Stepping up your Sketching + Gouache Process

I love looking at other artists' sketchbooks, whether in person or online, via social media platforms like tumblr or instagram.  Sketches give a unique look into an artist's thought process and method.  While some sketch in pencil, many more take their sketches to the next level with ink+brush, gouache, or charcoal on toned paper (to name but a few).  This change in media may seem small, but it can have a huge impact on your sketches and really take your "silly doodles" to the next level! 

While cultivating a portfolio, the goal is always to make your work look professional (fake it 'til you make it, right?).  And with social media becoming a larger and larger part of marketing and making connections, it's important to carry that professionalism over into the sketches and "rough work" you show too.  Sure, your lines can still be loose and messy, but a simple change of medium can help your doodles really shine. 

Lately I've been doing more gouache sketches.  These quick and simple paintings help me focus more on shape, color, and pattern since I don't use any line work etc.  Below is a step-by-step look at the process I use.  For this painting, I used acrylic gouache, which dries quite quickly, forcing me to work fast and really commit to the colors and shapes I put down. 

1.  I start off with a wash of aqua for the base.  Some artists prefer to put down their sketch layer first and then seal it in with a very light wash, but since I'm using opaque acrylic gouache, I decided to put the sketch on top of the color once it was dry.  This aqua is actually straight from the tube, which made it easier to clean up edges/stray marks at the end.  While I rarely use color straight from the tube, I take exception when I want a painting to be A) extra colorful/bright or B) fast.

I keep my sketches minimal and very light--blotting them with a kneaded eraser so that they're barely visible.  (This comes from working primarily in watercolor, where you want your sketch to be so faint it's almost invisible.)  Also, if you have too much graphite in your sketch, your paints will pick up its grey pigment.

2.  Starting with the objects in the very back of the painting, I start to block in the colors.  I decided to have the pineapple be a gradient of yellow to orange/coral so that the light-colored dole whip (the midground) would stand out more.  Since I'm painting yellows/oranges on blue, I had to use a few coats to get the color pure and not so muddy looking. 

3. Start playing around with patterns/textures for your background object(s).  Remember that it will be easier to experiment now, before you paint the top layers (in this case, the bird).  Then I block in the dole whip with light, buttery yellows, starting to get that swirled look with my brushstrokes.

4. Add more detail to your midground (dole whip), and then block in the colors of the foreground (bird).  As with the pineapple, since I painted a white bird on a blue background, it took several coats to get the color bright and pure like I wanted. 

I also gave Miss Birdie an eye, because I find it much easier to paint things that "have a soul," so to speak.  People/animals/etc. really come to life once you give them eyes; it's usually at this stage that they'll start telling me who they want to be, their personality shining through with every detail and line. 

5.  Almost done!  The more I paint Miss Birdie, the more I come to understand who she is, what kind of personality she has.  With each pass, I add more detail to the painting.  Remember that detail, like color, can draw your viewer's eye to a certain spot, so try to focus it wisely.  Here, I use it to point to both the bird's face and the dole whip.

6.  All finished!  As you can see, I changed my mind a few times before I arrived at the final painting.  Namely, changing the texture on the pineapple and having the birds feathers all separate from the body.  The nice thing about acrylic gouache is that, like regular acrylic, you can simply paint over mistakes and keep going (though the paint builds up rather quickly, giving it a distinct texture, unlike acrylic, whose layers tend to lay smooth). 

Note: This image shows the colors more clearly since it's a scan, rather than a quick phone picture.

So the next time you feel like doodling, try adding color, or sketching in a new medium.  You never know what happy accidents you may find!

Brain vs. Paper: Getting Your Idea Down

So often, people tell me "I wish I could just draw my ideas, but I can't."  But the secret is: even professional artists often have a hard time getting the idea or image in their head down on paper.  After all, there are no USB cables to connect your brain to a printer, as tempting a thought as that may be sometimes.

Ideas and images that come into your imagination tend to be fleeting.  It's just part of their nature, I think, as it's part of the nature of creativity.  Like I've mentioned in the past, I like to think of creativity as a living, growing organism.  And like cats or small children, it never stays still for long, so you have to keep up with it, and develop a system for quickly capturing ideas as they appear.  Of course, this system with vary from person to person, so think of the guidelines below as a sort of starting place to play around and see what works best for you.  I've also found these steps to be helpful when trying to pin down on paper that elusive image in your mind.  And while here, I'm relating these steps to visual art, the basic principles can also be used for writing, music, dance, etc.

1. Get down the bones

Natalie Goldberg has a wonderful book on writing called Writing Down the Bones, which encourages writers to first get down the "bones" of their work, whether it be a story, novel, poem, etc.  The idea here is basically the same: start with the bare minimum.  Break out the ugly scribbly lines!  The messy blobs of color!  Some ways to get started:

(While I can't show you the full image, here's a snapshot to give you an idea of the sketch.)

• Make a rough sketch or gesture drawing.  It doesn't have to be pretty; as long as you know what you're trying to convey.
• Color block your image.  Just get down the hues you see in your mind, and don't worry about them working perfectly yet; remember, this is just stage one.
• Value block your image (like color blocking, just with shades of grey).  This works particularly well for people who tend to think in black-and-white or have an eye for dramatic lighting (chiaroscuro, anyone?). 

Each person has their own preferred method for doing this.  For instance, being a painter at heart, I work by color, so I'll start by painting large swathes of color either with watercolors or Photoshop (the latter is nice in that it's easily edited), or I'll sketch in very loose, messy strokes.  Again, don't limit yourself to only these methods: play around and just have fun with it, seeing what comes easiest to you!  Maybe it's making collages, or arranging tiles into patterns.  The most important thing is to keep it quick and dirty: getting the basics of your idea down in a couple minutes and in a way that seems natural to you.

2. Research

Now that you have the outlines of your image/idea down, you can breathe a little easier.  It's not going to float away into the ether, and now you have some time to develop it further.  Take inspiration from everywhere!  If you're starting an illustration, don't just limit yourself to art and photographs.  Go take a walk outside, read magazine articles, flip through a genre of book you normally don't read (I find nonfiction to be especially helpful for this), or just go people-watch at a busy coffee shop.  The point is to get your brain thinking in new and different ways and to shake up your perspective.  True, this isn't technically research, but think of it as mental stretching before you get into the thick of it.  Once you feel all limbered up, try looking up the following:

An inspiration board from a (still unpublished) project.

• When it comes to art, you can never have too many reference photos.  The best are the ones you take yourself (cell phone cameras are great for this, since you can capture interesting details/lighting situations/etc. anywhere you go).  Plus, if you're someone who tends to rely heavily on reference photos, using your own photos avoids problems with copyrights and intellectual property rights later on.  
• One of the most helpful things to me when I'm trying to get an image down is finding inspiration images.  Usually these are other pieces of art, maybe with a similar palette, or style, or even just a way of drawing noses that I like.  I collect entire Pinterest boards fill of inspiration images to flip through when I find myself stuck, but also frequently reference children's books, vintage prints, and museum archives (The National Gallery and Met have amazing online collections, as do many other museums). 
  
  3.  Go piece by piece

In Anne Lamott's book Bird by Bird (I really like books on writing, okay?), she encourages writers to take their stories one step at a time, and not get overwhelmed by the big picture. 
Most oil and digital painters work through a similar method: they start with very loose sketches and rough blocks of color, and then slowly, work on each part of the painting, adding more detail and clarity with each layer.  The idea is to build up the final image with each layer, firming up your idea as you gradually bring your image to life.  Maybe you change your mind partway through and decide that it would actually work better if you did this, or altered that.  Remember that editing is an essential part of creation!  Very few people have the gift of getting it right the first time around (and we don't like those people very much because of it).  Most of us mere mortals have to really work at something, let it sit for a while, then come back with fresh eyes, work at it some more, and repeat until done.  This is a process that could take hours or could take years (scary, I know).  But unless you have a deadline, try and let yourself enjoy the process! 

