Getting the most out of media Left: Marks made with walnut using a reed . material world by Sherry Camhy below: Brushstrokes created with sumi-e ink.

The soot was ground into powder; combined with gum, resin, or hide Ink Initiation glue; and dried or baked into a solid shape that could easily be stored. The solid ink could be reconstituted into liquid by abrading the hardened forms against a grinding stone and mixing the resulting particles with water to , which can be made from elm, on or apple trees. Both Rembrandt drupes (the fruit) from under make a rapid-drying, intensely black mulberry, bamboo, or rice fibers, has and Van Gogh worked with -gall walnut trees. Using disposable gloves ink. Over time India became the main little sizing. Ink will go through the ink. Over time, their faded to prevent stained fingers, simmer the source of soot, and the made paper, creating a reverse image. from black tones to warm brown ones. drupes in water in a stainless steel pot from these materials became known To prepare a new brush, swirl it in If you want to approximate the color for 4 to 6 hours. Strain the product as India inks. Chinese literati, Egyp- water to remove the glue holding it of Old Master drawings as they appear through a coffee filter, cool, and filter tian scholars, and Japanese sumi-e in shape. Reshape the point, using a today, you can do so with walnut ink. again. You can then use the ink as artists used ink with brushes in a cloth so that the oil on your fingers Archival walnut ink can be purchased is, or you can add other ingredients: manner that blurred the concepts of does not touch the brush hairs. Dip ready to use, or you can prepare your An old iron nail will darken the ink, writing, drawing, and painting. the brush in ink, and holding the own. To make walnut ink, gather the vinegar or ethyl alcohol will act as You can try a version of this tradi- brush vertically, touch the tip to the tional process yourself using an aged rice paper, gently varying the pressure. ink stick. You’ll also need a slate grind- The first moment the brush touches ing stone, a brush, and rice paper. the absorbent surface is a startling First, sand away the ink block’s protec- experience. The ink is pulled into the tive coating by rubbing it with water surface and dries instantaneously. against the grinding stone, and discard Each stroke is final—Van Gogh called that water. Then, repeat the process it “drawing with lightning.” nk is one of the world’s old- Leaves with fresh water, yielding usable ink. Never let ink dry on a brush. When est drawing media, and it has by Juliette Aristides, 2012, walnut ink washes with The time necessary to return the solid you’re finished for the day, hang your line detail, 10 x 13. been used to produce some of ink back to its liquid form affords a brushes point-down to keep moisture the world’s most memorable im- preparation period that is vital for the from swelling the holder and loosen- ages. Ink is as challenging as it some of the earliest versions of which intense concentration needed to create ing the hairs. is inspiring—drawing with it were developed in around the the brushstrokes to follow. heightensI an artist’s accurate use of 3rd millennium B.C. The primary Unroll the rice paper on a blotting felt line, value, and composition, devel- ingredient of early inks was soot, pro- or other nonabsorbent surface, such as Historical ops confidence, and opens new path- duced by burning wood, oil, or bone. glass or an enamel butcher tray. Rice ways to creative possibilities. Beautiful Techniques: and crystal clear colors make Western Inks drawing with ink irresistible. Here, we present an overview of As other types of paper became some historical approaches to ink that common, artists could work with ink artists can still practice today, a brief in a more forgiving way, such as first guide to the many available varieties preparing a graphite drawing then of ink and their properties, and a few adding ink to complete the image. words about . Before arrived in the Western world in the 17th century, European artists used nonlightfast Historical writing inks such as bister, made from tarry soot produced by burning Techniques: India Ink beech wood; sepia, made using a Tree Study concentrated brown-black ink from above Left: Rice paper with Chinese hake brush, handmade bamboo pen, walnut drawing stick, combination by Sherry Camhy, The word “ink” is today used to hair drawing brush, and chop stick. the bladder of cuttlefish or squid; or 2012, brush-and- India-ink, 24 x 14. describe many different compounds, above right: Chinese sumi-e ink stick with slate lava grinding dish. iron-gall ink, made from outgrowths

