Sketches 3-7-12

I've gotten back into the habit of sketching since I don't have as much time to work on other drawings while I'm at college (I can't very well haul around all my supplies from 9-5 everyday!). I've been experimenting with all sorts of new media and tools, andI feel like I've really branched out a bit but at the same time, returned to my roots where I used to just sketch from imagination and draw all sorts of critters.

I have 3 sketchbooks going right now: a Pentalic Nature Sketch, Aquabee Super Deluxe, and the good 'ol Artist's Hand Book I've been working on for a couple years now. I'm using the Pentalic as a watercolor sketchbook, the Aquabee as an all purpose one, and the Hand Book for a bit of everything as well.

Mostly, I've been playing with Derwent Graphitint pencils. They're excellent sketching pencils and make a lively alternative to a plain graphite pencil thanks to the calm, subd color... it's not full-blast like watercolor pencils or colored pencils, and it handles exactly like graphite. When you apply water, it turns into something very much like watercolor. Some of the colors are not very lightfast whatsoever, but they're too pretty to not use. I actually bought a pencil in one of the colors, Juniper, specifically because it's a really beautiful purple color and I wanted to do monochrome sketches with it... its lightfastness rating is a 1, meaning it'll fade in under a year if exposed to regular light.

A flying squid. Used an ocean blue and chestnut Graphitint pencil.

Another flying squid in ocean blue Graphitint.

A cuttlefish in steel blue Graphitint with an ocean blue background.

A grackle, drawn with a watersoluble sketching pencil.

Blue jay, in those two blue Graphitints.

One of the mocking birds I've watched grow up by my house this year. This one was drawn with colors from the Graphitint 12 pencil set, used dry.  The colors seem to be very well suited to nature.

A tufted titmouse, the first thing I drew with the Graphitint set.

3 mushrooms from imagination.

A wasp and a carpenter bee, drawn in the Aquabee sketchbook, no less. Top was with a Derwent onyx pencil, bottom was with one of my old Sanford Ebony pencils. They don't make 'em like those anymore... I've heard the quality is very poor these days. I'm glad that mom got me a few boxes of them years ago.

As you may notice, some of these are on small cards. I bought a few packs of pre-cut Artist trading cards and have been using them for small sketches. Friends seem to love having these little cards as collectables or for bookmarks and whatnot.

Orange and Blue

I wanted to try the PanPastels out so I figured I'd try painting one of the other sky scenes to go along with the black and white one. Still haven't done much full-color painting of any kind, so this gave me a good chance to try that out as well.

I started on a white sheet of Pastelmat (which was intimidating, since I'm used to working on colored paper) and used the landscape set to rough in the background areas... pretty much everything got either a blue or magenta underpainting. Afterwards, I started working with both the landscape and dark shades set and adding in the shadows behind the clouds using the dark colors, then I roughed in the clouds with a couple shades of yellow pans. When I was satisfied with their overall shape, I switched over to the rest of my soft pastels and started adding in the upper layers: I was really glad to have the big 80-set of Senneliers here, since they provided most of the colors for the clouds. I used a Great American blue (called Neptune, love the color names for them) to add in the really intense blue color to the large areas of the sky... it almost exactly matched the actual color of the sky that day.

9x12" on Pastelmat.

Darkness and Light

I love this time of year. The weather's been cold but not freezing and there's a certain way the light falls when the sun comes out that results in some fantastic sky patterns. I've never really done any landscapes, much less skyscapes, so I figured I'd go all in and try something dramatic.

This is a view of the sky from my house when it was this brilliant orange and purple color last week.
Totally freehanded this one, no tools/measurements or anything... I don't know how well I could do that for a portrait but it was no problem with scenery.

The foreground scenery was drawn with a soft charcoal stick and the sky was done with a black PanPastel and one of those round sponges as well as the flat, rectangular sponge. I really like PanPastels so far.

9x12" on Strathmore 500 charcoal paper. I'm not sure whether to call this one a drawing or painting.

