Notes from Claire Giordano’s Ink Class 2025, Belated Part 2

Last year, I took Claire Giordano’s ink class. She is currently running the class again; I’m not in it this year, but it made me want to crack open my pen & ink sketchbook again. Opening it, I realized it contained all my class notes.

I had posted my notes from the first week of class, on mountains, but never got around to posting the rest, on the topics of trees, rocks, and water. I am posting them now, for my own reference, and in case it helps current class-takers!

Simplification & Scene Planning

From week 2 of the class, this is a summary of Claire’s S.A.V.E. method for simplifying and planning a scene. I previously posted this page as an example of fude pen writing, but I have not discussed the content.

S stands for “Story”: What 1-3 things interest you?

A stands for “Arrangement”: The composition of the scene or the arrangement of objects. Where will the areas of interest be? The rule of thirds is a quick tool you can use (placing areas of interest at the intersections of imaginary lines one-third of the way into the page).

V stands for “Value”: lights & darks. Where are the darkest/lightest areas? Make a value map.

E stands for “Explore”: Try new ideas, follow your curiosity.

Trees

Trees at various distances

• If the angle is hard to get, you can rotate your paper!
• Trees are more defined and larger closer to the viewer.
• Mid-ground trees: tear drop brush shape
• Trees on a distant hill: random clusters
• Closer trees: Add tiny branches
• Avoid symmetry; asymmetry looks more natural.

Tree Maps

I found tree maps very useful. This is a method of pre-sketching to helps you get the right general tree shape, which can be difficult when you get lost in the sauce of drawing individual boughs. Here’s how to do it:

1. With a pencil, draw the line for the trunk of the tree.
2. Outline the bunching branch shapes; notice positive space and negative space.

You will end up with a very loose sketch like the pink one one the right. You can then use your pen or brush to fill in the shape, without worrying that you will revert to symmetry.

Deciduous Trees

• Leave gaps in the trunk for leaves to occlude.
• Instead of regular leaf shapes, do chaos.
• Same shapes for clouds.
• Gaps in the outline are OK!
• Add a little vertical line shading or dots.
• Shade branches more on one side.

Rocks

Raindrop Contour Shading Method

The Raindrop Contour Shading Method is a way to conceptualize the direction to put your hatching lines on mountains and smaller rocks. Think to yourself “If water fell on this rock, what direction would it go?” and draw the lines there.

• On a pyramid: From the top down (horizontal/diagonal, tip out to base)
• On a cube: Vertical on the sides, horizontal (either way) on the top
• On a more complex structure: along fissures and in the direction of gravity

As with any other shadow, it’s also important to note the light source and put more hatching in the shaded areas, or those that are occluded from the light source.

How To: Rocks

1. Outline
2. Interior edges
3. Contour shading and dots with fine-tipped pen
4. Large areas of dark shadow with brush pen

As noted in my post on fude pens, I experimented with this method with various types of pen. I think it works best with two types of pen, as on the previous page; thick brush pen outlines and thin fine-tipped pen hatching. However, the fude is also successful because you can get both thin and thick lines. I found it difficult to get enough darkness and value contrast with the thin pen alone, or to get thin and orderly lines with the brush pen alone.

Water

Water Toolkit: Far to Close

Water far away

• Use fine tipped pen
• Practice little horizontal lines
• Turn over pen for finer lines
• Thinnest lines, most separated, straightest

Water in midground

• Slightly offset stacks
• Lessen pressure for a tapered end
• S-curving shapes
• Rotate paper to make it easier
• Use the whole arm

Water close up

• Add brush pen
• S-shapes
• Add blips & bobbles for asymmetrical curves
• Thicker, curvier, longer lines, more overlap

Water Scenes

• Less is more
• Squint & look for darker darks
• Add brush pen s-curves
• Shade in one side of s-curve, leaving blank white space
• “Dropped egg” shape around small rocks that surface in water

Conclusion

It was fun to review these notes. I had forgotten some of these tips, while others have been incorporated into the way that I draw. I really recommend Claire’s class for anyone interested who has not taken it.