inspiration – chalon joy collingwood

Magazine Review: Hi-Fructose Issue 50

March 12, 2019March 12, 2019 Chalon Joy

This post has been a long time coming!

About a month ago we were set the impossible task of finding the latest issue of Hi-Fructose, a contemporary art quarterly magazine. I traipsed allllll over town trying to find one with no joy. Searches on eBay were also unfruitful, with only one seller listing the latest issue… and of course, they were sold out. :c

I resigned my search to maybe being able to find a back issue in the future. But last week I was browsing again on the off chance I might find a copy, and lo and behold- that seller had just restocked! Since the magazine was coming from Germany I wasn’t expecting it for at least 2 weeks, but it showed up on my doormat this morning~

*Hi-Fructose: Issue 50 (Collingwood, 2019)*

Here we have Issue 50 of Hi-Fructose, RRP $8.95- my cost was just under €14 with postage, which is fairly reasonable considering these magazines seem to be akin to gold dust in Europe.

Not gonna lie, I was expecting it to be a wee bit bigger than ~A4/letter size, but the quality feels great and it’s printed on nice sturdy stock. Peep that lush gold foiling on the cover! ♥ My poor photo really doesn’t do it justice! [Disclaimer: please excuse my horrible sausage fingers invading the rest of these pics!]

We’d been advised that any recent issue would do for this review task, but I was set on finding Issue 50 because Audrey Kawasaki is one of the featured artists- I’ll touch on her section of the magazine later since her section is near the end of the issue.

Having a quick flick through, there’s also the added bonus of a snazzy 16-page insert on the work of Jason Lemon- love this, it makes it feel very deluxe.

*Hi-Fructose: Jason Limon Feature (Collingwood, 2019)*

Going off on a tangent, this magazine also smells really good… woodsy and organic with only a very small smidge of plasticky print smell- hooray! I’m sure any fellow bibliophiles will attest to the fact that you can tell the quality of a printed publication by how good it smells~

The magazine is beautifully laid out, with very high quality photography and artwork alongside in-depth artist interviews that are genuinely interesting. Adverts are only found at the beginning and end of the publication, which is a welcome feature- I feel like adverts ruin the flow of a magazine and distract from the otherwise beautiful artwork.

Hi-Fructose: Contents Page (Collingwood, 2019)

Featured artists for this issue include Annie Owens, DabsMyla, Shoichi Okumura, and of course Audrey Kawasaki, all of which have gorgeous artwork. Each section is from 6-12 pages long, with full page illustrations that are vivid and (mostly) of a good resolution. The interviews are set out beautifully and work well paired with both the illustrations and some candid shots of the artists as they work.

*Hi-Fructose: DABSMYLA Feature (Collingwood, 2019)*

My favourite section is Audrey Kawasaki’s interview- no surprise there! Her work is hauntingly beautiful. I’m already pretty familiar with her work, but the interview alongside her illustrations is obviously very up to date, which reveals new information on her current practice and workflow as well as aspects her life that are inspiring her work. The featured artworks are from 2016 onwards and were impeccably photographed. I love the typography set against her art on the ‘cover’ page of the article- there was obviously lots of love and care put into the layout and editing of this issue.

Hi-Fructose: Audrey Kawasaki Feature (Collingwood, 2019)

Overall this is a really nice art quarterly- my top fave is still Beautiful Bizarre as that’s suited to my taste a wee bit more, but I love looking at new and upcoming examples of illustration and Hi-Fructose didn’t disappoint. I only wish it was easier to find in the UK!

Thanks for reading~

References

Beautiful Bizarre (2019). Beautiful Bizarre Magazine [online]. Available at: https://beautifulbizarre.net [Accessed 12 Mar 2019].

Collingwood, C. (2019). Hi-Fructose: Audrey Kawasaki Feature [photograph].

Collingwood, C. (2019). Hi-Fructose: Contents Page [photograph].

Collingwood, C. (2019). Hi-Fructose: DABSMYLA Feature [photograph].

Collingwood, C. (2019). Hi-Fructose: Issue 50 [photograph]. Cover art: Fosik, AJ. Erratic Spell Release [polymer paint on wood].

Collingwood, C. (2019). Hi-Fructose: Jason Limon Feature [photograph].

