art, art media, color, illustration, painting

Watercolors and testing and pigments and inks

I’ve been doing experiments with watercolors…and, I think, I’m on the right track where it comes to what I want to be doing. I’m much happier with inks and wet media than with pencils (I still haven’t been brave enough to break back into the pastels, due to the dust factor). I’ve also been experimenting with inks and “transparent watercolors” (specifically the Ecoline brand, which I had been lusting after, probably for over a year).

The Ecoline stuff hasn’t been going wonderfully, but it’s good that I know that there are more suitable materials than this (for me) out there. I’ve been looking at transparent liquid watercolor (which I assume are aniline dyes) as a sort of middle ground between markers and painting. Right now, I think that’s pretty accurate, and is likely the reason why there are so many pre-mixed colors. I still haven’t extensively tested Dr. Ph. Martin’s Radiant Liquid Watercolor, or their Hydrus. At this point, I’m not entirely certain I will. These liquid things, I’ve read, tend to fade more easily than pigmented paints. Of course, that doesn’t matter if you’re working for reproduction.

If I do get back into comic, or, more pointedly: illustration work, the Ecoline is suited. It’s reliably transparent (at least, with the six colors I’ve been using), so any dark line work won’t become clouded by overpainting. (I also have tried Dr. Ph. Martin’s Black Star Hi-Carb India Ink with this, which I can get into later. Long story short: it works better with Ecoline than Blick Black Cat, due to the fact that Black Cat repels water and the Ecoline.) However, when using the Ecoline colors like regular watercolors, they are incredibly thin. I believe this is due to the amount of water carried in my brush — I didn’t dry it after rinsing and before dipping it into the dye on my palette, so the color became diluted.

I would probably want to use one of those palettes with tons of tiny wells (I should photograph this if I still have mine; I’m not sure if my meaning is coming across) if I used this for illustration work, as well: the “liquid” part of this means that the dyes really…they really get messed up if one is dipping around and mixing colors, and rinsing the paintbrush and not drying it off afterward. Worse so, than regular tube or pan watercolors. There’s just no going back once you get cyan in your magenta. It just isn’t happening. :) Just kiss that magenta goodbye and say hello to violet. Seriously.

That may, in fact, be why the Ecoline watercolors are so varied as to the formulations in their bottles: they may be more of a pain to mix than bargained for. I am, however, now curious about their effect if used as drawing inks…I have a couple of old bamboo drawing pens which I can try. Of course, though…at least one is stained with sepia. I’d probably want to separate out what I dip that pen into.

So, right now, the back-to-school sales are in effect; I used the opportunity to purchase a high-end palette (which I’ve wanted since at least 2016) at something like 60% off, which…I mean, it’s nice, but do I need it in addition? I’ve been using a Mijello palette recently — it’s where all my dried paints are — and have found that the position of the paints may not matter as much as I thought it did (so long as I know what went, where). It’s also nice to have a well that is at least 3/4″ wide, as I can fit a wide wash brush in there. Comparatively, I’d have to get an empty full-size pan to do the same, and I’m not convinced the experience would be similar, due to the corners and depth of standard pans.

Have I just grown to appreciate the Mijello’s pan design over the organization of my colors? Possibly. It helps that I haven’t painted en plein air in a very, very long time. However: the design of the Mijello also keeps it from being convenient as a plein air palette, so it’s like a, “chicken or egg,” thing.

Of course, if I take out the Winsor & Newton (W&N) Burnt Umber rock which keeps knocking around in there and getting dried-up Burnt Umber pieces in my precious clean yellows…it is likely to be more appealing to use. W&N Burnt Umber separates from its well after it has dried and rattles around inside the closed palette, hence why I call it a “rock.” I hear that Viridian does the same thing (which is why I have four different versions), though I can’t remember if it has yet happened to me. It would have been in a very old palette, like my Mijello Silver Nano. I discovered that having wells on the roof of a palette which is bordering on non-stick (it’s anti-microbial, hence “Silver Nano”), doesn’t work that well.

