#India ink and watercolor on paper

[tomoleary]

Moebius “Starwatcher” (1991) Source

[thereaperisdreaming]

[deadhawke]

My attempt at watercolor-ing in possibly my over all favorite TriMax panel.

[i-really-like-phrogs]

I’ve been getting super into ink-drawing, and I’ve found that I utterly love it! The texture and the opaqueness of it, the ability to write and paint with one material, the excellent way it photographs… And the strength of this stuff is unbelievable! Every value you see on this page (Minus straight black) was made using only a little drop on the palette that I mixed with water. I utterly love it!

[jokeanddaggerdept]

[inkz123]

Painting with sum digital edits. OC's name is Altair, owned by @fraternityofart!💕💕💕

[renpil]

[FR] ciel à 3 heures du mat : trame ajoutée sur un dessin des derniers jours, je regrette quand même le choix de couleur du papier de base [ENG] 3am sky : screentone added on a drawing for the past couple days, i think i picked the wrong red colored paper though

[FR] vieeeux repost d'insta : le stock de vigies de chasseurs [ENG] ooold instagram re-post : the hunters lookouts stash

[arteraceaye]

[huariqueje]

Floating Herbarium (Iris, Magnolia, Lily of the Valley, Cosmos, Foxglove, Trillium, etc.) - Julia Whitney Barnes ,  2022.

American , b.

Watercolor, gouache, India ink and cyanotype on Arches Platine paper , 44 x 30 in.

[arthistoryanimalia]

#WatercolorWednesday:

Portrait of a Ladakhi Mountain Goat [Changthangi*]

India, Mughal dynasty, c.1601-25

Opaque watercolor, ink, gold on paper

37.9 × 25.6 cm (14 7/8 × 10 1/8 in.)

The Art Institute of Chicago 1919.944: https://www.artic.edu/artworks/76868/portrait-of-a-ladakhi-mountain-goat

🆔 “The Changthangi [aka Changpa, Ladakh Pashmina, Kashmiri] is a breed of cashmere goat native to the high plateaus of Ladakh in northern India. It is closely associated with the nomadic Changpa people of the Changthang plateau….The intense cold of the region causes the goats to grow a thick undercoat, which is harvested to produce the fine pashmina grade of cashmere.”

https://en.wikipedia.org/wiki/Changtha

#IndianArt #SouthAsianArt

[notwhelmedyet]

A Fire Shall Be Woken, by Ealcynn. A pair of bindings using the K118 structure, one as a gift for the author and one to keep.

Chapter page illustrations are by Alphonse Mucha, all other illustrations are hand-drawn.

I hope to make a long post later explaining the process in more depth & another to document all my mistakes, but here's the basics.

New techniques learned: Paper marbling, edge marbling, uncial calligraphy, making paste papers, drawing on bookcloth, making paste-filled cloth, fold-out maps

I began work on this project in early September and am completing the finishing touches this week.

Structures:

Binding: K118 tightback

Endpapers: Simple cloth-joined endpapers

Map fold: Turkish map fold

Materials:

Sewing supports: linen tapes

Thread: 30/3 linen thread

Spine lining: Medium weight kozo tissue bonded to linen fabric

Interior paper: Hammermill Ivory, 11x17, hand-cut to 8.5x11

Endpapers: Blick sulphite paper hand-marbled, with masked stenciled silhouettes created with freezer paper

Adhesives: Jade PVA, wheat starch paste, wheat flour paste

Covers: Davey board, laminated full thickness to half thickness

Cover fabric: Studio E shot cottons in Jungle and Emerald; filled with wheat starch paste

Cover decorations: Speedball india ink and Dr. Ph. Martin's calligraphy ink in Copperplate Gold

Inks for maps and illustrations: Speedball black india ink and a selection of watercolors thickened with gum arabic

Dip pens used for calligraphy: Combination of Brause calligraphy nibs and Leonardt tape nibs

