And…back to reality

It does help to have something to do, that much I can say.

Summer Session 2017 has just started, for me.  In addition to my Vocational appointment, and a medical appointment which will soon be followed up upon (possibly a good thing), I was able to pick up study materials, work through the course intro, my first lecture, and complete one of two readings (it was only two pages long, not a big deal).  It looks like I will be able to make it to the group on Wednesday:  I have three chapters to read (about 55 pages), an introduction, and a Discussion post due by Sunday night.

Tomorrow, I have to get the rest of my bloodwork (blood tests) done (fasting), see my counselor, see my optometrist (I’ve already decided to keep my current frames).  After that, everything else is optional until Friday, except for work.

I’m not sure if it’s necessary to say that I haven’t done any art, today, although I have been curious about the watercolor thing.  And the Notan thing, not to mention that I found photos of acrylic ink swatches last night which I prepped, but didn’t post.  (That would be this:)


I think I’ve been over this, already, though.  At the time, I was intending to try my hand at comic illustration, and so invested in some muted hues in FW acrylic inks.  From left to right, I’m pretty sure they are:

  • Red Earth
  • Yellow Ochre
  • Flesh Tint (I’m not sure if that is white mixed in with it, to the right)
  • Burnt Umber

(By the way, those are just the names on the bottles.  All of them are convenience mixtures made out of two or more pigments.  Noting that, the original photo of this was so bad that I had to digitally alter the colors so they were visible.  I can see that the background looks a little blue — and dim — from here, though.)

However…maybe I want to try a form of drawing or painting with these that isn’t comic-centered, given that the world of humans can be an irritant to me.  (I wonder if I can work this into printing, or if I just habitually start projects and don’t finish them?)

One thing I do want to experiment with, though, and clearly:  I mentioned in a prior post questions about color mixing; how I had mixed secondary and tertiary colors but — for lack of a better word — had not fully explored muted tones.  A predominantly orange color (yellow + red) plus a little blue, for example, makes brown.  But what about the other mixtures?

How do I even map that out?  I can’t do it in my head:  I’ll have to write it down, then probably copy it over onto good paper and see what happens if, say, I make a color wheel and fill in as much as I can.  But then, what if I start mixing colors which are not split-complementary (like yellow/red + blue are)?

I mean, you can see where I’m going with this?  What about yellow-orange, what is that, “yellow/yellow/red”?  And that then shifts the complementary color towards violet…but again, I don’t have to use the direct complement.

I think I’ve been up too long.  I’m going to bed.

And…back to reality

More acrylic inks, you say?

There is a lot which has happened between my last post, and now.  Significantly, everything which was not already late was turned in on time.  I got the technical exercises out of the way first (including a botched Cataloging quiz — I’m not sure to what extent I’m concerned about this, anymore), then spent all of Sunday on my Literature Review for Research Methodologies.  The day after was mostly spent asleep (I felt like I earned it), though toward the end (my memory is fuzzy, but I think this is right), I started experimenting with the FW Acrylic Inks, again.  I think that’s what this was:

From 3-13-2017, lest I forget.

This was just mostly playing around with color.  I meant to post about it yesterday (Monday the 13th, I mean), but I didn’t have the energy.

You can see that I had started to make marks over the top of the acrylic inks with the colored pencils.  Those are my Progresso Woodless colored pencils…where the marks are bold, I was pressing pretty hard.  Anyhow, this was just me messing around with four to five colors.  (Crimson, Purple Lake, whatever they call Phthalo Green [I think it’s “Marine Blue”], Rowney Blue [Phthalo Blue] and a yellow which looks like Hansa Deep…I just checked, it’s called “Brilliant Yellow.”)

