One idea that repeats throughout art, as it does elsewhere in life, is the juxtaposition of two equally-weighted opposites…a combination that very often naturally reinforces and emphasizes the qualities of both.
Explore the juxtaposition of the sharp definition of line and the ephemeral, amorphous quality of wash. The key is to let one complement the other, generally letting the wash pass behind or in front – it does not matter. Try not to stop wash exactly at the line, thereby reinforcing a boundary – maybe not in a good way!
Ink is my preferred medium for line and can be applied before or after the wash – using a permanent light-fast pen, the effect is often very similar and the choice is as much about how the artist evolves the image and the intent. Here are a couple of examples, the first with watercolour developed on top of an ink drawing. I was interested in the architectural detail and produced the ink study on the spot, plein air – this set the direction for the watercolour, providing a framework to complete the study. In this case, the watercolour dominates and the fine ink lines take on a supporting role.
In a second study, a full watercolour was developed from a light underlying pencil sketch. The decision to use ink was left until water colour was applied. Should I have been entirely happy, I’d have been finished. As happens with some watercolours, the result lacked some punch, so I detailed with ink at the end.
I try to be loose in my line work, not exactly following the underlying image. It may seem counter-intuitive, but I find a more consistent image results, a little edgy where mistakes can become gestural features with more life, perhaps emphasizing the adage that it has to be slightly wrong to be right!