Dip pens used for illustration: Nikko G pointed pen nib

Typesetting:

Typesetting program: Scribus 1.5.5

Body font: Coelacanth in 10 pt caption weight

Headings, titles, chapter titles, drop caps: Hand lettered uncial calligraphy, scanned

Illustrations and References:

Frames on colophon, copyright, author's notes and title page: Hand drawn, with inspiration taken from the vellucent bindings of Cedric Chivers

Frames that illustrate each chapter start: Alphonse Mucha from Cloches de Noël et de Pâques

Cover illustrations: Referenced from a photograph of an European beech tree found on iNaturalist.org

Maps of Imladris: Hand drafted with inspiration from the maps of Barbara Strachey, and Daniel Reeve

Map of Eriador: Traced from a map by Karen Wynn Fonstad, with edits made to coordinate with the geography of the fic

Frames on maps: Referenced from a drawing by Alphonse Mucha that @zhalfirin found for me

Special Thank Yous:

To the tightback council of problem-solvers in the Renegade server: Zhalfirin, Eka, @spockandawe who helped figure out many issues with the structure and technique

To the marbling experts in the Renegade server: Marissa, Aether, AGlance, Jenny, Catz, Badgertide, Rhi, and everyone else who helped me figure out beginnner marbling

To Spock for finding the K118 structure and introducing it to the server!

And to Bruce Levy, who discovered the method and shared his discoveries freely with the bookbinding and conservation world.

[jamieprimack]

Here’s the latest illustration in my Danganronpa gold-painted art series: Korekiyo Shinguji, the Ultimate Anthropologist from Danganronpa V3. He’s the 6th character in the series, and when put to a vote, he was by far the most requested character for me to draw 🌹

Materials used: India ink, micron pens, fineliner pens, Pentel brush pen, watercolor brush pens, acrylic paint pens, and metallic gold paint pens on Bristol paper

[riodoesstuff]

● "Kiki and Bouba Dancing" series 2024

Oil pastels, colored pencils, watercolor, and india ink/nankin on paper (A3)

I drew two characters based "Kiki" and "Bouba" shapes from the Kiki and Bouba Effect, where people would relate the words kiki and bouba to spiky and rounded shapes, respectively;

For Kiki, I did very straight lines with pointy corners, along with straight lines and triangles as patterns on her dress; I chose the color yellow because thats a color i would associate more with the word. As for Bouba, I did more wiggle and curvy lines, with circles and wiggle lines as dress patterns; shes done with watercolors because it was more fitting

Did this one as a final for one of my classes in college, took me an entire night (started during the early afternoon and finished at around 6AM); It took so much time and effort, it had my wrist screaming 💀 I had some issues with the ink and watercolors (random splashes and color mismatches) but the end result looks great!

[emwheezie]

do you ever do non-digital work?

I no longer make finished artworks non-digitally. It's too expensive.

I've been trying to keep a sketchbook again, but it never ends well. Here's some of my traditional work from my college years... (click for full image)

^^These are from mid 2017... artist loft watercolor base, then I went in with a fine line sharpie. The one with the map was done with these markers that where meant to color stamps, I think..

Late 2018(?)^^ Acrylic!

^^ 2019. The fruit where done with watered down acrylic and gouache. The portraits are done with an ink brush pen. The frogs were painted with india ink on shrinky ink paper. (I was able to make the ink opaque by mixing it with a little bit of white ink)

I have a long history of traditional art and lots of different mediums, but it's expensive and takes up space. Wish I could draw and paint like that again, but I think it's something that's going to stay in my past.

[sierraveree-art]

inktober prompt "chains" | featuring the last thylacine | lyrics from deuteronomy 2:10 by the mountain goats | india ink on watercolor paper

[thedancingemu]

Faerie Forest: Void Sprite

Watercolor, india ink, acryla gouache, white ink on kraft stonehenge paper - 2.5"x3.5" ACEO format

i should play with set on wet india ink more often - lots of fun textures and granulation. original available