Drawing (Neist Point) with One Ink Colour

Is it a drawing, is it a painting? Did it start as a drawing and become a painting when I added water to the ink? I don’t know, and don’t believe it matters. What’s of more interest to me was that this afternoon, after days of exploring new watercolour colours, I felt like using “black” ink only. Maybe it was a side effect of a grey-skies day.

It’s not black though, it’s Payne’s grey*, a dark blue-grey that I find has got more rich depth than straight black.

The subject is Neist Point, the westerly most point of Skye, punctuated with a lighthouse. I was working from memory with one of my reference photos (in the booklet of photos I use for my workshops) to hand to remind me of shapes. I’m using acrylic ink, and the dropper as a drawing tool.

You can’t easily make it out in the photo but there are some composition lines I drew using a non-photo blue pencil before picking up the ink. It meant I could concentrate on getting the ink drawing done fast enough that some would still be wet enough to spread into the sea area when I dampened this. (If I were to do composition and ink simultaneously, it would split my attention and lengthen the drawing time.)

Line only at this stage, on dry paper (350gsm Not watercolour paper).

And here’s where I got so caught up in what I was doing that I forgot to take photos. So between the previous photo and the next the caption reads “Draw the rest of the #@&%! owl”**

Once I’d worked my way down to the foreground (it’s a cliff edge from which you can see the lighthouse), I made my way back across the drawing with line a little. Then I wet the sea area with clean water, taking care not to touch any of the ink yet.

I needed the sea area to all be damp so I wouldn’t get any hard dry edges (except on the horizon) when I started spreading the ink into the sea. I then carefully ran a damp brush along the edge of the ink line to connect it to the damp paper. Areas of still-wet ink spread out, and I brushed it outwards too.

Where there wasn’t enough ink, I used the brush to ‘borrow’ some from other areas. Where there was too much, I dabbed at it with paper towel. Brush wiped and dunked in clean water periodically too. At full strength this ink colour is very dark; thinned it’s a beautiful blue-grey.

I could add colour, such as the greens of the grass, but I won’t. That’s a different painting.


*Payne’s Grey is named after a British watercolourist and art lecturer, William Payne (1760–1830), who recommended the mixture to students as a more subtle alternative to a gray mixed from black and white. Payne’s grey originally was “a mixture of lake, raw sienna and indigo” according to “Artist’s Pigments: c.1600-1835” (by RD Harley, Archetype Publications, 2001, page 163). What’s in it these days varies between manufacturers, typically a blue and a black together, sometimes a touch of red is added.

**A meme from a few years ago on how to draw an owl in two steps, the first being two circles and the second a detailed owl drawing.

Monday Motivator: Listen With Your Eyes

Monsieur P Artiste Monday Motivator from Marion Boddy-Evans Isle of Skye art Studio“Observation is like listening with your eyes, but you have to be quiet for a moment (stop working) and just look, the longer the better. …

“The mind loves to smooth things over, straighten things out, making forms more perfect and symmetrical than they are.

“All of those wonderful little idiosyncrasies, the odd twists and turns that give things their character and visual truth are lost when we rely on memory.”
— Christopher Gallego, Why My Art Students Hate Me

Ballpoint pen figure drawing

Join Me for a Workshop in September: Sketch to Studio on Skye

Watercolour and ink drawing seashoreWHAT: Sketch to Studio on Skye
WHEN: Monday 17 to Thursday 20 September 2018, 10 to 4ish.
WHERE: Based in the workshop area of Skyeworks Gallery in Portree, the largest town on the Isle of Skye, plus on-location sketching (weather permitting).
HOW MUCH: £300 a person, use of basic material included.
HOW MANY: Six people (five spots available).

Exploring ways to gather reference material on location (including sketching and photography) which we will then use to develop mixed media paintings in the studio at Skyeworks. If the weather is wild, we’ll work indoors only.

This is a workshop about information gathering/sketching and using this alongside reference photos for creating studio-based paintings, with my sharing how I do it. It’d be a mixture of location work (weather permitting) and indoors in the workshop area of Skyeworks Gallery (which is up a flight of stairs, above The Isle of Skye Baking Company, in Portree). It may rain all week or it may be dry, most likely a mixture.

Many of my favourite spots are accessible by bus from Portree and a shortish walk. Portree itself has an array of possibilities. If the weather is too wet for being outside, we’ll work from my booklet of reference photos. (I don’t do car-based sketching, nor do I paint on location in wild weather.)

Beginners welcome; numbers are limited to six so that we can work together at everyone’s levels. I recommend bringing at least one bottle of acrylic ink (Payne’s grey) and some A3 watercolour paper along with your usual favourites. Materials can be provided on request.

Send me an email letting me know you’re interested or if you’ve any questions on art(a)marion.scot or use this form:

Cancellation fee: 20% of workshop fee if you cancel within seven days of the arranged workshop; taking out travel insurance is recommended. 100% workshop fee refund if for some reason I have to cancel (it hasn’t happened yet).

