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Viewing: Blog Posts Tagged with: studio, Most Recent at Top [Help]
Results 1 - 25 of 143
1. ardagh & elwick: the secret is out!!!

So FINALLY we're allowed to share the exciting news!!! Guess which amazing duo are combining forces and BURSTING into children's book publishing as a duo!!?!!



You may have spotted photos from our studio and guessed already that SOMETHING IS UP...



Yes, PHILIP ARDAGH and ELISSA ELWICK have a four-book picture book deal with Walker Books! They'll be called 'Little Adventurers' and they're already working on the first one, due to come out in June 2016.



Here's what Philip says about working together:

I'm really enjoying working with Elissa on Little Adventurers because it's such a collaborative process. Being a children's book author can be a lonely business. I began my professional writing career in an advertising agency, partnered with an art director. When I write for radio I work with producer, engineer and actors. The same for TV. You're one of a team. With my previous books, I've enjoyed working with my illustrators but they've joined the process late in the day. The words have been written, the story complete. With Little Adventurers - the basic premise of which was Elissa's in the first place - we're forever exploring ideas, reshaping, and playing around with text and pictures.



The line between writer and illustrater is blurred. We're both interested in pictures and words. And - with additional input from Deirdre and Maria in editorial and Jack in design at Walker Books - we're coming up with something none of us could have created on our own. And, on days I'm working in the Fleece Station, Elissa makes us nice lunches. What's NOT to love about our Little Adventurers collaboration?




Edit: Look! Just tweeted in from the Bologna Book Fair by lovely writer Lucy Coats! By Charlotte Eyre in the Bologna daily version of The Bookseller (with a mention of the then-secretly-titled RAILHEAD by Reeve). Oh, and here's a link to the Book Trade announcement!



I'm proud to say that I was there at Elissa and Philip's very first meeting, at the Discover Story Centre in Stratford, east London. Philip was in his usual fine form, photo-bombing his heart out. And yup, there's Elissa!



I asked Elissa how they kept in touch, and decided that working with this VERY SILLY MAN might be a good idea:

BECAUSE HE WAS SO ODD! His imagination comes spilling out! We kept in touch over Twitter and he'd occasionally throw out ideas for existing characters I had and our working collaboration kind of stemmed from there.

So what's your background, Elissa? I heard you were once a champion skateboarder!


ALL LIES! It wasn't very long, I managed to blag myself some sponsorship for a little while when I lived in Northampton. But when I went to uni, I got way more into drawing and now my skateboard collects dust. I studied BA Illustration at Bournemouth and my first picture book deal was with Macmillan, The Princess and the Sleep Stealer. I also worked as Resident Storyteller and bookseller at an indie bookshop in Clapham called Under the Greenwood Tree. That was a great experience because I got to learn about the children's book industry from the other side of the counter.

What medium you use to make your pictures?

I use a mixture of pencil, watercolours and my computer. It's been so much fun bringing the Little Adventurers to life. Here are some early sketches.



Ardagh & Elwick will be working with editor Maria Tunney and designer Jack Noel. In the run up to Bologna Children's Book Fair, she was on the phone with Jack, and I managed to get a few words with him, to ask what they liked so much about Elissa's work:

I love Elissa's work because she makes everything look adorable; she creates her own sweet world. She's created these four characters and it's really nice, the relationships between them.

Gary Northfield and I love having Elissa in the studio, she's always up for a laugh and a cup of tea (and doesn't get upset when I accidentally eat all her biscuits). Here we are at the launch of Gary's Garden, both wearing themed Chompy-the-caterpillar clothes:



Philip's already quite active with our studio: I worked together with him on the Discover Storycloud project and he wrote a nice quote for the front of Gary's new book, Julius Zebra (also with Walker Books).



Here's Elissa at her desk in the studio. When she's done a good run of work, she rewards herself by watching a short animation. (And here, with homemade pot noodles.)



It won't be so much of a secret, they've already been seen about town together and posting photos of themselves with SLEBS:



So Elissa, this seems like an amazing prospect! But what will be one of your greatest challenges, working together?



NOT TRIPPING OVER HIS BIG FEET.



You can follow Elissa on Instagram at @elissaelwick on Twitter, also as @ElissaElwick, and check out her website, elissaelwick.co.uk.



And Philip on Instagram - @philipardagh - and Twitter - @PhilipArdagh.
So keep an eye out, this team is set to pull off some pretty amazing stuff...



