IGI features
Step by Step Tutorial: Joven Kerekes
Nov, 27, 2001
This is a rather unlikely technique that uses gouache and indian ink to create an effect quite like a woodcut. I find it a pleasant working method because the finish is somewhat organic and out of my control. There’s not much for me to do but relax and enjoy the act of painting and anticipating the surprise.
Materials
It’s very important to use the right materials for this or it just wont work. The paper needs to be very heavy, smooth and 100% cotton. I’m using the heaviest hotpress watercolour paper I can find but a 100% rag illo board would be a better choice if you could locate some (and if you do, please let me know where). Not all inks work for this either. NOTE: Winsor & Newton and FW will not work at all! After some experimentation I decided to use Talons. (If you’re in the states, don’t use anything but Higgins).
Step 1 - Setup
First I transfer my fairly simple line drawing onto my support in pencil. The paper is too thick to trace through so I used a sheet of graphite and a 4H pencil. I’m not worried about the line being too dark as it will be covered in indian ink in the final step…
I decide to make a colour rough, mostly just to give me a sense of the values. I do it on tracing paper for speed.
Step 2 - Paint
The gouache in this technique shields the paper from the black ink in much the same way as cutting a woodcut prevents black from reaching the paper when pressed. Remember, in the end, everywhere that there is no paint will become black.
I begin painting, filling the areas between the graphite lines with small semi-parallel strokes, allowing bits of the paper to show through between them. The areas that are left unpainted will become black. Because of all the little resulting stray lines, I want the primary lines (the ones indicated by pencil) to be rather thick so I leave plenty of space for them.
I also want the paint to be thick. Thick enough to seal the paper from the ink but not too thick I cant work with it. My general rule of thumb is to mix paint to the consistency of dripping ice cream.
I mix the colors darker than I want them. They will lighten up considerably in the final step. I’m not afraid to use paint full strength out of the tube. In any event I don’t worry too much about the colours because they will all end up differently anyway.
TIP
In order to preview the lines, I have to periodically hold the piece up to a light at a very sharp angle with the lamp shining at my face. I Move it around until I find the right angle where the light reflecting off of the paint is lighter than the light reflecting off the unpainted areas which will be my lines.
Also white paint can be particularly hard to see so while applying white I work over a light box.
Cutting colour out of colour I could employ this technique using white gauche only and add the colour afterwards via watercolour or a computer program such as painter, photoshop or even illustrator. One of the advantages to doing it the way I am however is that I can ‘cut’ colour out of other colours not just out of black. I’ve decided to do just this to achieve a shadow colour in the bear’s fur. Starting with the momma bear I paint the lighter orange colour following the shape of the head and the direction the fur might grow with my brush strokes. I leave paper for both the darker brown and the black line.
Next I add the darker fur colour over the first colour. Notice that I can cover as much of the first colour as I want; putting paint over paint with this technique will not effect the first colour. It’s all ready been ‘cut’. My only concern now is leaving areas blank for the black.
I also want to give baby bear a shadow colour like his mom. Only I’ve decided that along with the water, the baby bear will be free of the little stray black lines. I want to give the eye these places to rest. When I apply the darker colour I don’t leave any stray white paper.
At the final stage of painting, I apply a generous border of white and allow everything to dry well. At this stage it looks like this.
Step 3 - Ink
As crazy as it seems, I now cover the entire illustration with black Indian ink. I use a large watercolour brush and run it on some scrap paper after each dipping so that it will be lightly loaded. I don’t want it seeping through the paint to the paper below. If I notice it puddling I dab it a bit with kitchen roll.
Step 4 - The wash
After letting it dry for 15 minutes (I don’t want to take the chance of letting the ink set up too much) its ready for its shower. Yes, that’s right, you’ll need a bath or a large sink for this. Its important to be prepared for this next step because a lot happens very quickly and you have to make quick decisions as well. I make sure I have very good light. I actually had to run a lamp into the loo (why are there no sockets in the loos in Ireland?). Again I have kitchen paper on hand.
Running the painting under the tap the entire time, I rub the ink away with my fingers. I hold the paper down at an angle so that loosened paint is whisked off of it immediately by the stream of water. As if by magic, the black mess of a moment ago dissolves and a colour illustration begins to take it’s place. The longer I rub, the more unwanted ink comes off. But I have to be careful not to allow too much of the colour to rub off as well. At the same time, I keep my eye out for nice accidental patterns of ink that I might not want to remove. I have to be on my toes because the whole thing is over in 30 to 90 seconds.
When I’m happy I lay it down flat on a dry surface. I lay kitchen roll on it in one flat layer to soak up any streaks and remove it immediately with out rubbing. Then I let it dry flat
Step 5: Touch up
After it’s dry, I have 2 possible ways of touching it up. Watercolour or the computer. Predictably, I chose computer. In Photoshop, I eliminate some stray lines in the places where they got to be a bit much, Also I had left the wall white so that I could chose a colour for it later which I do.
