I got this monogram finished yesterday evening. I think I may have been a bit heavy handed with shading in some places. However, overall I like it and I like the volume or dimension that the shading adds.
I definitely enjoy working in such a detailed, intricate and organically intuitive kind of way. Having the monogram as a design to work around does help quite a bit.
On a kind of related point, I had a new A5 dot grid notebook delivered yesterday so I can start to make a collection of motifs and patterns as I use them or create them. The idea is I can winnow out those that I never/rarely use. The reason for this is that the dot grid notebook I’ve kept as a visual dictionary for the last couple of years is just about full! I will keep it as a reference, but it’s time to start a new, more relevant one I think.
I have a snazzy, teal coloured notebook, covered in vegan faux-leather. It has 218 numbered white pages that are a tad thicker than the usual dot grid notebook pages, The paper is velvety smooth and a pleasure to write/draw on. It’s made by Wordsworth & Black and I came across it on Amazon. Oh, the ink doesn’t feather, bleed through or ghost on the pages. I paid £15 for it and I’m very happy with it so far.
It’s WIP Wednesday, so here’s a work in progress I started this morning.
I woke thinking it was about time I tackled rendering one of my abstract, stylised, imaginary botanical designs in watercolour.
I think I’ve gained a bit of experience with watercolours, kind of have a feel for them and how I like to work with them. Or so I thought.
Anyways, I started by drawing the design lightly in pencil. I used a 0.5mm mechanical pencil by mistaked; I had intended to use a 0.3 mm one instead. No matter, this is an experiment, a trial in my Arteza watercolour sketchbook.
Once I was happy with the drawing, knowing I can always add more to it or alter it before painting it, I started to add colour.
I started with the bottom right blue seed-poddy/stylised flower motif. I thought I’d use two different shades of blue alternately around it, adding shadow and depth. That didn’t work out too well. I tried dry brushing on the ‘spokes’ of the motif. My reaction was ‘yeuch! Angela what were you thinking???’.
I didn’t give up at this point, though it would’ve been easy to do so. I continued on, reminding me this is an experiment, I’m trying something out that I’ve not had much success with in the past; just keep going.
So I did. And I know I have work to do to recognise when the wet paint has dried enough for a different wet colour to spread nicely, but not too much, when dotted into the first colour.
As time was going on, I was becoming more comfortable with how I was adding colour. I was working out that adding glazes was a way to darken areas, and that I could gently blend the edges out while the glaze layer was still damp so I didn’t get harsh lines.
Slowly but surely I coloured in different motifs, careful not to do wet next to wet.
All in all, I’ve worked on this painting for around three hours. There’s a lot more to do, but I can pick at it from time to time.
What I have noticed is, however, how much I want to add colour in the same way I do when working digitally. An interesting observation, the implications of which I have not even started to unpack yet.
Therapeutic art once again…
Once again, I turn to art to help me manage my unsettled emotions and thoughts. I am so tired, again. The stress of the past week or so has taken it’s toll. However, like the heavy rain and rather windy weather we’re experiencing here in the Valleys of South Wales, these will eventually blow over and I’ll be able to focus on my contracted work.
I’ve learned that when I’m all out of balance, it’s best for me to focus on art that is soothing, that no one expects anything from me, that I don’t have to worry about messing up. If I try to do art that others need to be happy with too, then I get frustrated and negative about myself, doubt myself.
So, for today at least, I will be creative in ways that will give me the time and space to heal my frazzled emotions and gradually work my way back to mental and emotional well-being once again.
After a life-time of putting everyone else’s needs and happiness first, I’m gradually learning to take care of my own needs first.
I felt guilty and selfish to say ‘my own needs first’. But it isn’t selfish to look after myself. It’s a recognition of being responsible for myself and my own needs and well-being.
And so, today I art, for art’s and heart’s sake.
I just wish it wasn’t so darned rainy and blowy. The rain alone I’d be happy to go and walk in, or the wind alone. But not both together. It is forecast to ease off in a couple of hours, so maybe I’ll get a walk this afternoon, with brolly and waterproof jacket. I’d like that. But for now, I’m going to go and drink tea, draw the design for Template Thursday, and have the quiet time I need to heal, recharge and refresh.
I do apologise for the poor photos. These were the best of many that I took of my arty pursuits this morning. I’m not sure if I’m finished with it or not.
This was an unusual excursion into the realms of art for me. I was feeling totally emotionally overwhelmed – scared, anxious, sad and confused.
So, I thought I’d try to express my emotions artistically, with watercolours.
I used masking tape to edge an area approx. 6″ x 2.75″ (15.5 cm x 7cm) in my Arteza Watercolor Sketchbook. I used a new page for this, and it was the smooth side of the paper.