Recently, I was able to obtain a Da Vinci Cobalt Blue which disperses much better (to my tastes) than the Winsor & Newton Cobalt Blue I had before, which had basically made me not want to use the pigment. Like at all. Or ever again.

The Da Vinci Cobalt Blue, though…when mixed with Ultramarine Violet or Ultramarine Pink, it makes really lovely soft violets (and I rarely use the word, “lovely”). These violets are much softer than Dioxazine Violet, which is so powerful that it can be difficult for me to use.

I’ve just now discovered the Da Vinci paints. I’ve actually…just recently realized that it isn’t to my benefit to have brand loyalty where it comes to any one tube watercolor manufacturer. Paints vary in quality, but they vary within paint brands — like M. Graham & Co. Ultramarine Pink vs M. Graham & Co. Viridian; not to mention between lines within brands — like W&N Cotman (student grade) vs. W&N Professional; as well as between paint brands, like Sennelier vs. Daniel Smith vs. Da Vinci.

So Da Vinci and Daniel Smith could both put out their own versions of Viridian and Prussian Blue, and one may judge the Daniel Smith Prussian Blue to be far superior to the Da Vinci (or indeed, any other Prussian Blue one has tried), while the Da Vinci Viridian is far superior to the Daniel Smith Viridian (or any other Viridian one has tried). I don’t know exactly why this happens; I just know that it does. But one of my artist friends did tell me a while back, that paint consistencies differed, depending on the pigments in them.

So…I am not certain there is any way to really tell what paints one likes, other than trying them out. I did go and buy like four different types of Prussian Blue and Viridian from different lines, so I indeed can (and likely should) show you my results. Viewing that may save the reader here money in the long run, though unfortunately, I didn’t check for blogger reviews of these paints, before going out to try them. So now I have like three extra tubes of each color, having picked out the paint that I love the most.

Unfortunately, I still don’t know how to record and upload video, so I can’t show you how the colors race away from the brush (wet-in-wet) with each of the colors I like. That doesn’t happen, with the others. It’s something I look for, which doesn’t happen predictably; and I’m not even certain yet if it happens repeatably, with the exact same pigment, manufacturer, and paint line.

I should send the other paints on for re-use. After I record my experiments, and make sure I have all my names in order. I’m sure that someone is going to appreciate the fact that they’ll be able to at least try out the paints for free. It’s not like they’re awful or unusable; they just aren’t things that I prefer. Having good paints just greatly enhances the experience of painting, for me.

I’m also getting more relaxed around the toxin factor of working with these paints. I just need to keep myself clean, and I’ll be OK. Today I went and replaced an Aureolin (Cobalt Yellow) despite the fact that I know it’s very toxic, because nothing else I’ve tried, mixes greens quite like it. Of course, I know there must be at least 9 or so different commonly used chemical formulations for yellows in watercolors. I assume they all have their own different mixing properties (and precautions…which is why I don’t use Nickel Azo Yellow — I’m already sensitized to Nickel).

There is also the fact that I’m using Chromium colors as well as other Cobalt salts, in other places in my palette. Both Chromium and Cobalt are heavy metals, and toxic. I have historically stayed away from the Cadmiums (generally red through yellow, though I’ve seen “Cadmium Green”), though at this point I might be getting a little less paranoid about them. Basically, any heavy metal salt I can absorb through my skin (that is, any water-soluble salt with a heavy metal component) is something I don’t want to deal with. Something I have to ingest to be poisoned by, though? I am a clean person to the point of dysfunction. And I have at least one nail brush. I’ll be fine.

I also spent years trying to find suitable replacements for the Cadmium family of pigments, which led me to the Pyrrole colors (these can be genuinely awesome, though inconsistently named [“Pyrrol Scarlet” and “Scarlet Pyrrol” are two different pigments — and two different hues — in two different brands]) and the Hansa colors (M. Graham’s Hansa Yellow is still one of my favorite paints). But I’ve spent, literally, years talking about Cadmium-based paints…right now, though, I feel like I should do more research before getting back into the whole paranoia thing I had before.

