It was drawn on marker paper using Unipin pens. Shadows were added using cool grey Copic markers. Next, it was scanned in and a kraft paper background added. Finally, highlights were added digitally to help bring out some sense of dimensionality.
I like the way the highlights and shadows work. However, in future I need to add the shadows digitally along with the highlights.
It’s a very typically “Angela” style of art – intricate, detailed, and full of botanical motifs, arches and geometric patterns that I enjoy using so much. I even managed to leave some areas that are not so busy with line and pattern!
So, it’s on to the next one, once I’ve designed the coloring template for Template Thursday!
Yesterday and today my focus has been on colouring some templates for my Entangled Gardens coloring book that is due out next year – March 1st 2021 here in the UK to be precise.
This is just a small part of the second of three templates I need to colour. I thought I’d go with a night sky for this one. The first one I’ve given a sunshiny sky to, the third I’m going to go with a sunset colour scheme for the background.
It takes me quite a few hours to colour each template, which is a nod to how intricate and detailed my artwork usually is.
This template, like many in the book, was drawn with pen on paper. However, I like to colour the templates digitally, so I’m using Autodesk Sketchbook Pro along with my Surface Studio and Surface Slim pen to add colour.
I’ve spent so long working at my computer that I’m feeling a bit stiff and uncomfortable. I’m able to tilt the screen of my Surface Studio so that’s at a comfortable position to work at with pen on screen. Still, I’m feeling somewhat stiff. So as soon as I’ve finished my social media stuff for the day, I’m going to take a walk to ease some of the stiffness before I return to the task.
Finally finished it! It’s taken many hours to do – probably around 15 I think, and it’s taken some perseverance by myself to get it done.
Uniball Unipin pens (05, 03 and 01) on Claire Fontaine Paint-on mixed media paper. Two pen nibs now wrecked; the paper is velvety smooth to touch, but just too rough for the tips of the Unipin pens. Will move to Bristol board for the next monogram.
Wednesday is WIP day! WIP is work in progress, and this is one of my current one.
I’m working on A4 (29.7 cm x 21 cm) Claire Fontaine Paint-On mixed media paper with 05 and 01 Uniball Unipin pens.
It’s taken several hours so far, and there’s several yet to go! I’m enjoying creating such detailed drawing in just black and white. Lots of botanical elements, but there’s also arches and spirals and geometric patterns in there too.
I never have much of a plan in mind when I tackle a drawing like this. I know what patterns I like, and if I lack inspiration I can always refer to my visual dictionary or design motifs and patterns. It’s all about intuition. It’s not entirely mindless. I do make conscious decisions about what design element to use, how to use line and pattern to add volume and contrast.
I sometimes wonder, when I see my work like this, why I try to work with colour. I always feel I struggle with colour, but black and white, with or without grey, always seems to work so well for me.
I love to play with the illusion of volume in a drawing, and whether that is done with density and shape of line/pattern, or with colour (even though I really do feel I struggle with colour).
I will persevere with this illustration, drawing, artwork over the coming days. In fact, I may spend time on it today. I’ve completed my morning errands, so I can remain at home, which is where I need to be. I’m tired today; I didn’t sleep at all well last night, or for the past few nights and my mood and ability to concentrate is suffering as a result.
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 started with the hand-drawn typography. I’ve just started another Domestika course — Hand-Drawn Typographic Portrait by Sarah King. The first exercise is to letter words boxes divided by wavy lines. Then, creating letters in different weights. And of course, practice is something that needs to be done.
There was just something about her approach to this that grabbed me, and so, I now have many boxes with words and quotes in.
The first lesson shows how to use Photoshop to edit your lettering outlines and fill them with black. I found the process rather clunky and long-winded. Perhaps that’s because I’m used to working in Autodesk Sketchbook Pro with a pen on a screen as if they were pen and paper, that I could do this in my own way.
So that’s what I did. I used one of my pencilled samples to create the typography for the centre panel.
Then, it was adding the background. I just went with the flow on that one. I made use of the symmetry tools in Sketchbook Pro, and just had fun with a limited colour palette and my favourite kinds of shapes.
The course is about portraits. However, I have zero interest in drawing people. However, the techniques shared will spark ideas for how I can use them.
I’ve long been trying to incorporate words, quotes into my artwork and struggling to find my own style. I’m not sure if this will help, but I’m really quite happy with this particular artwork.
It all began with a drawing in my A5 sketchbook. I then wanted to use it for digital art, and this is the result.
I’m really happy with the flower design. The black lines work in this instance; they give a stained-glass feel to the design.
I’m not at all sure about the background, however.I think I’ve just gone over the top, again. I just can’t seem to leave ‘white space’ in my art.
As a result, I tried some gold patterns on a rich, dark colour. Whatever I tried, just didn’t seem to work. Perhaps I could’ve created the line art in gold instead of black before adding colour. That may have worked out OK.
I’ve left it as it is, for now, as I’m tired and hungry. I’ll look at it with fresh eyes at some point. For now it’ll do, even as an example of art to remind me to work out when enough is enough!