Next, I applied a wet wash of indigo watercolour, and then dropped in greys and rusty oranges, reds and browns into it.
The paper warped with the quantity of water. No biggie though, as this is a sketchbook. Once I’d finished adding colour and letting the watercolour do it’s magic, I used a heat tool to dry the paper. When I removed the masking tape, which was low tack, it lifted some of the paper with it, which was a bit of a disappointment. However, it is a sketchbook, so no biggie.
I then wanted to add some gold patterns and lines. I dug out a Cosmic Shimmer iridescent/metallic watercolour palette and a size 1 brush.
Finally, I thought I’d add some details in black pen (Uniball Signo DX 0.38), but I’m not sure about them at the moment.
My emotions were, and still are to a degree, all over the place. I tried to meditate to find some peace and calm; my mind was just racing faster and faster and I just couldn’t sit with the emotions.
So, I decided to try to paint my feelings, to put into colour and pattern what I couldn’t put in words, or make sense of. I thought I’d try a totally intuitive block of colour where I asked my feelings what colour they wanted to use, where to put it and when it was done.
I chose dark, gloomy inky indigo for the background, and rusty yellows and browns. Indigo for both the sadness and upset I was feeling, but also the deep calm I was seeking. The rusty colours perhaps represent the blood, sweat and tears I’ve been expending for a while now. Or maybe the stains on my soul and emotions that have resulted in my struggle today. Either way, the colours just seemed the right ones to use.
There’s also a lot of depth in the way the colours sit on the paper.
Oddly, this is a colour palette I’ve been using for a while now, but never quite so dark. Perhaps my unconscious has been trying to tell me what was likely to come if I didn’t take care of myself.
Once I’d got the block of colour done, I knew I needed to add lines and patterns of gold, a kind of artistic kintsugi. I hoped that the gold would help to heal the shattered pieces of my emotions and mind in the way gold infused resin is used to repair much loved pieces of porcelain. I hoped that the gold would remind me that my healed trauma-wounds that have been filled with gold would remain healed and I could be reassured that I wasn’t going to break.
I won’t, but I could feel myself unravelling.
For some reason, once I’d calmed a little, I felt the need to put the pattern of black at the bottom. Piles of tiny little stones. What springs to mind is they represent the touchstones that are the foundation of my emotional wellbeing. There’s quite a few of them there! That surprises me, as my usual one is the one of contentment, a gentle smile in my heart. I may have to explore what these other touchstones are at some point.
As I look at the panel now, I can see there are lighter areas, where a storm seems to be breaking. Light is shining through, clarity perhaps. The photo doesn’t show the colours at all well. I really do need to learn how to use the camera on my phone or my DSLR much better I think.
A successful experiment
I know art always is a source of peace and calm for me. What surprised me was that I felt I was expressing my feelings in this little, very personal artwork.
I’ve never really used art as a way to work through difficult (or not so difficult) emotions before. I think it’s something I’ll be doing again in the future.
Today, I share a glimpse into my current sketchbook. It’s an Arteza watercolour A4 sketchbook.
I’ve completed all the drawings in boxes now, and am adding colour to them using watercolours, graphitint watercolours, graphitint pencils and/or inktense pencils.
The paper is rather nice to draw on with Faber-Castell Pitt artist pens or a Uniball Signo DX 0.38 pen.
On the cover page I swatched my collection of Inktense pencils, using a damp brush to bring their true colours out.
Inktense pencils are intense in colour when activated with water. Also, once activated with water and dry they are permanent.
I like all the media I’ve used so far on this page. Which I use does depend on my mood. Today, I wanted to choose an inktense palette of colours that is like the rusty colours I’ve been using with watercolours.
I really am drawn to this colour palette in my work at the moment. The dark blues, rich red-browns, blue-greys, earthy-dark greens and the vibrant mustards. One day I’ll look up the psychology of these colours and see how they relate to my mood/life at this time. But not today.
I woke this morning knowing I needed to draw a mandala and dragonflies. Sometimes I have no idea why, but this is what flowed from my pen.
Soft teals and lavenders colour the dragonflies and mandala. Calming, restful, meditative. The bodies of the dragonflies are ornate, but the wings are not so, which is unusual for me. Perhaps because I feel I’ve lost my ability to fly at this time, I’m doubting myself an awful lot.
Carl Jung used mandala drawing to help inform him, and his clients, about what was going on in the unconscious and needed to be brought into the conscious mind to be processed. The unconscious mind works through symbols and metaphors. So, what do dragonflies (four in number), teal and lavender symbolise?