It’s kind of like, if you know what it does and how it gets into you, then just don’t do things that would let it get into you. This is why I have been wary of the pastels: it’s much harder to contain dust. I think it’s also why I’m getting better with the paints: at least with the paints, nothing gets airborne or ground into my skin. Also: paints are mixable. And the essence of paint, for me at least, is color. As someone who is enamored with color and has been frustrated with contact points which I can’t change, it seems to be a good medium.

I mentioned the Dr. Ph. Martin’s Black Star Hi-Carb ink, earlier in this post. It’s…really, pretty great. Waterproof, doesn’t move under water or Ecoline. (I didn’t care enough to try Copics.) It also doesn’t repel Ecoline, which is what the Black Cat, did. I haven’t yet tried it with the tube watercolors, and I’m seriously not even sure that I should…but if the goal is to do my own thing with the art (and stop deprecating myself for not being like other artists), I might try it.

In the coming days, I’m hoping to get some of this stuff photographed or scanned so that you can see what I’m talking about; just words, can’t get everything across. In particular, I should show you those Viridian and Prussian Blue tests, though I’m going to do them over again. And no, it will not be on Arches paper. ;) Though I have some, now. I have some, and I have realized that it’s worth working with correctly, so I got some kraft tape and a soaking vat and some sponges and an impermeable board, to properly stretch the paper. Time to get serious.

Disclaimer: No one paid or otherwise compensated me to write this. I got nothing free. What you do with this information is your responsibility, and I gain nothing personally from it.

art, art media, comics, drawing, illustration, writing

The Neurotic Artist *shudder*

Well…let’s see. I have been able to play around with markers, a bit…though I still haven’t thoroughly tested them out on anything. What I have found is that Strathmore 300 Bristol Board (Smooth Finish) works well with Copics — though I actually found that out prior to trying it, by watching Youtube videos. :) Those things are fun.

The Bristol board is basically absorbent, which I think works in favor of blendability with these markers. I have also observed, however, that there is a color shift between the times the paper is saturated with ink, and the time at which the solvent has evaporated off (it gets brighter). I also have Fabriano Mixed Media paper, which is heavy like Bristol board. From a short observation, it appears…well, the colors appear brilliant. I had been using Bienfang Graphics 360 Marker Paper (thin and translucent), for what I had been doing in my sketchbook. That is, draw in pencil roughs, overlay, draw in inks, photocopy, color.

I…have not seen what the underlying drawing (beneath the Copics) actually looks like underneath the Bienfang, though! I wouldn’t be surprised if it were unusable as a rough sketch, at this point: Copics bleed. Seriously, they bleed. Not so much to the side (like Chartpaks, which dependably spread so that you learn to color a couple of millimeters inside the lines), but down into the paper. So if the ink got underneath that marker paper…even though the marker paper is supposed to discourage bleeding…it could seriously mess up an image (which I thankfully didn’t have to deal with, the last time I used this workflow).

The obvious answer to this is to take up and reposition what is — in effect — the cel, before coloring it, as the pencils basically serve as a backup device if the inks go awry. If the inks go fine, the photocopy of the inks serves as a backup device to coloring — in case something gets messed up in the coloring. There’s no sane reason to leave it taped down so that the pencils get ruined by the markers, except that the aesthetic of the pencils showing through, adds something to the piece. Which…would be for me, I take it, and anyone else who looked in my sketchbook.

Have I been doing computer-generated graphics for too long? I seem to have too many fail-safes in place. The answer to this dilemma in a CG environment is to save prolifically, under multiple filenames, so that if something gets ruined I have a backup copy of the last usable form. That…hasn’t been so much of an issue, though, at least so far (though maybe I should expect it to be an issue, then I can get back on with experimenting).


