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MAEZA
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http://www.houseofillustration.org.uk/whats-on/ current-future-events/the-bfg-in-pictures
#mygtsprep
prismaapp artwork try out copyright Leila
13 does not need to be an unlucky number. Lots of special days are on this date. Does a number remind you of a sertain happy day? This is Saos dreamfull journey through her memories...
Usually, next to my name I place a small drawing of a butterfly, its shape lightly reminds me of a beautiful 13 number.
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实 生
Triskaidekaphobia
Paraskevidekatriaphobia
Friggatriskaidekaphobia
【愛】
Oddities and facts you did not know are connected to 13
MAEZA: How long have you been drawing? When did you specialise on line art? What other art skills do you practice? Tom: I’ve been drawing for as long as I can remember, using anything and everything my parents would give me. The allure of being able to create a world on a piece of paper was always the key thing for me as a child. I’ve mostly settled with pens, pencil and water colour pencil. But I still use acrylics and very rarely oils and pastel. Is there an origin or a story to how you started your cities? There’s a line drawing I did aged 15 (I still have it!) of a very detailed (but now very scruffy looking) Futuristic City, full of Spaceports and towers and airships. I’ve made that sound more interesting than it is!
How many cities did you draw? I’ve always doodled them, but since starting out as selfemployed just over a year ago I have four main pieces, with many more in the pipeline. They seem to be developing. How do you organise your space to draw on a big scale? Depending on where I am at the time as I travel between Europe and Asia, I will either create the whole thing on a page no smaller than A3 - or if it’s A2 I will sometimes even draw the piece in 2 or 3 sections. The Nautilus Romanus was created over 3 sheets to scan separately and piece together. It’s not the most ideal method, but if you only have an A4 scanner it works very well! How many fine liners do get used up during one project? I switched brands recently to Unipin and I haven't used one up yet! I did buy a few of each nib thickness and I tend to just grab the closest that I need, so I may be using 3 at once. But they do seem to last well. How do your sketches and plans for the city look like? They’ve all started as very small thumbnail sketches on a scrap of paper, then go straight to the main drawing. I find if I over-plan or sketch things out too much in advance the whole idea has too much time to change in my head. It always seems best to stick to the first thought that came up.
There are so many details in your city, where do you get the inspiration from? (reference, books, maps, etc?) Usually the simple combination of an animal and a place. Seahorse City was the first. The eyes of a Seahorse look like enormous Gothic Cathedral windows to me, so that developed easily. Nautilus Romanus - simply because ‛Nautilus“ is Latin for ‛sailor“ - so a Roman-style city atop the shell of a giant Nautilus in a mythical prehistoric ocean came to life. Sometimes it’s very hard to say exactly where the idea came from! If it just pops into my head it sticks and has to be drawn to get it out. What do you do if (maybe you don't?) have a creative block? I walk. I find it helps tremendously. Particularly in nature, but a city works too. What would be the dream place to see your cities printed on? An entire gallery wall, but still at the tiny scale. So it can be explored for hours. Thank you
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I have been asked on a few occassions, What exactly is a paper-engineer?‘ Well, a paper engineer is really just a fancy title for someone who loves to build things out of paper. And that's me! I LOVE paper and all of its unique properties.
I've been working as a greeting card artist for just over a decade. It's a fantastic job that is very creative, rewarding, and a joy to go to everyday. Being a creative professional though does mean that you are always working for the client and as a
result your work can sometimes feel like an extension of someone else's vision. This is what inspired me to set out and create something that is uniquely my own.
For over a year and a half, I have been waking up each day at 5:00am to write, illustrate, and paper-engineer my second self-published pop-up book. I titled this project the '5am Pop-Up Book.' Pretty creative, huh? I began documenting every step in the process on Facebook and Instagram, and the result was something truly amazing. I
received support from people all over the world, sharing their suggestions and providing comments with every new post. All the encouragement really motivated me to not only complete the project, but to pour everything I had into this book and create something beautiful and lasting.
_ This book is based on a short story that I wrote years ago about my children's general distaste for cleaning up after themselves. A problem that
is
not unique to most parents with small children. The story follows two siblings on a misadventure of epic proportions after their messy room becomes so out-of-control that it explodes from their doorway, sends them to the top a toy mountain, spins them around in a dust-nado, and much more.
of
_ I strived to make each page pop-up unique, bold, and exciting. I wanted the reader to be completely absorbed into the story . After countless hours, "What a Mess! a Pop-Up Misadventure" is finally complete. Because of the amazing online support, I chose to self-publish again but this time utilizing KickStarter.com to help offset the high production costs through preorders of the book. The campaign will be launching September 6, hopefully with much success.
