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.

Tiny Botanical Experiments

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.

Journal – pages 4 to 7

Over the past day or so, I’ve done some work on my journal and have pages 4 to 7 mostly complete. I’ve included lots of pockets to slip paper or artwork or other surprises into. I’ve also used some artwork I created as ephemera and embellishments.

Page 4 – top left.

This page has three pockets. One made by adhering two pages together, with a thumb notch punched out. Another is made from a sheet of tracing paper. The third is behind one of my signature entangled drawings; it’s a fairly secret pocket, unless I add something that peeks out from it.

I coloured the reverse of the drawing with Distress Inks as I didn’t know how they’d react with the pen drawing. Then, I adhered the tracing paper to some old book paper, and then adhered this to the tracing paper pocket, applying glue along three sides to create the pocket.

Once the glue was dry, I added some zentangle style patterns to the tissue paper pocket, just for fun. I used one of the Chameleon Fineliner pens to do this, using a colour that went well with the colours I’d used to ink the paper.

Page 5 – bottom left.

Page 5 is a little bit bigger than half the width of a page. I folded up the bottom of the page and adhered it along the edges to make a tuck-in. I punched out the thumb notch with a circle paper punch.

I decorated the tuck in with flower art at that I created myself. I also added some zentangle style patterns in between the flowers. I used Chameleon Fineliner pens, this time using a red and orange to get a gradient.

Page 6 – top right.

Again, a page that is a little more than half the width.

The drawing was done in gold ink on tracing paper. I used Distress Oxide inks to colour the reverse of the tracing paper before adhering it to some old book paper. The text and diagrams on the book page shows through faintly, as it does with the drawing on page 5.

Page 7 – bottom right.

This page just has a flower painting I created along with old book paper that have been collaged onto the journal page.

You can see the thumb notch on the edge of the page, showing I created a pocket by adhering two pages in the journal together.

Next steps…

None of the pages are fully completed. I’d like to add quotes or meaningful words or phrases. Some pages have gaps where I can add ephemera or pockets and so on. There’s certainly many spaces on the pages where I can draw patterns and designs.

I’m going to let the pages rest for a while as I turn my attention to other things today.

I’ve been feeling a bit ‘off’ or ‘meh’ in the last couple or so days. I’m finding it hard to settle to work of any kind. That I’ve been able to focus on getting some little bits and bobs done for the journal shows I’m feeling a bit more focused than of late.

Template Thursday

Coloring Template ©Angela Porter | Artwyrd.com

It’s Thursday again, and one more week of quarantine is behind us. That means one week of lockdown ahead of us. Feeling sad about all those who are sick or who have died as as a result of the sanctions, but the sanctions have kept others safe from Covid-19, thus reducing serious illness from the virus, or death.

As another week has gone by, it’s time for another template for the members of the Angela Porter’s Coloring Book Fans facebook group.

As always, the template is available free to members of the group, which is also free to join. So, if you would like to colour it, meet some like-minded people, and share your colourings with us, pop over the the group and join in!

I drew and partially coloured today’s template digitally using Autodesk Sketchbook Pro. I needed to draw a mandala to soothe me. I’m tired today and feeling ‘meh’. That is reflected in my colour choices.

Dydd Gwyl Dewi Hapus! Happy St David’s Day!

March 2020 Coloring template for Angela Porter’s Coloring Book Fans facebook group
© Angela Porter | Artwyrd.com

A new month means a new coloring template exclusive to members of the Angela Porter’s Coloring Book Fans facebook group.

March the 1st is St David’s Day, the patron saint of Wales, which is where I live. The daffodil is one of his emblems and so it was fitting I included some in this month’s template. As we are heading towards the spring equinox and the official start of spring here in the Northern Hemisphere, I’ve also included plenty of flowers that would be lovely coloured in spring colours. They’d be lovely in colours of all the seasons, however. Flowers are beautiful no matter what season we’re in.

The template is drawn in my signature ‘Entangled’ style of line art, with very stylised flowers, foliage, and even butterflies and shells, along with patterns derived from architecture, sculpture, pottery, and more. Lots of my favourite things all in one abstract image.

If you’d like to print and colour this template, then please pop along to the facebook group where the members, and I, would love to see how you bring it to life with your own kind of colour magic.

Flowery

Flowery© Angela Porter | Artwyrd.com

Today, I’ve been drawing little flower motifs and borders to go along with a lovely quote about flowers and hope.