So the next time you get a great idea for an illustration, or any sort of creative work really, but feel like you just can't bring it to life or get it down on paper, give these steps a try.  Take it one small piece at a time and work your way up to the image or idea as a whole.  Be kind to yourself, and remember that mistakes are always allowed; you never know what unexpected opportunities they may bring!

Enjoy Everything

There is a photo of the Dalai Lama that I particularly love: he is hunkered down in the passenger seat of a car as a child might be, his hands eagerly clinging to the side of the door, and his face full of wonder.  There is such simple and profound joy in his eyes, that I can't help but smile every time I think of it.

I think of that photo almost every day when I sit down to paint.  I marvel that such joy could come from something as simple as riding in a car, something that to many of us would be considered mundane and dull.  It's a poignant reminder to me to enjoy every piece of my paintings, and every step of creating them.  I often feel silly, getting so caught up in the beauty of a particular color or the grace of a simple brushstroke, but I have to remind myself that it's okay to be childlike in my wonder.  There's a magic in the quotidian, if we let ourselves see it.    

In my younger days, I read a lot of manga, but the only series that I continue to read (or go back and re-read) is Yotsuba& by Kiyohiko Azuma.  The premise of the series is very simple: Yotsuba is a little girl living in Japan with her adopted father and experiencing the many adventures of life (such as puddle stomping and ordering pizza) for the first time.  My favorite part of the series, though, is its motto: "Enjoy everything."  One of my goals every day is to do just that: enjoy everything!  From pouring the water for my tea to cooking meals to seeing how the wind stirs the branches outside my window, and everything in between.

Such an attention to detail, a willingness to see the adventure in even the most ordinary of tasks, is something I work had to bring into all of my art.  Most of us [unfortunately] don't usually get to go on epic adventures every day, like having tea parties with dragons or taking a hot air balloon around the equator.  Kudos to you if you do.  But for the rest of us, we have to make do with calmer, more ordinary adventures, like going to the grocery store, waiting at the doctor's office, and the ever-fun game of laundry.  But why do these things have to be less exciting or magical than what we read about in books?  They're more common, true, but these simple tasks have a beauty all their own, I believe.  There can be something very peaceful and zen about folding laundry or seeing produce at the market arranged in colorful stacks.  So the next time, you're feeling bored or "normal," take a moment to appreciate the quiet beauty of the world around you.  Find grace in even the most minute of movements.  And above all else, cultivate gratitude for all these small moments of magic; after all, no one else sees the world quite like you do.   

Transforming the View: the Freedom of Art

I apologize for the long silence on the blog, life has been inordinately busy lately with travelling to Germany, moving, and planning a wedding.  Phew!  Amidst it all though, I'm still trying to find time to doodle every day. 

Being plunged head-first in the wedding industry (the magazines, the planning guides, the websites full of expensive foof), I realize just how inundated our society is with desire for material things.  Living in a consumer society, we're constantly told how we "need" this or "have to have" that, so much so that we spend all our time lusting over items and not appreciating what we have, or what's more, what we ourselves can create.  That's one of the great appeals of art to me: I can create anything I wish, anything I can imagine.  There are no budget limitations (unless you're shopping for supplies, that is), no "oh, I don't have the body for that," no limits on travel. 

I deal with a lot of chronic health issues that force me to follow a pretty strict diet.  This results in constant cravings for things I can't have (I'm looking at you, donuts).  I mean, it gets bad.  So what do I do?  I paint pages full of colorful, sprinkle-covered donuts.  Weird?  Yes.  But oddly enough, it helps.  Just like when I'm working on book illustrations, I like to paint places I'd like to spend time in: magical forests, cozy cottage homes, wild mountain paths, etc.  After all, how can I expect readers to get lost in my illustrations if I myself can't?  

Like many artists, I believe that art is an opportunity to be free.  You can be whoever you wish to be in your art.  I am normally a very shy and quiet person, but in my art, I can be as loud, colorful, and exuberant as I want.  You can try out different sides of your personality, express things you may be uncomfortable expressing.  In my art, I let myself be a big kid, enjoying simple things like a beautiful color or a funny expression.  (All right, so that's no different than how I am in real life, but you get the point.)     

So the next time you sit down to doodle, but don't know what to draw, think instead about the kind of person you wish you could be, the adventures you wish you could go on, the world you wished you lived in.  Because through art, you have the ability to transform not only how you perceive yourself, but how you (and others) view the world around you.

The Spark of Joy

Recently, I've been reading Marie Kondo's The Life-Changing Magic of Tidying Up.  While I initially started reading the book in hopes of paring down my possessions for an upcoming move, I have found myself transfixed with the simple question she uses when deciding whether or not to keep an item: "Does this spark joy?"  And while certainly this is an excellent way to narrow down what physical things you value most, it can also be used in many other situations, namely: art. 

Does your art spark joy?

For years I tried to make art that was marketable and appealing to a wide range of audiences.  And along the way, I lost my passion for it.  I was so focused on trying to make commercially viable art, that I forgot the reason I had started painting in the first place: which was simply that painting made me happy.  Funnily enough, as soon as I started making art that I enjoyed creating and that brought me joy, I found the commercial success for which I had yearned. 

For many of us, our art is also our work and thus takes up a large portion of our time and energy, but this doesn't mean that we can't still enjoy it.  Think back to why you decided to go into art in the first place.  Did you constantly doodle in your notebooks in school?  Were you always making up stories in your head?  Did your limbs ache if you sat still too long, begging you to dance?  More than likely, you pursued art because it brought you joy.  And, more than likely, your art sparks joy in others too. 

I have a dear friend who is an incredible dancer and choreographer.  When I watch her dance, I am filled with the same feeling that I get when I'm sitting in my studio, absorbed in a wonderful trance of painting.  It is a pure and fascinating joy, and I can see her passion and her devotion to her art in every movements.  It can be easy, I think, to be so consumed in the process of creating that we forget that the finished art is meant to be seen and enjoyed.  That we can, in some sense, share our joy with our audiences, even if we don't know it.  That we can choose to create joy in our lives and in our work, and offer up this happiness for others to participate in too.

Of course, there are many aspects of your art that will not necessarily bring you joy.  For instance, I don't particularly like painting still-lifes or realistic studies of anatomy.  Yet, if I ignore these crucial exercises, my art will suffer.  Similarly, I greatly dislike bookkeeping and accounting, yet I can't very well skip them simply because they don't bring me joy.  I'd be in a very tight spot if I did!  I like to call this the "eating your vegetables" principle, where you may not enjoy something (and it may very well feel like choking down raw brussel sprouts), but it's good for you.  It's a necessary step to keep growing as an artist and to running a healthy business.

The key, at least for me, is to think of the joy of art in terms of the big picture.  Since I do illustration for a living, I work on plenty of projects that might not be my personal favorite, such as an assignment to draw cute cans of spinach (you'd be amazed).  Yet, even illustrating spinach cans, I can find joy in the fact that I'm getting to do what I love: paint.  I am able to take pleasure in working from home and in having a flexible schedule.  It's all about silver linings and remembering to view things as a whole, instead of getting caught up in the details of "I don't like this" or "this isn't my style."  Naturally, as your reputation as an artist grows, you're able to be more selective about the projects you take on, but it's still good to be able to find the positive in everything.

I know I've written before about the importance of artistic play, and this is why.  To be able to take even a 5 minute doodle break and in so doing remind yourself how much you love what you do is invaluable.  I've often heard the saying "if you love what you do, you'll never work a day in your life," which I don't quite agree with, but I like the sentiment.  If you are passionate about your work, and if that work makes you happy, it will show.  When I'm asked about working as a professional illustrator, I admit that I quite often work 14 hours a day, 7 days a week, with very few true holidays.  Most people make a horrid face and ask how I can do that, week after week, month after month.  And the answer, quite simply, is that I love what I do.  Painting sparks great joy for me, and I wouldn't trade it for anything.