Quickly sketch out your
Build a rough mock up by
When your rough mockup
ideas on paper first to
experimenting
with
is finished, rebuild and re-
find a great layout. This
different folds and lots of
fine it over and over and
does
cutting
This
over again. Do this until all
step can take a while, but it's
the mistakes are corrected
important to get it right in
and it opens and closes
the beginning.
neatly without catching or
pretty.
not
need
to
be
and
gluing.
hanging out of the page.
Once
it
looks
good,
Illustrate
your
artwork
Once
your
pencil
tear the whole thing apart,
onto your refined dielines.
lines are corrected and
but gently. Scan all your
When your pencil lines are
complete you can color
pieces into the computer
complete, mock it up again
and finalize your Illustra-
and build your dielines. I like
and make sure your art is
tions. Now you have a fin-
to use Adobe Illustrator for
lining up correctly with your
ished Pop-Up spread!
this, but there are many
folds and attachments.
programs to can be used
_ There are so many great resources out there for paper engineers. My favorite reference book is 'The Elements of PopUp' by David Carter, which I refer to almost daily. YouTube has so many wonderful tutorials and videos that go into great detail about particular fold types. I have created a few as well on my YouTube Channel: www.youtube.com/c/ keithallen My advice to any artist out there that may be feeling overwhelmed or that there is not enough time in the day to pursue their passion project...There is always time at 5am! I'll bring the coffee!
Getting Over Over Thinking
The Portfolio Challenge
Attempt After Atempt
When It‘s More Than a Doodle The Attitude Must Be Right
... Stop judging yourself on the base of fear...
What did I do?
Conversation
Diane is a self taught artist and only started out in 2014. In this short time she developed incredible skills for detail and accuracy, and filled her portfolio with jawdropping paintings. In this tutorial Diane explains on the example of the pears how to organise the work flow, and describes step by step the build up from preparation of the base on the paper to the final result.
o
. White spirit (UK), or mineral spirits (US), or, generically, "paint thinner", is a petroleum-derived clear liquid used as a common organic solvent in painting and decorating. Artists use mineral spirits as an alternative to turpentine since it is less flammable and less toxic. I use it to ‚wash‘ the pencil into a smooth coating. Source wikipedia.org Flacon picture from amazon
In 2014 after stumbling across and joining group on Facebook called the '52 Week Illustration Challenge', for the first time in 37 years I started drawing! In completing the challenge, I made some great friends and learnt an awful lot from many generous and supportive people in the group. When I was asked in April 2015 to do a tutorial on using Colour Pencils and Odourless Mineral Solvent for the 52WIC's blog, I, a complete novice, was
With a Coloursoft Persian Grey I sketch out several pears on Canson water colour paper (see material list), as well as marking out any significant shapes that will need highlighting or shadows. I remove any superflous notes & sketch lines before I colour so they don‘t add unwanted features. The drawing is ready. To begin I start to lay down the colour that will be the undercoat (next step). You will notice that I am working in sections - finishing one pear at a time. I found this pays dividends because you can see the piece slowly developing and growing, and somewhat shocked, but very delighted! Given I had only been drawing for 12 months and using colour pencils for less, about six months on and off, my aim in writing the tutorial was simply to share with other beginners what I had learned and provide some helpful tips and advice I had picked up. While I wrote the tutorial specifically with beginners in mind, I also hoped though it may be of general use to others interested in using colour pencils and odorless mineral solvent.
not making you feel you just have a ‘big mess’ on your hands.
Some people like to use watercolour or ink as undercoat for the paper, but I just use colour pencils and ‛set them“ by washing the layer with odourless mineral solvent (OMS). Very small areas, such as the stems, can be left out of this process. I don’t use a wash here (because it’s too hard!). Instead I just press firmly and lay down colour, blending and burnishing laterwith a lighter colour (as in Step 3).
Use Canary Yellow as a basecoat colour, and fill in the pear area. Then, using a cotton bud dipped in OMS, carefully wash over the colour, by stroking out the colour evenly too create a smooth surface. You will see how the OMS wash changes the colour into a more ‘solid and intense’ state. But the solven can easily leach the colour, so control how often and where you dub the solvent.