Even though I’ve ended up a bit frustrated with my efforts on the background, I still enjoyed the process of creating this morning. It does make my inner light shine that bit brighter, and we all really need that extra bit of shine at this time of pandemics and more going on in the world.
I wanted a quote that went with the art, so I chose one about blooming and that sums up how I feel when I create, be it art or crafty pursuits. Even when the art goes in a direction I’m not happy with, there’s still a happiness inside that comes from just creating. There’s also a positive feeling about things not working as I want them to, artistically. It’s an opportunity to learn something, either artistically or personally. Today, the lesson is a reminder that I need to learn to leave ‘white space’ in my art.
Today’s image is a collection of watercolors and drawings I’ve done over the past couple of days.
There’s a coordinating card and envelope (mail art), along with some small panels of watercolouring (approx 1.5″ x 1.5″, so a bit bigger than inchies). I’ve also included my foxglove experiments, which I did this morning.
Sometimes, black pen looks too harsh against the delicate but vibrant watercolours, so for the poppies, I tried pencil instead. I’m really not at all sure about them.
The foxgloves are symptomatic of how I feel today – out of shape, wobbly, ill-defined with harsh edges. I woke with a stinker of a headache again, definitely stress/anxiety/worry induced, as well as a lack of sleep last night. It will pass. In the meantime, I’m watching The Clone Wars on Disney+.
I don’t know if I’ll be doing any art for a few hours; my head and emotions are all bent out of shape at the moment. I’m dissatisfied with all the above; I know that’s me being so frustrated at the moment and it stops me seeing my art for how it really is. When I’m like this, I know that drawing will frustrate me, and the fact I’m not drawing will frustrate me more, especially as I have deadlines looming. However, I logically know that if I try to do things now, I’ll just prolong the feeling of frustration and I’ll end up having to do much more in the long run than if I’m kind with myself until the headache goes and my mood lifts.
The weird thing, however, is that I can sense that touchstone of contentment inside me. It’s very confusing; on one hand my emotions are really unsettled, yet there’s contentment within. My EMDR therapist mentioned that it’s a peculiarly Western view that you can only experience one feeling at a time when I mentioned this kind of thing to her. So I know it’s possible to be both discontent and content at the same time – discontent with some parts of life yet still have an inner contentedness.
So, I wander off now to sit with these paradoxical feelings, to try to relax and let the headache ease off enough that I can sleep off the extreme tiredness it will leave me with.
I thought I’d start Sunday morning off with some experiments with my tiny botanical drawings.
I apologise for the photograph quality – I’m really not a good photographer, something I really do need to work at! The pale colours really don’t help at all.
The artwork on the bottom right is one where I applied rectangles of watercolor on 100% cotton rag paper. Then, I used Sakura Pigma Micron pens to draw designs in the windows. Finally, I added some watercolours to the designs to help bring them forward from the background.
I don’t think I messed the drawings up at all, which was my worry. Mind you, I do have to be careful what colours I do add so I don’t make weird colours.
That led to me wanting to try watercolour pencils and Inktense pencils on different watercolour papers: top – 100% cotton rag paper middle – Canson Moulin du Roy paper bottom – Daler-Rowney Smooth watercolour paper.
On each paper, I drew four rectangles, two of which I coloured with a wash of watercolour.
I used the same colours of Derwent Aquatone and Inktense pencils to draw the stylised/abstract floral design and a waterbrush to activate the pigment. I did my best to apply the same amount of pencil in each case. However, I noticed that the papers grabbed different amounts of pencil even though I was using the same kind of pressure.
The amount of pigment grabbed, however, wasn’t at all indicative of how vibrant the colours would be.
The 100% cotton rag paper seemed to have the smallest amount of pigment from the pencils, yet it gave the most intense colours of them all. This paper is quite ‘hard’ in feel and very textured and I was surprised it didn’t seem to take as much pigment. Appearances are deceiving it seems. This paper also allowed me the longest ‘wet’ time to move the coloured pencil pigment around, and to lift some of it where it had got too intense.
The Moulin du Roy paper was a softer texture and it was lovely to colour with the pencils on it. The resultant drawings have a soft quality to them too that I rather like.
The Daler-Rowney seemed to grab the most pigment, yet the colours are not as vibrant, except the for the Inktense on the watercolour background. I think that’s because the watercolour background was still very slightly damp and Inktense pigment activates with the tiniest amount of water. I also think that’s why this one was the hardest to blend the colour smoothly. This was the paper that was the hardest to add the watercolour background to as it dries so darned quickly, or water just puddles on the surface with a tiny bit more water.
The cotton rag paper is, again, my favourite for working with watercolour and Inktense pencils. The vibrancy of the noticeable too – much less pigment is needed to get a rich colour on this paper.
For the other two papers, I did enjoy drawing the flowers on the plain paper and activating the pigment with a waterbrush. I partiuclarly like the Moulin du Roy paper for this technique, though the Daler-Rowney gave a pleasing result on the plain paper.