Hi-Fructose (n.d.). Hi-Fructose|The New Contemporary Art Magazine [online]. Available at: https://hifructose.com [Accessed 12 Mar 2019].

Kawasaki, A. (n.d.). Audrey Kawasaki [online]. Available at: https://www.audkawa.com [Accessed 12 Mar 2019].

Rosa, E. (2019). Hi-Fructose. Issue 50. pp.13, 50-51, 76-77, 104-115.

inspiration, research

Artist Inspiration: 3 of My Favourite Artists

March 8, 2019March 21, 2019 Chalon Joy

Even though I’m looking at specific artists for each degree project in terms of suitability, application and style, there are a number of artists that inspire me in all of my artistic endeavours. By looking at the work of these creators, I’ve been able to hone my own style and artistic voice through looking at their work, finding my favourite aspects and fusing these elements together to create my own style. To reference one of my favourite quotes once again, Tony DiTerlizzi once said:

“…an artist’s “style” is simply an expression composed from a combination of the elements in other artist’s work that the artist finds appealing”. (DiTerlizzi, n.d.)

Here are just three of the best artists I follow that have influenced my own process and aesthetic~

Amy Sol

I first came across Amy Sol’s work in an issue of Juxtapoz I was given to look at in the first year of my degree, and I instantly connected with the way in which she utilises fantasy setting and figural fauna and female elements to create an ethereal feel that is both haunting and endearing.

Screen Shot 2019-03-18 at 13.13.59.png — *Embers (Sol, 2018), Rae (Sol, 2018).*

A recent article from Juxtapoz Online tells of her inspiration and process:

“Exploring how nature and femininity intersect, Sol’s figures are elegant and serene with a stoic, introspective power. Both her sculptural work and oil paintings are frozen scenes taken from airy dreams and tales. Populated by bewitching figures and their mythic companions, each piece is a glimpse of a delicate ritual or parlance with nature. Incorporating traditional oil painting and sculpting techniques as well as virtual reality and 3D printing, Sol has masterfully blended mediums to explore light, atmosphere, dimensionality, and mood in this new body of work. Characters and figures are rendered both in graceful oil paintings and dynamic sculptural works utilizing digital- based and classic tools to create a visual language all her own.” (Juxtapoz, 2018)

Since I first started following Sol, she has transitioned into a darker palette with more muted grey tones and less bright, pastel colours. I feel this is somewhat reflective in my own art, in the sense that I am starting to find it easier to refine my colour palette to suit a purpose, rather than combining colours from many different families. Nevertheless, I do still enjoy colour and like to embellish areas of my work with colour to draw a focal point or place of interest.

She also makes a wide use of flora and female characters in her work, something I also like to utilise wherever possible. Favouring female figures is a bit of a trend in the illustration world at the minute, but I find the female form so much more interesting and appealing… it seems a lot of artists agree! Combining form and nature is a quintessential match, and I love the diversity and endless possibility of working with this theme.

Overall I just find her work mesmerising ♥

Miho Hirano

Another one of my favourite artists, Miho Hirano’s work shares many of the same qualities with Amy Sol’s work- somber palettes embellished with slight touches of colour, and female focal figures that command the piece. She uses mostly oil paint in her work, which creates smooth fluid scenes and colours that blend seamlessly together which makes for a strong sense of surrealism.

Screen Shot 2019-03-18 at 22.09.07 — *自慈 ‘Self Pity’ (Hirano, 2015), 夢占い ‘Dream Divination’ (Hirano, 2016)*

The figures are often surrounded by flora and naturally curving patterns like foliage, smoke and hair- I often use these elements in my own work as I find they flow especially well together and I like to use as much naturally occurring imagery as possible. I especially love how she hides flowers within the hair of the figures, rather than just using them as a separate entity. Touching more upon this aspect of Hirano’s art, Tracy Eire of Beautiful Bizarre Magazine says:

“My first impulse was to connect the floral nature of Miho Hirano’s characters to reclaiming a confounded notion of womanhood, like women’s closeness to nature, their connection to the moon in myth and body, and painting them as entwined with untamed things.” (Eire, 2018)

