I’ve made the switch to hot-press paper. Having conversations with other artists and looking at their process, it was time to switch over and give this paper a try. I think I’ll always prefer cold-press; the texture and depth of colours you can achieve is much more satisfactory, but alas the scanning results in my opinion are rarely so for displaying work online (especially for more illustrative pieces).
Stock piling and clutter in both art and life is not something I’m keen on. Something I’ve had to reconsider during this pandemic. Luckily I had enough supplies until shops opened up again, but what I didn’t have on hand was hot-press paper. A month back, the only shop that had any in stock here in Toronto was Deserres. 4-5 ‘misroutes’ with Canpar, emails & phone-calls back and forth with both companies, and I finally had my paper arrive in a bent cardboard box. …I don’t know if I was more surprised at having received my shipment at all, or that the paper had somehow survived with minimal damage. Yay to Canadian postal service. 👍😑
New Vision for Ventress
I chose to test out Fabriano’s Artistico Hot-Press Watercolour Paper. I would suggest everyone do a little test run before starting a new piece, but seeing as I didn’t follow my own advice it seems a tad bit hypocritical to say so. 😅 After success with this paper and seeing that it wasn’t a waste of money, I’m eager to try out Arches‘ (pricier) paper as well. I had little to no warp with this one, although I’m suspicious of my 3m masking tape playing a part as well. I don’t put down a lot of heavy wet washes either, so I can’t say what the result would be for those of you who like to do so. Again, do your tests!
I suppose it’s no surprise I’m doing another Star Wars related piece. With the last season of The Clone Wars finished and looking forward to both Season 2 of The Mandalorian and The Bad Batch, my head is constantly buzzing with ideas for artwork. I’m keeping my fingers crossed for Dave Filoni to continue the stories of SW Rebels characters, and that of Ventress in future animated projects. I had hoped to see more of her life after serving the Sith and her new missions as a bounty hunter; even more interactions with Boba’s team perhaps.
Keeping the bounty hunter theme in mind, I wanted to soften Asajj’s look by giving her hair again (drawing on the flashbacks of her lavender hair as a child), as well as changing her usual Sith attire to more of a civilian one. Taking liberties of course from the original art & design, I played around with additional Sith corruption marks and tried to include references to her Dathomirian heritage with things like beaded necklaces, and of course some elements of witchcraft & necromancy. This was a fun little side project to work on, although personally it’s always nerve-raking to mess around with original visions of any series.
As a promise to myself to improve my figure drawing, (the male form in particular), I was surprisingly satisfied by the end of this piece. My current displeasure with my work was that there was something off about how my figures in my watercolour paintings were looking. There was a flatness that I didn’t really like, and really wanted to improve on. Therefore I went back to the basics with graphite. Obviously a much more forgiving medium, it gave me the chance to really analyze what I was missing in how I presented the male/female form in my work; taking a slower pace, and building up each layer with shadows, highlights & textures. I think the next step will be to play around with much more dramatic lighting to add more dimension to faces and figures.
It was also really fun to play around with some of the graphite shavings/residue I had saved from sharpening my pencils. So do save them if you sharpen your tools with a blade! 🙂 Although scanners don’t do a very good job at picking up the subtleties in traditional work, I hope you can at least see the attempt to create more solid black planes. I’ve wanted to incorporate this technique for a while now, without using black paper or ink washes. Although easily created (as seen in the halo), there will inevitably be a visible texture no matter how dark the graphite. So this technique was quite interesting to try out, as well as figuring out whether I like graphite better on white or tan-toned paper. The verdict’s still out on than one.
