I continued my attempt to use tinted paper to provide mid tones, using just one other hue, plus white and black, to build an image. In order to work outdoors, I bought a smaller Strathmore Toned Tan pad which would fit in my cycle bag. The paper is less robust and textured than the Daler Rowney Ingres pastel paper I used previously.
I had cycled to what passes for a nature reserve, rough land and flooded gravel pits trapped between a business park and motorway. Traffic was thundering behind me, but I looked across a pool, rushes and a line of trees to a darkening rain filled sky. The idea was to use a grey to build the cloud and reflections in the water, leaving negative shapes of the trees. I would then draw darker brown into the trunks and branches, so they are outlined by the light tone of the paper. As it turned out, I did not have the dexterity to do as I planned. Then it started to rain, quickly dampening the paper and solidifying the crayon strokes. As the paper became really wet, colour sluiced off the sticks as an opaque wash but the earlier strokes drawn dry acted as a resist, keeping their integrity. Though unintended, I am pleased with the effects: the virgin paper in the midground represents a line of rushes glowing in the evening light.
When I started the second sketch I was both wet and covered with mud all down my right side, having slid down a steep bank I was trying to climb. This image illustrates that if I want to draw in three tones, I must leave my colours at home. The paper’s tint was supposed to represent the foreground, but I had to keep adding to it, until no paper was left.
This post was written to the haunting, beautiful Julia Wolfe’s Anthracite Fields, a musical discovery thanks to Spotify’s weekly selection for me.