The Myth of the Starving Artist

Of all urban legends, from Bigfoot to Nessie, the myth starving artist has to be one of the saddest and, at the same time, one of the most widely propagated.  In fact, one of the most common responses when I tell people that I make my living as an illustrator is "you can do that?"  It amazes me how many people still believe that art is not a viable career, and worse still is when this belief is instilled in creative children.  I was lucky enough to come from a very creative and supportive family, who have encouraged my artistic ambitions from a young age, but many young people do not have this luxury.  Instead, they are told that to survive, they must pursue a career in something "practical:" business, medicine, law, etc., and while these are all necessary and noble pursuits, they are by no means the end-all-be-all of success.

First, there needs to be some groundwork laid for the definition of success.  Obviously, everyone has their own idea of what it means to be successful.  For some, it's driving a sports car and having a designer handbag.  For others, it's being able to buy groceries that week.  Personally, success means doing work that I believe in that is of some benefit to others.  I feel successful in that I am able to do what I love every day, and that maybe one of my books will bring a child joy or instill in them a love of reading.  I am by no means rich, but I also firmly believe that work and money are not everything in life, not even close.  (That said, I would surely not mind being financially successful, just in case anyone was wondering.)

So even though art may not bring me Scrooge McDuck-ian amounts of money, it does provide for me.  Something that most people don't realize is that almost every industry employs artists/creatives in some way, shape, or form.  For example, my day job is illustrating and designing the children's and nursery fabrics that you find in Hobby Lobby, Jo-Ann's, Hancock, etc.  Every piece of fabric in the clothes you wear was designed by someone, was overseen by an art director, and worked on by multiple designers and colorists.  So to those that say "you'll never be able to find a job in art," I say that you'd live in a very boring and bland world without us!

That said, you have to be willing to be flexible.  And while, yes, touching your toes is a wonderful accomplishment, it's not exactly the most impressive interview skill.  To work in art usually means being willing to do a little bit of anything and everything, moving outside your comfort zone.  For me, that meant learning how to use Adobe Illustrator, work in vectors, and learn the ins and outs of commercial design.  For some people, being flexible means designing cool coffee tables instead of giant robots.  But just because that's what you do now doesn't mean that's what you'll do forever (unless you want to, of course).  Plus, no matter what you do for work, you'll always have your free time to work on your own art and projects.  I hear a lot of young artists say that they won't do something because it's not "their style," or "it's not what they do" and while I appreciate the importance of artistic integrity, I also feel like that sort of attitude is really just shooting yourself in the foot.  Who knows what you'll learn from doing new things and working in completely different mediums?  Maybe you'll gain a new perspective that will help in your own work.  Maybe you'll make important professional connections or friendships.  I believe that we can never learn too much and that no experience is wasted.

"But, Kelsey, I don't know how to find jobs in art!" you say.  Which is a valid point.  If you plug the word "designer" into job search engines, it will pull up everything from customer service positions to web designers.  For me, the key was going to art school.  Going to SCAD for my master's put me in touch with a huge wealth of resources, from their job portal to career services to in-person events.  It gave me the opportunity to connect and network with a wide range of industry professionals in my field, which, in turn, has led to jobs and books.  Which is one of the main reasons I chose to go to art school, simply for the massive professional network it put me in contact with and resources it gave me access to.  But I'll write more on that later.  

My point, quite simply, is that you can absolutely make a living with art.  If you're willing to put in the hard work, research, and flexibility required, you will never be a starving artist.            

On the Importance of Breaks (and actually taking them)

I will be the first to admit that I'm something of a workaholic.  Okay, I'm a terrible workaholic.  I have great passion and drive for what I do, which, most of the time, is a good thing, but every now and then, I have to force myself to take a break.  A real break, not a "oh, I'll just work on this other project for a while" break.  What defines a "real break," you ask?  Well, the answer differs for everyone, but for me it means 1. I'm away from my desk/computer 2. I'm not checking my email and 3. I'm not doing any painting/drawing/doodling/papercutting/etc.  Now the first two are easy enough to achieve (and partially explain my love of travel), but that third one's the kicker.  And wait, shouldn't artists always be drawing, every day working to improve their craft?

Art, like many things in life, is all about opportunity cost.  Put simply, opportunity cost is when you say "yes" to one thing, what else are you saying "no" to?  For instance, if I say "yes" to doing an hour-long watercolor study of something, I might be saying no to a walk outside, a nap, baking bread, etc.  So while I believe that it's good to try to hone your skills everyday, I also believe it's good to just take a day off now and then.  In the long run, taking care of yourself and your creativity are more important than, say, working on your proficiency in graphite.  Your art should be something you enjoy doing, so be gentle with yourself and with your creative energies.  

Taking breaks and engaging in non-artistic creative activities is also good for your brain.  They help you to think in different ways, to alter your perspective, or maybe give you a new approach to problem solving.  And hey, you never know when inspiration may strike!  Maybe during the dodge ball tournament with your friends, you'll see a guy with the craziest face and that will give you an idea for a new character or story.  Or maybe working on a fun puzzle will help alter the way you connect ideas/colors/etc.  Personally, I really enjoy word puzzles, like crosswords or scrambles.  They let me use a different part of my brain and let the visual/creative parts rest a bit.

One of my favorite ways to take a break and let myself recharge is to read.  I'm a voracious reader and will read just about anything I can get my hands on.  So when I'm feeling worn out from work, I'll pick up whatever's currently on my nightstand: James Joyce, Brian Jacques (anyone else grow up reading Redwall?), D. H. Lawrence, medieval German epics, Kenneth Graham (Wind in the Willows is one of my very favorites), or any number of children's books.  Reading, unlike watching TV or movies, helps fuel your imagination and expand your horizons, and besides that, how wonderful is it to slip away to another world for a while?  

No matter how busy you are, there is always time to take a break and take care of yourself. 

Inspiration in all the Strange Places

One of my favorite parts of being an artist is never knowing where my next inspiration will come from.  One week it could come from a walk I took in the forest, another could be sparked by something I've read recently, or maybe a beautiful piece of calligraphy.  My job is simply to remain curious and open to finding inspiration in all the strange and unexpected places.

It can be easy, I think, to fall into a "genre rut," so to speak.  Where you become so entrenched in one genre (children's books, fantasy, dark, realism, etc.) that you lose sight of all the other wonderful sources of inspiration all around you.  While it's good to keep up-to-date on the goings on in the markets in which you work, if you look only to others' work, how will yours be different, unexpected, and delightfully original? 

A good challenge to get you out and looking about is to go to the library and get books on 5 things you know nothing about.  So, for me, I might get books on Chinese ceramics, constellations, German festivals, crochet, and early automobiles.  Then, do some doodling based on what you find in the books.  I might doodle an old lady crocheting in an old car flying down the road, her scarf/whatever she was making trailing out behind the car.  Or maybe a big Chinese vase covered in stylized constellations or German folklore.  Anything to get my brain thinking in different ways.  I believe it's good and healthy to force yourself out of your comfort zone and to get interested in new things.

Another thing I've learned is to embrace your obsessions.  I'm not talking about how you binge-watched all 7 seasons of 30 Rock in 2 days, but rather, all the weird and interesting things that you find yourself drawn to.  Do you collect stamps?  Play lacrosse?  Love to cook Indian food?  Really like shoes?  Use it!  Let yourself be inspired by these spikes of curiosity and use them in your work. 

For instance, while I'm working on a big papercutting, I tend to become consumed with whatever the scene is.  So, while working on the Arabian Nights papercutting, I did nothing but research Arabian and Moroccan architecture and mosaics, Arabic calligraphy, Arabian folktales, native desert plants, styles of dress, and Islamic art.  I imagined what that courtyard would smell like, with the sweet desert jasmine, the woman's perfume of sandalwood and spice, the hot dusty stones.  What it would feel like to dip my hand in the fountain after a day in the hot desert.  What the music and language would sound like wafting through those huge archways.  What it would be like to snack on dates and Moroccan tea, seated on brightly patterned cushions.  

So let yourself go a little crazy!  Be swept away by your curiosity!  And most of all, have fun.  While the end result may belong to your viewers, the process belongs solely to you, so sink yourself into every moment of it and enjoy. 

