So I've been looking at your work for the last few weeks - stumbled upon it by chance through another blog and the stag piece has the most beautiful quality to it, really your work is fantastic. It's so flawlessly controlled without seeming so. - and it was so helpful when you talked about how you'd learned to add very detailed parts to the overall "messy" composition. Thats a fantastic way to work.
Anyway I've a question about technique in this peice and maybe you'd be able to give some clue as to how you go about it;
There's clearly two types of stroke, the thick inky wash one and the thin line, I wanted to know if you first use the line to define the form and then go over with the wash or is it the opposite?
For instance, the thin line for the back of the stag on the left, was this drawn before the inky wash line below it?
Anyway I'm not even an artist (i study archtiecture) so don't feel I'm trying to swipe your style at all, just really curious as to how this can be done.
So I've been looking at your work for the last few weeks - stumbled upon it by chance through another blog and the stag piece has the most beautiful quality to it, really your work is fantastic. It's so flawlessly controlled without seeming so. - and it was so helpful when you talked about how you'd learned to add very detailed parts to the overall "messy" composition. Thats a fantastic way to work.
ReplyDeleteAnyway I've a question about technique in this peice and maybe you'd be able to give some clue as to how you go about it;
There's clearly two types of stroke, the thick inky wash one and the thin line, I wanted to know if you first use the line to define the form and then go over with the wash or is it the opposite?
For instance, the thin line for the back of the stag on the left, was this drawn before the inky wash line below it?
Anyway I'm not even an artist (i study archtiecture) so don't feel I'm trying to swipe your style at all, just really curious as to how this can be done.