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Based on an impasto brush painting by Frank Auerbach, of Mornington Crescent in London, this example will test your patience. The less solid medium of pen and ink will force you to build up the areas more gradually. This is where your talent in mixing colours becomes important, because each layer of pen strokes changes the colour of the area being drawn. You will have to decide how many layers of marks you give each area. I made the sky with one layer, which helps the buildings to look more dense and solid.
25 PEN AND INK IN GREATER DETAIL
In this study of Florence, based on a work by Oskar Kokoschka, the tones and colours are built up by a mixture of small and large strokes, many of them packed quite closely to give an effect of solid roofs and walls. You will have to overlay your marks several times in order to get the tonal qualities you need, and each time you do that, try to vary the direction of your strokes.