Drawing Play

A piece of oft-repeated advice for aspiring artists is to draw every day.  If, like me, you see this as an intimidating prospect, don't worry, it's not nearly as difficult as it might seem.  Because, when art is truly your passion, you'll draw every day whether you realize it or not.  Even if it's only a 30-second doodle on the corner of a napkin, it still counts.  Sure, realistic studies and laborious graphite sketches are wonderful ways to sharpen your draftsmanship, but you don't need to beat yourself up if you don't churn out a Da Vinci-esque sketch every day. 

Art, for me, is like deep stretching.  It's an ache I feel deep in my bones, and if I go too many days without some sort of artistic activity, I feel stiff and stifled (and usually grumpy).  Of course, there are many times where I'll set daily regiments for myself: watercolor studies at lunch, sketches from life, hyper-realistic painting.  But that by no means makes up the bulk of my artistic exercise. 

At heart, I am a little kid, and like a little kid, I crave play.  After all, studies have shown that play is one of the primary ways that children learn.  I don't think this changes as we get older, but that the need for play, for exploration and experimentation, intensifies as we age.  After all, it's something that, as adults, we don't always get a lot of. 

I have always loved coloring.  I mean.  Really.  Loved.  Coloring.  And I find that deep and powerful need to color expressing itself in a myriad of ways throughout my day: from rainbow-hued to-do lists to colorful palette blobs, to, you know, actual work.  I play in color, and not only does this bring me joy, but through constant dabbling, I find new color combinations, new ways to mix certain hues, different uses for even the most unassuming of shades.  Sure, a lot of these discoveries are accidents, but they are accidents that I work very hard to create.  

Naturally, I don't share most of my doodles and odd little sketches.  But that's okay, because for me, they've served their purpose.  Sometimes it's as simple as getting an idea out of my head, or testing to see how a different style would look.  They might not have a "greater purpose," but for a few minutes, I was able to enjoy the process of creating them and hopefully learn something in the process.  Even if it's something as simple as reminding myself to let loose and just play. 

Artist Interview: Daniel Lecky

I have the immense privilege of interviewing a great variety of artists on this blog, and today is no exception.  This interview, however, is rather special, in that I got the chance to interview my better half, Daniel Lecky.  I am beyond blessed to have a significant other who is not only a talented artist himself, but also one of my greatest creative inspirations.  He continually pushes me to try new things and reach further with my work.  Aside from that, he is one of the most varied artists I know, working in everything from pen and ink to 3D modeling to furniture building and beyond.   

1. What/who do you find to be your biggest source of inspiration?

Internet/magazines/people watching/other friends' interests and things they find.

2. What's your favorite medium to work in?

Pen and paper is definitely my default. I like drawing in pen because it forces you to commit to every line drawn. If it didn't come out right, you have to improvise and find a way to save the picture without that nifty CTRL+Z.

3. Any new mediums you're itching to try?

Vacuum forming and casting because reasons.

4. What would your dream project be?

To collaborate and be part of something that will leave a mark on this rock.

5. Describe your studio/workspace. What would you change, given the resources?

Spare bedroom converted into a studio/supplies storage. There are stacks of wood leaning in the corner and a restructured dresser holding my graphic novels and the cabinet of death (full of fumes from spray paint, epoxy, etc). My great-granddad's drafting table and a lower desk. I move my cintiq between either one depending on the mood. A bulletin board covered in images and inspirations. And lastly, a TON of natural light from my walls being half windows, so that's awesome.  
I'd love to double/triple the space. Basically a 2 door garage converted into a woodshop with the studio upstairs...and a dart board.

6. Do you like to warm up before drawing? If so, what fun exercises do you work on to get in the zone? (ex. Noun generator, word games, etc.)

Noun generator is fun for getting in the mood for conceptual sketches, really gets you working on breaking barriers. For other warm-ups I like to browse different categories online (based on whatever kind of piece I'll be doing) and knock out 5-10 rough sketches of different styles. And get some rockin' jams playing.

7. What do you find to be the most difficult part of being a professional artist?

Not getting bored with your clients' work and finding clients. It's hard to get work with people with the market being so saturated-and once you do, there's a slight chance it could just be some simple task and not anything fun/creative. 

8. What's your favorite thing to draw/paint/create?

I love sketching up new characters from people watching (airports and coffee houses are great). And I really enjoy building furniture. 

9. How do you prevent/combat artist's block? Do you have tried-and-true methods of nurturing your creativity?

That's always a threat. Every artist has to fight that. The best way I know how is to look out and absorb. Without immersing yourself in other styles or ideas, you would just be drawing the same thing over and over. try something new and bust out of your artistic comfort zone.

10. Just for fun: Dragons or unicorns?

Hahahahaha...is this even a competition? DRAGONZZZZZZ!!!

11. Best advice you have for emerging artists?

Never stop sketching. Carry a sketchbook with you and burn through those pages. Try focusing on different things like plants/animals/buildings/fashion/cars/aliens or whatever. You need to build up a library of references you can pull from when you start drawing. 

You can visit Daniel's professional website at:
http://www.leckydesigns.com

Or follow him on FB at:

https://www.facebook.com/LeckyDesigns

Artist Interview: Tara Tokarski

Continuing with my small series of artist interviews, this week it was a joy to talk with one of my former SCAD classmates, Tara Tokarski, about illustration, ideas, and of course, ghosts!   

1. What/who do you find to be your biggest source of inspiration?

I can be inspired by a fluffy cloud, the trick is to try to think of it in an unexpected or dramatic way. However when it comes to who inspires me, I head straight to the top: Tim Burton, Walt Disney, the artists of Disney like Eyvind Earle and Al Hirschfeld, Dr. Seuss, and Dream Works. These are the greats as far as I am concerned. I like to take a snip of Disney, a dash of Al, with a pinch of Burton and stir with a Seuss stick.

(A Fantasia snippet featuring artist Al Hirschfeld.)

2. What's your favorite medium to work in?

I am a mixed media artist and sometimes my work can be very diverse depending on what I am working on, it could be a fashion illustration or a portrait of Tom Hanks, which I would handle in two very different ways. If I had to choose an absolute favorite it would be my Koi Water Colors, which show up in everything I do. I use the little pocket Field Sketch Box, it’s so nice and compact. Plus watercolor is fast and more and more I seem to need speed.

3. Any new mediums you're itching to try?

I really want to try stained Glass, my father was a stained glass hobbyist, and he took his craft very seriously. The house was filled with the vibrant light. He made giant panels of flying ducks, amazing tiffany style lamps, and windows with all sorts of simple and sometimes complicated colored glass designs. I would like to expand on that and use it in my art somehow. I have started playing with it, we will say to be continued…

4. What would your dream project be?

That’s easy, character design for either Disney, Dream Works, or Tim Burton.

5. Describe your studio/workspace. What would you change, given the resources?

My work space has floor to ceiling shelves, and I still don’t seem to have enough space. It is, however very warm and cozy with lots of lovely wood and books. I have a large drawing table my husband made for me out of an old sewing machine base, above the drawing table is corkboard so I can hang inspirational images to keep me on track while I draw.

The other wall is the command center, with computer, printer, scanner, and more books. The wall with all the shelving has my bottles of magic fixative, gesso, and all the potions of an artist. A small closet sits off to the side where most of the finished drawings go, along with my matt cutter, light box, and torture devises.

If I had the extra resources I would have my regular computer for Photoshop and an Apple devoted to Maya and animation programs. Too many programs on one computer = big crashes. I would also change out my small Wacom tablet, for one a LOT bigger.

6. Do you like to warm up before drawing? If so, what fun exercises do you work on to get in the zone? (Ex. Noun generator, word games, etc.)

I have to admit I don’t…..but I should. If this was a class I would not be making eye contact with you.

However I do teach sketching and one of my favorite things to do is to have students draw their hands while not looking at the paper. You have to really look at what you are drawing and slow down. It’s a super fun thing to do with lots of giggles, but it proves a point. You should be looking more at what you are drawing than at your drawing.

7. What do you find to be the most difficult part of being a professional artist?

Employers tend to be a challenge in one way or the other. You really have to have a good sense of humor, patience, a firm hand, and great communication skills.