The Social Media Studio Photo vs Reality

Organised and uncluttered, everything in its place, plenty of white space, surface area to my heart’s content. Judicious cropping of photos can make my studio seem this way.

Like this photo of new-to-me Daniel Smith watercolour colours bought at Patchings Art Festival just put into a tin:

Or this slightly wider shot showing the painting I’ve been doing with mostly these colours, based on a shot of the Trotternish Ridge in my reference-photo booklet.

A photo of where I’ve left the painting to dry so I can add another layer to it, gently hints of things happening beyond the edges:

In reality I inevitably clutter up my work surface as I play with different materials and pieces, and end up squeezing a sheet of paper in. Multiple options to hand allow me to swap between watercolour, coloured pencil and acrylic ink at whim, feeding my current mixed media enjoyment. White surface space will reappear next Blue Moon tidy up.

What about you? Tidy or chaotic or a bit of both?

Monday Motivator: Use Paint to Evoke

Monday Motivator Motivation Quote

Monday Motivator Motivation Quote

“It’s easy to make a painting look like paint. But it’s a lifelong challenge to use paint to evoke the chill of autumn or the smell of a rose.”
— James Gurney, Pitfalls of Virtuosity, 3 January 2008

If you’re reading this and thinking you’ve left it a bit late if it’s going to take a lifetime, turn that thought on its head: even if you’d started earlier it still wouldn’t have been long enough.

So just get on with painting and enjoy yourself.

Photos: Dancing a Line with a Brush

Dancing a line with a brush

If you’ve been on one of my painting workshops, you’ve probably heard me say “dance in a line”. I hope these photos help explain what I mean.

Hold the brush at the tip of the handle, so you’ve maximum movement in it from the wrist.
Dancing a line with a brush

Move quickly and light-heartedly, without overthinking, as you’d do a twirl.
Dancing a line with a brush

Keep going.
Dancing a line with a brush

The line I’m dancing in here is intended to ultimately become part of a foxglove in the foreground of a sheep painting.

My “Ascending Pinks” (below) is full of these danced lines.

Flower Painting: Ascending Pinks Foxgloves by Marion Boddy-Evans
Ascending Pinks. 100x100cm. At Skyeworks Gallery. £695.

Monday Motivator: Create the State of Mind (Not the Masterpiece)

Monday Motivator Motivation Quote

“Remember, your purpose at this point isn’t to create a masterpiece. Your purpose is to create the state of mind that will allow you to create a masterpiece. Work precedes inspiration, not the other way around.”

— Christopher Gallego, Why My Art Students Hate Me

If you’re waiting for inspiration to hit before you start, perhaps it’s time to remember all that happened while waiting for Godot.

A Few Words About Brushwork

Context: Thinking about visible brushmarks or mark making in a painting rather than blending and smoothing out all brushmarks, about the things that influence brushmarks.

Shape (of brush: round, rigger, flat, filbert, fan)

Size (of brush)

Hard/Soft-ness (of the bush hairs)

Speed (of the brushstroke)

Direction (of the brushstroke)

Length (of the brushstroke)

Thick/thin-ness (of the paint)

Dryness (dry brushing, wet onto dry paper)

Underpainting with visible brushwork
This is what typically happens beneath the final ‘wool’ paint layer sof my sheep. You ultimately see just specks through the ‘wool’, but without it my sheep look flat to me.

Was it Sepia or Payne’s? (Plus Another Word Prompt Chart)

icy seascape

A key moment in this little seascape, which I finished yesterday and an very pleased with, was through happenstance.
icy seascape

I had a bit of dark acrylic ink on a brush from another painting I was working on that I didn’t want to waste, so impulsively applied it to the texture paste of base the mountains and foreground, then put it aside again. Next day I noticed and loved the result. (I later added some lighter tones on top.)

But I can’t remember now if it were sepia or Payne’s grey, and so will have to try both. Maybe it was a bit of both? I know these two colours are the only possibilities because these ink bottles were on the table next to my palette — I tend to have only those colours I’m using on the top. It’s not a problem, but an excuse to play with colour to figure out how to do it again. It was also a reminder of the joys of glazing vs opaque paint.

And here’s another June Word Prompts Chart, from Tessa who says: “I like the way one idea generates another and I find links between the boxes. I quite like doing a catch-up batch. I enjoy doing them in pen with dashes of colour.”

Word Prompts Tessa June
by Tessa

I particularly like the way you’ve combined 5 Snake and 6 Danger Tessa!

Photos: More June Word Prompt Charts

June Word Prompts

Following on from Sunday’s shared word charts, here are three more (or two and a ‘cheatsheet’).

From Lynn, who said: “I so enjoy these as a personal challenge and love seeing all the variations on a theme.”

June Word Prompts
by Lynn

From Karen:

June Word Prompts
by Karen

From Issie, who said: “This is my cheat sheet. Have had an incredible busy month so decided to pick four subjects make them bigger and draw them. This way I had a evening project that I could manage. Thus allowing me to focused on what I want to do.”

June Word Prompts
by Issie

Thanks for sharing everyone! If you haven’t yet started July’s chart, you’ll find it here.