In terms of feeling and emotion, the facial expressions of the figures play a big part in how the piece portrays these elements- the somber faces of the women in the paintings are a blank canvas for everything that surrounds them. I do find that a neutral expression cultivates a much more appealing aesthetic in my own work, leaving the possibility for the emotions of the viewer to be manipulated using other visual motifs; I find this creates a much more universally appealing piece. ♥

James Jean

I couldn’t write a favourite artists post without mentioning James Jean- I think he’s the artist that really inspired me to explore different varieties of illustration that were a bit more abstract, and has helped me grow out of my comfort zone- even though I still have a long way to go ^^”

I think my favourite aspect of Jean’s artwork is the engrossing, immersive atmospheres mixed with a distinctly Japanese aesthetic. Jean states that he was introduced to Hiroshige and Yoshitoshi during art college (Jean, 2016), which influenced him to start experimenting with sea-like waves and flowing forms in his art.

James_Jean__Adrift_adrift-final-webres — *Adrift (Jean, 2016)*

I adore these aspects, as once again this speaks to my personal love of curved and contoured form which flows across all areas, binding the artwork together. Referencing a 2016 article from It’s Nice That, James Jean and his interviewer Jamie Green expand on these themes:

“Creatures, critters and the tendrils of foliage wrap themselves around spectral figures, occupying worlds that seem to bleed out of the canvas. He casts his surreal and decaying fantasy worlds in technicolour blues, oranges and gold.” (Green, 2016)

“Despite my efforts to force my work to go in a certain direction, I keep going back to these dreamlike images. I suppose they are a selfish, self-indulgent escape from the anxiety-ridden age we live in.” (Jean, 2016)

Screen Shot 2019-03-20 at 23.45.02 — *Mockingbird (Jean, 2015), Piggyback (Jean, 2015)*

The detail in these pieces is simply exquisite. Viewing Jean’s artwork is truly a joy, and evokes a very calming effect on the viewer. I’ve previously written about my attention to this particular aspect of emotion in my own work- see my Design Philosophies here ♥

There’s so many artists I’m inspired by, so this is only a small look at some of my favourites. I hope to write another post in the future about more artists that I love! Thanks for reading~

References

DiTerlizzi, T. (n.d.). Frequently Asked Questions: Art and Illustration – Tony DiTerlizzi.[Online] Diterlizzi.com. Available at: http://www.diterlizzi.com/faq-category/03-art-and-illustration [Accessed 1st Oct 2018].

Eire, T. (2018). Hair and Hirano – Beautiful Bizarre Magazine [online]. Available at: https://beautifulbizarre.net/2018/02/15/hair-and-hirano/ [Accessed 8 Mar 2019].

Green, J., Jean, J. (2016). It’s Nice That|James Jean’s phantasmagorical world of technicolour fever dreams [online]. Available at: https://www.itsnicethat.com/articles/james-jean-zugzwang-phantasmagorical-paintings-180816 [Accessed 8 Mar 2019].

Hirano, M. (2016). 夢占い ‘Dream Divination’ [oil paint].

Hirano, M. (n.d.). Instagram – @mihohiranoart [online]. Available at: https://www.instagram.com/mihohiranoart [Accessed 8 Mar 2019].

Hirano, M. (2014). Miho Hirano|Powered by Strikingly [online]. Available at: http://mihohirano.strikingly.com [Accessed 8 Mar 2019].

Hirano, M. (2015). 自慈 ‘Self Pity’ [oil paint].

Jean, J. (2015) Adrift [mixed media].

Jean, J. (n.d.). Instagram – @jamesjeanart [online]. Available at: https://www.instagram.com/jamesjeanart/ [Accessed 8 Mar 2019].

Jean, J. (n.d.). James Jean [online]. Available at: http://www.jamesjean.com [Accessed 8 Mar 2019].

Jean, J. (2015) Mockingbird [mixed media].

Jean, J. (2015) Piggyback [mixed media].

Sol, A. (2019). amy sol. [online]. Available at: http://www.amysol.com [Accessed 8 Mar 2019].

Sol, A. (2018). AN INTERVIEW WITH AMY SOL ON HER NEW SHOW “LORE” AT SPOKE ART [online]. Available at: https://www.juxtapoz.com/news/painting/an-interview-with-amy-sol-on-her-new-show-lore-at-spoke-art/ [Accessed 8 Mar 2019].

