I re-drew the moth from yesterday to try out some ideas I had when reflecting on the artwork. I’m not entirely sure if it’s an improvement, but it is what it is.
I also have drawn a new mandala-style pattern for the background. This time, I’ve added it as a subtle design. I think it works quite well as the moth really stands out.
Mossy green today, no idea why other than it appealed to me. It may mean a desire to be in nature to have my mood uplifted. I’m not feeling the brightest or upbeat this day. A headache isn’t helping. A walk is required in a while. It’s a sunshiny peri-autumn day, so a good day to walk I think.
This morning, I wanted to start a new entangled drawing. But what to draw? I wasn’t in the mood to do another monogram, especially as there are some ideas on the periphery of my conscious mind about monograms. I thought about drawing a skull, something I find interesting, but that didn’t feel right either. But the idea of a moth flittered into my mind, so that’s what I went with.
I drew the moth digitally, in Autodesk Sketchbook Pro, simply because I wasn’t quite sure how my pen work would work on a moth, and I also like to use the symmetry tool. I’m fairly happy with the results. I started to add my entangled style motifs around the moth, and came up against two issues.
The first issue was that I would lose the detail around the head and antennae and I needed to come up with a way to preserve that. I came up with the idea of a simple circular border below the moth. This will also give me the option of adding colour to the central circle when I’ve finished the artwork.
The second was more of a problem – the sense of proportion. I have no idea why it’s so hard for me to work digitally on entangled drawings like this with a proper sense of proportion compared to the main motif or the printed size.
It has to do, I think, with the ability to zoom in to draw small details, which results in me adding too much detail. The only solution was for me to print the moth and circular border out and then for me to draw on that.
The only thing I wasn’t happy about in doing this is that I have a laser printer. That affects the surface of the paper in a way that my Unipin pens don’t like it. Also, I can’t print on marker paper.
So, I’ve started to add entangled artwork to the design. I can now see that leaving edges of the upper wings white would help them to stand out. That is something I can adjust digitally when the design is finished.
I feel so much happier working on the printed image. I do need to consider changing my printer, however. Though the laser printer is quick and economical, the print quality of line art isn’t the best. There’s also the issue of the way the surface of the paper is changed once it’s been printed on. I shall think on this in the coming weeks and before the toner needs replacing.
This morning I needed a quiet, slow, simple time with some arty stuff.
Firstly, I get so frustrated working in a bound sketchbook. The binding always gets in my way even though I like the paper. I much prefer working on loose sheets of paper. I want to keep a sketchbook, or series of sketchbooks. So, the pennies dropped that I needed to put together a discbound sketchbook filled with acid-free cartridge paper and bristol board, and other papers I may wish to draw on.
Yes, I know I’ve got a disc bound sketchbook filled with papers coloured in many ways to draw on. But, my recent forays into art, the realisation that black and white line art is my favourite way of working, needed a solution too.
So, after a while of sorting out such a discbound sketchbook, I thought I’d like a cover page for the Slowtember part of my this sketchbook. It gave me a chance to practice some hand lettering, and to mess around with Tombow Dual Brush markers.
I also added drawings for pancake plant, the prompt for days 10 to 12 which I missed out and went straight to rubber plant!
I suspect that by the end of the month I will have a visual reference for leaves of these indoor plants.
Naturally, I messed up the numbers for the dates for each prompt. My hand lettering isn’t wonderful, nor are the leaves around the title. Let’s not mention the colouring. However, it will do; after all it is a sketchbook page not a finished, polished piece of art. That means no pressure on myself to get it perfect, or as near as I’m happy with. It’s about trying things out and if they don’t work then it’s an opportunity to reflect and learn more about my skills and artistic voice. It’s also a chance to use media that I wouldn’t normally use, and possibly to remind myself why I don’t usually use them as well!
I decided to do Slowtember. I like having prompts to challenge me, take me a little outside of my usual style. However, Inktober can be a bit full on with daily prompts. Slowtember gives that breathing space, and I can work it in around my other commitments.
Thanks to @megaelod on twitter for the idea and prompts!
So, the first prompt was a choice betwixt pothos and chill. I decided to combine them! I like foliage, and the word gives me a chance to try out some hand drawn typography/hand lettering.
I sketched the quite stylised design on dot grid paper, inked it with Unipin pens and then scanned it in. after some digital clean up and slight adjustments, I added some simple colour and shadow.
