Materials and Techniques - Types of Inks

Materials and Techniques - Types of Inks

  • Anatomical Study of a Seated Male Nude

    Anatomical Study of a Seated Male Nude, Henry Fuseli, about 1770-8. Museum no. E.1094-1887

    Anatomical Study of a Seated Male Nude
    Henry Fuseli (1741-1825)
    Britain
    About 1770-8
    Ink on laid tracing paper
    Width 13 cm x height 30 cm
    Museum no. E.1094-1887

    The fact that the ink is brown and is eating into the paper suggests that it was iron-gall ink.

  • Design for a Stained Glass Window

    Design for a Stained Glass Window, Hans Baldung, first half of 16th century. Museum no. D.199-1888

    Design for a Stained Glass Window
    Hans Baldung (called Grien) (about 1480-1545)
    Germany
    First half of 16th century
    Black and brown inks and red chalk on laid paper
    Width 31.5 cm x height 42.9 cm
    Museum no. D.199-1888

    Most of this drawing is executed in iron-gall ink which has turned brown. The figure in the front has remained black and is therefore likely to be drawn with carbon ink.

  • The Banquet of Anthony and Cleopatra

    The Banquet of Anthony and Cleopatra, Giovanni Battista Tiepolo, 18th century. Museum no. D.1825-1885

    The Banquet of Anthony and Cleopatra
    Giovanni Battista Tiepolo (1696-1770)
    Italy
    18th century
    Bistre wash over black chalk on laid paper
    Width 33.5 cm x height 23.5 cm
    Museum no. D.1825-1885

    The undissolved brown particles characteristic of bistre ink are clearly visible.

  • Cupid Dipped in Wine, Illustration to the Sixth Ode of Anacreon

    Cupid Dipped in Wine, Illustration to the Sixth Ode of Anacreon, Henry Pierce Bone, 1821. Museum no. E.1467-1939

    Cupid Dipped in Wine, Illustration to the Sixth Ode of Anacreon
    Henry Pierce Bone (1779-1855)
    Britain
    1821
    Sepia wash over pencil on wove paper
    Width 42.4 cm x height 32 cm
    Museum no. E.1467-1939

    This sketch was drawn at a meeting of the Sketching Society, the rules of which were that the subject should be executed in the medium of sepia. It is testimony to sepia’s extensive tonal range. Were the washes in different colours rather than in shades of brown we would be inclined to call them water-colour.

  • Self-portrait

    Self-portrait, Charles Ginner, about 1920. Museum no. E.3308 -1980

    Self-portrait
    Charles Ginner (1878-1952)
    Britain
    About 1920
    Indian ink on laid paper
    Width 10.2 cm x height 10.2 cm
    Museum no. E.3308 -1980

    The ink’s slight shine is typical of Indian ink.

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