Adopting the dip pen here has proven highly fruitful because of the ability to allow one to vary the weight of the line depending on the amount of pressure applied. For this type of drawing, where every line should ideally possess a certain amount of poetic fidelity, being able to vary the line weight is seemingly indispensable. By comparison it has made the fine liner feel like a rather impotent tool indeed.

Work is still underway on this painting, but progress has been a little slow, as studying such a great work is proving to be incredibly challenging, and has been pushing my current abilities to the limit. That is of course generally a good thing, especially for improving and growing, but it is seemingly accompanied with frustration and fatigue. So I have been working on other things in the mean time and coming back to this when I feel more energised. I look forward to sharing the finished piece soon.

Studying a small section of Paolo Uccello’s ‘The Battle of San Romano’ in silverpoint on prepared paper. I started this drawing at the National Gallery from life and am finishing it at home on the drawing board.

All the materials I’m using were handmade in London at the Renaissance workshop.