Be sure to check out their new joint blog!

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2. Concertina Sketchbooks: the Clever Details


I have now finished my 35 sketchbooks, ready for my residency at Manchester's Morgan Centre. I don't know if anyone out there is going to have a go at making the books for themselves, but in case you are, here's the final stage of the process.


The cover is more or less done, but two things are missing - we need the card insert, to hold the paper concertinas we created in place, and we need a way of fastening the book closed, because the paper will try to escape and inevitably unravel itself in the most inconvenient places you can imagine.

The insert is very straight forward. I bought a pack of A4 black card from WH Smith, 240g, which was perfect. The insert width needs to be approx 10mm narrower than your back cover board. The height, needs an excess of 30 - 40mm to fold over, both top and bottom. The centre between the folds should measure 5mm more than your concertina-paper height (which should also be about 10mm less than the height of the book cover). Score the excess and fold (gently, rather than tightly):


Test that this does in fact sit neatly into your back cover (I made lots of measuring errors during the course of making the books - it's best to double-check everything).

I tried using double-sided tape to stick the insert into the book at first. I figured that it would be less messy than PVA when trying to position the folded card, but it started to peel up after just a couple of hours, so I went back to PVA. 


I glued the top flap first, positioned it (folded under) on the inside back cover - 5mm from the top and outside edge - then put it under a couple of books to dry (squeeze out and wipe any excess glue first!)

I did the bottom flap once the top was secure. One trick: I was aware of the potential for excess glue to squeeze out underneath at this stage, unseen, and accidentally glue the insert shut, so I slipped a strip of waste card in between, before pressing the glued flap down. 


Again, put books on top to dry, or it springs up.

The end of the concertina-paper can now be slipped under the card and slipped out again when you want to replace your paper. Ingeniously simple solution for refills. I can't take the credit I'm afraid: my clever friend Lucie Golton designed it.


Many people use ribbon to fasten books. I didn't want to drill holes in the cover through, as it acts as a mini drawing board when I am using the book, so I wanted it unsullied. John came up with the Velcro system. I was going to buy Velcro tape, then discovered these nifty little guys:


Perfect. You pop one fuzzy spot onto the book, back and front, then attach the loopy halves onto a short strap, which I made from vinyl to match the spine. 


I just cut a piece of vinyl twice as wide as needed and 10mm longer each end, cut across the corners, then folded it in on itself, using PVA again. 

The beauty of the Velcro is that, when the book is in use, if the unfastened strap gets in the way, you can detach it and stick it back on at 90 degrees. You don't lose it, but it doesn't keep flapping and springing around the edges your paper.

If you found this project useful and want to check out other handy posts, try using the Hot Tips label on the right. I add the label to anything I think might be helpful to other people. It's a bit of a mix, with other ways of home-binding sketchbooks, but also tips for building up an illustration folio, how to do a school visit, create a 'Flat Plan' to plan out a book, or how to use  / where to buy particular art materials. All sorts. 

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3. Holy Ghost Cats! Progress on The Boyler Kat. #cat #comics #ink...





Holy Ghost Cats! Progress on The Boyler Kat. #cat #comics #ink #studio #illustration (at 17th Avenue Studios)




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1GFLgNH


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4. How to Make 35 Concertina Sketchbooks!


Although my residency doesn't start until the autumn, I wanted to get the sketchbooks made well in advance, in case of difficulties. So, a couple of weeks ago, a HUGE roll of watercolour paper arrived in the post. It was 10m long and over 1.5m wide: a bit of a nightmare to manoeuvre, but perfect for making concertina books, as you don't need any joins (usually the trickiest bit).

This morning we got stuck in!

We had to pull a 6ft table up alongside my work bench, just to have somewhere big enough to cope with rolling the paper out so we could work with it. Everything had to be scrupulously clean too - another nightmare.


I had worked out that I would get 7 sketchbooks out of the roll's width, each a max of 2m long (so they would not be too unwieldy to exhibit at the university, when I'm done at the end of the residency). Given the roll's 10m length, that meant 5 sets of 7, so 35 books in total.

I decided to cut a couple of the 2m lengths from the roll first, to make things more manageable. I had intended to get the lighter weight paper I usually work on, but at the last minute went for the 140lb instead, so the finished lengths will be more sturdy. Trouble is, that weight means the paper is really springy, so absolutely everything was a two-man job. Thank goodness for John!