Of note, I have seen no evidence of an Ultramarine equivalent in the FW Acrylic ink line (which would make more vibrant violets) — and I just went to the art store, today.  It’s very probable that it isn’t made because they want all the colors to harmonize, and the palette of the FW inks leans toward warm tones.  (It’s really easy to make clashing colors when the original colors are not well-coordinated…)

This isn’t necessarily a bad thing, but it causes the color mixing range to be limited.  With Daler-Rowney making so many of these colors, though, I can see where they would like to limit their financial risk in color production.  Especially since it seems like many have trouble mixing colors as it is, without venturing into “mud” territory (I may have said this before, but I think mud — dull color perceived as “lifeless” — can be rescued).  But maybe I’m just spoiled on the good stuff…

I have gotten pretty tired color out of Prangs (note that some people can make gorgeous art with Prangs — and they aren’t really bad for what they are — nontoxic, inexpensive colors that flow well and wet easily and have comparatively good color strength for the price range), but that just caused me to stop using Prangs for colors that Prangs aren’t strong in (for example, cool red).  The problem is that when one starts out with a dull color, it isn’t necessarily going to get stronger with other colors added to it, unless those other colors (or hidden hues in those other colors) dominate the first, or can mute a dominant hue and support a hidden hue.  (I can expect someone to ask me what I mean by this, and the truth is that my left brain [words] doesn’t necessarily know how my right brain [art] does what it does.)

Let me get off of that.  Anyway,  😉  playing around with this stuff caused me to go out to an art supply store and replace my two broken Progresso pencils — which, finally, they had.  $0.74 each.  While I was there (first time to the art store in a couple of months), I picked up some hot-press watercolor paper (I have been after this for ages, but this is the first time I actually bought any:  it requires a special trip, as I haven’t seen Blick to carry many inexpensive [read:  not Arches] hot-press watercolor pads or blocks), and I also picked up a variety of earth-tone FW inks, because I may be using these for cartooning, and in that case, I’ll want consistent color and color that doesn’t move when it’s re-wet.

Neither of these things are going to happen with watercolors, unless I mix large batches of skin tones and let them dry in a palette.  Even then, there is the risk of movement when subsequent layers of color are added, though I’ve heard this can be mitigated with the addition of clear acrylic glazing medium at the time of painting.  (I haven’t tried it, yet — but be aware, addition of acrylic medium will make anything mixed with it not able to be reused, after it has dried.)  The FW inks don’t seem as intense as artist-grade tube watercolors, but they feel more controllable, and more suited to reproduction work.

(I go back and forth as to whether these inks or watercolors are more intense…after some experience, I’ve got to say that it depends on how much you thin them!  When I first used these inks, I was thinning them way out because I didn’t want to waste them.  In short, I was skimping on them [you basically have to lay out all your colors before painting in order to have them quickly available for mixing and altering other colors — and you have to say goodbye to all of what you’ve laid out at the end of a painting session, with acrylics], and it is obvious when I look at my first attempts at using these.)

On cold-press Canson Montval paper.  Ink is from a Pentel Pocket Brush Pen.

The above image is something I was messing around with…as I realized at home that two of my colors (Yellow Ochre and Red Earth — neither of which are constituted as one would think they would be) were both rated as opaque.  Obviously, though, this is relative.  For example, with Payne’s Grey (though it may be due to the fact that it is blue-grey), you can’t really tell that it’s overlaying the black, here.  Pure Burnt Umber, as well, goes on and does not mask the underlying black drawing at all — you can see at center right.

However, you can see a tiny bit of overlap in the foreground here with the Red Earth (the only red used here) and Yellow Ochre overflowing their lines in the center swirl.  It also happened in the thing that looks like a tree trunk to the left, which I am fairly sure was a mixture of multiple colors, including red and yellow earth tones.  Possibly also white.  (I’m not sure, but I should add that last bit.  White is obviously not transparent, though be aware that the FW acrylic white, isn’t a dense white.  Daler-Rowney Pro[cess] White, though?  I’m not sure about that — I’ve seen it used as correction fluid and for highlights.  If I ever reach the finishing stages of a piece of art with this stuff and actually use the Pro White, I’ll let you know.)

What this means is that I will have to go back in and touch up areas where I have painted over lines which I need — if I use heavy coats of color.  (The colors being bound by acrylic resin, helps ease my concern of clogging nibs, in this regard.)  Pale washes, on the other hand, don’t really fade the linework noticeably (to me, at least).  One of the things I did realize, though, is that it is WAY easier to work with these super-fast drying acrylic inks on a small scale.  If I had wanted to, I could have avoided overpainting these lines, because my brush was that small and the shape was that small…but this was a test.

