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Getting the Most out of your Dip

As you fool around with the brush, you will get used to a variety of different mark-making. The variety of marks corresponds to the phase of the ink dip. More ink in brush: blobbier. Less ink in brush: more refined, etc.

Whatever.

The point is to not struggle against is the timing of each ink dip. Obviously, you're not going to be able to pull nice thin lines right after you charge the bristles full of black juice. So get used to moving around the page as per the schedule of the waning juice. Get the most out of each dip. Lay down big blacks. Then slop some blobs around. Start pulling smooth lines. Eventually, scatter needles and hatches. Scumble some dry brush. Whatever. Reload, and so forth.

Between the Abstract and the Realistic

Of course all realistically inked images are just a compilation of abstract little marks, right? So by “getting abstract” with the brush, dancing around the page and experimenting with different pressures and flows, you will find what accents of the brush’s special language you are most comfortable speaking.

It’s almost as if you have no choice over how to draw with a brush. Let loose a little bit and you will start noticing how technique and style is choosing YOU.

Who knows.

This advice is here to simply speed you along towards settling in on your own special voice. Set aside some time every week to get abstract. Identify the random shapes that flow out of you. Along the way, if you think you’ve made a mistake, then make that “mistake” a second time, and it won’t be a mistake anymore.

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