. Look at the world around you. Varying shades of colour add to the dimension to our world.

Proportion
Contrast of proportion refers to the relative size, area, and proportion of colour and its relationship to the other colour on the page.

The red squares in this illustration are smaller than the large green square. But they stand out in front of the green because of the extreme contrast in size.

Colour Harmony
A colour scheme based on analogous colours
Analogous colours are any three colours which are side by side on a 12 part colour wheel, such as yellow-green, yellow, and yellow-orange. Usually one of the three colours predominates.

Colour Harmony
A colour scheme based on complementary colours
Complementary colours are any two colours which are directly opposite each other, such as red and green and red-purple and yellow-green. In the illustration below, there are several variations of yellow-green in the leaves and several variations of red-purple in the orchid. These opposing colours create maximum contrast and maximum stability.

Divisionism (also called Chromoluminarism) was the characteristic style in NeoImpressionist painting defined by the separation of colors into individual dots or patches which interacted optically.

The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. It is related to Divisionism, a more technical variant of the method. Divisionism is concerned with color theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint.[1] It is a technique with few serious practitioners today[citation needed], and is notably seen in the works of Seurat, Signac and Cross. Pointillism is analogous to the four-color CMYK printing process used by some color printers and large presses that place dots of Cyan (blue), Magenta (red), Yellow, and Key (black). Televisions and computer monitors use a similar technique to represent image colors using Red, Green, and Blue (RGB) colors.

Pen and ink and watercolour interpretation of four seasons

Henry Moore wax crayon, pen and ink, water colour washes

drawings are intensely cross hatched works using pen and pigmented inks

hommage to hieronymus bosch

hommage to hieronymus bosch

Joan Miro

Joan-Miro

Houses in Whitby, North Yorkshire (Pen, Ink and Watercolor)

Vincent Van Gogh (1853-1890) Tree with Ivy in the Asylum, (ink on paper, 1889)

Vincent Van Gogh (1853-1890) Fountain in the Garden of the Hospital, St Remy (ink on paper, 1889)

Vincent Van Gogh (1853-1890) View of Arles, (ink on paper, 1888)

John Bauer

Ideas for Sculpture 1938 by Henry Moore pencil, crayon, chalk, watercolour, wash, pen and ink 185 x 277mm

Urban Drawings

Granville Island inspiration

Farms, Barns and Old Houses

Experimental approach

Experimental approach

Pen and in gesture drawing with watercolour washes