I’m not sure if it is the fact that I can see the colors of these inks through the bottles that makes me want to use them, but I’m sure it’s related to that.  I’m thinking of clearing out one or two of my small palettes to use for everyday watercolors (that is, not the specialty ones which I have to think about including, like freakin’ Aureolin).

Freaking Aureolin.

Okay, I’ll stop.

Oh, right.  I also have been trying to work on drawing people again, though they’re imaginary people.  I do have some photos of these, but to be honest, they’re pretty horrible (middle-of-the-night) photos, and I’m not even altogether that proud of the work anymore.  It was fun last night, then I looked at it again today and realized my character had Vegeta proportions, so…

Right.  I think I know what’s wrong, and it should be easily fixed.  It’s what happens when you draw the head before the body.  Still, though:  I would really like to photograph this in daylight, rather than releasing it to the wild and *cough* messing up my *cough* reputation *cough* 😉  Hehe.

We all screw up sometimes, it’s part of being human — and being an artist means you screw up OFTEN and REPEATEDLY until you can learn other ways.  😉  So the best thing to do is be gentle on yourself, and maybe not even call it “screwing up,” but “having a learning experience”.

(When is the Internet ever gentle, though?  SHUT UP ANXIETY BRAIN.)

Okay, I’m being told to get some rest now.  I do have to get up in six hours.  JOY.  JOY OF JOYS.

Eh, at least I should be able to get some (home)work done at lunch…

More acrylic inks, you say?

Couldn’t help myself: FW acrylic inks vs. watercolors, probably Part 1

I’ve waited quite a while to write this post.  Between wanting to fit in a visual comparison of the FW acrylic inks versus artist-quality tube watercolors (I’ve given up on the image editing, for now:  my digital photography skills are not as honed as my drawing skills), having come down with a cold over the holidays, and it being…well, the holidays, I haven’t gotten around to it until now.

I had intended to do a test to see if I could get the FW acrylic inks to bleed like watercolors, but unfortunately, I haven’t had the energy.  What I have been doing is swatching out watercolors over black fineliner to see how transparent they are.  Although while I was in the process of painting, it became difficult with some colors (like Cobalt Blue) to see the lines, after things were dry the transparency of (all) the paints was much more apparent, and with all of the ones I have (save heavy applications of Lamp Black), black ink underdrawings should be visible.

I should note for newcomers here that I’m not using any cadmium colors, which are known for their relative opacity, even in watercolor lines which otherwise tend towards transparency (note that intentionally opaque watercolor is called gouache and isn’t what I’m talking about now); I tend to shy away from cadmium pigments for health reasons.  There are other pigment families which also require caution in use, one of them being the cobalt salts; though I’m less wary of these (whether that’s deserved or not).

There are three cobalt pigments that I have used:  Viridian (a bluish, granulating green), Cobalt Blue (a sky-blue type color), and Aureolin (a cool yellow which leans green, and is said to darken over time).  There is at least one more, Cobalt Violet, which I’m curious about but haven’t tried yet…though I certainly shouldn’t go around collecting toxic materials for the hell of it.  In any case, all of the ones I’ve listed have seemed a bit…desaturated? to me.  I’ve been using Winsor & Newton, and almost scrapped Cobalt Blue from my palette because it’s so weak in mixes when trying to make green.

However!  There are uses for these pigments which don’t appear on the surface.  For example, Viridian mixed with Permanent Rose Red (a violet-leaning, delicate red) makes a really, really nice violet-grey.  (At least, I’m pretty sure that was Viridian I used, and not Viridian Hue — which is Phthalocyanine Green.)  Don’t ask me how.  It would be hard to explain.  😉  I might have been up for it if I hadn’t read parts of Blue & Yellow Don’t Make Green, by Michael Wilcox but I did, so…I can’t unsee it.  😉  The book I mention is on color theory and the physical aspects of pigments’ light absorption properties in relation to what colors we see them to be; I have the 2009 version, which is, of course, very dated by now (at least some of the paints tested in the book have changed formulation since 2009).

