Pen & Ink Lessons From The Masters: Copying Goya's Los Caprichos
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- čas přidán 31. 03. 2024
- In this video I attempt to copy an etching by Francisco Goya, and see if I can apply the lessons learned in my own work. Along the way we touch on the life and times of this unique and powerful artist, and discuss various materials and technique used during the copying process.
More workshop dates in the fall, 2024!
My streaming classes, The Fundamentals of Cross-Hatching , and Drawing the Head in Pen And Ink are available for purchase through Vimeo:
For more information about the class please visit my website:
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Here are the materials used in the video:
Pen: Platinum Century 3776 (soft-fine)
Ink: Noodler's Black, diluted 50/50 with water
Paper: Canson Mi-Tientes (Pearl)
That pose you created for the figure at the bottom of your drawing is wild! Very tough assignment to do that straight from your imagination. This was very fun to watch, thanks much.
Definitely challenging, but the requirements of realism (and anatomy) fly out the window when imitating Goya, which made things easier. Glad you enjoyed it!
This series is fantastic Marc. It scratches an itch that hasn’t been scratched since art school. Thanks for all the time you put into these
Given the nature off CZcams I don’t think this will ever get a million views, but I hope you’re aware of the tremendous value it has for those of us who watch
Thank you so much! I’m glad you enjoyed it.
I don’t need a million views. So long as my content is reaching a small audience of like-minded people.
Bravo! Well done sir. Well done indeed!
Well, thank you!
Thanks for the indepth history lesson, much appreciated. I noticed the affinity of your redering as your last attempt highlighted a style commonality, it seemed effortless, well done 👌👍
You're welcome!
Truly amazing. Thank you for this class, one of the best pen and ink "tutorials" of CZcams.
Thank you so much!
Thank you. 😊❤ I loved that you also mentioned about the papers used.
My pleasure! Papers are an often overlooked factor in pen and ink drawing. I'll have to make more videos on them.
I was waiting for this one, thanks man
You’re welcome! I was looking forward to doing this one.
Great video!! I love the detailed analysis.
Thank you! Glad you enjoyed it.
This is a fabulous video, thank you for making these. I'm learning so much from them!
You're welcome!
Love your videos on the masters. Really appreciate the detailed explanations and breaking it down. Thank you! Have been studying Arthur Rackham's ink technique. Expressive, detailed and such varied line weights. Would love to see how you might interpret his style.
Thank you! I love Rackham and he would be a fantastic candidate for this series. I’ll put him on the list.
@@mkompan Yay! Thank you!
So glad you said there is little to no benefit to tracing. Nothing upsets a CZcamsr more than saying tracing isn't drawing. I know because I say it at least once a day. Not to be combative, but to teach kids they are only cheating themselves out of a skill of they don't take the time to learn. After all, our smartphones will read and talk to text for us, but that doesn't mean we don't teach our kids to read and write.
I also say it regularly, but it often falls on deaf ears. Over the years I've learned that those who really want to improve already understand this advice, and those who enjoy taking shortcuts will never listen you.
thank you for this great insight in Goyas techique and your skillfull hatching examples (watching from germany)
My pleasure! Thank you for watching.
Great video! I really love the art history lesson on Goya; I really knew little about him other than associating him with dark (metaphorical and often literal) works that are often viscerally disturbing but yet compelling...in the way great art often is. That's interesting that he started out painting in that trite, uninteresting style before finding his artistic vision after the personal hardships.
Anyway, I really enjoyed watching your process on this copy, and hearing your discussion. I got my first fountain pen last year after I came across your channel somehow, and while I haven't used them consistently in my sketchbooks, I always end up coming back to them. I'm primarily a pastelist, but taught myself how to use pen and ink for work study medical illustrations 30+ years ago when I was in medical school using a dip pen. My current efforts need more deliberate and dedicated practice...
BTW, I searched your channel, and didn't see any videos on it come up, but have you ever done copies of any of da Vinci's pen and ink work? I have a book of his complete drawings and paintings, and really need to sit down and make a point to copy them. This video gives me even more inspiration to do that!
Thank you! DaVinci is on my list for this series. His parallel hatching method is actually very good for beginning pen and ink students.
Thank you so much for making this video! I always struggled with varying my lines when I took etching classes and I wish the teacher had just told us to do this exercise!