You’d think adding simple colour would be easy, yes? Nope! Choosing the right greens wasn’t easy for me. And then there was the typography. I lost count of how many times I tried different ways to colour the letters. Eventually I decided enough was enough and the gradient I had was good enough.
As I think now, after breakfast and some mocha, I could’ve done the word as a flower pot, or used it to add shadow to a flower pot. Maybe I’ll give that a go for the next prompt (monstera and water).
Complex drawings are my stock in trade. Going simple and stylised is not quite so easy! Still, it was fun to do, a bit frustrating at times, but the result is perhaps good enough, though I’m not sure about that.
Seven more days of the pandemic over and done with and gone to the past. That means seven less days before it comes to some kind of end! Always trying to look on the plus side of things, not always succeeding.
In the past week we’ve also left August behind us and entered September.
This week, I’ve created one of my signature ‘Entangled’ designs that includes seed pods, flowers, berries, foliage and plenty of arches with abstract, geometric patterns.
I drew this template on Canson Bristol Board with 05 and 03 Uniball Unipin pens. I’ve added colour digitally.
As I can feel autumn ready to burst forth soon, I’ve chosen colours that represent that season. Of course, any colour palette will work well. The aim is to have fun, relax, and take time out for creativity. There’s no coloring police to tell you you’ve done wrong, apart from our own inner critics.
As always, I look forward to seeing how everyone brings this template to life with colour!
I started doing the Inktober52 challenge at the start of the year, but quickly fell off the wagon, so to speak.
I really enjoyed doing Inktober last year, though I didn’t use the official prompt list as it really didn’t do anything for me. Instead, I used two alternative lists – one of skulls, the other of fungi.
I’m thinking of using this year’s list to practice typographic art. Mind you, that depends on what alternative lists I stumble upon, as I may use one of them instead.
I also discovered this Slowtember challenge on twitter from @megaelod:
I am tempted to use this for this month. I’ll see what happens!
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.
I finished the top right design, and have completed the ‘A’ illustration on the bottom left. That leaves one space to be filled, no doubt later today.
I’ve used either Faber-Castell Pitt Artist pens or Uniball Unipin pens to complete the drawings on ClaireFontaine’s Paint-On mixed media paper. This paper is fairly weighty (250g/m²) and has a lovely velvety feel to it.
The only pencil lines I’ve used have been to delineate the ‘boxes’ to draw in, and for a couple of the design elements in the top left image as well as the A.
Reflecting on the designs
The white space in the top left design works really well I think, and is quite an accomplishment for me. The same is true, to a lesser extent for the top right design. In both cases, the white space brings attention to the design.
In contrast, the densely pattered area helps to bring out the monogram A, making the white space the focus of the design.
I think I’m going to work on some more monograms in this style. They are fun to do, and dense, entangled patterns are one of my signature artistic voices. It’s been a long time since I’ve completed art like this, with a lot of detail to bring out dimension/volume in the design.
In fact, I’ve enjoyed using line and stipple to add volume in all the designs, exploring how I like to do this as I go. All the work I do with colouring books means I have put this to one side. It’s interesting how I’ve circled back to this style. It’s even more interesting to look at how my drawing skills have developed and evolved over time as well.
I found some peace, contentment and joy while drawing these, and feel a sense of accomplishment, particularly with the two on the left.
Do I prefer digital or traditonal drawing?
A difficult question to answer. I think it depends on what I’m creating.
I really do enjoy using pen on paper. I get a better sense of the overall design. Paper and pen is very portable too – whether I’m sketching when out and about, or drawing in different places at home.
Drawing on the screen of my Surface Studio with a pen is a lot like drawing on paper. The smoothness of the screen makes it a very different tactile experience. It also is great for inking in sketches. It also makes correcting mistakes or re-working areas a lot easier, and there are techniques I can use that are near impossible or very time consuming when working traditionally.
Sometimes, the lines produced digitally are too perfect. I’m still working on developing the brush styles that will mimic the unevenness of an inked line. I do have to use some element of line-smoothing as I draw; without it the lines are really wobbly, but with it they can be too perfect and I lose, to a degree, that personal and unique way that my pen moves on paper.