8. What's your favorite thing to draw/paint/create?

I love to draw ghosts. It’s a big challenge for me. Black Beard is a translucent ghost that you can see the ocean and sky through. I also made the ocean turbulent and created a piercing light breaking through the storming night while trying to subdue the colors enough to get his eyes to glow. Now that is what I call fun.

9. How do you prevent/combat artist's block? Do you have tried-and-true methods of nurturing your creativity?

I am a collector of Idea’s. I have tons of books, movies and articles that I think are fun or profound and when the artist block comes I surround myself with the things I like and then figure out a way to mash them up and transform the best things I have around me into a new idea to move forward with.

10. Just for fun: Dragons or unicorns?

Dragons!!!! Oh the places we could go.

11. Best advice you have for emerging artists?

Web presence, you need it. Do you need to build your own? Only if you want to drive yourself crazy! You can easily buy into a web page, for example mine is around $30.00 a month and my page is connected to a blog, newsletter, and all the social media links. Plus they promote me, but my favorite feature is if I need a change I just punch a few buttons and I can have a new web design in seconds.

Speaking of which, you can visit Tara's website here:

http://taratokarskiillustrations.com/

Or check her out on social media:

https://www.facebook.com/tara.tokarski

https://www.etsy.com/shop/TaraTokarski

Color Cravings

Like most people crave food, I crave colors.  The cravings change with the season and my mood at that moment, but I'm always on the lookout for new palettes and beautiful hues. 

This summer I've been very drawn to bright, happy colors (think Lilly Pulitzer meets Disneyland).  After all, summer is the season of ice-cream, pool parties, and rainbow-colored beach umbrellas.  

Since I am, by and large, a hermit, I get my doses of color largely through paper, books, fabric, and, of course, that brilliantly-useful-black-hole-of-the-internet, Pinterest.  

I also tend to associate different colors with different scents.  For instance, these bright summery colors for me call to mind notes of coconut, fruit, and heavy florals, as in Hanae Mori's Hanae perfume.  Something tropical and delicious for sure!  

One palette that I return to time and time again is that of pastel pinks and golds.  They're so delicate and undeniably feminine.  It's also a very classic palette, calling to mind early Chanel and Dior, old-fashioned powder puffs, fine lingerie, and rose perfumes.  

Normally, this is a very springy palette for me, but it's soft and comforting in a way that keeps it one of my favorites year-round.  Like reading a magazine in a cozy sweater with a gently-scented candle burning nearby.  Or the feeling of a warm breeze through an open window.  Plus, as you might have realized by now, I have quite an affinity for pink.  It's such a happy color!

The last palette I'll explore today is the pale minimalism of white-on-white, inspired by Scandinavian design and crisp, clean sheets of paper.  Mmm, what possibilities those hold!

There's something almost zen to me about this particular palette: it's peaceful, yes, but it's also full of potential, the chance to build something new, whether it be a painting, a room, or even an outfit.  There's almost the sense of rebirth with whites and pale, pale greys.  They let every miniscule color shine in a way that no other palette allows.  Plus, it's one of the most chic color combos of all time, but maybe that's just my Scandi sensibility talking.

Of course, there are endless possibilities and combinations when it comes to palettes.  These are just a few of mine at the moment!  Who knows what new inspiration autumn will bring?  

Artist Interview: Sonia Hupfeld-Cousineau

This week I had the profound pleasure of interviewing Sonia Hupfeld-Cousineau, an emerging graphic designer and all-around creative.  She chatted with me about getting down and dirty with new mediums, inspiration, and constantly pushing creative boundaries.

1. What/who do you find to be your biggest source of inspiration?

Everything around me. That is, to say, I’m a bit of a collector. In a world sense, I like to keep my eyes open for anything and everything that strikes me as interesting or that could become a project and I collect them through photos, sketches, what have you. In a personal sense, I am incredibly inspired by all of the talented individuals I have the pleasure of calling friends -- I used to be envious of people who were more creative/talented/imaginative than I was but I have since turned that envy into motivation (or… I’m trying to, haha).

2. What's your favorite medium to work in?

Ah, favourites. Favourites are a tricky thing and I don’t particularly like them. I enjoy almost every medium I can get my hands on! I suppose the mediums I have worked most with are digital and paint. I am a huge fan of vector art and acrylics are my go-to for painting but I also enjoy watercolour. Oil is still a bit of a mystery to me.

3. Any new mediums you're itching to try?

Wood! I am fascinated by the multitude of ways you can create something from wood, from traditionally practical items to more sculptural items. I am especially enamoured with pairing wood with other materials such as acrylic/resin and metal. I also want to get (back) into sewing! I think this will be a much easier medium to try, but I hope to get started on both within the year. Also, one day, I’ll find a way to try my hand at molecular gastronomy.

4. What would your dream project be?

Oh, wow. I suppose my dream project would be to work on something big/awesome with friends from different disciplines. Maybe the project would actually be like… a  studio, really. And we could also have a small kitchen/cafe where we create delicious food. We would have the ability to cater towards multiple clients as well as having the space to work on personal projects while being in the company of each other.

5. Describe your studio/workspace. What would you change, given the resources?

To be fair, I don’t really have a set studio/workspace yet. I’m slowly finding out that I like to have the ability to work in different spaces, depending on the mood I’m in or the project I’m working on. My typical “at home” space is made up of two desks, a computer, prints on my wall from other artists, and a mess of materials that really need some serious organizing. That’s what I would change, I think -- having a system of organization what worked well. Plus more plants.

6. Do you like to warm up before drawing? If so, what fun exercises do you work on to get in the zone? (ex. Noun generator, word games, etc.)

I can’t say that I really do any warming up before I start on a project. I suppose it could be getting myself in the right sort of mentality if I’m in it for the long haul, and maybe even figuring out where I’m going to get started (sketches, research, et cetera). I really do enjoy listening to music, though, and for daily practice I try to do a variety of sketches/ideation/doodles.

7. What do you find to be the most difficult part of being a professional artist?

Since I’m fairly new to the pairing of these two titles, I’m still learning how to overcome some hurdles. I think that the most difficult part is knowing how to maintain your professionalism even if your client is not maintaining theirs. I also try to keep myself balanced and make sure to make room in my schedule for my personal projects, otherwise stress become a very unwanted and unwelcome guest.

8. What's your favorite thing to draw/paint/create?

In high school, I really enjoyed painting the night sky (or sunsets) and very macabre/memento mori style creatures and objects. That followed me into my first year of college for a while but then I started branching out. Now, I try to keep myself open to trying new things. I may get stuck on a theme for a while -- flowers, bees, greeting cards, weapons -- but I try to move on before I become bored with the idea. This way I can come back later and continue or improve upon what I had before.

9. How do you prevent/combat artist's block? Do you have tried-and-true methods of nurturing your creativity?

I don’t really believe that there’s just one (or many) ways to prevent or combat artist’s block. I used to become very stressed and frustrated with myself when I couldn’t just do. I blamed myself for failing to put ideas to paper. However, I’m learning that creative blocks will happen, and sometimes you can overcome them and sometimes you need to step away and do something else. It wasn’t until I saw Elizabeth Gilbert’s TED Talk, “Your Elusive Creative Genius” that I started thinking this way, and it certainly has helped me to maintain both my sanity and my love for my craft.

 

10. Just for fun: Dragons or unicorns?

What about a Dragorn? Unigon? I think that the hybrid between the two could either be very awesome or very terrifying (but definitely unusual). If I were to pick one, I would probably pick unicorns. Yes, dragons are amazing and can fly and are covered in scaly goodness (plus, who doesn’t love Dragonheart?) but Unicorns don’t burn down entire villages, are made of sparkles and have healing powers.

11. Best advice you have for emerging artists?

First and foremost, don’t set ridiculous expectations for yourself -- you’ll only get stressed out and end up not working on anything for many years.

That being said, do have faith in yourself and strive to become better. Look to others for constructive criticism and listen. Yes, it may sting and yes, you don’t have to agree with everything someone says, but it will help set you towards goals you may want to achieve.