The short of it is:  it’s hard to explain how green plus red equals violet under traditional color theory, except that the green leans blue and the red leans violet…then the yellow in the green would mute out violet, and the red mixed with blue leans violet…but then there’s still green…AAHhhh…okay.

It’s…it’s just hard to think about, and I’m no longer sure that the color wheel is even a viable system, at this point.  For instance, is green GREEN, or is green blue plus yellow?  In the prismatic spectrum, there are pure greens…so where does the notion of green being “blue plus yellow” come from?  The point is that many yellow pigments eat blue light and many blue pigments eat yellow light, but they both reflect green, so green is the dominant frequency of the light that is left over and reflected.  It’s not the only color, though, as is visible when chlorophyll decays in maple leaves and you get spectacular yellows and reds reflected which were there all along, but dominated by the green light.

It’s because of this that I wonder whether any grouping of colors turning to “mud,” (dull, nondescript color) can be reoriented in some useful direction with the addition of one or more of the right colors.  After all, “mud” is basically…just a neutral, yeah?  That means it should have a lot of different colors in it being reflected all at once, with few dominant.  Take out what you don’t want, add what you do:  it would seem to be possible, at least?

I have been using a split-primary system (a modified color wheel which at least gives some direction)…but at some point randomness helps to find those gorgeous colors that you can’t get without mixing some colors not traditionally combined.  Mixing several steps further than the point at which a more cautious person (or brain-voice) would have told you to stop, can also be really fun (for example, mixing black is, generally speaking, a blast).  For me, at least.  I still don’t understand how my brain perceives color, but I think that it is in some way my thinking/language-oriented mind doesn’t know how to comprehend…like seeing what is not there rather than what is.

In any case (that was a long tangent), what I can say is that the watercolor paints I have, in comparison to the FW acrylic inks, display much more randomness when it comes to where on the image the pigment dries.  I’m not entirely sure if this is simply a quality of high flow with the watercolors, or has something to do with acrylic resin’s famed quick-drying ability.  (Those who have painted in both acrylic and oil paints tell me that acrylic dries very quickly in relation to …well, maybe anything would dry quickly in relation to oil…but I wouldn’t know firsthand.)

I have also noted that although the acrylic inks appeared more saturated than I remembered my paints being when I first used them, in one of my photos, the watercolors are clearly denser.  I’m not sure if this is an artifact of the camera, lighting, LCD display, or what.  I can get back to you on it, though.

By far, though, the biggest difference between the FW acrylic inks and the watercolors I have (mostly Winsor & Newton, with a few exceptions), is the fact that the watercolors move, after they’re laid down.  Particularly, Grumbacher Vermilion Deep (it isn’t actually technically mercuric sulfide, don’t worry), and W&N Viridian, Sap Green, French Ultramarine, and Burnt Umber…all show a tendency to highlight the texture of the paper (unless I wasn’t paying attention, this is a rather heavy Canson Montval cold-press).

Vermilion Deep, Viridian, and French Ultramarine, I would say, are all definitely granulating (or “flocculating?” hm, new word); that is, the pigment particles seem to cluster together as the paints are drying, which gives the area a distinctive texture — which, I’ve gotta say, is probably nicer in a Fine Art context.  If I were creating something to be reproduced, like a comic page, though, I might want to use the FW acrylic inks, just because they give a lot more of a reliable (though less exciting) outcome.  😛

And please, PLEASE remember to wash your brush frequently when using the FW inks!  I got a little happy and acrylic resin dried around the end of my ferrule on the first day of painting with these!  (I’m just lucky I didn’t use the one with real hair…)

Up next; unless I forget about this post entirely:  working wet-into-wet with both the watercolors and the FW acrylic inks!

Couldn’t help myself: FW acrylic inks vs. watercolors, probably Part 1

late night color play…

It took me until 5 PM today, to fully wake up.  Accordingly, even though I am tired now…I know I should go to bed; I just don’t want to.  I did, however, get up the courage to play around with some colors.

My one pearlescent FW ink is at center bottom — it’s the one with the glare.

Long story short, all of the non-glittery FW acrylic inks I have at the moment, are transparent, and neither my Micron nor Copic fineliners bleed under them.  The glitter in the pearlescent color I’ve got, however, blocks some of the underlying drawing, even when there isn’t that glare off of the surface (the glare is illustrated above).