I thought long and hard about the order of things and realised that it made sense to do all the scoring (for the folds) before cutting the paper into the separate books. That way I could score across all 7 books at the same time, with only one lot of measuring. The books are going to be 14cm x 21.5cm, but you only need scores for alternate folds (because the folds go in 2 different directions), so we began by measuring out 28cm intervals down each of the 2m lengths.




The book-binder's devise I used on my last sketchbook experiment seemed a bit thick to be accurate enough for a long concertina (where any errors quickly multiply), so I sanded the sharpness off a bamboo pen, which was perfect. We didn't have a ruler long enough to straddle the complete 1.5m width, but John dug out a really long spirit level: 


That too needed a jolly good wash but, once clean enough, it saved a lot of time at the scoring stage, as we only had to measure up each edge of the paper and not in the middle too.


I had tried to use the spirit-level as a straight-edge for cutting across the width, but that was a BIG MISTAKE. It's depth interfered with the handle of the knife and so I have one rather raggedy cut, before I realised the problem. Ah well - it's a learning process.

Next job was to mark the width with the 12.5cm intervals, ready to cut the paper into strips for the separate books. It would have been really easy to mis-measure, so again I was glad to have my man-servant with me, double-checking as we went along. I was still rather nervous when I actually began cutting: 


We had to get 3 separate cutting mats lined up along the bench, because of the ridiculous size of the paper. It worked a treat though. By mid afternoon, we had curls of watercolour paper perched all over the studio, ready for folding:


I worked down the length of each book, folding at the scored lines we had created every 28cm: 


I lined up the in-between folds by eye, working without pre-measured scores, so that I could try and make sure the concertina didn't wander too far off square: 


The thicker paper took a bit more man-handling and got chunky quite quickly, which was another reason I limited the length to 2m: 14 'pages' of 14cm. 300gsm paper certainly has very strong opinions of its own, so the experience was a bit like wrestling an octopus at times. The folded books are still pretty springy and rather keen to explode - I have put them under heavy books to see if that tames them at all.


So that's the papers for 14 books done so far. I'll tackle another batch tomorrow, while I remember how we did it (and while the studio is clean). Although I must also get on with my book. Eek!

Plus I also have to make a cover for the sketchbooks. Instead of individual covers for each book, which would take ages, I was given a great idea by my sketch-buddy Lucie Golton: a detachable cover which you use again and again. She made me one as a present a while back, so I can copy her system. Thanks so much Lucie! 


I'll take some pictures as I make the cover, as well as showing you the finished item, but that's for next time.

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5. StrawberryLuna studio : a dynamic duo

Post by Jeanine

StrawberryLuna_IF_01 StrawberryLuna_IF_02

 

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I’ve been a long time fan of the super talented design, illustration, and printmaking team known as Strawberry Luna. My art crush on this husband-wife studio might have a little to do with the fact that some of my favorite rock bands are among their impressive client list. And because they hand pull their beautiful silkscreens the super old-fashioned way. Or, because they hail from my hometown of Pittsburgh, PA. But, mostly I just am in love with their distinctive and smart graphic style! Best known for their silkscreen prints and posters, they also work on custom illustration and design projects including CD & vinyl packaging,web-ready icons, t-shirt designs, and logos & identity packages.

Their impressive client list includes Belle and Sebastion, Camera Obscura, Andrew Bird, Feist, Bright Eyes, Death Cab for Cutie and many, many more.

It was hard to choose just a few favorite pieces to share, so be sure to stop by their website and Etsy shop to see more!

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6. We are starting early, and we’re starting with cookies....





We are starting early, and we’re starting with cookies. #LifeIsShort #studio (at 17th Avenue Studios)




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1A10Sme


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7. The Time Machine...


I've been re-reading 'The Time Machine' and today feels very much like I've taken a trip back in time.  

Today I scanned the negatives of the photos I took of my NYC apartment at 161 W. 78th Street back when I went to Parsons in the last century.  It was so cool to recognize and revisit everything in that room.  It was just like being a time traveler - I wondered at the objects I'd forgotten and remembered.

Some of the circled treasures are:  my radio and toaster (that I'd hauled from Utah to Seattle and now to NYC).  My cup hanging from a wire (to keep the roaches off), the mini-stove (sitting on top of the mini fridge), my tea kettle and my illustration in progress. 

Everything but the bed was scrounged off the streets. You'd never guess how attached one can become to an old second hand toaster and radio.