Third: get your hands dirty. Don’t let someone tell you that you have to pick one thing and one thing only to be good at. Try everything at least once, and if you love it -- run with it, but give yourself the opportunity to still try other things.

Keep your old artwork, it’ll show you just how far you’ve come.

Last, it’s okay to love what you do and what you’ve created. Yes, “we are our own worst critics” but be proud of what you do and what you make as it is a product of your self.

You can view Sonia's online portfolio here: http://cargocollective.com/sdhupfeld

You can also follow her collective studio, Marshmallow Dumpling Studios, on Facebook.

Artist Interview: Nick Fair

To make up for my lack of blog posts recently, you get 3 this week! 

Recently I had the pleasure of interviewing multi-talented artist and graphic designer Nick Fair.  He shared with me some of his insights on creativity and finding inspiration all around. 

1. What/who do you find to be your biggest source of inspiration?

Inspiration is a funny thing- it takes many forms. As a kid, I took a huge amount of inspiration from the artist R.K. Post and his twisted creatures and goth stylings, as well as illustrator/designer Syd Mead and his futuristic environments. However I’m equally inspired by utterly erroneous things, like the way a speaker is shaped in an office I’m sitting i, or the pattern on a butterfly I snap a photo of on the way to lunch. Where individual artists have shaped my overall aesthetic, random happenstances shape individual pieces.

2. What's your favorite medium to work in?

In college, my professor called me a ‘paper tiger’, because all I wanted to do was sketch. I’ve been drawing in pencil and inking with fine-point pens for a long time, and my favorite paper to use is bristol because I have a habit of engraving the paper, much to the detriment of my tools. I use a cintiq tablet for digital work and for my coloring process, but it’s slow runnings transitioning from pen to digital when it lacks the subtle feedback of a physical medium.

3. Any new mediums you're itching to try?

I’ve been trying to get more into watercolor and acrylic, or just painting in general- I guess you could say I’m itching to succeed with those mediums. At some point I really want to try oil painting, but it’s a little cost prohibitive to just pick up without real direction. I’ll get it eventually.

4. What would your dream project be?

Dream project for the long-term? Be a creative lead on something with world building and a high CGI budget- probably a movie or video game. The idea of creating an immersive world is too tantalizing- like the movie Avatar, but even cooler. Dream one-man project? Probably producing a full comic series.

5. Describe your studio/workspace. What would you change, given the resources?

Funnily enough, I’m currently in the process of transitioning where I live, so my new studio will be a bit different than my last one, but as it doesn’t exist… I’ll describe my last one. I had a dual-monitor set-up on an L-desk with my Cintiq and another HD screen, and a drafting table to the right. The wall was covered with all of my tools- tape, S-curves, rulers, scissors, etc, and then I had a series of drawers underneath just bursting with Prismacolor markers, pencils, pens, and paint tubes, with bookshelves of design and art books on the back wall (along with more than a few comics). Unlike that studio, which had to double as a living room, my new studio will literally be entirely devoted to being just that- whiteboards on the walls as well as some big windows, because I find that natural light is key in really getting the right brain engaged in a project. If I had the money, I would probably expand into 3D printing, and maybe get a kiln and a nice easel, honestly.

6. Do you like to warm up before drawing? If so, what fun exercises do you work on to get in the zone? (ex. Noun generator, word games, etc.)

I never actually ‘warm up’ in the classic sense that a lot of artists I know do. In general I plunge head-first into any project right where I left off, leaving some days where I sort of frustratedly doodle nothing of value, and others where I come out of the gate swinging (to mix my sports metaphors). That being said, getting in ‘the zone’ is all about the right space. I usually light incense, then put on talk radio, podcasts, or ambient music in the background to keep my brain from getting too hyper focused but not distracting enough to detract from my work. I’ll often browse the web or look through books for 10-15 minutes before starting a session, though, to get my mind in a place of visual appreciation and attuned to the style and look I’m going for.

7. What do you find to be the most difficult part of being a professional artist?

Interesting question- there’s lots of places to falter as an artist, and there's’ lots of ways to falter as a professional anything, and they’re usually unrelated. Lots and lots of utterly amazing artists out there that I know have little to no actual business sense, and it’s not enough to just be good, or even great at what you do. You need to get your name out there, and get your work in front of people and be fearless about it. It’s like a political campaign, but you’re just running PR for yourself, and if you’re working on being the best artist you can, it’s hard to make time for it. But it’s so, so necessary and important, or your work will sit on your unviewed portfolio site or in your studio for all eternity. Being a professional artist means accepting the ‘professional’ part is just as important as the ‘artist’ part.

8. What's your favorite thing to draw/paint/create?

My favorite thing and the easiest thing for me are quite different. I enjoy being able to make a quick piece that stands on its own- so wiley, weird creatures or robots are where I’m at if I want to ‘succeed’ easily. But my favorite thing to draw is really just something unlike anything else I’ve drawn before. It goes against the usual mantra of ‘repeat, repeat, repeat’ when it comes to mastering an art style, but I adore plunging into and succeeding at creating something that’s still mine but different than anything else I’ve ever made. It makes life difficult, sometimes.

9. How do you prevent/combat artist's block? Do you have tried-and-true methods of nurturing your creativity?

There’s no way I know to prevent the onset of artist’s block (and believe me, I wrote a thesis on it), but combating it once it’s started, and finding ways to trigger a creative mindset in what I (and the world of psychology) call ‘flow’, is totally possible. The key is knowing the levels at which your mind functions- there’s the part of you that is entirely mechanical, in a sense, where you know how to put pen to paper. Then, in contrast, there’s the parts of your brain that want, either to create something or evoke something, or utilize the eros energy you have to a specific end. And when you have one of these and not the other, it leads to the block- wanting to make but being unable. Everyone gets it, and it’s rooted in a lot of factors. Conversely, if you utilize mechanical action without direction, you get aimless doodling, which can sometimes be fun, but usually doesn’t result in something profound. I tend to take a step back if I’m ever blocked and I force myself to do something else, in a different environment, that will wake up the part of my brain that I need- controlling external stimuli. Social activity tends to give me the drive I need to utilize my mechanical action, and doing something physical, like exercise, usually puts me back in-synch with my hands and lets me get back to drawing properly. Of course, it’s different for everyone- but always notice when you have those moments of perfect mind and body harmony to create a piece, and then try and recreate those conditions when you don’t.

10. Just for fun: Dragons or unicorns?

Dragons, because Reign of Fire was the best worst movie when I was young.

11. Best advice you have for emerging artists?

The classic advice is ‘never stop drawing’, so I won’t tell you that, because everyone already has. Instead, I’ll just say that you should never throw out any of your art. I can’t tell you how many badly rendered great ideas I had as a kid that I’ve used in my modern pieces, and how many pictures that I thought were garbage and I left half-finished a month ago ended up in my portfolio when I looked back and finished them later.

You can visit Nick's profession websites at:
http://www.nickfairdesign.com

http://www.inklingart.net/

or visit his collective studio, Marshmallow Dumpling Studios on Facebook.

You can also keep up with Nick via these social media sites:

LinkedIn: Nicholas Fair

Pinterest: nickfairdesign

Twitter: NickFairDesign

Artist Interview: Jonas Karlsson

Since, as a working artist, I'm not able to post 99% of what I'm currently working on, I thought it'd be fun to do a series of artist interviews with artists whom I know and admire. I'm always curious about other people's views on creativity, art, and inspiration. 

For my inaugural post, I decided to interview my friend Jonas Karlsson, a brilliant Swedish painter and illustrator.

Since I'm not much of a journalist, I formed a list of 11 questions, and here's what Jonas had to say:

1. What/who do you find to be your biggest source of inspiration?

I am fascinating of exciting stories so there is where it starts for me. Every painting I do must have an interesting background story. I want the painting to reach further than its own frame and if people get the story it tells its like they get a piece of the painting to bring home.