I also find it difficult to have a sense of proportion or detail when working digitally, even though I can look at the design at the same size as it will be printed. The ability to zoom in and work on a small area means I lose all sense of relative size and complexity/detail of a design. So, if I’m going to work on a drawing digitally, I prefer to start with a sketch to give me that sense of scale.
I rarely sketch out my design when I work on paper, except if I need the outlines of a design element as I’m drawing. I do tend to work very intuitively.
So the answer is, I prefer each for different purposes, and also to suit my different moods and purposes.
Of course, once I’ve drawn a design, I then have to decide if I want to add colour, and then what media I will use – traditional or digital!
Today, I thought I’d digitally colour one of my recent drawings. I thought it would be nice to compare and contrast digital colouring with traditional colouring.
It’s been a while since I did much art digitally, I’ve been lost in traditional media this week as I slowly heal from some emotional wounds. Art helps with healing. Meditation helps too. But time is still needed for the healing to take place, and for rest to relieve the exhaustion that lingers still.
Any kind of art, digital or traditional, soothes my mind, emotions and body.
What I like about digital art is the way I can get such high contrast in colours to enhance the sense of volume the design elements have. I also like the vibrancy of colours. I also like the ability to add texture to the colour in so many different ways.
Of course, I like the ability to alter colours when they don’t work, without having to start over. I’m not sure if those leaves are going to stay that particular green-ish colour. Nor am I sure about the background colour.
As is my wont, I’ve used Autodesk Sketchbook Pro to add the colour and textures. My hardware is a Microsoft Surface Studio and Surface Slim Pen.
This week, I’ve harked back to my Doodleworlds book with cute monsters and critters. I’ve included some family portraits which hang above a background of more monsters and critters and my signature entangled style drawing for coloring books.
I got lost in colouring this template this morning. It was fun to use different styles of digital brushes and colour combinations in this one. Sometimes it’s just nice to do art with no expectations other than enjoyment, relaxation and comfort.
I drew the template with a Pentel 07 Energel pen on Rhodia dot grid paper. I scanned it in to the Surface Studio and cleaned the image up digitally. Then, I partially coloured it digitally in Autodesk Sketchbook Pro, adding a background texture that isn’t present in the downloadable image.
Last night, there was the most amazing lightning storm I think I’ve ever seen. It lasted for more than an hour and there were multiple flashes of lighting most minutes. I really need to learn how to use my camera to take photos of lightning – natures very own fireworks.
Sadly, I haven’t been able to see the Perseid meteor shower this year, and I missed the Neowise comet too. I have seen amazing photos of both, though, and of course the lightning storms of the past few days that have coruscated over the UK.
It’s a little cooler in the house today thanks to the clouds shrouding the sun. It’s humid though as the couple of brief showers last night have been evaporating slowly.
The heat meant I didn’t sleep well again last night. But, waking early meant I had plenty of time to edit the coloring template and add colour to a section of it.
I’m not sure if it’s cool enough to take a walk this afternoon. There seems to be a bit of a breeze picking up from time to time. I really don’t do well in the heat; I wilt very quickly. But I’ll see once I shower what it’s like outside.
It’s Thursday again, so that means it’s time for a new coloring template for the members of the Angela Porter’s Coloring Book Fans facebook group. I said that during the pandemic, I’d create a template a week for group, free of charge, to help people relax, calm and take their mind off all the awful things that are happening in the world for a short time.
This week, I’ve combined some typography my familiar entangled style of drawing. Botanicals, crystals and stars along with some repeated ‘zentangle’ style patterns. Some of my favourite things to draw.
To draw this template, I used Faber-Castell Pitt Artist pens (F and S), Copic Fineliner SP pens (05 and 025) and a Uniball Signo DX 0.38 pen with Rhodia dot grid paper.
Although lockdown has largely lifted in the UK, we still need to practice social distancing and wear face coverings when it’s not possible to do that, or in enclosed spaces. The Covid-19 virus has not gone away, and though the number of cases are falling, as are deaths, that’s due to people being sensible and following the guidelines for limiting the spread of the virus.
I’m very, very anxious about going out and about, and I know I am far from the only one. I mostly stay safe at home. Mind you, that’s not unusual for me. Even before the pandemic I wasn’t someone who was out and about all the time. I did pop out and about more often than I realised, however. But I’m still usually quite happy to stay at home and focus on my arty, creative activities. But, I know that’s not the case for everyone, and not everyone is able to work from home either, nor wants to.