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8. Love thy Studio + The Daily Sketch

A sink full of dirty half rinsed dishes; toys and paper scattered waiting for a foot to stomp on them; cluttered dining room table ranging from a stuffed bunny to a lint roller; laundry decorating our couch and our bedroom dresser; and shoes beckoning to be tripped over at the front door.

This is my house, most every day. It makes me feel squished, with no room to move without knocking something over or stepping onto something. I'm clumsy and that always means I will stub my toe, ram my elbow, slam my hand, or bang my knee. It's crazy how many nicks and bruises I get.

Yet, I look to my right and I see sun light beaming in from the windows in my studio.
An immediate "ahhh" relaxes my mind and all is right again.



If this winter has taught me anything, it's that my studio truly is my place of solitude. 


I used to tell people it was because I think artists are supposed to say that. It's expected of us to love our studio, a place where the creation happens, a place filled with things that inspire. Mine has been in a constant state of change since I moved away from home to college back in 2000.

When we moved into this house I was so excited to have a space I could settle in and not worry for a long time. I didn't expect it to be so cumbersome.

My studio has poor insulation, so during the hot Iowa summers and freezing Iowa winters, it's very uncomfortable at different times of the day. I've had to continuously change my schedule to fit. I've had to move everything constantly so that Brian could get to the windows for more insulation, or to add carpet scraps, or or or. And I know more is coming.

But this week, with all of the sun, regardless of the temp, my studio has been bright, warm, inviting, and mine. No more moving clutter to work on the dining room table, no more stepping on stuff when I get up to grab something I need, none of that. I feel whole.

I will bundle up, buy another mini heater for my toes, I will put a fan on my face and wear ice cubes, whatever it takes. I love my studio!

The icing on the cake? My daughter being able to spend time in the studio with me. That's what I've envisioned for a long time, my hope, my joy today. She makes the studio brighter with her smile, her giggle, and her curiosity. Bringing out the crayola crayons doesn't hurt either.



There is one other place in my entire house that I find peaceful and full of light. The only other place in the house that is always filled with the light rays, and that is our bathroom. It's silly, but when we moved in it was our first project, and it set the tone for the whole house (what we dream). It's full of birds. :)

It's so easy for me to be distracted by all the chores, they pull me away from my work and drain my creativity. Yet, last night, I didn't let it get to me. Here are this week's Daily Sketches and joys, #10, #11, and #12.




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9. A Writer’s Dream from Venice, Italy

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I’m just waking up on Giudecca Island to a volley of sights and sounds – a deliverance from the cathartic, but brooding history of Rome, from where we just came. Here, in Venice, I imagine I’m in a living painting, and an artist, with his paintbrush in hand, captures me peeking out my window – just now at the Hilton Molino Stucky, his studio across the way.

Outside, I hear the echoing serenade of tolling church bells, which I can pinpoint with my own eyes, to various steeples throughout the city that traipse along the river. Splashing waves steadily rise and fall onto green and blue algae-covered seawalls, looming directly below me, while power boats dot the landscape like steed on an aqua-colored field, gliding in various directions through the water carrying townspeople and holiday tourists about the city. And, in the foggy haze, we’re graced with this omnipotent view – and it occurs to me, I must be Dickens’ modern Venice in his “Italian Dream.”


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10. A Peek into the Sketchbook: Mail Art & Birds

I can't believe that it's been less than two months since I moved to the UK ... so much has been squeezed into that small amount of time that I'm still in a bit of a daze. But the good news is, of course, that I'm finally back on the internet.

Have tons of catching up to do but it will have to fit into the cracks between my college artwork. And I haven't been completely idle creatively either, despite 'real life' competing for my attention lately. Here's a glimpse into what I've been doing - tons of research and a few sketches for an upcoming class project. First though, here's the art-space I've set up for myself in our new, temporary home:

 

Sketchbook-1-by-Floating-Lemons

 

And a glimpse into the pages of a new sketchbook:

 

 

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Different mediums, styles, cutting, collaging - lots of lovely experimentation going on. Birds (I'm developing a particular fascination with ravens and crows) and mail art. I've also been pinning for inspiration so if you'd like to have a look, check out my Pinterest Boards, Art: Mail Art, Art: Crows & Ravens, and Art: Birds. Have fun.

Wishing you a week full of flights of fancy. Cheers.

 

 

 

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11. Open Studios is coming! I hope you can make it to see 25...





