Day 19 – Dry-on-Dry Linework

Precision without Puddles

Technique level: Intermediate
Duration: ~30-40 minutes

Objective:
Practice ultra-fine, dry-on-dry linework to render delicate natural structures – spider webs, insect legs, wing veins. You’ll use minimal water and a steady hand to explore control, contrast, and texture in miniature.

Materials:

• Hot press paper or very smooth cold press (you want minimal texture interference)
• Small round brush (size 0-2) or rigger brush for extra-fine lines
• Strongly pigmented color (e.g., Neutral Tint, Burnt Umber, Payne’s Grey, Indigo)
• Mixing palette or paper towel to blot excess water
• Optional: magnifying glass or macro reference photo

Steps:

1. Prep the Brush:
   Load the tip of your brush with high pigment, low water – a consistency like cream or ink. Blot on a paper towel to ensure no drips or unwanted flow.
2. Sketch Lightly (or Not at All):
   If you’re confident, you can skip the pencil. If not, sketch the barest guide for your spider web or insect part – just a scaffolding to keep your lines anchored.
3. Paint the Lines – Deliberate and Slow:
   • Use the brush tip to draw, not paint – think of it like a pen.
   • Let the drag of the dry brush create texture: slightly broken, scratchy lines can add realism, especially in insect legs or delicate wing structure.
   • For webs, use slightly curved, confident strokes – avoid trying to be too perfect; real webs are never completely symmetrical.
4. Vary Line Weight Intentionally:
   Add slight pressure to thicken some areas (e.g., joints in a leg or points of tension in a web). Let others taper off into nothingness. This gives your piece life and subtle dimensionality.
5. Optional Wash or Backdrop:
   Once the lines are dry, you can very gently add a pale wash behind the lines to create atmosphere – like mist behind a web or the translucent body of the insect.

Focus:

• Dry-on-dry = control. This is about pressure, angle, and pigment load.
• Don’t reload the brush too often – let it run dry mid-stroke to get broken texture.
• Think of the subject as a structure, not an object. You’re building lines of tension and fragility.

Bonus Prompt:
Try doing the same study again with a dip pen or sharpened twig + ink. Compare the control and texture with your watercolor linework. (Spoiler: watercolor wins on subtlety.)