Monogram B

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.

Small ‘aha’ designs

Lots of little drawings.

Over the past couple of days I’ve been drawing small designs in pen, including plenty of line detail to add volume and shadow.

Today, I scanned the drawings in and printed them out (after cleaning them up a tad digitally) so I could try colouring them.

I wanted to print them on mixed media paper, which I know my printer will take. However, even with clean scans, the prints were really messy. However, when printed on ordinary paper, the prints were pristine.

I wasn’t happy as I wanted to use a paper with a bit more ‘tooth’ so I could make use of the Derwent Colorsoft pencils. But, I persevered and the results are above.

The first I coloured is in the top middle. My colour sense isn’t always wonderful. Lots of colours, but it just doesn’t feel coherent in any kind of way.

So, I moved on to the next design. This time, I thought I’d use analogous colours (colours next to each other on the colour wheel), with a touch of a complementary colour to add brightness. Complementary colours are opposite each other on the colour wheel.

I like this second one much more. It feels cohesive, like everything belongs together. And the little bursts of yellow/orange just lift it all.

The third design I’ve been colouring is only partly done. I’ve veered away from entirely analogous colours, but I am trying to keep the colour palette simple and with, perhaps, an autumnal feel to it.

As I was working on printer paper, I needed to use some way to blend the colours. I remembered I had some ‘Zest-It’ blending solution and some paper torchons. They worked well. The big frustration was that I couldn’t lay down intense colour. However, as these are prints, I’m not too worried. I do need to find some toothy paper which will go in the main paper drawer of my printer. I do have some cartridge paper here somewhere which should go through it.

Of course, scanning the drawings in means I can also work on adding colour digitally. It means I can try things out until I’m happy with the results.

Pesky printers

I never have much luck with printers. Inkjet printers die on my quickly, even the more expensive professional ones. I thought I’d try a laser printer, but I seem to have problems with this one now not giving clean prints when I use the sheet feeder for specialist papers.

I don’t print much out, to be honest, but it’s frustrating when I want to print artwork out on specialist paper.

A note to self about colour.

What I have learned is that I like to watercolour the designs, but then the addition of coloured pencils to intensify the colours and add shadows works really well for me. I like the intense contrasts that I can get with coloured pencils that I just can’t seem to achieve with watercolours.

Of course, I can always colour digitally, which lets me play with colours, change them, until I get something I really like.

Today, I’ve had a reminder that limited palettes, particularly of analogous colours, seem to be working rather well for me, especially with those accents of complementary colours.

I really do need to put a big ‘note to self’ where I can see it to remind me of this. I can get carried away with colours

‘Aha!’ Sketchbook Pages

After trying out watercolours with my line art, I thought I’d try using coloured pencils.

I dug out some Derwent Professional coloured pencils, and found their leads very hard; my finger joints don’t like working with media that need a lot of pressure.

I then remembered the Derwent Coloursoft pencils that I had somewhere. Their leads are softer and more easily laid down. So, I dug them out and rediscovered how lovely they are to use!

That means I went to town adding colour to the uncoloured motifs, and also to some that had been finished to add contrast and depth.

And it’s another ‘aha!’ moment. I love the Coloursoft pencils, and they work well when combined with watercolour it seems.

I panicked a little when I wondered if Derwent still made them. They do! So phew! So, I get to use coloured pencils again, coloured pencils that my finger joints like.

I went on to draw some more designs, working out how to add depth and dimension with line work. They are drawn in my sketchbook – colour gradient and texture added to try to protect my artwork. These are much more my ‘entangled’ style of art.

Once that page is complete, I will scan the drawings in so that I can, if I wish, add colour digitally, or print them out to try out different colour palettes or different media.

Digital watercolours?

Another morning, another play around with watercolours, this time digitally.

Soft balls of watercolour, fuzzy edges, with white ink details added on top. Layers of transparent colour.

I overlaid a watercolour paper texture, which helps give the right ‘feel’.

This is my favourite attempt at digital ‘watercolours’ so far. I definitely like using white ink in this instance; black ink was just too harsh, hard and jarred uncomfortably with the softness of the watercolours.

I tried lots of ways of adding colour; not just brushes, but different brush effects. In the end I was happiest with white ink.

A nice way to spend a couple of hours as I wake up.

Sketchbook Sunday

Sketchbook Pages – 26 April 2020 ©Angela Porter | Artwyrd.com

Over the week I’ve been adding to my sketchbook- notes and images, ideas and reflections.

Each page has been coloured with combinations of Distress Inks, applied using the black side of a piece of Cut and Dry foam, followed with a spritz of water to bring out some water-staining grungy loveliness.