It’s been fun to do a few smaller works these past few weeks. I’ve added 2 new drawings to the shop section, so if you’re interested please do check them out under ‘Minis and Postcards’. As always thank you for your support, and feel free to contact me for any further info on originals. 🙂
Latest painting for June, Emissary. Although I’ve found a style that has comfortably worked for me over the years, I’ve really had this urge to push myself further. I’m sure other artists have had such instances; not necessarily criticism or even a need to changes one’s style, but a nagging unsatisfactory feeling. The frustrating part is that you have it planned in your head, but the execution isn’t necessarily as forthcoming on paper. If you follow me on Instagram, you’ll have seen that I’ve fallen back to the sketchbook many times. I’ve felt my figures were in dire need of improvement. Although I’m not a realism painter by any means, I’ve felt the lack of substance in the forms I’ve drawn/painted lately. Here’s hoping to improvements in the next pieces. 🍹
Although my head’s buzzing with ideas at the moment, this month has been rather slower than I would have liked. I had been struggling with the usual artist block, which returning meant too many ideas all at once. 😫
In hopes of improving whilst simultaneously creating new artwork, I’ve decided to do a bunch of these mini drawings. Keep an eye out in the shop if you’re looking to purchase any of these upcoming small originals. 🙂
It should be noted that procrastinating on art supply restock is never a good thing; which I’m learning all too well at the moment. I’ve shared a few snaps on the process of creating this piece below (at least most of which I remembered to do as I was painting).
prelim to painting.
The current situation with the virus and limiting shopping/delivery on art supplies of course doesn’t mean an end to creating work. It is indeed a very first world problem, but an annoyance nonetheless.
I’ve been trying to return to the habit of using preliminary drawings more, and then using a method of transferring onto watercolour paper. As I’ve been trying to improve my figure drawings, I’ve noticed that my watercolour paper does tend to get a fair bit of damage from erasing and redrawing. The fact that this can happen isn’t new too me, but in all honesty we all get lazy at times.
Happy with my drawing, I scanned the work and got ready to print. If you’re interested in the method I use, you can also check out Cynthia Sheppard’s video here, where she shows how you can go from your drawing to painting. I then realized I had run out of printer ink, as well as any graphite transfer paper…Time for the old school method. I’m talking about what we did as kids, taking graphite and going over the back of a sheet of paper covering it entirely, and then placing your drawing over it and tracing over that. Its the same concept as the ones you can buy at art supply stores. I’m a bit conservative with wasting graphite however, so I usually tend to fill my ‘transfer paper’ only on the areas I know will have outlines. Often times there’s no need to have whole sheet covered, you’ll probably end up with graphite residue on a perfectly clean watercolour paper.
Once the drawing’s been transferred there’s only one thing left to do, paint! 🙂 I didn’t have the same issues I did with my Sparks of Rebellion piece; again because I removed a lot of the surface on the watercolour paper during preliminary drawings on that one. This piece was mainly in watercolours but to get a more smoother gradient on the background I opted for some Faber Castell Polychromos, and acrylic paint highlights.
If you’ve followed the progress of my latest painting (Sparks of Rebellion) on Instagram, I’d say you already know all about my displeasure of it. But let’s start with the positives shall we? I had (in my opinion) a rather successful sketch period following this meltdown. I needed to figure out what went wrong with my painting, and I would say some things became more clear. If nothing else, the prelim. work behind the painting was one of my more enjoyable ones.
What I had excitedly envisioned for the finished piece got ruined within the first few seconds of the initial wash due to…..a brush, that required more extractions of bristles off of paper than I’ve had to do. Lets say that brush shall not haunt mine or anyone else’s dreams ever again. As the painting started to develop I also began to notice more errors in terms of figure/ form, etc. Unnoticeable to the audience perhaps but as artists will know, GLARING for us. Frustrations piled on, this painting was beyond ‘fixing’ at a certain point. With a bit of help with some coloured-pencils it regained the status of being presentable. In conclusion, more discipline I’d say on checking my tools, testing colour comps. thoroughly, and most important of all, triple-checking line-work/under drawing. Mirrors and views from a distance are once again my best friends. 😆
WIP and planning stages: the parts that were the most fun for this piece.