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Easy india ink painting2/19/2024 You don’t run the risk of sediment with alcohol ink like you do with India ink in resin. However, for getting easy to control resin colors with a translucent finish, be it in a painting or in casting jewelry or sculpture, alcohol ink is the way to go. So just a drop will compete with what alcohol ink could offer. India Inks in resin work to intensely pigment the epoxy because of how much thicker they are than alcohol inks. As a resin artist, I also like to use India Inks to color my epoxy resins for painting. The body it has due to the pigments make the India Ink almost hover above the paper a smidge and it sets with body. Think of it like making a hot chocolate, you can’t just put cocoa powder in and have a good drink, you must thoroughly mix it and drink it while it is well mixed otherwise it settles to the bottom When Should I Use an India Ink Instead of an Alcohol Ink?Ĭalligraphy! It is the ideal candidate for calligraphy. This is mixed with an alcohol solution as well but you must shake it before using it. In the past, that used to mean using things like charcoal or zinc to get these colors, but now it is made much more professionally with precision control of colors. ![]() Pigments are tiny tiny little grains of material with color. India Ink uses pigments, not dyes, to get color. How is India Ink Different than Alcohol Ink? Think of when you mix sugar in with your coffee, once you stir it, it interacts with the water in the coffee and becomes one. This creates a perfectly suspended ink where no part of the bottle is more pigmented than the other. If you look at the bottle of one of our alcohol inks you will see it says “dye-based.” Properly labeled alcohol inks are made using chemical reactions between colorful dyes and an alcohol solution. How is Alcohol Ink different than India Ink? Whereas alcohol inks are more like Gatorade, bright and not in need of shaking. ![]() 05.That answer boils down to one simple thing… Do you have to shake it first? India Inks are a lot like that hot cocoa you just had, there is a lot of sediment at the bottom. The gradient allows the head and legs to be darker than the background, while the tail and back are brighter, giving 3D form and movement. The loosely washed-in background is used to create a changing value contrast with the figure called counterchange. Save the local colour from the previous step as the brightest part of the leg and turn the form by making the planes that face away from the light source a little darker. Imagining a light source from above, the form relies on seeing the geometric shapes within the figure. Once the local values are defined, I model the light and shadow across the fox. After the first wash layer is dry, the legs and a few other spots on the head receive the darkest value. To achieve a soft edge, the area is brushed with clean water and painted into with the ink wash. I tone everything else with a light midtone to establish the body’s colour. I leave the paper untouched for highlights and the white fur on the fox. Tilt your drawing surface so that gravity will pull the wash downward as you work. ![]() In this instance, I am working with three values and simple gradients. This step establishes the local values of your figure.
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