All the little drawings have been done on either Daler-Rowney Smooth watercolour paper (300gsm) or mixed media paper, either from Claire Fontaine or Daler-Rowney. The papers have been coloured with Distress Oxide Inks, Distress Inks, or a combination of them. Most of the pieces have had the inks applied with the foam, but some were made by brayering Distress Oxide inks onto a gelli plate and taking a print of them.

The reflection about what I like, what I don’t like, and ideas that arise is important to me in my sketchbook/journal. I do reflect on my art, a bit too much in my head. When I write it down, it forces my sometimes abstract and swirling thoughts into some kind of order. When I make these thoughts a material manifestation by writing them down, it helps me to recognise the thoughts, sift through that which is useful, and still record those that are not particularly useful at this moment but may be in the future.

I think I need to find a way to do this with my digital art. My mind goes to using One Note to do this. I shall think on this one, and make a note of it in my physical sketchbook/journal.

Coloring Template

Coloring Template 16 April 2020 © Angela Porter | Artwyrd.com

Coloring Template

Gosh, Thursdays seem to come around so quickly these days! Thursday is the day I post a new colouring template for the members of the Angela Porter’s Coloring Book Fans facebook group, and above is this weeks offering.

I drew the line art on mixed media paper from Claire Fontaine with Tombow Fudenosuke flexible nib brush pens. I like to use variable line widths in my art from time to time. They give instant depth to the drawing and increase the graphic nature of the design.

I’ve used some really weird colours, for me, in my sample coloration. They’re really quite muted. That’s a hint to me that something is awry with my emotions/mood. I feel quite subdued and ‘meh’ at the moment, which is reflected in my colour choices.

Anyway, if you’d like to colour this, or any of many others in the archives, please pop along and join the Angela Porter’s Coloring Book Fans facebook group. I create these exclusive templates as a way of saying thank you to those who like my coloring books.

Truth

“Truth” ©Angela Porter | Artwyrd.com

I like to use a word in my artwork from time to time. Truth was the word I knew I had to use as the central point for some artwork, and that’s where I started, along with one of the Distress Oxide backgrounds I made yesterday (in the middle of the image).

After I’d decided on the typography and placed it centrally, I then started to draw digitally. I made use of the symmetry tools in Autodesk Sketchbook Pro, along with a flexible nib and fineliner brushes.

I had no idea what kind of design would result, I just went with the flow and intuition and thoroughly enjoyed doing so and losing myself in the art.

I added shadows and highlights once the drawing was finished for that sense of dimension and ‘life’.

I am really pleased with the finished artwork. There’s something about symmetry, spirals, repeating patterns, and intricate, abstract designs like this that just makes my arty heart smile and sing. I always return to this style, it seems to be at the core of my being.

I also love to draw on coloured and textured backgrounds. I also think I’ve found a way to combine more traditional media (making the backgrounds) with digital art (drawing and adding shadows and highlights) in a way that really works for me.

My only problem is that I do tend to try to branch out into other kinds of art and never seem quite so satisfied with them. This doesn’t mean I’m going to abandon them; they need a lot more work and thought and maybe structure.

Perhaps that’s why I like this particular piece of art so much – it has clearly defined structure. The colour palette is defined by the background and so I’m not struggling with what colours to use. Having the black line structure defines clearly where shadows and highlights need to go.

Microbial

Microbial © Angela Porter | Artwyrd.com

I started this yesterday before I hurt my back. I started with a Distress Ink background. Next, I used water and a brush with Tombow Dual Brush pen ink to create the circles and splashes. Finally, I added some line and pattern to the ‘blobs’. As I was finishing it up this morning, they reminded me of microbes, so that’s why I’ve named it ‘Microbial’. A classic bit of abstract, intuitive Angela art, and a bit of a blast to the past as well, but fun.

My back is a bit better today, but as well as painful I’m now stiff and with pain down my thighs. Hot gel pads really work with the pain/stiffness and I’ll be sorting that out very soon, as soon as I’ve finished posting this in fact!

Poppies

© Angela Porter | Artwyrd.com

I’ve had a play around with Distress Ink backgrounds, painting on the basic shapes of flowers, leaves and stems, and then adding black line art to it.

And, as I got up to put this on the scanner, I hurt my back. So, today I’ll be finding somewhere to sit/lie where my back doesn’t hurt and most probably crocheting and hoping the pain/stiffness eases off soonest. My back was a bit niggly as I woke up – I’d slept in a different position to usual and I wonder if that’s what had started it off.

Ho hum, so no arty stuff today, it’s too painful to sit at my studio desk and work.

Golden Mandala

Golden Mandala © Angela Porter | Artwyrd@aol.com

This morning, the rain has finally stopped once again, albeit for a short while no doubt. Blue skies and sunlight shine betwixt the broken clouds. Yesterday and last night the rain was relentless, including high winds at times, thanks to Storm Jorge.

I thought I’d do a golden mandala this morning, while I come around. A simple line-art drawing.