Anyhow…I do have a light box, which would be the step I would go to if I needed a new copy of the inks — on good paper. Not photocopying paper, but paper that is meant for markers. At this point, I don’t know how old the bulb is, in there, but it’s at least a psychological option, at this point. Otherwise, I’d be tracing off a window. (The sun comes up once every day…right?)

I also have a hypothesis about the function of storytelling: it enables us to practice psychological adaptation to presently unforeseen circumstances (or conditions) before they occur.


I know that’s random.

In any case…I’m curious to see what would happen if I did all this work on one surface (like the Bristol board or the Mixed Media paper). I haven’t yet attempted it, though the possibility is attractive for the reason that I could use limited amounts of wet media (watercolors, inks) on those surfaces, in addition to or in lieu of markers.

A very long time ago I had a vial of Daler-Rowney Pro White (an opaque white watercolor; “Pro” is short for, “Process,” like Process Cyan, Magenta, Yellow, or Black [Printer’s inks]; a.k.a., “Process White”), which I could never get open except maybe once, because the lid had cemented itself onto the jar. I got a new jar of this, though, which I can open, and this stuff — I know — is very opaque. It’s kind of awesome, but I haven’t used it, certainly, for years.

The upshot of using the heavier papers, though, is the chance to be able to add in opaque white highlights without being limited to a Gelly Roll pen or a fine-tipped paint marker (which have both been a little translucent for my tastes). White gouache also works, though I haven’t tried all of these next to each other to see which is best.

I should do that when I get the chance. Right now I have Holbein Permanent White and Zinc White. Zinc is more translucent than Permanent (Titanium), though I wouldn’t know that without having major troubles with Titanium White in a painting class (how to lighten a color without either greying it out and blocking the undertones, or changing its hue to lean yellow), which Zinc White would have relieved.

I…am aware, or am coming to awareness, that I now do have the option of taking upper-echelon Art classes…and paying for them myself (no FAFSA needed), and holding down a job at the same time. (It sounds crazy, but one of the upshots of my job as it stands, is flexible scheduling.)

In any case, I can try these both with brush and with dip pen, though I don’t know how adequately a dip pen will work with anything seriously opaque; nor would I know how to clean it out of any nib which consisted of more than one piece of metal (like cartooning nibs and some broad nibs). I’m thinking of trying something pointed, at first, just to see if it works, and how it works.

Other than that, I’m thinking this is a good place to leave off, for the night. I’ve got something coming up very soon, though I’m not sure about the amount of money I’m willing to put out for it. It is something I’ve been looking forward to, though, for a while. I’m just not totally certain of where in my self-imposed hierarchy of importance, it stands.

But hey, future me: if you find a strand of 8mm blue Apatite beads, get them.

art, comics, creative writing, drawing, illustration, psychology, spirituality

I can’t believe it. I used the Copics.

I made one illustration before midnight last night, and…it really surprised me. I haven’t been drawing in a long time, so to have something turn out nice is almost entirely unexpected — even with all that time I spent as a kid doing illustrations. It also helped to watch Supergirl and be able to study people’s face shapes, out of nowhere.

I did see it when I began to overwork my drawing. I had to rescue it a little with acrylic paint marker (insofar as that was possible), though I’m certain this wouldn’t work if I were working professionally (the white didn’t have enough coverage). I need to remind myself that I don’t have to go all the way from white paper to black shadows, or to let my logic-brain screw up my pictorial-brain’s work. I mean, I’m pretty sure they’re different brain regions, and my logic-brain wants to help (but it’s not always wisest in this area [even though it thinks it is]).

I’ve also got to remember that there’s always a next picture, and it won’t necessarily be worse. :)

I found that the Copic Ciao line that I had in Cool Grey was almost enough for the illustration I did, which is nice because the Ciaos are the least expensive of any of the Copic markers (not including their fineliners, which they call Multiliners). I also…realized that I may want to use Copic Multiliners regularly, as I’ve found the tips on Sakura Micron pens to widen (fray) with use, making the grading of their nib sizes misleading. I haven’t often used the Copic Multiliners, though, so I’m really not sure if they’ll hold up better over time. I do think, though, that the Multiliners get finer than Microns run (either that, or my tiny Multiliners are drying out).