Though I’ve tried to color-correct for this, all of the photos in this post were taken under artificial light.  Therefore, some of the more delicate aspects (like the differences between those three yellows up there) are probably not going to be as apparent as they would under full sunlight.

Don’t let the water pool and dry, or you get this:

So, up next was the attempt at color blending.  These guys do a decent job of blending wet-into-wet if you drag the colors into each other with the brush (and not so much water), as indicated on that inside corner between red-orange and yellow-orange; they don’t do so well if you let the water and pigment pool and then dry on its own.

The latter technique was what achieved the blot in the upper right corner of this photograph.  I’m thinking it would have been alright if the amount of water had been far less.  But it’s an obvious difference from Western-style watercolor paints, which would probably not have dried like that.  You can see as well that glazing appears very effective.  I was working on Canson Montval cold-press paper, here.

Drawing a new color into a brushstroke which has already been laid down has the same subtle effect, as seen here:


…and I can actually somewhat see the colors separating out in the bluer “tail” of this doodle.  I’m not sure if that’s due to incomplete mixing or to the pigments actually settling out.  In any case, I’m really surprised that some of the color mixes I’m showing here look as decent as they do, because they looked pretty bad on my palette.  I can just say that.  🙂

At one point I did get the urge to see if these things could work wet-into-wet like regular watercolors.  The short answer to that is “no,” at least not when using staining colors, and at the same time having paper which is not fully saturated with water.

The result of attempting to drop pigment straight onto wet paper.

The image to the right is the result of attempting to drop a few different colors into what was essentially water which I had spread on the paper, but not allowed to soak in.  The stain in the center-top area seems to be the result of Phthalo Blue working its way into the paper itself, as the paper absorbed the water that had been laid on top of it.

I kind of wonder if things would have been different, had I allowed that water to soak in fully before adding in the ink.  It would likely have changed the response a bit.  I notice that neither the green nor the yellow which I dropped in did the same thing, though, so maybe the difference can be attributed to Phthalo Blue being a staining pigment.

And, right:  that same pooling and settling thing happened in the snakes on the right side.  I’ve got to remember not to let that happen again, unless I want the effect.  🙂  (It really didn’t look that way when it was wet…then again, I saw a lot of subtle variations when the inks were wet which became difficult to see after they had dried.

Okay, see, and now I want to do a comparison between these and my true watercolor paints…soon, maybe.  What I can say is that I have got the saying in mind to let paintings be paintings, and drawings be drawings…I don’t remember who said that, but it is surely difficult to wed the two.

Having said that, I went out on a limb and tried drawing a person tonight.  Right now, she’s kind of a wireframe and difficult to see, being totally in pencil.  But if I were going to work in illustration, as for a comic book, I really do think that this media would be ideal for that.  The transparency of the inks allows inked underdrawings to show through, easily, and the acrylic component in the color allows lower layers of acrylic ink to stay put.  However, there is also a bit of an issue in my recording tools not being able to pick up the full spectrum of the light which I can see reflected off of the paper.

I wonder if maybe I should look forward to a dedicated scanner, if I’m going to be doing this stuff seriously (no, that is not a dare)…I just don’t want to deal with public machines where it comes to scans…

late night color play…

(Yes, Fall 2016 is now over…hurrahs may commence)

Hehehe!  I am officially done with classes (for a month, at least)–!  Though there are a few things I can still pick up, there’s no rush to do so (with the exception of my painting, tomorrow).

Now, I get to do things that I actually want to do!  (Once I can remember what those are…)

I expect there to be a few days in which I don’t know what I’m doing, or how best to use my time.  It happens at the beginning of every break.  Usually, there’s a long rest period, then I start to explore what I can do, then I start to do it, then the next semester starts up again–!

No, I mean, like, really.

I do have a lot of books which are available for me to read, which I didn’t have time to read while I was working on schoolwork.  In particular, I have a couple of books on Design, well– actually, three books, at least, on Design (focusing on Graphic and Web Design), and at least one new book on Watercolor painting.   And lest I forget, I do have three in-progress books on art practice.

