1.  Handprint.com is the best resource I’ve found for those using traditional watercolour media; that want to learn about pigments properties, see test results, learn which pigments are more lightfast, and lots more.  At first, the site appears really simple, but start clicking through pages, do some searches – and you’ll find a wealth of information compiled by Mr. Bruce McEvoy – many thanks to him!

2. Amien.org is newly discovered site (to me), shared by a good friend at my local art shop (Takapuna Art Supplies).

• Great place to ask all those very technical questions that art teachers and even other art pros never seem to be able to answer – as their major rule is HONESTY, an unbiased view.  (Despite the fact that businesses are registered with them; it seems they have a strict policy on unbiased information).
• This is a site for those who take their knowledge of art materials really seriously.   If you ever asked a question on wetcanvas.com but wanted to know more, the Amien forums might be the place to ask.
• Most major mediums seem to be covered – oils, acrylics, pastels, colored pencils, etc.

Some people are purists, who wouldn’t dare mix anything with their watercolour, nor use black out of the tube.  Other people use any material found somewhere in the universe.

Most people fall into a giant rainbow of what they will-or-won’t-use.

One beautiful thing about being an artist is the process of finding our place; and the challenge of it is in putting our identity (our unique way of doing things) to good use.

Different types of work require different things, different looks.  Each type of media presents new challenges.

I love to illustrate, but I also love to create fine art works; I love to draw traditionally, use my choices of media, and yet be able to work digitally – and even more quickly if the need arises.

The best part of mixing media is…

*** There’s nothing wrong with being an Art Supply Junkie ***

Nippon Ikinuku!   Stay Strong, Japan!

Done for Ganbare Nippon, the Illustration Rally Artwork Donation Appeal.

Find the painting here: http://www.etsy.com/listing/75980641/ts-larking-original-mixed-media

I have yet to be privileged enough to visit Japan.  Still, I feel as if I have – since my Grandmother read me “Momotaro – Peach Boy” folktales, and growing up on a steady diet of every cute Japanese creation from Nintendo games to San Rio products to Kokeshi dolls to Miyazaki films…

More importantly, being involved in Japanese Language class, getting to understand customs, and being lucky enough to have some Japanese friends – with their sense of honor and kindness; I couldn’t resist doing it.  The tsunami doesn’t need describing, and as a lot is going on in the world – it can’t hurt both to help and pray!

Sending Love to Japan!!!

Depending on what is required, I can create a piece that is fully done in traditional media, or fully digital – but it’s really fun to have the best of both worlds.

I remember a time when digital art was rather looked down on.  Now it seems as if a lot of the world has ‘caught up’ and prefers that illustrators/artists work digitally.

Have worked with photoshop for over 11 years now – also enjoy Artrage and Painter.  I love to cobble out the most important aspects of the image in a traditional way – and enhance it or develop it further digitally.

Here’s the final image – some like this piece for it’s Golden-Age feel:

The Faery Watcher – Final Piece

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Step 1 – A Small, Simple Sketch

After some rough thumbnails to figure out composition – it evolved from a doodle and concept in my head.  I wanted a fairly simple, fun fantasy piece to start off with.

Step 2 – Size & Transfer

Decided to experiment on a larger piece of illustration board, so divided the piece into two,

printed the sketches, and then taped carbon paper to the back; retracing the transfer over the illustration board.

Step 3 – Underpainting

Using Acrylic paints mixed into neutral and skin tones, I painted ‘grisaille’ style values.  The idea was then to glaze layers over this and other parts of the background to build up colors.

Step 4-??? – Taking it into the Digital World

(This is the point where it’s difficult to really demonstrate a set methodology, as many things come into play.  I might layer in other textures or tweak the line drawing itself, or do any number of adjustments.)

In this image, after adding in watercolor base layers over the Acrylic underpainting, I scanned in the painting.  For the most part, the scanner/camera just doesn’t pick up beautiful subtleties of paint color on paper, but it’s pretty good at capturing texture and line.  Much more can be done digitally – and so I use layers in photoshop.  A LOT of layers.

I do name the important layers – but sometimes I use several layers that are less important, for glazing purposes.  To maintain textures when making adjustments, I’ve found it critical to keep lots of layers – and paint using brushes set to around 20% opacity and flow – meaning the “paint” is very thin and laid on gently over time, and helps to preserve texture.  This allows me to create pieces that are very Golden-Age/Rackham in style; textural and line-work styles.  So I get to keep much of that ‘Traditional” look in many ways – and explore ways of creating that are pretty unique.

Traditional work has a beautiful quality that is very hard (sometimes impossible) to recapture or translate digitally.

Digital work – the possibilities are endless.

Amethyst, Pearl, and Sapphire, I ended up most satisfied with.  I suppose the way an image looks really (as they say about beauty) is in in the eye of the beholder.  I’ve found that no matter who I ask, people (and even experienced artists) are always going to have their own opinions.  As long as a piece has enough Values (something I keep striving to push, as it was one of my greatest weaknesses – especially after the scanner did it’s lightening job!)… and is technically reasonable, you can only hope for the best thereafter.

I will be re-posting some of these dragon card images; as I sometimes do revamp old images, it’s just part of my own growth as an artist.  I always experience a degree of (thankfully pleasurable) shock when I look at something old I haven’t seen in a long time – and can then see places I could have done better, and find ways to solve problems that I couldn’t find before.

Another afterthought was that this type of work would be good for jewelry design; something to ponder in the future?  I’m not so sure brooches are still in style though!