MAY 2018

PEN
AND
INK
ART STYLE

Prepared by : Rohit Kumar Singh

Department : FC 4th Semester
Roll no : BD/16/3602
 CONTENTS
F O
E L B A T
2 A B O U T

Introduction to Style

3 E A R L Y H I S T O R Y

4-5 R E N A I A S S A N C E

6 A R T I S T I N H I S T O R Y

7 S K E T C H I N G T E C H N I Q U E

8 P E N A N D I N K T E C H N I Q U E
 20
About Style
Pen and ink drawing is one of the most visually varied
art practices in history. Dating back to ancient Egypt,
ink drawing has been used over the centuries for many
different types of art, from calligraphy to tattooing to
art sketches and formal drawings. In modern times, ink
drawings have been used largely for illustration,
whether for advertisements, editorial cartoons, or
inking comics. But the practice of drawing in ink unites
artists through the use of many of the same ink
drawing techniques including hatching,
crosshatching, wash, and various forms of line.

How to Draw
with Ink
Ink drawing is perfect for beginner art because it
doesn’t require a lot of equipment to get started.
Anybody can begin with pens and paper lying around
the house – even if they’re less than ideal for the
purpose. You can always upgrade after you feel more
comfortable with drawing basics.

It’s also a great place to start if you’d like to expand

into watercolor later, as waterproof inks make a perfect
frame in which to paint watercolors.
 50
EARLY HISTORY
Artists from several ancient cultures used ink in their fine art drawings. One of the
earliest surviving images in Greek art, drawn in pen and dye (on papyrus), is The
Abduction of Briseis (c.300 CE) by an unknown Greek artist (Bayerische
Staatsbibliothek, Munich).

However,the medium was developed to a high degree in Chinese art during the
era of Tang Dynasty arts (618-906) and Song Dynasty arts (960-1279), and
thereafter in Japan during the Muromachi period (1338-1573). (See Chinese
painters.) Indeed, pen and ink has always been the main medium of Asian art and
calligraphy in China, Japan and Korea. Traditional Chinese painting is executed
with an animal hair brush dipped in black or colored ink. Oils are not generally
used. Work in pure outline was called 'pai-miao', ink applied in splashes 'p'o-mo'.
The most popular type of support is paper or silk, but some paintings were
executed on walls or lacquerware. Completed artwork was often mounted on
scrolls, which were hung or rolled up. For a guide to the aesthetics underpinning
Oriental fine art drawing and writing (calligraphy).
 20
Renaissance
Pen and Ink
Drawings
Renaissance Pen and Ink Drawings

During the Renaissance era, stylus, metalpoint and pen

with ink were considered as fine line media as opposed
to the broad line of charcoal and chalks. The precise
effect of pen and ink is exemplified by the virtuoso
draughtsman Leonardo Da Vinci in his work Five
Grotesque Heads (Royal Library, windsor Castle).

According to the Libro dell'Arte, the practical manual

written by the early Renaissance master Cennino
Cennini (c.1370-1440), apprentice artists (garzone)
progressed to drawing with pen and ink on paper after
a year of practising on tablets with stylus, leadpoint or
metalpoint. Ink was permanent once applied to paper
so errors could not be erased, except by careful
scraping.

The most common ink in High Renaissance Italy was

made from iron gall. It's principal components, gall
nuts, were rich in resin and tannic acid. When soaked
in water or wine, strained, and then mixed with iron
sulphates and gum arabic, the result was a liquid black
ink ideal for drawing. However, over time, iron gall ink
fades so that although the ink in most Renaissance
drawings is now brown it would originally have been
much blacker.
 20
Ink remained popular throughout the Renaissance for
a wide variety of drawings from rapid sketches to
detailed compositions. Wash and highlighting
provided additional effects. However, despite the fluid
nature of ink, the need to dip the quill repeatedly made
it unsuitable for large scale drawings. These were
normally drawn in chalk or charcoal, not ink. For more
examples, see: Best Drawings of the Renaissance
(c.1400-1550).

Diluted ink could be applied by brush in order to shade

an ink drawing. This was often done with the same iron
gall ink that was used in pens, but it could also be
done with Bistre, a material obtained by soaking wood
soot in water. The result was a brown wash that was
not viscous enough for use with a pen but ideal for use
with a brush. The application of wash to a pen drawing
enhanced the three-D effect of the image. Examples
include Benozzo Gozzoli's Studies of a Hand, Three
Angels and Christ (1447); The Triumph of St Thomas
Aquinas (c.1487) by Filippino Lippi, and Shallow
Vessel (1524-46) by Giulio Romano.