What I do know is that Copic does have a line of refillable (not disposable) fineliners (Multiliner SP) which allow replacement of the nibs. That…is attractive, especially as I know how a fineliner with a broken nib works, and also what happens when the pens get old and dry out (and then I have to throw them out and get new ones, which isn’t very environmentally-friendly).

After having watched some of an episode of Long Island Medium which caused me to remember a story I had forgotten, I have gotten back to doing comic art and taking notes on story. It seems I also have a relatively good workflow going on, which caught me off-guard.

I’ve begun using a sketch journal, and — another surprise — I’m liking it. That’s also unexpected — in addition to needing: scissors, narrow washi tape, translucent marker paper, a copier, (just) a 2B pencil, an eraser, and a glue stick. (Well, I didn’t really need the copier, it just helped give me permission to work and possibly mess up my drawing. Having the extra copy made it easier to keep working.)

What I did was draw in my pencil art (outlines), then tape a piece of marker paper over the top, work through that paper to lay in my inks, take a photocopy of my inks, then lay in greyscale markers for value rendition (lightest color first), and work over the top to regain lost highlights with opaque white acrylic pen (not opaque enough). Then I glued down the photocopy of my inks without marker, on the facing page. (In the future, I might want to deal with this on Mixed Media paper — after I have the confidence to know that even if I do destroy what I’ve done so far by working further on it, I’ll still be able to work the drawing over again.)

What I didn’t realize until last night is that if I’m working through both marker and sketch paper, these two together are enough to annul the bleeding of the Copic marker (which normally will leak through a sketchbook page, fairly immediately). That’s basically because the Copics are alcohol-based. All of the solvent-based markers I’ve ever used (as versus water-based), have immediately soaked through most papers. That includes alcohol and xylene. There are also oil-based markers, though I only got one of those to work one time, on one project (I was drawing with an oil-based Sharpie on some sort of plastic sheeting, and couldn’t get it to work at any other time).

The narrative I remembered likely explores the main reason why I stopped writing fiction. Looking back on it, I just overthought things and freaked myself out to the point that I couldn’t tell the difference between imagination and reality, or between intuition and my discursive mind running amok. Because of this, I think, it has been quieter: if I were a spirit and was just confusing the heck out of some kid by communicating with her, I might withdraw too (even if I did love her, and at this point I have some clue of who it is I’ve been dealing with).

So when a person is dealing with energetic sensitivity, the conflict of not being able to distinguish between fantasy and reality can be amplified. The task arises of needing to tell an inner narrative, fantasy, anxieties, desires, and insights apart from an objective reality containing things that one may not understand, and which most people can’t make sense of.

And then, yeah, there’s the question of how I get that into a fictional format, in order to release myself from the constraints of memoir. Even as much as I know it isn’t my job (or possibly obligation), I think I do have some reservations about causing others to, “lose face,” though I didn’t think about it in that way until recently. In that sense, I mean, it could be a cultural thing where I’m uncomfortable telling the world about the faults and imperfections of people around me (although I’m sure it would be apparent that I’d also be showing you mine, as well: the difference is, it’s my choice and my business if I do the latter — the former is much messier).

I also don’t have to be sure that a thought is true before writing it, if I’m writing fiction. Which…may be part of the reason any fiction exists?

I don’t have any scans for you today. I’m still trying to figure out what degree of anonymity or exposure I want, online. If I showed you what I drew, my style would be recognizable across handles. There is also the issue of First Publication Rights…which makes writing for print publication different from writing on my own blog (unless I self-publish a web series or something…I’d rather do print, honestly).

Right now what I’ve got is just practice, so it’s not really a big thing. But as a bottom line, putting something on the Web means I lose control of it. I know that from having published images online, before, so this time around I’m being more reticent and deliberate.

The Web can also be a very strange place, but I’m sure we all know that. :)

creative writing, graphic design, illustration, sequential art

underlying components of good character design vs. good writing

This is just a note to myself as regards the graphic novel issue.