Dragonflies are said to symbolise wisdom, change, transformation, light and adaptability in life. They are also a symbol of the realm of emotions and so invite you to dive deeper into your feelings. They also symbolise a change in perspective of oneself by removing the doubts that we cast on our own sense of identity in order to reveal our authentic self.
When they appear to you, they are a reminder that there is a need for lightness and joy in your life.
As I’m delving into the realms of symbolism, what about the colours?
Teals are calming and emotionally healing. They also represent self-awareness. This colour promotes an open communication between the heart and spoken word, in both directions.
Lavender represents gracefulness, calmness and creativity. There is also a sense of fragility, sensitivity and vulnerability connected to this colour. It is also considered a grown-up pink.
The teals and lavenders I’ve used in this artwork are both quite subdued, which actually does describe how I am feeling at this time.
And what about my choice of four dragonflies? What does the number four symbolise?
Four symbolises what is solid, what can be touched and felt. It also represents the justice and stability that you need in your life. It also resonates with loyalty, trust, wisdom, determination and patience. It is a reminder not to give up on your goals and to reflect on your passions and aspirations. Believe in yourself, your abilities, your talents and show them to the world. It is also a number that symbolises the protection and guidance of angels.
It seems my mandala has drawn concerns from my unconscious mind into the light of day. I find it interesting how the symbols and colours I used relate to what I am working with on a personal level at this time.
It is said that all artists reveal a lot about themselves in their artwork. I think I do that a lot more than I realise.
Over the past couple of days I’ve been doing some work in a new Arteza Watercolour Sketchbook, slightly larger than A4 in size.
I am really happy with Arteza’s professional watercolour paper, though I do wish it was whiter in colour. So, I thought I’d try out their watercolour sketchbooks. They’re sturdier than my custom discbound sketchbook, so easier to cart around with me as I need.
I rarely do huge works of art, unless it’s digital work, so I like to work in little boxes on the page. I have drawn all the designs with Faber-Castell Pitt Artist pens as they are waterproof. Like all watercolour papers, there’s a texture to them and this does wear the fibre-tip of the pen away. I can live with that as I tend to wreck them quickly as I am a bit heavy handed when it comes to pens.
Talking of texture, this paper is less textured than the cotton professional watercolour paper. It is also double sided, with the other side being smooth in texture. This smoother texture is much more to my liking.
Although this paper isn’t 100% cotton, I find it so much easier to work on than the other pulp watercolour papers I have. The paint doesn’t dry too quickly so I can work wet in wet. The pigments also stick to the paper so that successive glazes don’t shift the underlying layers, something I’m only just discovering the magic of working with.
As I don’t really wet huge areas of paper, there is no warping. Also, though I’ve worked in layers of colour in some areas, there is no breakdown of the paper surface.
All in all, as a watercolour beginner, I like the paper. It works with me and the way I like to apply watercolours, whereas other papers I’ve tried definitely work against me!
It’s also quite affordable, with two 64 page sketchbooks come in at £26.99 on Amazon. This means I can experiment with watercolour to my hearts content without feeling I’m destroying the lovely 100% cotton watercolour paper.
Black lines, or no black lines? That is the question…
I keep switching between black line-art that I colour with watercolour and using light pencil outlines so my designs are worked in pure colour. I can’t seem to settle on one way of working. I like both, but my mood changes from day to day it seems.
At the moment, it seems I need that clear, firm structure in my designs, clear boundaries within which I lay down colour. This is, I think, a reflection of my inner self and the issues I’m working through at this time. Issues that I have no words for.
Even though my art is usually rather controlled with clear structure in it, it still allows me to work through emotions and thoughts that are troubling me.
My mind is ever active, but not with self-talk most of the time. Art allows me to express things I can’t in words. It may be choices of colours, the style of art I gravitate to, the media I choose to use at any time.
On this page, some words have appeared, and those are like bullet points from what I’m working through. Other words are noted in my journal and aren’t shared with others.
Rusty, corroded colours.
There is one design that I have filled with colours that remind me of rust. When I get the right consistency of wet into wet colours, I get these delicious, spiky blooms of colour that really do remind me of rusty textures.
Taking time to look closely at rust, there are lots and lots of beautiful colours, some of which sparkle as they catch the light. It never ceases to amaze me how interesting it is, when examined closely.
Nice, shiny, pristine metallic structures and sculptures are lovely, but how much more interesting they become as they weather and corrosion subtly changes them, adds interest and a different kind of beauty to them.
I can’t tell you how happy I am that I have discovered how to create these rusty colours and textures. They are a completely different colour palette to what I would usually use, but I actually love it! Now I know what I’m doing, I can work on understanding the exact consistency of wet on wet I need, and how to get all the various colours I’d like to incorporate.