2. What's your favorite medium to work in?

Watercolour is my favourite medium. I just love how the colours' comes to life when adding water. It's something magic about it. I have tried acrylic and oil as well but overall it didn't click for me as watercolour did. I do love all the unique effects different mediums have and even if I choose watercolour I think I paint with it in my own way, almost as if it was a mix of all mediums. It's like the bees who is theoretically to heavy to fly but believe they can, and that's how they fly. I believe I can paint watercolour as if it was any other medium and that's how it works for me.

3. Any new mediums you're itching to try?

I would like to add ink in my paintings. It seems to add something extra, a very interesting texture.

4. What would your dream project be?

I think it would be to work with people who can reach out in different directions than I can. To be in a project when everyone doing what they are best at and the result turns out to be something awesome that no one in the  group would have been able to do by them self. I would also love to take more time to write down my stories and release books with my own illustrations.

5. Describe your studio/workspace. What would you change, given the resources?

My workspace is very small so someday I hope I will be able to have my very own art studio. But at this instant moment I try to just have the most important things i really use. Besides the actual brushes and colours all I need is a desk, some wifi, a cup of coffee or tea with a small plate of a wide selection of dark chocolate. That is what keeps me going.

6. Do you like to warm up before drawing? If so, what fun exercises do you work on to get in the zone? (ex. Noun generator, word games, etc.)

I never really warm up, I realize that now when I think about it. If I performed sports as I perform painting I guess I would be all bruised up and have the worst pain ever in my limbs. But some good music can always get me in the zone. But that is just when I paint because if I write i rather have it silent.

7. What do you find to be the most difficult part of being a professional artist?

To be professional is the most difficult part!  I have never been in any art school or anything like that, and sometimes that can play silly games with my mind. I believe that you don't need to go through an art school to be able to call yourself an "artist". But of course that can be a big help since you have a degree to show people and so forth. So many pros there. Anyway as an “unschooled” artist you have to just trust yourself and go from there.

So I would say the most difficult part of being a professional artist is when you think less of yourself for not being schooled. That can takes an awful lot of energy and time away from your creativity.

8. What's your favorite thing to draw/paint/create?

I love to involve trees and animals here and there. Some eyes in a dark corner and just random details of any kind. I also begin to love dramatic shadows to add some atmosphere. When I think about it I guess I am more into a certain atmosphere in a painting than certain things.

9. How do you prevent/combat artist's block? Do you have tried-and-true methods of nurturing your creativity?

If i have a creative blackout i have noticed myself to not pressure myself, just go out do something else, using the time instead of forcing creativity back to me. It is very nice to just read a comic book, or enjoy a movie, or go out to a nice café with no stress, because I know creativity comes and goes, it will not be blocked out for forever. While being in the middle of a painting it is different though, since a certain part of the process always is less exciting than others. At those times i just work through it to reach the more exciting parts of the process.

10. Just for fun: Dragons or unicorns?

If I had to pick one I would probably pick a dragon because there is a lot of things about them that I love. I imagine their scales as some kind of gem or jewellery kind of material who can change colour depending on how the light hits it. Only that is pretty awesome. I like that there is both good and bad dragons. They love shining things and can have a wide variety of colours. I wouldn't mind putting a unicorn horn in its face though. That could become a new kind of dragon, a “unicorn dragon”.

11. Best advice you have for emerging artists?

Never give up, believe in yourself because you can accomplice things you didn't know you could. If your schooled or not doesn't matter. It's all from the inside, your heart and mind.

You can follow Jonas on Instagram @jonasofsheaves or use the Instagram hashtag #jonasofsheavesart for more art.

Visit his blog at: www.arttalesandmagic.worpress.com

Supplies

I get asked a lot about my supplies: what I use, what I prefer, and what the benefits are of one type of paint vs. another.  So, I thought I'd write up a post about it (complete with pictures!).  Keep in mind, this is just what works best for me and each artist definitely has their own preferences.

Most art supplies come in three different grades: craft (the cheapest and lowest quality), student (good for beginners/hobbyists), and artist (the highest quality, and thus, most expensive). 

Watercolors

Almost everything I do is based in watercolor, whether it's a painting, a doodle, or even a papercutting.  For a basic set, I really like Winsor&Newton's field set.  This is also great for traveling.  Winsor&Newton also make a good set of tube colors which also works well on the go. 

What's the difference between cake and tube watercolors?  Tube colors tend to be more intensely pigmented/vibrant, whereas cake colors tend to be lighter/less saturated.  Of course, cake colors can be mixed into very dark shades, but generally, it's easier just to use tube colors for darker/brighter hues such as ultramarine, burnt umber, carmine red/yellow, etc.  Once tube colors dry out on your palette, you can also re-wet them and use them just like the cakes!  (This is also handy if you cat happens to bite through one of your tubes, causing all the paint inside to dry...)

My favorite watercolors though have to be Mijello Mission Gold's tube colors.  They are the most highly pigmented watercolors I've ever seen and oh are they a dream to paint with!  They're a bit on the pricey side, but the tubes are large, so last quite a long time.

The lovely thing about watercolors is that you really don't need many colors outside of a primary set.  Most colors can be mixed with just a little practice!  Of course, there are a few exceptions to this, such as bright aqua blue, spring green, fuchsia, etc.  But, the more you experiment, the more you learn that with watercolors, less is more.

I tend to have very messy palettes, which is fun because it means I can usually find whatever color I need already there).  Of course, if I want a color to be really bright and pure, I'll wipe off a corner of the tray to use so it doesn't get muddied up accidentally.  I tend to like reusable/seal-able palettes like this one by Mijello (also very handy if you have cats), which are  good for travel and are easy to clean/reuse.  Regular plastic palette/styrofoam trays (like meat comes packed on) also work quite well.

Gouache

I get asked a lot about the difference between gouache and watercolor.  Basically, gouache is brighter/more pigmented and more opaque than watercolor.  Gouache tends to be favored by graphic designers and illustrators with a bold, flat style because of its vibrancy and the ease with which you can control its opaqueness.  Water-based gouache acts very much like tube watercolors in that you can use it straight from the tube for very vibrant, opaque layers, or once the paint has dried, just re-wet it and use like cakes for thinner/lighter layers.

There are two types of gouache: water-based and acrylic-based.  Unlike water-based gouache, acrylic-based cannot be re-wetted, but is incredibly bright and fun to paint with.  

For water-based gouache, I like this set by Winsor&Newton.  As with watercolors, most colors that you would want can be mixed with a bit of experimentation, with the exception of colors like aqua blue, fuchsia, bright green, and light lemon yellow.  

For acrylic-based gouache, Holbein has an amazing range of colors.

Brushes

For me, as with most artists, brushes are a career-long collection.  Namely, because nice watercolor brushes can be ludicrously expensive, such as my very favorite set by Escoda.  These brushes are the bee's knees.  Seriously.  They're like painting with a cloud.  A very fine, precise cloud.  Ah, brush-y bliss!

I also really like these sable brushes by Winsor&Newton.  However, I don't like using sable for gouache, so these student-grade synthetic brushes by Winsor&Newton Cotman are great.  They are also very good for scrubbing out watercolor, speckling, and other techniques that tend to be a bit harsh on brushes.  (Plus, they're much much cheaper than real sable!)

The size and shape of your brushes really depends on your personal style and techniques.  I tend to like finer rounds/pointed rounds and riggers, because I like doing very delicate detailed work.  You'll just have to play around with different types and see what works best for you!

Watercolor Paper

As with brushes, different artists prefer different types of watercolor paper.  I really like hot press paper which is incredibly smooth, allowing me to make very soft/smooth gradations of color and put in lots of fine details.  Lanaquarelle's hot press blocks are definitely my favorite, although since they're so expensive, I only use them for final illustrations.  Being lazy, I also prefer watercolor blocks as it means I don't have to stretch the paper, haha!

Occasionally I'll use some of my fine watercolor paper for backgrounds in my papercuttings, but generally, I use Strathmore's mixed media pads.  In fact, most of my papercuttings are made out of this paper, as it takes watercolor and gouache quite well and is also sturdy enough to hold its shape in the shadowbox.  Plus, being relatively inexpensive means that if I don't like how a piece came out, I can just start over and cut out another one!  If you're wanting to layer a lot of color on, however, I'd recommend using an actual watercolor paper, as paint tends to wear off after the 5th/6th coat. 