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Waterproof inks can take 30 minutes to 24 hours to cure, depending on the brand. During that period they may be manipulated and even removed from some surfaces, such as plate, Mylar, Yupo, or polyester film. Rembrandt, for instance, used inks that did not immediately seal. He would outline his subject and then rapidly apply water to soften areas before the ink “closed.” Once a layer of ink has dried another layer can be added without affecting the underlying layer. Using layered washes helps darken tones and adjust left above colors. Transparent layers of different Flower Study Wing colors and values can create complex by Sherry Camhy, 2012, nonwaterproof black ink, by Susan Scwhalb, 1971, ink and watercolor, 18 x 24. India ink, and opaque white watercolor on black hues. Try to locate the shadow areas surface, 14 x 24. of your drawing first—this may help you judge the subsequent placement Chinese ink, exists in many varieties: will repel other liquids. Nonwater- of details. solid and liquid, waterproof and non- proof means application of water will You can create lighter values by di- Sarah at Four Months waterproof, and various tones of black. dissolve the ink. Nonwaterproof inks luting an ink. Dilute water-based inks by Thomas Butler, 2014, colored ink Acrylic inks are made with pigment can be rewetted, reworked, and even with water and shellac-based inks with wash, 12 x 16. and a fluid acrylic- emulsion lifted off less absorbent surfaces. for a binder. They dry quickly into a Nonacid ink is less likely to damage satin-smooth, water-resistant surface. paper. Nonclogging inks can be used in Archival indicates long-lasting. preservatives, gum Arabic will act as a fountain pens, technical pens, or When used on a label, the term binder, and glycerin will add texture. ballpoint pens. permanent usually refers only to how Waterproof indicates that dried ink stable a color remains when washed. Ink Types, Properties, and Techniques

Modern inks are composed of dyes or pigments mixed with a binder such as water-soluble resin, animal-hide glue, shellac, or acrylic. Different combina- tions of ingredients create ink with different characteristics. Here are some of the terms you may encounter on the labels of the many inks available today: Writing inks are usually made with dyes, rather than with pigment. To test whether black ink is made with dye or pigment, place a drop on wet paper. If it breaks up into component colors, blue and brown or purple, it is a dye. If the drop spreads with lighter gray edges, it is pigment. India ink, sometimes also called

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shellac medium. Keep these tailored inks in tightly lidded glass containers to store for future use. Pens

A considerable variety of pens, nibs, and implements are available for drawing with ink. There are and reed pens; metal crow-quill pens; and drawing dipping nibs; refillable, disposable, permanent, and interchangeable-point fountain pens; technical pens; and ballpoint pens. You can even make your own pens by following Van Gogh’s example and gathering hollow marsh and roadside reeds, bamboo shoots, or twigs, then Excerpt From The Claim by Nicolas V. Sanchez, 2012, colored , 3½ x 5. diagonally cutting their tips. Ballpoint pens are their own family of implements. They range from the medium is beginning to earn. on skin, glass, metal, fabric, card- cheap pens you can buy in bulk at board, and transparent paper. Also, the drugstore to archival roller-ball he large available variety of inks ink is no longer a black medium. pens intended for artists. The latter and pens allows artists to experi- Colored inks are an exciting alterna- of these give artists impressive T ment with innumerable tech- tive or addition to transparent water- freedom of movement, making it niques. You can stipple, drybrush, colors, among other applications. possible to continue drawing in any silhouette, outline, fill, hatch, cross- Once primarily used for sketches, direction, and their line flows fast hatch, and pattern all manner of dots illustrations, comic books, and anima- and evenly. A recent exhibition of and dashes, filling drawings with tion, ink is now being used to create ballpoint-pen drawing at the Aldrich electrifying energy. You can further all manner of intricate images. So Museum of Contemporary Art, in experiment with surfaces beyond pa- experiment with a few inks, pens, and Ridgefield, Connecticut, shows the pers and boards—today artists are us- surfaces, and see what suits you best. serious recognition that art in this ing traditional and new techniques The possibilities are exhilarating. v

left above Figure Drawing Assorted dipping pen nibs. by Jerry Weiss, 2010, blue ballpoint pen, 14 x 11.

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