I’m not entirely certain how deeply I should get into this, but I happened to check out a copy of X-Men:  Eternals a while ago.  Attempting to read this made it clear to me why the X-Men movie series was so heavy-handed and apparently one-sided.

I don’t have a great amount of literacy in graphic novels — I can recall reading Bone and Blade of the Immortal; and Generation X before the franchise-wide reboot of the X-Men series (which really ticked me off), plus a couple of more mainstream Japanese things like Fushigi Yugi (which I didn’t particularly enjoy, much as I didn’t enjoy Tenchi Muyo! [though I only saw the latter in anime]) and Neon Genesis Evangelion (which I got into because of the anime).

Then there are the series which I picked up even though I was at the time fairly illiterate in Japanese, like Inu Yasha and Bastard!, along with Yuu Yuu Hakusho (the flame-like banter in which I was not entirely aware of, until I happened to read some of it in English translation), and which I incidentally only got into because of the doujinshi (and because I was at the time learning to read Japanese).

What I’m thinking is that the same traits which can make a person a great character designer can also cripple them when it comes to good writing.  I’m not saying this is true across the board — it’s just something which has come up in specific regard to my own trials with trying to script establishing scenes in “graphic novel” formats, and I see it reflected in what I read going on with X-Men:  Eternals.

If you’re designing a character so that all elements of the character attempt to describe that character in a visual manner, that is fine.  But reality doesn’t work that way.  In reality, the way people look does not always (I would say often does not) relate to who they are.  This may not be quite as easy to see when the makeup of society is more or less homogeneous.

But when you have multiple minority categories in a society, and these minorities have strength in numbers and voices in regard to their own portrayal, it makes it clear that the thoughts which come to someone’s mind because of the way people look is not equivalent to who those people actually are.  This is especially clear if you happen to be one of those minorities and you happen to see how people constantly misread you (in addition to misreading your family).

This is a way in which my own philosophy diverges from what I’ve seen…whether we are looking at older American comics or whether we are looking at the less-complex graphic novel material coming out of Japan.  What people look like is not equivalent to who they are.  Of course there are materials coming out of Japan which acknowledge this (for example, in Legend of Zelda:  The Windwaker, in which the fairy who accompanies you acts like someone who would ordinarily be drawn as a big, tough male character who had the burliness to back up his language — but this is used to [actually, quite delightful] comic effect).

What I’m trying to get across is that in a good piece of writing, it’s very often the case that characters are not one-sided.  Characters are complex and have many different layers.  They’re often not surface-readable — you don’t immediately know what their role is just because you can see what they look like.  In graphic design, and I believe likely in character design, the goal is the opposite:  to be able to look at an image and glean a more or less solid idea of the intended communication fairly immediately, just from the visual elements of the composition.

I am not certain how to reconcile these two perspectives, but I wanted to make a note of the conflict.

calligraphy, drawing, graphic design, illustration

leaning toward graphic art

I meant to make this post last night but somehow got sidetracked…

I tried experimenting with my NuPastels.  What it’s told me is that I probably don’t want to be working with pastels so much at this point in time.  My first mistake was using vine charcoal.  It’s been years since I used vine charcoal, so while I was expecting it to smudge, I wasn’t expecting it to have no adhesion whatsoever to the paper.  Which meant that when I was trying to blend colors with my fingertips, the colors kept becoming dirtied with the charcoal, and I kept wiping white areas into the drawing by touching the vine charcoal areas.

After I left the NuPastels for another time…I started drawing in large format with a set of graphite sticks I have.  I believe their brand is Cretacolor Monolith.  I was impressed with these — the tin runs from HB to 9B, and even the HB smudged well, and using the 9B and my Pitt 9B graphite stick (which is slightly closer to black), I was able to attain a good range of tones from light to dark.  Basically, white to almost black.  It was also easier to cover large areas of dark value easily, by using the edge of the graphite stick.  And then I could highlight with an eraser, as the graphite — at least the HB — is very easy to erase, even when used heavily.

