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    Vellum Sketch with Copic Markers

    Last updated 20 hours ago

    Coloring on Vellum (with Copic Markers)
    It's been a while since I posted something made on vellum. I had a drawing in my head, and I thought this would be perfect for a vellum sketch. I'm using a deluxe, heavyweight drawing vellum, so it has a slight grayish cast to it, but takes marker ink beautifully.

    1. I started with a pencil sketch and overlaid a piece of vellum. I taped it down with masking tape to keep it in place as I colored. 

    2. Next, I work back to front. I begin by laying down some solid swatches of B45.

    3. With my colorless blender, I went back over all the blue, to soften at the edges. I colored in the same direction as the original streaks. I want some streakiness to remain, just not as harsh on the edges. Then, I use my colorless blender to clear out the inside of the vase. Because marker ink does not soak into vellum, the colorless blender can completely remove ink, if you soak it enough. I was careful to wipe my blender marker tip clean on scratch paper after each stroke over the blue.  

    4. Then I added E33 and E27 to the pitcher. I left the white area clear, and did minimal blending. Blending on vellum can turn streaky quickly.

    5. Next I added the YG17 and G99 right over the top of any other colors. Although the greens are lighter, they will simply push other colors out of the way.

    6. I added R43 as my pale pink. If you notice, all colors appear a little lighter on vellum, so go darker than you regularly would when coloring, or colors won't show up.

    7. I touched up the pinks with RV29, and minimally blended it with the R43.


    8. I finished up by pulling the sketch out from underneath and looking at areas that needed cleaning up. I darkened the brown with E49 and touched up a bit more RV29 and G99 to add details.

    I love how soft and simple the finished image looks. And, it was very quick, as you can't go back and blend without causing streaks. If you don't color on vellum much, I strongly recommend trying it sometime. 

    -Marianne Walker

    Art talk: What's so damn difficult about hands?

    Last updated 2 days 1 hour ago

    The Philly art scene is certainly no stranger to abstract, conceptual, nontraditional, even bizarre work.

    But for those artists who work in the realm of realist, humanist work — that is, hyper realistic portraits of actual people — one of their great challenges is, arguably, getting it “right”: For realist portrait artists, well, a person’s got to look like a person, with all parts of the body rendered near-perfectly.

    One of the biggest challenges therein, says Port Richmond-based artist Peter Kelsey, is the painting of human hands. Kelsey, an instructor at Studio Incamminati, one of the schools in Philly focusing on realist art, is offering such artists the chance to master hands with a 10-week course at the studio, which runs from April 16 to June 18.

    Why are hands so difficult for artists? For one, they are made up of so many miniature parts, and have such extensive range of motion.

    “Hands are such an expressive part of the body, the second most after the face,” Kelsey said on the phone Monday. “Humans are so attuned to hands, speaking and articulating, that if they’re done wrong in portraiture, it’s really obvious.”

    Kelsey, who paints commissioned portraits — he’s working now on a portrait of former Pennsylvania Attorney General LeRoy Zimmerman — has been studying anatomy as it relates to art for 10 years. He said the trick with painting hands is all in the structure.

    “My tip is you have to really understand the basic building blocks of the hand. If you understand the subordinating details, the hand becomes really manageable,” he said.

    In the course, students will hear lectures from Kelsey on the tendons, bones and musculature of the hand, and work with live models to conquer the skill. This week, he’s working on another realist class that has students drawing human figures without skin.

    “In the past 10 years, there’s been a revival and interest in realist art, in traditional art,” Kelsey said. Such a revival is a matter of the “pendulum,” he said, of art interests swinging back and forth — resurgence in realism come and go, just as they do for other art forms.

    It’s clear that for any artist looking to master portraiture of people, getting a handle on the hands is imperative.

    “Hands are so uniquely human,” Kelsey said.

    Learn more here.

    By Mikala Jamison Philadelphia City Paper

    Coloring Light Skin Tones With Copic Markers

    Last updated 3 days ago

    • copic-skin-tones-tutorial-pehny5-480x657
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    Jayleen Weaver (Marker Guru) shares tips for coloring light skin tones with Copic markers. Stay tuned for more skin tone tutorials!

    I’m going to cover 3 skin tones in this tutorial, all of which I consider lighter skin tones.

    The techniques with colouring are the same as any other thing, but with skin it can be difficult to choose the right colours.  I wont be covering any other parts other than the skin in these walk throughs, or else these would be the longest tutorials in history.

    To see more of this tutorial from Copic Markers, click HERE

    Strathmore Online Workshops

    Last updated 4 days ago

    Did you know that Strathmore Artist Papers offers online workshops you can participate in?

     

    1. Register (Create Student Account):When you register, you are creating a Student Account. This automatically registers you to take any one of our 2014 Online Workshops.

    2. Start: Prior to the start of each workshop, you can visit the classroom and workshop page for supply lists. You will also see students introducing themselves in the discussion forum.

    You will receive an email at the start of each 2014 workshop. At that time, simply visit the classroom and workshop page for links to video lessons and instructions. For workshops that are already open, you can join in at any time.

    3. Participate: Once a workshop opens, you can view video lessons and download instructions for each week. Feel free to participate in discussions and share your work in the gallery.

    Your Friends at Strathmore

    Free Faber-Castell Drawing Demo Saturday April 12, 11am

    Last updated 5 days ago

    The demo will focus on a variety of techniques using a range of drawing materials by Faber Castell including Polychromos color pencils, Pitt artist brush and fixed nib pens within the context of illustrating. Projects discussed will range from sketchbook and roughs to finished work as well as engaging quick projects to get the creative juices flowing.

    Franz Spohn encourages attendees to bring their sketchbooks and drawing materials, as the best demos are often the ones that become more hands on for the attendees.

    Franz Spohn began life wanting to be a cowboy.But upon winning the Pancake Supper Poster Contest at Montrose Elementary School he found the prospects of being an artist more appealing.Ever since those heady days Franz has earned his M.F.A. in printmaking and drawing from the Ohio State University. He has taught at University of the Arts, Walla Walla State Penitentiary and is currently teaching at Edinboro University of PA (other side of the state). He is co-producer and host of the PBS instructional series Eureka! the Creative Art Series (winner of a NEA development grant) and has had his work featured on Ripley’s Believe It Or Not, the Food Channel’s the Secret Life of Gum, and the remake of I’ve Got A Secret on the Game Show Channel. His work has been exhibited in numerous solo and group exhibitions in venues including the Museum of Art and Craft, NYC, Pacifico Gallery, NYC, Glenbow Museum, Calgary, Alberta, National Science Museum, London, England, Franklin Institute of Science Museum, Philadelphia among others.

    Franz’s favorite creative activity is illustrating. He has illustrated books and bookcovers for Bantam, Doubleday, Dell publishers, as well as for other corporate clients. He has done projects for Target, Heart of America, Speedball Art Products among others.

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