Open Studios is coming! I hope you can make it to see 25 different artists including me! #santacruz #studio (at 17th Avenue Studios)




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1nAWQ54


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12. gary's garden launch!

Last night the Fleece Station studio was out in force to celebrate the launch of Gary Northfield's new comic book, Gary's Garden! You may recognise Gary's Garden as a frequent strip in The Phoenix Comic, one of the comics in there that the parents like as much as the kids do because it works on so many levels.



Elissa Elwick and I both wore Chompy the Caterpillar-themed garb. Gary's Garden makes the perfect prezzie for kids (say, 5+ with some help reading), adults who love nature and gardening, anyone who likes a good laugh. Buy it here a The Phoenix Comic online shop! Gary works so hard on these comic strips, has such great drawing skills an perfectly pitched comic timing; we're all very proud of him. Look, Lauren O'Farrell (aka Deadly Knitshade) makes a perfect perch for Bob the Butterfly!




And here are the lovely Ficklings - David and Caro - who make it happen, at David Fickling Books, based in Oxford. It was also great to see Gary's Garden amazing designer Ness Wood (who also designed Jampires!), DFB's Phil Earle and John Dickinson. Jonathan Main and Justine Crow of Bookseller Crow in Crystal Palace hosted the party, and they've been great supporters of lots of our books, we love our indie. I love buying books from them, even online; they stock a great selection, including lots of beautiful graphic novels.



Gary's sister, Susannah Northfield, made the cake!



...Bits of which were consumed most elegantly by Gary and his partner Nicky Evans.



Speaking of elegance, just as David Fickling was giving his speech, a giant bird swooped down and placed a wafer upon his lips. We all bowed our heads for a moment of awed silence for this great book.



Gary made a big window display; here he is stage directing Nicky in setting it up.



There were a couple other Phoenix Comic people present: the fabulous Jamie Smart (Bunny vs Monkey, also out now as a book!) and the excellent Matt Baxter, who creates the Live from HQ strip with the Phoenix comic-character editorial crew. I didn't manage to get a photo of Jamie, but here's Matt. And you can just spot illustrator and app-creator Heather Kilgour over his shoulder! There were quite a few comics makers there that I didn't manage to photograph, including Francesca Cassavetti.



Hee hee, another hat photo.



This Thursday (called 'Super Thursday' in publishing) was also the official publication date for my book with David O'Connell, Jampires, and wow, a couple of them showed up!



It was really Gary's night, but we had a happy mix of new creative stuff.



I was very proud of my Chompy hat, made from a pencil case, foam balls and pipe cleaners from Poundland, some felt, a yoghurt pot and a coat hanger.



When creating Gary-themed characters, it's very important to get the wonky eyes right.



Before the launch, we went for a top-notch Afternoon Tea in Alex Milway and Katie Lee's garden (Gary lived with them for a couple years while he was working on Gary's Garden), and Dave and I brought along some of our local Butch Institute Jampires-themed jam.



Huge congratulations, Gary! Gary's Garden is amazing, and everyone, spread the word and help it fly off the shelves! And subscribe to The Phoenix Comic for ongoing Gary's Garden goodness.

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13. Arabian Nights layout #2



via Emergent Ideas Arabian Nights layout #2


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14. Arabian Nights layout #2 Looking for an expression that combines...

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15. Arabian Nights layout #2



via Emergent Ideas Arabian Nights layout #2


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16. Needed eraser





Needed eraser




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1fH30uh


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17. A Bear on a New Stair



Each year I do a painting for a charity called The Willow Foundation. It goes towards a project called Stars on Canvas: a London exhibition and on-line auction to raise money for seriously ill people and their families, providing them with much-needed, special days out to remember. 

The charity send out 20cm square canvases to all sorts of people, some of them artists like myself, many of them celebrities from all sorts of fields. Everyone creates a piece of art on exactly the same format. 

Last year I did a painting based on Class Two at the Zoo:


The first year I did it things started well, but then I got into all sorts of problems because I didn't really have the right tools for the job. These days I have acrylics, so it's much easier. 

This year I thought I would do Bears on the Stairs, because the little bear would fit the square format rather well. 


Acrylics are still an unfamiliar medium though, as I have just not had enough spare time to get to grips with technique. This little canvas has been a good way of helping me learn how the paint responds. It's very different from watercolour or pastels of course. I enjoyed playing around, trying to get the effects I wanted, without knowing for sure what I was doing. 