Figured I should give the Panpastel drawing set a go, this was done with the set of 10. I've never used these pastels or this style before, and I had no idea how the colors were supposed to be used together, of rolled with it and was amazed by the way they started magically coming together as I added the different colors in. I had no idea what the blue pastel was for so I just kind of started throwing it in wherever it felt right and I'm pretty pleased with the end result. It looks sort of like an oil painting, and honestly they handle and mix very similarly to oil paint except they're already dry and smooth.

Apparently the technique is called "colorism" when you use cool colors in the shadow areas and warm colors for the light areas. Too bad somebody else invented it first, because I'm digging this technique after having done so many tonal black & white works, it's really different and fun and refreshing.

9.5x13" on orangeish Fabriano Tiziano paper. About 2 hours.

Watercolor Demo

I wanted to make a blue painting so I figured why not record it as a live demo as well?

YouTube link.


8x10" on an Arches HP watercolor board. About 1.5 hours.

Me as Everything (pt.1)

Spiral



Lion


The Machine Spirit

A while back, I figured I'd try something different from regular self-portraits and start incorporating other elements into them. So the result is these weird amalgamations of me and various other things. They're kind of creepy.

The Machine Spirit & Lion are both 9x12" ink and watercolor paintings on Arches cold-pressed watercolor paper. The nautilus one is an 8x10" on an Arches hot-pressed board. Can't remember what all colors I used, usually it's a mix of Maimeri and Winsor & Newton. Mostly burnt sienna, cobalt blue, sepia, and thio violet.

I can't say enough good things about the Arches boards, they're the same great paper but mounted on an archival board that doesn't warp when wet, so it's more convenient than plain paper albeit more expensive per sheet.

Squirrel Demonstration

Did this one a while back, figured it would be good to post it here.

I stuck my camera on a microphone stand and recorded myself painting a squirrel in watercolor and condensed it down from about 3 or 4 hours to 11 minutes, which is still a good bit. About half a dozen colors were used: Payne's grey, sepia, Vandyke brown, yellow ochre, burnt sienna, and cobalt blue. Probably a few others.

This is 8x10" on Arches HP watercolor board.


Watch the video on YouTube

Nature journal

Ah, it's been almost a year since I updated this poor blog. Let's make this one a good one! I've done a lot of things in the past few months, mostly watercolor paintings since I can do those a bit quicker than drawings.

A while back, I found a cool watercolor sketchbook at Hobby Lobby for around $8... quite a deal, considering it claims to be handmade in India, 100% cotton, and archival. I can dig that.

Naturally, it sat around the house months until I actually picked it up and decided to do something with it.

I figured that the landscape orientation would work well for nature subjects, so I've been painting local birds that I see around the house. Usually I can snap a few shots of them with my camera while they're at the bird feeder but some of the common ones I could probably paint from memory.
All of these are probably a bit more work than simple sketches... more like small paintings, depending on how much time I spend on them.

This fellow is a tufted titmouse. It's painted with Payne's grey, burnt sienna, cobalt blue, and cadmium yellow, as well as black ink.

This is a nice female cardinal at the feeder. She's not quite as vibrant red as the male, but has a wider range of colors overall. I don't remember what colors I used for her, exactly, but a good bit of mixing was involved.

This is a proud, male cardinal! He was perched on top of the feeder and I've snapped many photos of him and his lady over the past few weeks. He's painted with cadmium red, burnt sienna, viridian, cobalt blue, and some black ink.

This is a juvenile brown-headed cowbird. This was the first one I did. I drew in the outline of the bird with an inkpen and painted over it... this one has more of an illustrative look to it.

Mark Harmon

I found three illustration board pieces that I'd cut up a while back and figured I'd make use of them.

Illustration board's not the most permanent medium (The paper on the Crescent 310 board I use is 100% cotton and acid free, but the gray-core board isn't quite so good.) but it works well for ink so that's what I use. I use a TON of water, and illustration board is the only surface that can handle it besides watercolor blocks. Clayboard would too, I suppose, but it's more expensive.

Crescent Premium watercolor board is the archival stuff: it has a white core. 