The line art was drawn using Tombow Fudenosuke pens on ClaireFontaine dot grid paper. Colour, typography and background texture have been added digitally using Autodesk Sketchbook Pro, Microsoft Surface Pen and Microsoft Surface Studio.

Flowers are some of my favourite things to draw, whether they be highly stylised or more realistic.

My snowdrops and crocus have the feel of being wood cut or lino cut and printed, that kind of vintage feel. The flexible nibs on the Fudenosuke pens help me achieve this look. Also, the fairly simple colouring and addition of texture help too.

I’ve left the colouring as is, maybe for now. However, I now have these motifs ready to use in other projects, as they occur to me. Colour certainly helps to lift them off the background and bring them to life.

Mandala 29 Jan 20

Mandala 29 Jan 2020 © Angela Porter | Artwyrd.com

A simple, monochrome mandala today, using some of my favourite patterns (plus a couple that are entirely mine).

Drawing mandalas is so soothing, mindful, meditative. The repetitive nature of drawing patterns is part of that relaxing experience.

It was also nice to use some of the patterns from my ‘visual dictionary‘ or ‘visual zibladone’ in some art.

I have some new patterns and motifs to add to my visual dictionary; they spontaneously appeared as I was drawing. I like when this happens, when I don’t over-think things and just go with my instincts.

I wanted to add a colour gradient to the mandala. However, when I tried to do so, it just didn’t feel right. So monochrome it is.

Drawn digitally using Autodesk Sketchbook Pro, Microsoft Surface Pen and Microsoft Surface Studio.

Winter Solstice 2019

Winter Solstice 2019 ©Angela Porter | Artwyrd.com

I’ve been awake since way before dawn drawing this mandala to celebrate the Winter Solstice. I’m looking forward to the increased hours of daylight, though it will be a couple of weeks, or so, before there’s any noticeable difference in the length of day.

It’s been a lovely way to spend the hours as night gradually gives way to the sun. Not that I can see the Sun itself; grey skies and patches of rain obscure the golden wonder of that glowing ball of nuclear fusion.

I created the mandala using Autodesk Sketchbook Pro, Microsoft Surface Pen and Microsoft Surface Studio.

Tuesday Thoughts

Tuesday Thoughts 5 November 2019 ©Angela Porter | Artwyrd.com

Another mandala today, this time with my favourite Hafiz quote in the centre.

I wanted a mandala that seemed to be almost glowing for this quote. Also, I added a very subtle rainbow colouring to it too. I’m quite happy with this mandala, though some darker shading behind some of the parts, along with some subtle highlights, would’ve helped with the dimensionality of the design.

I didn’t hand-letter the quote; instead I used a clear and simple pair of fonts. I do want to learn how to create circles of typography; I think the quotes would then be more sympathetic to the circular geometry of mandalas. I’ll need a bit of time to play around in Affinity Publisher and Affinity Designer to see if I can achieve this. Mind you, I do need to practice my hand lettering a lot more too.

All the same, I’m still happy with this design. The lettering will do – for now.

I always enjoy drawing mandalas, and it’s nice to revisit the line-art style of mandalas with lots of intricate patterns in them once again. They are so delicate, airy, lacy in feel compared to my more arty, abstract, coloured mandalas. They’re also a lot quicker to create!

An Entangled Sunday

An Entangled Sunday ©Angela Porter | Artwyrd.com

Yesterday evening, I took a combination of Tombow Fudenosuke, Sakura Pigma Micron and Faber-Castell Pitt Artist pens to a 6″ x 6″ piece of Strathmore vellum surface Bristol Board. I ended up with a black and white entangled drawing. This morning, I scanned the image in and added a kraft paper background and then some subtle shading and highlights in Autodesk Sketchbook Pro.

After Inktober and my focus on digital art, it was nice to draw traditionally for a change. My mood and energy levels were such that I needed to slip back into the familiar, comforting entangled style of art to soothe my emotions once again.

This drawing worked out OK. However, I don’t feel it flows at all well, though that does reflect yesterday’s mood and mindset.

The part I really like is the rectangle towards the bottom left. I’m also fond of the arcs to the right. Actually, I like all the design elements, I’m just not happy with how they’ve been lumped together. Maybe I’m just being overly self-critical here.

It’s a sunny Sunday morning in the Valleys of South Wales. I think it’s going to be a quietly artsy day, with a trip out for some essential groceries in a short while I think.