Artists occasionally made brush drawings in ink or

bistre without a pen; examples include Head Of A
Middle-Aged Man (c.1507) by Vittore Carpaccio and
Raphael's Drapery Study For Christ in the Disputa
(1508). Pen and ink was also used in combination with
other media, an example being St Hubert by Jacopo
Bellini, a pen and ink drawing over chalk and
leadpoint.
 50
Artists and illustrators using
Pen and Ink (History)
Lines and Colors - Franklin Booth Booth was one of the greatest American
illustrators and one of the absolute masters of pen and ink drawing
Lines and Colors - Howard Pyle Pyle's impact on the art form known as
illustration is hard to overstate. His Durer-influenced pen and ink
illustrations are among the finest ever done.
Lines and Colors - Pen Drawing by Charles Maginnis on Project Gutenberg
There are some good resources out there on pen drawing if you dig for
them, and you'll occasionally find some for free.
Lines and Colors - Sir John Tenniel John Tenniel is best known (and rightly
so) for his beautiful, imaginative, definitive and absolutely perfect pen and
ink illustrations for Lewis Carroll's Alice's Adventures in Wonderland and
Through the Looking Glass: And What Alice Found There.
Lines and Colors - Arthur Rackham Rackham was a deft pen and ink artist
and most of his paintings started as pen and ink drawings into which he
worked layer after layer of transparent watercolor glaze, a painstaking
method associated more with classical painting than modern illustration.
Elizabeth Nesbitt Room Illustrators Project The Illustrators Project:Arthur
Rackham (1867-1939)
 50
Types of
Sketches/Sketching
Techniques
At the time of the Renaissance successful Master artists who had
their own studio handed sketches over to their apprentices for
turning into a finished painting.

1. Croquis
A croquis was intended to remind the artist of some person or scene he wished to
remember in a more permanent form - they were not necessarily for a finished
product. Today fashion designers use the term croquis to indicate a quick sketch
of a live model. It is even possible to download croquis templates (outlines of the
body in different positions) to use in a computer program like Adobe Illustrator.

2. Pochade
Artists use colour to record a scene's atmospheric effect and to capture the
fleeting effect of light for a planned landscape painting. Where croquis is a quick
sketch using lines to record an event or person, pochade is a quick colour sketch
to capture atmosphere. Many artists use pochade when painting plein air and
return with their sketches to the studio to use them in planning large-scale
landscape paintings. Impressionists like Claude Monet (1840-1926) and Edouard
Manet (1832-83) took this even further turning their pochades into an end
product. The same could be said of Vincent Van Gogh who would take his canvas
outdoor, sketch directly onto it and then continue to paint until the end product
was achieved (usually within a few hours).

3. Portrait Sketch
This is used in portrait art to record moments where a person's character is
momentarily revealed, a mischievous twinkle in the eye or a sour smile. Sketching
was also used to draw the sitter from different angles before deciding which angle
was best for the main project. These sketches - whether made with oil paint,
watercolour, charcoal or acrylics - typically had a dynamic rhythmic flow which
made them worthy stand-alone artworks.
Pen and ink

20
techniques
The techniques used for drawing with pen
and ink for reproduction in part depends on
the technological process that will be used
for printing.

Techniques employed by pen and ink

artists include:

line - used in a very precise way. Being able

to draw an unwavering line in a relaxed way
requires lots and lots of practice. Aim for a
slow and continuous flowing movement. It's
best to draw from top to bottom and towards
you rather than away from you.

varying the weight of line - thicker lines can

reinforce aspects of the drawing or indicate
a part of the form that is in shadow

hatching - to create tone - is achieved by

drawing lots of lines. This needs to be done
carefully to be really effective. These can be
parallel lines drawn generally parallel to the
main axis of the drawing. Draw the left-hand
line first if you are right handed and the right
hand one first if you are left-handed.

Hatching on a diagonal - bears no relation to

form but is a common technique

contour hatching is where the hatching lines

follow the contour lines of the form an are
effective at describing and reinforcing the
form of shape and making a plant appear
more 3D.
 20
stipple (lots of dots) are an effective way of
rendering tone but it takes some practice to
look effective - as opposed to a mess. Dors
are often preferred by botanists as it avoids
any potential confusion between a line
which is describing form and one which
describes shade.

dots and dashes - takes the emphasis off a

line which is present but not "shouting"

Pencil if often used first to get the drawing

right, with the pen and ink being used to
strengthen the line and make it clearer when
it is reproduced or displayed.

Gradation is achieved due to the spacing of

lines or dots - and in some cases the extent
to which ink is diluted to produce a grey
rather than black ink.

In a pen and ink drawing, hatching or

stippling should be used to show tone and
form - and are NOT ways to fill space. One of
the most difficult things when doing a pen
and ink drawing is understanding when to
stop using your pen!