Friday, September 20, 2013

Anime Weekend Atlanta Table Announcement

Heidi edited the normal AWA Artist Alley map to make this fantastic zoom in to show off the best island, the G island.  While other table islands surely have their perks, Island G is concentrated awesome.  Heidi and I are G10 and G11, toward the back, Emily Kluwin is G9, and Julie Wright, a fantastic artist we met at Interventioncon two years ago, is G12.

Here's the full map, for reference.

If you missed  my beautiful double sided clear acrylic charms at SPX, there's still a chance to get them at AWA.  I offer them three ways- as phone lanyards (including a earphone jack post for iPhone users!), keychains, and necklaces, with no additional charge.  I'm working on rebuilding my stock of mini watercolors, and will have copies of 7" Kara chapter 1 and 2 (possibly your chance before I stop selling the individual issues in favor of a collected volume).  I'll have a variety of buttons and will be taking two kinds of commissions (sketch and watercolor) commissions as well.

Lastly, Heidi and I will be putting on two panels- an all-ages Drink and Draw event Friday at 9:00pm:

which is open to all artists, regardless of whether or not they're tabling.  For those of you who are curious, Heidi and myself will not be imbibing alcohol, so there's no fear of drunken mishaps on our part.  I do request that because it's an all ages event, participants keep it classy

Our other panel is a business practices panel held on Saturday at 12:30.  We're hosting it with Angela Sasser, so you should come check it out if you have time!

Sunday, September 15, 2013

Saturday, September 14, 2013

Guest Comic Paperdolls

In the past two months, I've done guest comics for two friends- Zack Turner (Unlife) and Cassie Freire (Catnip Circle).  I can't just dash out a comic, so I opted to do paperdolls for both of them.  For Zack, I did little sister Jenners, and for Cassie I did Mela and Pera.

Unlife's Jenners:

Catnip Circle's Mela and Pera:

Paperdolls aren't necessarily easier or faster than doing actual guest comic pages, but when I'm in the middle of doing pages of my own, it's hard to switch focus quickly.  Paperdolls offer a solution that still requires the same amount of physical and technical effort, but doesn't require me to shift gears away from my own work.  Plus I like drawing outfits.  These were all done using a basic character sketch, tracing paper for the outfits, scanned, bluelined, inked with fude pens, scanned, then digitally colored and put together.

Wednesday, September 11, 2013

Simple Vs. Original Watercolor Commissions

Currently I offer two types of watercolor commissions.  The simple type, running from $10-$20, quickly proved itself to be a popular option at this year's Mechacon.  Designed to be painted quickly and with a limited color palette, the Simple Watercolor commission is available in a smaller size and utilizes simplified forms to help speed up the time it takes to finish.  While some may disparage this cheaper option, it's a great solution that's flexible enough to be done behind the Artist Alley table, an impressive feat in and of itself.  The Original Watercolor commission option must be done at home, as it utilizes computer, scanner, larger watercolor paper, which requires stretching and longer drying times.  The Original Watercolor commission is much more detailed both in drawing and coloring style than the Simple watercolor option, but both have their selling points.  In this post, I'm going to go through the process and materials for both types of commissions, starting with a pencilled and stretched Original Watercolor commission, and a pencilled Simple Watercolor commission.  Since watercolor is a medium that requires time for drying, I was able to work on both commissions simultaneously, and photographed them together.

As always, I apologize for upside down photos.

Comparison of Set Up and Materials

Stretched 10X15 cold press watercolor paper.  Original sketch was printed in blue ink, outlined in pencil.  Blue printer ink washes away with initial stretching of paper.

Simple watercolor commission on 8"x8" cold pressed watercolor pad (fluid), taped at two ends.  Graphite transfer of original sketch, tightened in pencil.  No need for stretching.

Materials used with Simple watercolor commission.  Small plastic palette, Sakura Koi field set with 12 pans.  Limited selection of brushes selected for durability (usually a synthetic/natural mix, a lot of Neptunes in there) and resiliency.   Miniature water wells.  White gouache.  Color reference.

Materials used for original watercolor commission.  Large watercolor palette (I usually use more than just one).  Large watercolor box with carefully selected watercolor pans and color reference sheet.  Large selection of brushes.

Comparison of sets (I keep them separate)

Comparison of palettes.

Comparison of Process

Applying initial color wash: Simple watercolor commission

Brush used: Synthetic squirrel mop (Creative Mark)

Initial Color Wash: Original watercolor commission.

Brush used:  Synthetic Cotman mop

Adding background shadows to help push illusion of light

Adding color:  Simple watercolor commission

Depth of color is achieved utilizing layers of same color, or slightly more saturated color

Adding color: Original watercolor commission

Shading is achieved by subtle layers of same color.  Additional shading is added using contrasting colors, shadows applied with a mix of Payne's grey and indigo when necessary.

Finished Products: 

Simplified Watercolor Commission

Original Watercolor Commission

Details were added with gouache and color pencil.