Plus then there’s the point of the stick for drawing in detail, and I have a set of freaking tortillons which keep squeaking on the paper and not blending very well (though I did learn how to grind fresh tips on one of these, last night).  The thing I’m missing is my triangular eraser.  I have no idea where my triangular detail eraser went.

I did end up doing a graphic-novel-style character drawing…which is one of my fallbacks when I don’t know what to draw.  I need to work on things which are not people, though, really.  That factor alone is a big reason I haven’t been doing graphic-novel work.  (Though I probably shouldn’t go too deeply into that.)

After I had experimented on these two counts, I used a white calligraphy ink that I had stashed, on top of a rubbed-in charcoal ground.  The ink was very thick and very white.  I used the glass pen that my late grandmother bought for me, which I normally don’t use anymore, because the nib grinds down every time I use it.  But the upshot is that it’s easy to clean — the nib is cylindrical.  I think, though, that that particular calligraphy ink might be best used with a brush, due to its thickness.  I didn’t want to use it with a metal calligraphy nib, because I didn’t want to ruin the nib.  (Calligraphy nibs are two pieces, and it’s difficult to clean the areas where the flats of the pieces touch each other.  I have a jar of Higgins Pen Cleaner, but I don’t know if it will work on an ink that may have some acrylic in it.)

But what that, and subsequent experimentation with a calligraphy nib showed me, though, is that I probably want to get back into calligraphy.  I should probably look for a better book on it.  There’s just a graphic quality to calligraphy that I really, really like.  I also wanted to note that I did also use my glass pen with Higgins Waterproof Black Calligraphy ink, which I believe is the blackest ink I have — and I really liked the results.  So I may be attempting to learn to draw with metal-nibbed pens in the near future.

Doing a quick search, I find a note from 2007 that says Higgins Eternal is fully pigmented ink, while the Calligraphy ink has dye…meaning that the Eternal is more likely to be lightfast.  I’m not sure that in the past I’ve run across a selection of inks where Eternal has actually been on the shelf (as opposed to sold out).

And at this point I believe I’m closer to an illustrator or designer than to a fine artist.  From my work yesterday it’s apparent that markmaking is one of the things I really find enjoyable, high-contrast markmaking in specific — which leads me to believe that drawing (markmaking) and graphic elements are one of the things that really get me going.  And calligraphy seems closer to graphic design than to fine art.  That, combined with my recent work with felt-tip pens and brush pens…also points me in the direction where it seems that I’m drawing with liquid media, not painting with it.

And that in turn really helps me narrow down my options to what I’d be most likely to enjoy.  And if we are loosely considering the possibility of one day going to art school (as I suppose could happen), it’s good to have some direction, prior to entering.

It was refreshing to be able to work on a large format again, and to be able to use my arm gesturally, and vary my grips on my drawing implements.  That’s something I’ve been missing while working in small-scale.  The work I did yesterday shows me where my interests lie, so I’m glad I did it.

drawing, illustration, sequential art, writing

minor update — overall, trying to work out how to express creativity

The initial reason I wanted to post here was to remind myself that the Pantone markers don’t smudge the Staedtler Duo brush marker I’d been using.  I didn’t try marking with a very light Pantone on top of a black Duo — not yet.  Major reason is that I don’t want to ruin my lightest Pantone.  But the Pantones are alcohol-based.  The Duos are water-based.  So it doesn’t seem to especially matter whether I ink first and then color, or color and then ink, as the solvents are different.  But I still have to really test that out fully.  I did also try using a (waterproof) Pitt brush marker for inking, and it isn’t as effective when it comes to variation in line width — or maybe I’m just too heavy-handed with it.

I did produce another image of a character I came up with a while ago; I was in the headspace of thinking about Sanatana Dharma while producing her image.  I have a working name for her now, though I probably shouldn’t share it, in case I start using it in anything that eventually goes public.  Before I get into anything else, I should say that I’ve had to hold the brush pens vertically to ink hair and to use the Duo for outlines.

