A study of the monasteries perched on the sandstone cliffs of Meteora, followed by a closer look at their overlapping buildings and shadows. Drawn with a Sailor Ringless fountain pen, Lunar Black paint and Peach Stone charcoal.
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A study of Le Corbusier’s unusual pilgrimage chapel, followed by a simplified version exploring its overall shape and tonal structure. Drawn with a Sailor Ringless fountain pen, with ink and sepia, ultramarine and quinacridone sienna watercolour washes.
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A study of Wells Cathedral, followed by a closer look at one of its towers. Drawn with a Sailor 1911L Ringless fountain pen, with watercolour washes. I felt I was becoming a bit stale and samey today.
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A study of Bath Abbey, followed by a closer look at an arched niche with its sculpted figures. Both drawn on a moving train, using a Sailor Ringless fountain pen and graphite wash.
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A study of Lincoln Cathedral’s west front, followed by a closer look at the rose window and the pointed window beneath it. Drawn with a Sailor 1911L Ringless, with warm ochre and blue-grey washes.
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A study of Durham Cathedral, followed by a closer look at one of its towers. Drawn with a Sailor 1911L Ringless, with blue-grey and warm stone washes.
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A study of Tewkesbury Abbey, followed by a closer look at the tower. Drawn with a Sailor 1911L Ringless, with Earl Grey ink wash For the sky.
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A study of Fountains Abbey, followed by a vaulted interior from my own black-and-white photography collection from 2016. The main building was drawn with a Sailor Naginata Concord, with watercolour washes; the interior with a Pilot Custom 742 Posting nib and ArtGraf graphite wash.
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A two-part study of Tintern Abbey: the main building followed by a closer look at one of its Gothic windows. Drawn with Sailor Pro Gear HEF and Naginata Concord, with ArtGraf graphite wash.
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A study of Carcassonne, followed by a much simpler view of the fortified city from a distance. The first was drawn with a Sailor Naginata Concord and ArtGraf graphite wash; the second with the same pen and wash. The first shows how over-inky you can make a sketch by chasing a correction; I should have just left It as I doubt nobody would have noticed it. The second drawing reminded me that sometimes a few lines are enough, but too many bold marks again!
