Once the watercolour is dry, I can start to paint with the gouache, leaving the drawn lines untouched.
I used stretched Arches 140 lb hot (or cold pressed) paper - I have found this stands up to the rough treatment it receives.įor the resist I use white gouache and to enable me to see clearly where I have painted this onto my paper, I start by covering my drawing with a watercolour wash which roughly indicates the final colours of the picture. I had thought I might add a pattern of leaves to the blank corners, but decided this might detract from the simplicity of the original design. This was then printed onto tracing film ready to transfer to my stretched watercolour paper. Having prepared for the demonstration and made my notes, I was more than half-way to getting this article ready for submission.Īs this is a symmetrical image, I laid out my drawing on graph paper, compiling part of the image, scanning on the computer and then flipping to complete it. I had been asked to do an ink resist demonstration at my local art society and this simple subject seemed to fit the bill particularly as I would need to start two or three paintings to show the different stages. I made a tiny sketch (about 1.5" square). The technique relies on the differing properties of gouache, which is soluble, and Indian ink, which is waterproof.īrowsing through an exhibition of some local archeological finds, I was attracted to a drawing of an Iron Age horse harness pendant. I was pleased with my first attempt and have continued to use this method on occasion when I feel a particular subject would benefit from a more graphic approach.
Up until then I had only used traditional watercolour techniques and this seemed to offer a chance to experiment without the need to invest in a completely new set of painting materials. Several years ago I read an article on ink resist paintings and was intrigued by the bold, woodcut-type illustrations which accompanied it.
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