I’m wondering how to balance out my creativity…to what extent I express what is going on in my mind — to what extent I draw and to what extent I write.  If I keep the story in my mind or if I draw it out or write it down.

I did find a copy of The Artist’s Way which I started looking over, though that is more of a course in reviving one’s creativity.  Apparently I got to the second section and stopped.

The other things I’ve been doing — I’ve designed an image for use as a stamp, and tried cutting it out of something which feels like a gum eraser.  I think it’s actually too soft to make a good stamp, as its surface rubs away too easily.  I can try with a larger image and my carving set from high school on something more like linoleum.

Then there was the drawing with the colored brush pens that I did while playing around on the phone, which more vividly resembles Graphic Design work.  But I’ve really got to go now — I can continue this later.

calligraphy, illustration, writing

notes on materials and recurrence of a beloved character

Just a quick post here, as I’m running a slight fever and should get some rest.

I did some sketches and writing today. The sketch I was able to ink was just in HB pencil and gone over with my black Riso marker. The felt “medium” nib was what I was looking for, if I was going to be making sketches to reduce in scanning, and wanted bold black lines. But the “fine” felt nib wasn’t all that much finer than the medium one. Alternately, the Micron Graphic 1 makes about the same line width, but the nib seems more fragile, and I don’t know if the color is as rich. I think the final factor in this will be which one withstands the alcohol markers the best, or which one I can reliably buy.

I also did some practice writing in a Faber-Castell Pitt brush pen, with very light pressure. I don’t know how the nibs are going to age, but fresh, they’re pretty good for lettering. Which I suppose is good when you realize that they aren’t what you’re looking for as regards hatching, or at the moment, for things other than lineart. I think I have a black one of these (which is a very dense, warm black), but I’m going to have to look for it. This one would also be good for lineart, as it makes a bold and somewhat variable line.

Other than that…I have a certain older (aged) character whom I’ve isolated my psyche from in the past. This was mainly because I’d become somewhat ill at ease with older characters seeking the attention of younger characters — and this judgment is based on a certain acquaintance I’ve (unfortunately) made in reality. Not to say that judgment is accurate. Today, after the last week of looking over sketches…I realized that being older doesn’t equate to being the …to be succinct, “dirty old man” that I’ve had to deal with in my life. For all I know, this character — the written character, that is — could be someone of my generation who is still alive in the future. Which gives a very different outlook on the concept of being aged.

The person I know IRL was shaped by his culture and time. I heavily suspect him of being racist and sexist (at the least — what I know is that he interacts with people based on what he thinks they are, which is based on their appearance), but this is something which occurs when someone is inundated at a vulnerable age by a racist and sexist and heterosexist environment, and never really has the insight to question the messages they’re receiving from whatever limited quarter they think is worth listening to. An older male who both has more insight (and wider range) than this one and who has been inundated in a different environment may turn out much differently. Which then means that they would conduct themselves differently, and they would have more options when it came to social settings.

Of course, this then leads to worldbuilding questions and alternate history or alternate reality. What specifically came to mind was the level of ease of physical mobility (allowing people to be exposed to other cultures, beyond just the “ooh that’s exotic” titillation that I suspect said acquaintance has felt, as ease of travel leads also to potential ease of immigration) and the level of ease of communication outside of one’s home culture (as via Internet or IRL social settings)…because I think that these are factors which allow a greater level of sophistication in social development as regards dealing with people who are different from oneself. And that’s something my character is really, really going to have to have in order not to become like the guy I know, who I perceive as being attracted to a younger person because of what he psychologically associates with her appearance (and additionally, because he can manipulate her without her full knowledge).

I’m deleting some contents here because they’re controversial and I don’t need angry comments. I’ll keep them for my own records — I know what I’m meaning to reference; it’s probable that the text won’t carry the entire message.

I drew this character again today — and felt as though I could make him anyone again — for the first time in months.