Plus, I have my guitar–! though I will only be able to practice with that 30 minutes maximum today, before my fingers get too sore to continue.

And then, I also have plenty of art materials to play around with.  In particular…paints.  And inks.  Lots, and lots, of things that I can apply with brushes.  Which reminds me, that I really want to experiment a lot more with color mixing with those FW acrylic inks, given that even the neutrals seem vibrant…

There’s a lot about color mixing that I just wasn’t taught.  It seems to be different, as well, depending on media:  so whereas when I was painting with acrylics, it would be normal for me to mix from 5 or 7 base paints to get the color I wanted, apparently that’s not something done in watercolors?

I’ve found that when working with transparent watercolors and gouache, it may make the painting look disjointed to use too many different pigments to start off with.  This is, at least, unless heavy mixing is going on where you’re using differing proportions of most or all of the paints, in each color you’re laying down on your painting.  I was indeed doing that with my acrylic paints, but watercolors are just prone to getting contaminated, due to the way the paints disperse in water.  In addition, I tend to reuse my dried watercolors — at least, the transparent ones — so I am apparently concerned when the teacher turns my Aureolin well brown (it’s supposed to be yellow).  :/  (and Aureolin isn’t a cheap color!)

Acrylics, however…you lay out a full palette of those colors, and that paint is basically gone.  You can’t re-use acrylics unless you use plastic wrap to cover them and keep them from drying out.  A spray bottle full of water to wet them down doesn’t hurt, either.  The issue is that they dry out, and when they dry out, they also cure, and can’t be reworked.  Because of this, it isn’t a big deal if the paint on the palette gets contaminated, as it’s all a loss, anyway.  On top of this, the contamination stays limited to a small area, at least if one is using heavy-body paints.

As for what to do with the acrylic inks, I’m just going to have to experiment…though I suspect that they are closer in behavior to high-flow acrylic paints than to watercolors.  Like other acrylic-based paints, I put out a few drops of this stuff and I can never use it again!  But, the amazing thing is how far a few drops (especially three drops of each base color), goes.  For a small, 5.5″x7.5″ test paper, it’s plentiful.

I was experimenting on a cheap little plastic palette with little cups, which showed me how intermixable these are — on par with my heavy-body acrylics — and also how permanent they are!  (I should probably take a picture of that palette I ruined, so you all can see it.  I wouldn’t be able to accurately tell the color of any transparent paints or inks I used in the painted cups, again.)

So now I know to use the disposable palette sheets for these.  It’s not like the drips are going to run anywhere, unless I pick it up.

I am thinking, also, of the entire Web Design tangent — hence the books I obtained for myself during the semester which I didn’t get the time to read.  However, I know that it isn’t an easy option, especially when dealing with people trips me out, anyway; and people who want Design jobs done may have much more serious problems than “make our website pretty.”  How do you say to people, over and over again, “I know you hired me to make your website pretty, but you have these fundamental navigational and structural problems which we can also fix”…?  Although, that doesn’t sound so bad…if you can fix them.

Now that I know that Design isn’t totally “selling out” as an artist; that it requires a different set of skills than someone solely a visual artist may cultivate, and that someone solely a visual artist may not know about; it may become a viable option.  This is in addition to any learning I get done as regards Information Architecture and User Experience, in my program, in addition to my main Cataloging focus.  Coming up, I should be taking a Beginning Cataloging course along with a course on Metadata, and Research Methods…though it’s without question that I do want to learn how to construct Web pages.

I’m just really, really glad that I don’t have to focus on public service, anymore–!  I mean, seriously…

(Yes, Fall 2016 is now over…hurrahs may commence)

Finally uploading some of…what I do naturally, I guess?

Why…can’t some things be simple…?

In any case, I’ve just spent the last hour or so figuring out how to avoid having a browser program which I dislike, open immediately without my prompting.

On the bright side! — I have for you a page of scribbles.  (Sorry about the lack of focus.  Well, mine; and in the photo, let’s say.)

Ah, yes. the scribblies.

This is fairly…well, random, but I was trying out inks and brushes, and it came to my mind that this is a fairly good representation of the acrylic inks I was playing with the other night (before I decided that I really should look at my homework pile, again).