Sol, A (2018). Diurnal Garden [oil paint].

Sol, A (2018). Embers [oil paint].

Sol, A. (n.d.). Instagram – @amysol [online]. Available at: https://www.instagram.com/amysol [Accessed 8 Mar 2019].

Sol, A (2018). Rae [resin, enamel, oil paint]. Available at: https://spoke-art.com/collections/amy-sol-lore/products/amy-sol-rae [Accessed 8th Mar 2019].

inspiration

How to… Collage with Washi Tape

January 29, 2019April 12, 2019 Chalon Joy

The post I published a little while ago about alternate embellishment techniques really got me back into one of my favourite varieties… washi tape collage. It’s fast become one of the most relaxing ways to work on a piece, and I love doing washi collage when I’m feeling particularly stressed or anxious.

I first discovered this technique when I stumbled across the work of @shardula (real name May Ann Licudine) on instagram. Her art is so delicate and lovely!

Washi means ‘paper’ in Japanese, so washi tape literally means paper tape. To be honest it’s basically fancy masking tape, but the quality is mostly above and beyond what you’d usually find. It’s a joy to work with since it’s strong, versatile and comes in every pattern imaginable, allowing for a wide variety of uses.

In the style of my childhood hero Neil from Art Attack, “here’s one I made earlier”:

Screen Shot 2019-02-25 at 20.42.46 — *Maiko Washi Tape Collage (Collingwood, 2018)*

As you can see, the semi-opaque quality of washi tape makes it really easy to work with. As the line art can be seen through the tape, this helps to prevent the artwork from looking too loose, while also adding more detail and letting the accuracy of your actual collage be a little more lenient.

So, onto the ‘how to’! ❀

You’ll need:

An image to work with– try using a simple line art image for the best results. Use good card stock to minimise accidental cuts on the paper when collaging~
A selection of washi tapes (good quality so they adhere to the paper and don’t lift at the edges)
A sharp scalpel or craft knife– mine has a thin pointed blade for the best precision when cutting fiddly bits!
Watercolours or another medium to add final details to the image (optional)

*Washi Tape Collage Tutorial: Materials (Collingwood, 2019)*

I’m starting off with a plain line art image- this can be anything but I’m sticking with a similar type of concept as my example, as it has lots of potential for patterned collage.

Select a tape that you’d like to use- I find solid repeat patterns are the best to use, with photographic themed tapes (e.g. characters, food, animals) being a bit less favourable for this application.

I usually work on the largest area first. Depending on how wide your tape is, you can cover a whole section with one piece, or you might need to lay strips side by side. If the pattern allows you can try to match up the pattern to create a seamless design, but honestly I think the organic nature of the workflow shines through if the tapes are slightly misaligned c:

Temporarily press the tape into place while it’s still attached to the roll, then use your scalpel to lightly cut around the edge of the area, leaving a clean cut where the pattern ends and preserving as much washi as possible (this stuff can be pricey!)

*Washi Tape Collage Tutorial: Cutting Washi (Collingwood, 2019)*

Because good washi tape won’t damage the paper, you can reposition this as many times as you need to. A wee dab of glue will fix any curling edges when a piece has been repositioned one too many times ^^” I use the edge of my scalpel handle to firmly press the washi down when I’m happy with how it looks.

If the tape is light in colour and translucent enough, you should be able to see the line art through the tape when working, which is really useful as it makes it much easier to see what you’re doing. If the tape is dark or too opaque you can still use these techniques, it just takes a little bit more guesswork… try chipping away at an edge to maintain a precise cut rather than winging it on the first go~

*Washi Tape Collage Tutorial: Translucent Line Art Detail (Collingwood, 2019)*

If you have a roll of tape that has lots of bold large scale pattern, you can also cut out individual elements to add to the image as stand alone embellishment. For example, this really wide roll I have features lots of leafy, flowery type things that can be easily cut out, due to their solid edges and distinct shapes. Even if the pattern runs off the edge of the tape, you can just fashion your own leaf or petal edge out of the existing imagery.