I wonder if the varying value of the lines was due to differing the amount of time in the acid bath (for example putting the plate in an acid bath, then adding more lines and putting the plate in the bath again thus letting the first lines etch longer and become darker) or if this could be from an addition of drypoint marks. Wiping the plate more will reduce or eliminate the background tone (I think that’s usually why it’s done), but it’s interesting to think about how that would affect the line value. Just some thoughts from an amateur printmaker. 😊
My pleasure! I believe lines can also be lightened by burnishing the pate. Sigh, I loved those etching classes, and wish I could have continued once I was out of school, but it requires too much equipment and space.
1. I'm surprised to learn that Mi-Teintes paper holds up to fountain pens. Good to know.
2. I rarely cross-hatch, generally sticking with parallel form following. Not sure if it's because I prefer the look, or because it is easier.
1. It holds up quite well, and it’s great that it comes in so many colors.
2. It’s a very effective method, and I’m happy to demonstrate it.
This video was excellent. I learned so much and will be rewatching a few times. Thank you, you are an excellent teacher. I have lots of mi-tientes paper,, but never considered using it for pen and ink. I would love to learn more about paper choices. Also, I am curious as to what might be a good brown ink. I like a warm brown, but so far, the browns I’ve tried are too cool and feel lifeless. The Pilot sepia cartridges are close to was I am looking for, however, when wet, the wash is red!
My pleasure! I have quite a few brown inks, and like them for different reasons. One you might like is Monteverde Joy, a warm sepia ink that can be light or very dark depending on how you apply it. I also like DeAtramentis Document Brown because it's waterproof. A great resource is Mountainofink.com, which has tons of ink swatches and tests.
@@mkompan Thank you for your recommendations, and oh my, that sight is a treasure trove!
Thanks for that. Goya's style was very loose and fluid. Although this one is cool, "The Sleep of Reason Produces Monsters" is still my favourite etching from Goya
You’re welcome. These images are rarely looked at in detail, perhaps because they’re small in size and overwhelming in number. But many of them are masterpieces and deserve closer viewing.
Fantastic video as always! Very informative and inspiring! A more recent candidate for a future episode, that came to mind while watching would be Kentaro Miura, the artist behind Berserk, truly a modern day master in my opinion. I've tried copying some of his panels from time to time without much success, but I would love to hear your opinion on them. Also, are there any plans to continue the workshops or make them available as recordings that you can buy? I would love to be in one but I won't be able to attend any, due to various responsibilities.
Thank you! I will look into the artists you recommended. Yes, I’m working on some downloadable content, but am not sure yet when/how it will be released.
Wonderful video, as always! I have a quick question. That Mi-Teintes paper has a side with almost like a honeycomb texture and a reverse with a tighter, more irregular grain. Which side did you go for? I am assuming the latter, but would like to know for sure.
Thank you! Yes, I used the smoother side for this drawing. The grainy texture was perfect for this copy.
Wonderful video thank you! Where is the best place to purchase one of these pens you are using? I live in UK
My pleasure! Sorry, I don’t know the ins and outs of the pen market in the UK. Here in the US we can use EBay to purchase Japanese pens directly from Japan at a significant discount.
any chance of doing a master study of Gustave Dore?
I’ll look into to it. It might be a fragment since Dore’s engravings are so elaborate.
@mkompan that's the thing I struggle with. How was he able to achieve such masterful works via engraving? Still I've been inspired by you and other youtubers to pick up the fountain pen and learn to ink. I just can't grasp how he made his works. Tracing hasn't helped me much to break down his works
@@zazzenfuk Two things to keep in mind with Dore: many of the lines seen in engraving were not done free-hand but with the use of rulers and toothed cutters, which created very even hatching layers. Dore often designed the plates, and then relied on a workshop of engravers to execute them. These are products of multiple specialists whose only job is to carve lines into plate. This is not to diminish Dore’s accomplishments, but it does make copying them in pen and ink very challenging.
Quick question: you mention in earlier videos that one of your favourite pens is the TWSBI ECO. Yet most of these recent videos are made with flex pens like the Platinum in this video. I'd love a video about when to use which type of nib, the steel unflexed being so different from the flex nibs. Also I noticed that you have the ECOs in medium and broad in addition to extra fine - what determines which type of nib variation you reach for? Thank you!
I find that when doing landscape, having pens with different nib sizes makes it easier to emphasize depth, with heavier lines in foreground, and lighter lines for things farther away. Flex-pens are great, but have a few drawbacks . They write very wet, so if I need lines to dry quickly when combining line and wash, I usually avoid them. They also have problems on rough paper, so when working on cold-press watercolor paper, I tend to use different nib sizes to get my line variation.
@@mkompan That's great to know, thank you!