Castle of Destiny

 

Pigment ink. A4. Cartridge paper. 150 gsm. The reference is obviously to that of an Italo Calvino novel.

Munching from the edge of the world

 

Pigment ink. A4. Cartridge paper 150 gsm.

The Wild Fields

 

Pigment ink. A4. Cartridge paper. 150 gsm.

Traditional Houses

Pigment ink. 0.05, 0.1, 0.3, 0.4 pens. A4. Perspectives and proportions deliberately skewed, buildings rambling old things! Whee!

Desolation

Pigment ink and watercolours. 310mm x 230mm. Schmincke, Daler-Rowney, Van Gogh watercolours, Uni pigment ink pens, 0.4, pencils, Bockingford 300 gsm paper.

The old forest path

Pigment ink and watercolours. 260mm x 180mm. Schmincke, Daler-Rowney, Van Gogh watercolours, Uni pigment ink pens, 0.4, pencils, Bockingford 300 gsm paper.

The Wilds

Pigment ink sketch. 210mm x 297mm.

Idylls

Watercolours, pigment ink pen. 310mm x 230mm.

In the depths of the forest

210mm x 297mm. Pigment ink sketch.

Slumbering in the Forest

Pigment ink sketch. 210mm x 297mm.

The Throne at the Top of the World

Pigment ink sketch. 210mm x 297mm. Third or fourth iteration of the same theme.

Islands in the Lake

Pigment ink sketch. A4. 210mm x 297mm.

Thinker

A3-sized watercolour sketch. Pencils, pigment ink and watercolours. Chunghwa pencils, Uni 0.4 pigment pen and Van Gogh watercolours. The drawing was composed in various stages and completed in 2.0 hours.

Junction of Ann Siang Hill and Club Street

150mm x 210mm. Pigment ink, watercolours. Shyam had chosen this spot. Splendid composition, a difficult juxtaposition though. The difficulties were evident. I completed the pencil sketch on-site in the drizzle. The pencil sketch took an hour and after which, I had to amend the building on the left. The watercolours were done a day after in the comfort of my room.

Thian Hock Keng

150mm x 210mm. Pigment ink, watercolours. This was sketched in pencils and ink on-site. The intricate details were close to overwhelming and the decision for framing the piece was no easy matter.

There were numerous tour buses that came and went for long periods and obstructed large sections of the temple compound. I had chosen a head-on composition as I had wanted to capture the entire stretch.

In hindsight, a long piece of paper and a larger piece would have a certain effect that this current one hadn't. Watercolours, unless one were to apply more pigment, was limited in the sense of the darkness of colours. Of course, the darkness would, in a sense, defeat the purpose of the medium, application of more pigment ink? Entirely possible. I would be exploring other avenues in time to come.

Pagoda Street

Pagoda Street nightscene. 150mm x 210mm. Pigment ink, watercolours. (The darkness was adjusted digitally). For this one, I had to stand in an empty shop lot where the stallholders had packed up earlier to draw the pencils. The ink lines were added when I was on the train much later. Finally, the watercolours was applied when I was at my table. Wet cartridge paper with moderately dry brush and paint.

Velocity at Novena Square

Velocity at Novena Square. 150mm x 210mm. pigment ink, Copic, markers, watercolours.

Forest Trail

Watercolours, pigment ink pen. 310mm x 230mm.

Rangoon Lane

Pigment ink, watercolours. Night scene. This was sketched from a bus stop. The third in a more free-flowing expressive form. 150mm x 210mm.

Circular Road

150mm x 210mm. Pencils, Uni pigment ink, 0.05, 0.1, 0.3, 0.8, Van Gogh watercolours. I did a fast pencil sketch at Circular Road on Friday night and then the inks and watercolours on Sunday evening.