This is how he looks, hot off the press:


I wanted to identify the book the character had come from so, like last time, I used the side of the canvas to write the title. The opposite side had a good space for  my name. It was very tricky and fiddly doing the text though - in many ways the hardest bit!


If you would like to make sure you get the chance to buy the rude little bear, or want to see some of the other canvases that will be for sale, here's the info you needAlso, if you are a painter, illustrator or celeb and would like to have a go at doing your own canvas for the exhibition and auction, the deadline is not until August, so there's still time if you're quick.

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18. The new work table set up.





The new work table set up.




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1rksAXI


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19. Under the Sea Friends!

Just finished up these Ocean themed critters! My fave is the whale.  :)

They’re available now in the Etsy Store!

Sea_Friends-color

mermaid-set2

get them now at:
Etsy    or     TpT

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20. Hanging my work to sell in the Spring Show!





Hanging my work to sell in the Spring Show!




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1s5pebB


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21. Studio Tip - Hot Pressed Prep

Prep your hot pressed watercolor paper while it is still attached to the watercolor block. 


Although watercolor blocks lean more on the expensive end, they are far more easier to work with. You don't have to stretch your paper with tape or a staple gun. 

Simply spray your paper so it is saturated with a spray bottle. Next, take a flat brush and even out the water on the paper's surface. Lastly pick up any water that drips on the sides of your block or table surface with a paper towel.

Let it dry completely before you transfer your image or begin painting.

By doing this it will loosen the sizing in the paper and allow the fibers to relax, which in turn will let the watercolor absorb easier into the paper. If you don't prep the paper with water on hot press, you tend to get a more wax resist reaction. 

Happy painting!
:)

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22. Illustration Samples: Karate

hl-karate 4 up samp

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23. How to Make Sketchbook with No Sewing!



Concertina-format sketchbooks are a bit intimidating: I had one on my shelf for a whole year before I finally got up the courage to use it at last year's Urban Sketcher's symposium in Barcelona


The trick is just to start. Once I did, I was away. I have filled two, on both sides, and am keen to keep going. There's something really exciting about the ability to create an on-going image - maybe one long landscape like the one at the top, done in Wales last summer, or combining sketches in creative ways like the Manchester one I did recently:


Trouble is, the nice watercolour paper ones are hard to come by and a bit pricey. So, I decided to try my hand at making my own to take with me to this year's symposium. How hard could it be? Well, a wee bit trickier than I thought, to be honest, but I got there.


I cut 2 big sheets of watercolour paper into 3 strips each, enough for 3 books: one slightly smaller one, like the Manchester one, and two medium, Moleskin-sized books. Working out the best page width was the first tricky bit. I then scored across the paper strips with a special device, ready for folding (you get it from book-binder's outlets):


The width of one paper sheet wasn't enough on its own: there had to be a join to get a decent length of concertina. This was the next tricky bit - if you don't get the two strips exactly in line, the error accumulates with each fold. My first attempt was a bit wonky, because I didn't realise that. You can just make out the fold below. I allowed a 10mm overlap and joined the the 2 strips with double-sided tape:


The really exciting bit is the binding. The little book I took to Manchester has no binding at all - no, really - just a board attached at each end. No sewing or making covers with spines: easy-peasy (ish). 


The finished book folds up into itself and all you need is a rubber band to stop it unfolding. It's the perfect method. I covered the end boards with fabric from a dead pair of walking trousers, stuck on with PVA. The fabric didn't want to do what it was told, so the corners are a bit dodgy, but, all in all, it looks very smart and cost very little. Have a go!

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24. Inky Arabian Nights : Process Video

Inky Arabian Nights : Process Video:

New Blog Post over on BrianBowesIllustration.com!

http://ift.tt/1n7CZ7B

A while back I put together a video sharing some of my watercolor techniques. There was a lot of positive feedback on that video that I wanted to create another process video.




Original post by Brian Bowes via Emergent Ideas: http://ift.tt/1vVXz06

0 Comments on Inky Arabian Nights : Process Video as of 8/30/2014 4:49:00 AM
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25. Inky Arabian Nights : Process Video

A while back I put together a video sharing some of my watercolor techniques. There was a lot of positive feedback on that video that I wanted to create another process video.



via Studio Bowes Art Blog at http://ift.tt/1n7CZ7B

0 Comments on Inky Arabian Nights : Process Video as of 8/30/2014 4:49:00 AM
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