I also keep a few watercolor sketchbooks on hand for doodling, practice, and when I'm traveling.  Unfortunately, these are all cold press, at least that I've been able to find! 

Papercutting Paper

As I mentioned above, for all the painted bits of my papercuttings, I like Strathmore's mixed media pads.  For mostly flat-colored pieces, like leaves and architecture, however, I tend to use a mix of colored papers.  Sometimes it's just colored cardstock, other times it's textured scrapbooking paper.  Just take a look through the scrapbooking section of any craft store and you're sure to find a wealth of possibilities!  I like to stick to solid colored papers and then just paint on whatever patterns/texture I want, but as I've said, each artist definitely has their own style.  The fun part is playing around with different materials/mediums until you find what's right for you!

Other Tools

Obviously, when working on paintings/papercuttings, it's helpful to have a pencil or two laying around.  Kneaded erasers are also great because you can form it into different shapes depending on the area you knead to erase (get it? knead?).  It's also good for lifting off 90% of the graphite before you start in on a watercolor since, once the paper's wet, there's no erasing.

For papercutting, I also use a few different sizes of x-acto knife (depending on the level of detail), as well as a pair of tweezers for those teeny-weeny pieces.  If you think you'll be doing a lot of cutting, the comfy/ergonomic handle is definitely worth the few extra dollars!  It's also good to always keep extra blades on hand as they wear out quite quickly.

Not pictured: a cutting mat!  This is a must if you're going to be doing any sort of cutting, as it saves not only your table, but also your blades. 

Glue

As with the colorful papers, for these I just raided the scrapbooking section of my local craft store.  I just use a basic Scotch glue for flat-gluing pieces of papercuttings together.  For slightly raised pieces, I use either the foam tape or foam sticky squares (I have no idea what they're actually called).  If something needs to be substantially raised, however, I glue in stacks of foam core strips for more stability. 

If a piece has embellishments, I'll also use either adhesive size or this wonderful glass glue from Sun&Moon Crafts.

Iridescent Paints

Iridescent paints may, in fact, be the most fun part of painting.  And these paints by Golden are just divine.  The fine iridescent gold is especially beautiful. 

Embellishments

Sometimes, it's fun to dress up a painting or papercutting with a little extra sparkle and shine.  When that's the case, I usually go for these tiny sequins.  For some serious pizzazz though, I love Swarovski's AB flatback crystals.  And, of course, a touch of glitter never hurts!

I usually use either adhesive size or this wonderful glass glue from Sun&Moon Crafts to attach these fancy bits and baubles, or maybe even a touch of superglue in extreme cases.  This is also where some craft tweezers come in handy!

I hope this guide has been useful!  If you have further questions, just let me know and I'll make more guides/tutorials. 

Summer Details

The bright happy colors of summer are so inspiring and cheery that I find myself doodling them during my lunch breaks most days (when I'm not working on secret book projects, that is).  And, having just returned from a wonderful graduation trip to Walt Disney World, what better way to use that summery palette than with a collection of cute Disney accessories?

I couldn't resist adding a little extra sparkle and shine to some of these!  What's your favorite part of a Disney vacation?  For me, it's getting to run around the parks like a little kid, taking in all the beautiful details and getting to fully immerse myself in the beautiful world they create!

While in real life, my wardrobe tends to be as monochromatic as you can get, I definitely enjoy the bright and colorful Southern summer aesthetic.  Vibrant colors are hard to pull off when you're paler than a vampire, haha.  That's the great thing about art though, I can surround myself with any colors/settings/ideas that I choose! 

How will you celebrate this summer?  As for me and myself, I'll dive into dazzling new palettes and try to find as many cheery details as I can in the world around me!

Birds of a Feather: The Colors of Summer

I believe that life should be lived in full color, and that's one of my favorite parts of summer: all the bright, vibrant colors everywhere.  Pink mimosa blossoms on dark green leaves, yellow floats in aqua pools, candy-colored ice cream...  And living in the South, everyone seems to be wearing vivid pink and coral nail polishes, luminous Lilly Pulitzer-style prints, and vintage-style sunglasses in the most wonderful colors.  I've also had lemon-yellow goldfinches and pastel bluebirds outside my studio window recently, so it looks like everyone is in on the trend!  

It's no secret that I'm a huge Disney fan, with Mary Poppins being one of my all-time favorite movies.  Mostly for the Jolly Holiday scene with the penguins, let's be honest.  So, in anticipation of my master's graduation trip (oh yeah, I graduated!) at the end of this month, I put together a very simple papercutting featuring a very happy penguin and colorful Mickey balloons. 

I think that happy colors are incredibly powerful: they have the power to lift us up when we're feeling blue (ha, color pun!), inspire us, and encourage us to reclaim some of the great joy of childhood.  That's probably one of my favorite parts of Disney: their incredible use of color and their embrasure of the unabashed wonder of childhood. 

And while we're on the topic of happy colors, how about these tropical love birds?  I must admit, I'm generally not terribly fond of birds (except owls), but I do love looking at pictures of brightly colored tropical birds.  I mean, just look at those feathers, June! 

This cute little pair of love birds is for one of my newest papercuttings that will feature a whole mess of tropical birdies.  I've never really painted/cut out birds before (except owls), so this is a fun experiment!  (And if you can't tell, I really like owls, although they are generally not colorful.)

My boyfriend and I recently took a trip to the zoo and I was awestruck by the feathers of all the tropical birds.  While I couldn't get good pictures of the smaller whippersnappers, I did manage a nice shot of this flamingo's lovely feathers.  What beautiful texture!  If only I could get my hair that color...

Arabian Nights

I finally finished my latest papercutting today!  This one has been several weeks in the making, as I've only been able to work on it in the evenings here and there.  Believe it or not, this is actually part of my Water Spirits series.  I wanted to have something Arabian-inspired, since I think that Middle Eastern and Islamic art is incredibly beautiful, especially in all the intricate details.  I had to hunt a while for good water mythology, but finally decided to base this on the story of Jullanar of the Sea from the Arabian Nights.  You can read the full story here.

I had a lot of fun with all the details in this one!  The mosaics and gold detailing were some of my favorite parts to paint.

It was also experimenting with layering semi-transparent vellum into the illustration.  Vellum is tricky to work with since it tears quite easily, but gives a really neat effect. 

Most of all though, I enjoyed researching all the inspiration for this piece, and believe you me, there was a lot of it.  I fudged a little on some of the plants, since desert gardens are not known for being overly lush, but most of them are based on native species, like the Adenium arabicum in front.

And to think, it all started with this incredibly messy sketch:

The finished papercut measures 16 x 20 " and the framed original is for sale.  If you're interested, just email me at kakingillustration@gmail.com for more info!

Naiads

Sorry for the silence last week, folks!  My hands have been busy at work on some new papercuttings that I just can't wait to share with you!

This week I put the finishing touches on the next installment of my Water Spirits series: naiads!  Naiads originate in ancient Greek mythology, though have popped up all over the place since then, such as in pre-Raphaelite art like this painting by John William Waterhouse:

Unlike nereids, naiads are fresh water spirits, generally presiding over a spring, waterfall, stream, or pool.  Mostly though, I just wanted an excuse to paint cute pink water lilies.  I'm such a sucker for cute and pink.

This is definitely my favorite papercutting to date and I look forward to doing more like this!  It has a lot more depth in person and is mounted in a shallow shadow-box frame so that you can peer in at different angles and see all sorts of fun details!  And to think, it all started as this incredibly messy sketch: 

Here are some behind the scenes looks at the naiads before they were quite so pretty:

Cutting all the cutouts in the hair is really fun, though gets pretty hard on my hands after a while.  Thank goodness for bubble baths!

Ta-da!  Not nearly so weird and alien-looking now.  I always start with my characters first and then build the back/foregrounds around them.  It helps me establish the mood of the piece along with the color scheme.

I'll post sneak peeks of the next papercutting in this series soon!  I promise, it'll be a fun one ;)