Looking through some of my older pieces, I’ve realized this painting among a few others, have not yet made it the blog. This was done in October of 2022, as part of an experiment to see how my paintings could translate into bookmarks and other smaller products.
Laying down the first few watercolour washes over the pencil line-work.
I knew what I wanted for the concept of this painting, but was forced to work around the other design elements; such as the Celtic knots & negative spaces, which would work well for the composition of a bookmark design. The goal was to create a piece designed specifically for the dimensions and purpose of the product, rather than have one of my paintings slapped onto a bookmark template. I haven’t had many opportunities to work with graphic design, so I’ve been experimenting with creating pieces specifically for certain formats and hopefully other materials too.
I had the immense pleasure of opening my copy of CODEX: Obscurus this week. This was an artist collaboration of ‘witchy’ and occult themed artwork produced by SPIRIDON. The book itself is quite hefty, and I’m especially loving the texture on the cover and back ̶ not to mention it’s glittery and gold. Each artist has a page dedicated to their work, so you get the enjoyment of seeing the work in proper scale (no small/quarter images). On top of that you have the talents of Viktor Pushkarev with all his lettering, graphic, and calligraphy work. I’m now on the hunt for a vintage frame for his lino-cut print. If you’d like to see some more of his intricate-designs, his contribution to Alex Konstad’s Artbook, Obliskura is a good place to start ̶ link here (you’re welcome…it’s mind-blowing).
If you missed out on the original Kickstarter campaign, I believe there are a few copies of just the artbook itself out there for purchase from Liber Distri.
Starting with some brief thumbnails in the sketchbook. Going through Nalini Singh’s second installment in the Psy-Changeling series for some inspiration. Admittedly these tiny drawings look like a bunch of chicken-scratch, but the ideas are there I promise.
(below)
Starting the preliminary drawing on a sheet of vellum/drafting paper.
Taking the finished line drawing and creating a simple lighting/value study on Paintshop Pro.
Drawing in Progress
Line drawing transferred onto a sheet of Strathmore Bristol paper, followed by light applications of graphite; slowly building up to the darker values.
For this drawing I wanted to incorporate little things here and there from the show. I’ll avoid listing them all out, so as to not put out spoilers for those who have yet to watch the series or read the books. A side note ─ drawing skulls, bones, and such don’t bother me. I’ve got so say however, that I’ve never been more troubled by nature than while studying Snapdragon seed pods.
Killing Floor, graphite & white colour-pencil on paper.
Hunter, graphite & colour-pencils on paper, 8×10″, 2021
BACK TO GRAPHITE
I’ve taken a little break from watercolours again. This one being a more fun personal project, taking a character from author Nalini Singh‘s work and imagining it into a more illustrative piece.
Starting off using the same technique from my last painting (Banshee’s Wail), and layering the preliminary drawings so they are ready for the transfer stage. This time around I wanted to play with more dramatic lighting, as I slowly get more comfortable with it. I decided to do some simple black and white lighting samples on Paintshop Pro. It’s not a really an in-depth study; more of an assurance, so that I don’t desecrate the drawing when I work graphite powder onto the paper. Speaking of paper, I’m using Strathmore’s Bristol 100lb. (270 g/m2) in Smooth Surface. I’ve used both the vellum and smooth surface sheets from Strathmore for many years now, and I usually shift between the two if I want more texture or not. I tend to shy away from more textured paper however, because I like to scan my pieces for digital use.
I use graphite powder for mainly large surfaces I want to cover. I don’t have any experience with any store-bought brands, so I tend to just use the saved ‘residue/remnants’ of when I sharpen my graphite (using the blade method). Using a tissue, I work it in to the paper ─ for this particular piece, adding in various forms with my Blending Stumps. I ended up feeling that the piece was a bit on the grey-scale of things; in which my usual work consists of some pure black elements for contrast, so I thought it might be fun to add some colour instead. Sticking to the paranormal and fantasy aspect of the author’s work, I chose to just focus on the eye with various shades of green colour pencils. Overall, a much needed casual and experimental project; although I never want to see leopards or spots again.
I’ve been meaning to get some new watercolour brushes, as the ones I’ve been using (although having served well for years) are fraying and/or have rogue hairs going in one direction. There are definitely a wide range of brushes out there (which was a tad overwhelming), but after watching some reviews by other artists on Youtube I settled for trying out the Princeton Neptune range. I went for the Round Synthetic Squirrel in 0, 6, & 12 (as they are the sizes I use the most) of the 4750 Series. I’m loving them so far, as the handles in particular feel more comfortable than my standard ones from Deserres or Curry’s.
Preliminary Drawings
I started out with my drawing on tracing paper, eventually transferring the finished product with a graphite backing and tracing all the lines and details. I was sharing this thought on Instagram as well but, does anyone else hate ‘transfer’ days as much as I do?! Recently I’ve been laying some scrap paper as masking (as you see on the right side), just so I have less graphite residue to erase off of my watercolour paper when I’m done transferring.
The finished drawing ready for transfer.
There’s no better feeling than finally getting to put pigment to paper.
You always feel ambitious with the thought of filling a piece with knotwork, until the realization sets in of having to trace said knotwork for a second time accurately. I cheated a bit with this piece as you’ll notice with my preliminary drawing as I drew in only one side; the other side was cheekily transferred by doing a mirror/flip transfer of the paper. I also decided to incorporate some cute little Robins as well; going on themes of death and souls (Robins said to visit people in grief and mourning) for this painting.
Revisiting Norse and Celtic knotwork; they’re differences and similarities are always so interesting. On that note, trying to to make life-drawing a little more interesting this week by incorporating themes from Hellblade: Senua’s Sacrifice.
graphite on paper | Strathmore 400 Series Sketchbook
As usual I started with a drawing on tracing paper, although you’ll notice I didn’t add the flowers. Sometimes with more simpler design details, I’ll go in directly to the watercolour paper. The drawing isn’t really meant to be ‘finished’, just the line-work (the simpler the better) so I can do a graphite-transfer onto the paper. I’ve also stopped printing my line-art/drawing, as I used to for transferring drawings. Personally, I haven’t been finding the need to waste more paper; a sharp pencil over the tracing paper drawing works fine. I’ll usually scan the drawing before I get started on tracing with graphite, so as to preserve all the lines I originally had for reference.
It’s often too hard for me to capture the transferred drawing on my watercolour paper. I’ve usually erased quite a bit of the graphite so it’s barely visible when I lay down paint.
Art of Shaima 