I took two scans. The first is about 1/3 of the way through, the 2nd is finished.

Mark himself is done in sepia ink. The background and shirt are black ink.

The wash method I use isn't exactly common. From what I understand, ink & wash was very popular earlier in the 1900s, but has become somewhat obscure these days. I recall reading about the technique in Rudy de Reyna's "How to Draw What You See" and thinking that it looked just dandy: thin ink with water and brush it on. How much more simple can it get?

The end result looks very much like a watercolor painting although it has very different characteristics:

• Ink thins with water but it sure doesn't lift like watercolor. Once a layer is dry, it's on for good unless you want to risk damaging the paper scrubbing.
• Ink handles a little differently. The vehicle for ink isn't gum arabic, so it behaves differently on wet paper. I can't describe it exactly, but if the paper is dry, it doesn't wander. It stays put exactly where you brush it. However, if there's a wet area nearby, you can count on that heavy ink you just laid down to go racing towards it and spread out. For fun, just wet a large area of paper and brush ink wildly throughout it. It spreads out in many interesting ways.
• It's very easy to layer ink. Since it dries waterproof, each layer goes on without disturbing anything else at all. This is an extremely useful property for tweaking gradients.
• As ink in a container dries, it thickens and becomes extremely easy to drybrush, much more so than watercolor. This is handy for adding texture to areas and doing hair, wrinkles, etc.

This is probably my favorite method of drawing. It's basically a western version of Sumi-e although I just use a cheap #6 white nylon brush, small script liner, and spotter. Drawing doesn't get much cheaper than that. I honestly believe even plain pencils would cost more in the long run.

I haven't seen it used much for portraiture but it works fine for me.

Painting 1

Oh boy, I always said it was a-comin': the day when I made the first "Painting" post. Yay!

As I may have mentioned before, I don't paint a whole lot but enjoy mixing mediums. This originally was intended as a quick and to-the-point monotone watercolor painting in sepia; however, I completed the painting and figured I'd add in a few details.

So I whipped out the pastel and charcoal pencils and went to town on the painting. I always liked to use charcoal over ink for the textural effects, and it worked similarly here. There's actually quite a variety of colors here: about 9, I believe. I left them kind of subtle to keep with the original plan but I think they definitely add something.

The painting is on Crescent 310 illustration board. It's an okay surface for this sort of thing: not as absorbent as good watercolor paper (the water WILL run) but tough and it holds its shape well even under my "soak it" approach. Crescent recommends it for pencils and not wet media but it is a multi-purpose board, so there you have it.

*UPDATE*

Added in a background with some sort of brown paint that was on my palette mixed into a bunch of Cadmium Red.

Sexy.

Watercolor Swatches

Tonight I took the time to make color swatches of the 19 watercolor paints I have.
Make sure to view the full size image.


I labeled the brand and color beneath each sample, although my handwriting never improved past about a 2nd grade level, so if you can't read any of them and want to know, just ask.








My oldest paints are the Winsor & Newton Cotman paints, a student line but they seem to be of fairly good quality and have some nice colors. I've done at least a dozen ink and wash paintings using only the W&N paints you see here: earth colors. They work well together and are great for sketching/painting landscapes and fall scenery.

The Van Gogh and Grumbacher paints are also student paints that I pick up sometimes at art stores when they're on sale. You can find them extremely cheap and they seem to be very good paints for the money. For around $2, I can't find anything to beat them for cost/quantity/quality in a student paint for sketching or adding color to ink drawings.

I really like the Maimeri Blu paints. Their Cobalt Blue is completely awesome even though it's really expensive, and their Cadmium colors are very vibrant, the only fault I have with them (Cadmium in general as a watercolor pigment) is that they are so opaque. That does have its uses, though.
The blue is a bit grainy but really potent, it mixes up some nice purples or greens with ease.
The earth colors are good. I strongly recommend you at least try their blues and siennas. From what I've red, they make some good violet colors as well.
Viridian is a nice sea-green color and I've found it useful for painting plants.