Speaking of which, I have less of that (homework) than I thought.  I’m not entirely certain how I convinced myself that I hadn’t actually read what I had read…but right now I’m on the last reading for last week, and it doesn’t promise to be long.  I did, however, have to find a way to lock my screen so that I could read it in landscape format…

Well, anyway.  The black and grey marks on this page are Yasutomo non-toxic liquid Sumi ink.  I guess…maybe it would work alright for comic layouts?  Given, that is, that it shows up clear enough, here.

(I keep having dreams about xeroxing and displaying comic layouts, for some reason…)

The colors are all FW acrylic inks by Daler-Rowney; and I’m certain that light pink tone in there (and some of the violets I mixed with it) has shimmery bits.

I was just trying to see what I could get out of these inks, though it should be noted that I didn’t use a midtone or cool yellow here (as the dropper for my Process Yellow ink was still gunked up).  So everything which is mixed with a yellow is mixed with…I think they call it “Deep Yellow.”  It looks really similar to a yellow I got for watercolor painting — one of the deeper Hansa Yellow variants.  Though…that’s all from memory.  Don’t bet on it being true.  😉  The FW inks do come with pigment codes on the bottles, though; I’m just being lazy.  If anyone wants me to look it up, I can.

There are a number of interesting bits that I can see in the play above…but maybe I’ll get to describing them, another time.  (I’m almost ready to get back to studying.)  The one thing I did want to note, though, is that my use of negative space seems to be improving.  And the black with white showing through, glazed over with color…that’s a really interesting effect.

As regards markmaking, I used a small flat brush, an angled shader, and a small-to-medium-sized filbert (which is the one which made the marks which look rather blunt).

And one other thing to note is that my Sumi ink didn’t move much at all with the quick application of acrylic ink over the top.  I am not sure if I can always expect it to hold up this well, though?  🙂

Finally uploading some of…what I do naturally, I guess?

Self-gifting (>_<);;

Hello everyone!

I did make it to the art store, today, and it was incredibly easy to find what I was looking for (a Pentel Pocket Brush Pen), which works amazingly well.  I’m really…sort of shocked, given the performance of the other brush pens I’ve used in the past…this one has waterproof ink which comes out of a nylon-bristle tip (as versus a rubber or felt one, which are mostly what I’ve seen pass for “brush pens” in ages past).

It’s actually kind of making me want to get back into learning Japanese (and/or, English calligraphy), because my kana look awesome with it.  I also realized, after reading about sparkle brush pens which also use bristle tips, that I could use shimmering ink or shimmering paint, and by this I could utilize multiple types of brushes, as versus the one style of brush nib which comes with, say, the Zig pens I was looking at.

So, it is close to Christmas, and I am not betting on many presents this year.  I had a 20% off coupon plus a Web Match Rebate plus bulk pricing, so I finally splurged on Daler-Rowney FW acrylic inks.  Holy **** you guys, they’re beautiful!

I do have to go back and replace one of my bottles, because the eyedropper is gunked up, but I tested the others, and they all work fine…

They’re beautiful.  I’m just…amazed.  I got a split-primary palette (one cool and one warm of each primary color) and four optional colors.

I also started experimenting tonight with mixing colors experimentally again (orange + violet makes brown; adding blue makes greenish black [?]; adding red to greenish black makes rich brown…or is my memory messed up?  I’m not sure–).

And even the neutrals which I did mix (not many, but) — they were still vibrant.  I was actually aiming to try and mix black, as I did not purchase a black, because I knew it was possible to attain with three primaries.  It would be more interesting, and would push my skills more.  And holy ****, is it more fulfilling…

I have, however, accidentally laid down some permanent color in the cups of a cheap plastic palette…

Oh, right:  and it’s water-resistant once dry, and more lightfast than dye-based inks!

I also picked up a replacement flat brush, a small filbert, and a brush with an angled tip…which is what I was playing with earlier tonight.  These were all under $10, each — to my surprise, because one of them actually has sable mixed into the hairs.

I do kind of wonder if this is why my art teachers have all said to experiment with new media…it makes things fresh again…

Self-gifting (>_<);;