Ruling Pen Practice

[Big Ada]

Hi,

I recentley purchased ruling pen fron lion, Just wondered what is the best type of paint to use, is it just a matter of going to the local arts and crafts shop and buying a pallet of water colours or is it a bit more of a specialist paint that is used. Also is there any special techniques required to get that perfect line or is it just practice. What is the best mount board to use does it have to be a very smooth finish. Last question if doing a double line around a cut out mount do you draw a faint pencil line first so you can see where the corners join or is there a different way to go about it.

All advice much appreciated

Thanks Adrian

[iantheframer]

My own preference is for professional watercolours, in tubes it is easier to mix stronger colours from tubes rather than pans

Keep the pen upright and straight and practice practice practice practice

Most mount boards, apart from the very textured ones are suitable as they are manufactured to the framing trade with this use in mind

One last tip. You must raise the ruler a little or the paint will bleed under it. A strip of masking tape a couple of mm from the edge is fine

[Jonny2morsos]

You need one of these for your corner positions:

http://www.lionpic.co.uk/Catalog/Produc ... =longridge

I think there was some discussion on this topic a short while ago:

here is a link to the previous post:

http://theframersforum.com/viewtopic.ph ... pen#p35806

John.

[prospero]

It's mostly practice.

A few thoughts......

Artist's quality watercolour is the stuff. I use Gouache purely because I use it to paint with so there is always some on the plot. Dilute it enough and it is basically the same. It is worth getting a tube of white Gouache to mix in if you want a more opaque line. Like a white line on a dark board. White watercolour hasn't got so much pigment in it. I mix all my colours on a big (white) dinner plate. Don't be to finicky about mixing colours. Good chefs never measure anything. Have a scrap tryout board (preferably the same as the mount) to test strkes on. Colours look different when they are dry. Fill the pen from a loaded paintbrush by stroking it along the side. Don't dip. Dab of any paint on the outside of the blades before you rule the line. It's easy to overfill the pen and get a blob. You'll soon suss out how much it will safely hold. Try narrow lines first. If you want to do a long line that takes more than the pen will hold, you can refill and continue the line if you are quick.... Continue a little way back from where you ran out and you can blend in the join. For wide lines it's sometimes better to run two or more wet lines parralell than open the nib to the full width. Do it quick and the lines will blend along the length.
When joining corners it's better to join onto the end of a wet line if you can. Sometimes you get a little flowback when the corners meet. Some people like to see this as it proves that the lines are hand-ruled. Not so sure about that, but a few little iregularities are not to be worried about too much. They can even add to the effect. (A 'Lyrical Imperfection' as the saying goes. ) It is possible to go over a wet line again if you get a niggly bit. Some boards can have funny patches were the sizing seems to be uneven. Running the pen over twice can sometimes smooth these out, but don't overdo it or you can start to churn up the wet board.

Get a good straightedge. I use a Maped one. Ally section with inset rubber strips on the base and a steel insert on one edge. Keep it for waslining. Try not to use it as a cutting guide. Polishing the steeel edge with fine wirewool before you start makes the pen run smoothly. Don't be too obsessive about cleaning the pen nib. A thin coating of dried paint on the inside actually makes the pen hold the wet paint better, so less likely to blob. Not a crusty acretion, just a thin film. Just dip it in clean water when you finish and wipe it on a paper towel or wharever. Don't open the blades and polish the inside.

For colours, it depends on the type of stuff you do. 'Earthy' colours are probably the most useful - Umbers, Ochres, Siennas. For more intense colours, Viridian Green, Alizarin Crimson, Ultramarine Blue. But use them sparingly. I little does a lot. Avoid some of the bright synthetic pigments. Some are very un-permanent.

[Comfyjumper]

Strangely enough I have just purchased such pen and had logged on for advice....thanks Prospero!

[Big Ada]

Thanks guys for the tips I shall be getting the paint tommorrow and as you say johnny practice practice practice, I like the corner guage that will on my shopping list aswell.

Thanks again
Adrian

[David]

Well I think Prospero just about summed it all up, excellent advice.

I'd add a couple of things, I use Bainbrige Alphamat board as standard, I think it's a great board, but it's rubbish at taking a line very erratic and like blotting paper most of the time. For lining I use Arqadia and Crescent boards.

For gold lines I use Windsor & Newton gold ink, it gives the best line I have ever found. It is made up of small particles which gives a rich lustor but also tends to clogg the pen - a little water thins it nicely. I also like to work on a drawing board at a slight angle so the ink can run down the line as it settles. After filling the pen a do a quick test on a scrap of board to check the ink is at the bottom of the nib and will flow, and if it's going to dump it will do it on the first touch. When doing muliple lines start on the inner most line go round all 4 then move out to the next line.

Good luck, it's good to see someone giving it a go.

David.

[Roboframer]

My own preference is for professional watercolours, in tubes it is easier to mix stronger colours from tubes rather than pans

I agree but the term is 'artist quality' watercolours - and also - pans are more convenient - you just open the box and there they all are ready to be dabbed with a wet brush - nothing to unscrew/squeeze and then have to throw away 50% (or whatever) of what you have mixed

The way around this is to buy a nice set of pans - and top them up from tubes.

[Not your average framer]

Getting repeatable subtile colour shades and tones is not always easy, but some brands of gouache include a range of very useful warm greys, cold greys, or nuetral tints.

These are worth checking out when you are next in a well stocked art shop. I find them easy to add a slight tint to, when mixing subtile colours. They have good opacity too!

I also have a small bottle of glycerine which can be helpful to add a drop or two when working which poorly sized boards.

[Nigel Nobody]

I use Bainbrige Alphamat board as standard, I think it's a great board, but it's rubbish at taking a line very erratic and like blotting paper most of the time.

Alpharag is apparently very good for lines and wash lines!