As I write this, raku glazes come to mind too. All those glorious colours that various copper oxides produce – magenta, rusty orange, purples, greens, blues, and more. I think I’ll be spending time looking at raku again and working out colour palettes to use in my work going forward.
Typographic portraits update
I’m quietly working at the third iteration of my Nye Bevan portrait. My mind is ticking away with what I need to do, and taking a break allows me to return to it with fresh eyes and a fresh mind.
Drawing done with Faber-Castell Pitt Artist Pens. Arteza Mixed Media Paper coloured with Distress Oxide Inks (Stormy Skies, Chipped Sapphire, Dusty Concord, edged with Hickory Smoke). Paper measures 3″ x 8.25″ (8.3cm x 21cm).
“I make art to show my soul I am listening.” “This, too, shall pass.”
Art is my solace, my form of expressing my soul, my inner self.
This morning I created some tall, thin (or short and wide) backgrounds using Distress Oxides on some Arteza Mixed media paper. The paper is 8.25″ x 2.87″ (21cm x 7.2 cm) in size.
I chose this one to draw on for no other reason that it was the one that appealed to me at this time. I started with the seed pods and foliage at the bottom, and worked my way through some hand lettering / hand-drawn typography to more abstract line-art.
I drew with a M Pitt Artist Pen from Faber-Castell, though I added the stippling with an XS Pitt Artist pen.
No glitter or glitz on this one, nor any highlights. Not yet. I’m not in the mood for any, not today.
A good three or four hours have been enjoyably spent on creating this little abstract watercolour painting.
The painting itself is approx 3″ x 3¼” on a small piece of Arteza professional watercolour paper, which is made from 100% cotton. I used Graphitint paints by Derwent. These paints have a more subdued, earthy range of tones. They are also quite granular in nature, and duller on the paper than other watercolour paints, which is to be expected as they are made from water-soluble graphite. That also means that they are more opaque.
I used to have a set of Graphitint pencils, which can be used as you would ordinary drawing pencils, but they have a subtle colour to them. When water is added, the colour is activated and becomes more apparent. I enjoyed using them, but I have no idea where I have put them, after searching high and low for them. I saw the Graphitint paint set, and so was intrigued by it. So, yesterday I had to have a go with them, and this is the result.
I usually go for much more vibrant colours in my artwork; I struggle mixing colours and making less bright tones. I also struggle with having a huge choice of colours and remembering to use a limited palette isn’t something that yet comes easily to me.
There are only twelve colours in the the Graphitint paint set, so that limits my colour choice immediately. I’m sure I can mix them with other watercolours, something I intend to experiment with.
I did spend some time working on a second typographic portrait of Aneurin Bevan yesterday, using a photographic reference that had more detail in it in terms of grey scale.
Before bed, I wanted to relax with some colour (1). For some reason, I pulled out my set of Tombow Dual Brush pens and tried working with them on an A5 piece of Arteza mixed media paper. Hand lettering with gradients, with and without black outlines resulted, and then I wanted to try drawing with colour gradients.
To create gradients, I held the tip of one pen on top of the tip of the other. I then used the lower pen to draw or write with. I used the bullet nib for the lower examples. I used the brush nib for the larger lettering and also the leaves and flowers and so on.
I made some notes as I went, to remind me what I did and what I liked about them. I used a Uniball Signo DX 0.38 pen to do this, which is also waterproof. So, I used it to add lines.
This morning, I wanted to start my arty day experimenting with alcohol inks, once again (2, 3 and 4). All because I’d watched a YouTube videos where people use a straw to blow the ink and alcohol blending solution/rubbing alcohol/isopropyl alcohol/propan-2-ol around the yupo paper.
One helpful piece of advice I heard along the way was it’s best to use only a small amount of alcohol ink. Which is what I did. One drop to start with and then add more ink of the same or different colour(s) as needed.
It took me a while to work out not to blow as hard as I could, and to try different angles to hold the straw at, as well as moving the ink in different directions.
I’m much happier with the results this time, though the scans have bleached the colours out a little. I really must work out the best settings on my scanner so that this doesn’t happen.
Anyway, I need to find a way to seal the alcohol ink so I can draw on top of it without wrecking the pens. I also want to do some better scans so I can make use of these alcohol ink backgrounds in digital art.
Today I want to continue work on the typographic portrait. This second one seems to be building up more quickly than the first one. I think that’s all due to me becoming familiar with the process and accepting that my hand lettering based on my handwriting is good enough. I’m also working out my own ways to fit letters to curves and the shapes at the ends of the sections.
So, all of these activities – using waterbased media, hand lettering, hand drawn typography, and alcohol ink backgrounds all have one thing in common – practice, practice, practice!