Doint the undercoat for all pears in one go, might seem overwhelming.. Try rather break it up into sections.
You can see in these two clippings the pear before and after the application of OMS, and the difference in the stem and background after the undercoat has been laid.
Stesms are going to be
The Black colour may be
shaded only lightly with Dark
used for backgrounds to let
Brown and Sienna Brown for
the pears pop out. Other
now.
than that, don‘t use black for shading or colouring. It does
I don't do a ‚wash’ for the undercoat, but, if you really do want to, use a fine
not blend well and is an dead -end colour. Wash the applied layer
watercolour brush – and be
lightly wash it with OMS to
steady handed!
turn it into an undercoat.
. After the undercoat, I colour areas in White that are going to be highlights, before I start to layer any other colour. Once highlights are done, I am ready to start the layering. This process is quite time consuming, as it may need to be repeated several times until the depth and richness of colour is achieved.
You will need to change cotton buds several times in this process. They ‘pick up’ a little of the colour. Also be careful not to turn it into a ‘muddy’ mess or strip out the colour.
. Apple Green, Light Sand, Yellow Ochre, Dark Green, Sienna Brown, Pumpkin
Tuscan Red, Indigo Blue and Dark Green To achieve more contrast
Orange. Layer the colours
in the main colours, combine
starting with the Greens
layers of their contrasting or
and then adding patches of
darker counterparts. For
the other colours.
example Tuscan Red contrasts and Dark Green
Blend all the layers and patches of colour by lightly
darkens your previous Apple Green.
dabing a cotton bud in OMS. Remember to blend from light to dark.
To blend and so create smooth shadows, wash the new layers again with OMS. Be careful not to lift off or muddy the colours from the previous layer, be gentle If you are having troublea getting real depth into your pears, Persian Grey a brilliant for shades.
Once the main colours are applied and washed, focus on building up the shadow layers.
Here you can see the different stages of layering different colours on
Use darker tones and
the Pears before an OMS wash.
contrasting colours to create depth and shadows. Again, black is a deadend colour
You will notice my shading is pretty terrible, but it doesn’t seem to affect the end result because as long as there is enough CP laid the OMS will help smooth and even out the colour.
Tuscan Red, Indigo Blue and Dark Green The black basecoat will eventually develop into a deep black background. When you work with these colous use them only slightly to start of in order to ensure they don‘t get smudged into the foreground.
You can see in this picture how I have started to add fine details and stripped out shadows. I have also burnished (see description right) two pears. And, you can see patches of colour on some other pears just waiting to be worked on. I think you can also finally see why working in sections helps.
Once I am happy with the depth, tones and values of colour, I start to add in the fine details and finish the background for the section I’m working on.
Persian Grey, Sienna Brown, Grey, Dark Umber
Burnishing is the process of pushing the colours into
Dipp the colours itself in
the paper and so the layer
OMS and add features such
and give everything a nice
as the dots etc. You can
smooth and shiney finish.
then apply more layers of Apple Green, Yellow Ochre and Light Sand in patches.
Once you burnish adding more layers of colour becomes difficult. Only
Blend very gently and lightly with a dry soft
burnish once you are happy with your layers.
cotton pad. So, no dipping into OMS at this point.
If you have been working in sections, use a tissue
Repeat this process until
under your hand to avoid
you are happy with the
smearing non burnished
colouring and add
colour, and brush away any
highlights using White.
pencil crumbs with a soft stencil brush to avoid getting them into your layers.
Using firm pressure and
To create the illusion
with a very sharp pencil,
of ‘light’ shadows in the
work the colour into the
background, ‘strip“ out
whole pear: first Canary
some of the colour using
Yellow and then Apple
OMS (you can also do this
Green. Lastly, sharpen or blend the outline of the pear using a very sharp pencil in Tuscan Red, Indigo Blue or Dark Green depending on the edge or shadow
using a kneaded rubber). Now burnish over background section with Black.
I add White highlights and then burnish the browns, again using White.
To complete my drawing, I take a scan of it and look at the image on the computer screen to see if there are any ‘bits’ which look odd or need touching up. Now, this may surprise you, but once I have made any final adjustments, the very last thing I do is to very, very gently rub The drawing, polished and finished. And, one last thing, it took me about 6 hours to complete this painting.
the pears with a soft, dry cotton pad in a circular motion. Yes, really! This helps give the ‘wax’ a really nice shine.
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Lora italic
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Published on issuu under Maeza