Use every pattern to your advantage- tapes can be applied sideways to follow the shape of the image, or used sparingly to embellish a tiny portion of the piece!

*Washi Tape Collage Tutorial: Small Detailing (Collingwood, 2019)*

To finish off, you can hand embellish the remaining bits of the image with watercolour, ink pen or whatever you fancy using. I like to fill in areas that wouldn’t have worked well with washi, e.g. hair, skin, and other textures that weren’t represented within my tape collection.

‘*Gingko Fan’* *Washi Tape Collage (Collingwood, 2019)*

And there you have it- your own little washi collage. Not thrilled about the tapes I used for this image, but at the time of writing I was waiting on a new stash to arrive ^^”

Hope you enjoyed this tutorial! I’ve also compiled a list of tips and tricks, as well as some of the best sources for nice washi ❀

Tips and Tricks~

– Using a super sharp knife (as is needed) might result in you accidentally cutting through the paper… I do this literally all the time. Most cuts will be so crisp that you can simply push the paper back together, effectively ‘sealing’ the cut closed. Add a little bit of very strong tape (e.g. heavy duty masking tape or clear sellotape) to the reverse of the image if you want to stop the cut from lifting open again. c:

– Always use this technique on a separate piece of paper, rather than in a sketchbook where there’ll be other imagery on the reverse of the sheet. You can always insert any finished washi collage into a sketchbook after you’ve finished~

– Tapes come in loads of widths, from really thin to over 2 inches wide! Use this to your advantage to preserve tape and fill in tiny details ♥ You can also purchase special ‘writeable’ washi tape, where the surface is less waxy, allowing for detail to be added over the top of any collage work.

– Don’t know which washi to use? Keep a swatch book with examples of all your tapes- that way, you’ll know how big/long the repeat is, what direction the repeat runs in and exactly which elements are on each roll. Here’s a page from my swatch book:

*Washi Tape Swatch Book (Collingwood, 2019)*

Where to Buy~

Washi is available in an infinite amount of patterns and styles- I’ve collected washi for a long time! Some of the best sources are:

Paperchase– the seasonal tape collections often go on sale, so watch out for any upcoming discounts. A bit hit and miss at times, but every so often I find a real gem in here! Most of the tapes are a bit Basic though haha
Michaels (US-based craft store)- they sell huge bumper packs of washi in tons of themes and often run ‘50% off one item’ coupons.
Fox and Star– loooove this store, but they’re a bit on the Super Duper Expensive side. Single washi rolls are always priced at a premium compared to multipacks, but it’s UK based to save on postage, at least~
MiSoPaper– this online store has lots of tapes that fit my personal tastes. Slightly limited in certain categories, but can be quite affordable and there’s free delivery over £15 c:
If you’re feeling brave, try AliExpress– like all of the above, but a tenth of the price but takes 2+ months to arrive. You will find every single variation of ‘weird and wonderful’ on Ali! c:
Above all of these sources, nothing brings more joy than finding a one-off store that’s washi heaven. All of my favourite tapes are from a stationery store I stumbled upon during my trip to Shanghai- it really had it all. Rolls were 7 yuan (80p) a piece; the multipacks even better value! My fave find was a beautiful little box of Sakura washi:

Screen Shot 2019-03-16 at 17.35.08 — *‘Sakura Dream’ Washi Box (Collingwood, 2019)*

And that’s a wrap! Sorry this was a long’un- thanks for reading! I hope this is helpful ♥♥♥

References

AliExpress (2019). AliExpress – Smarter Shopping, Better Living! [online]. Available at: https://www.aliexpress.com [Accessed 28 Jan 2019].

Collingwood, C. (2019). ‘Gingko Fan’ Washi Tape Collage [digital, ink, watercolour, washi tape].

Collingwood, C. (2018). ‘Maiko’ Washi Tape Collage [ink, washi tape].

Collingwood, C. (2019). ‘Sakura Dream’ Washi Tape Box [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Cutting Washi [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Materials [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Small Detailing [photograph].

Collingwood, C. (2019). Washi Tape Collage Tutorial: Translucent Line Art Detail [photograph].

Collingwood, C. (2019). Washi Tape Swatch Book [photograph].

Fox and Star UK. (n.d.). Fox and Star UK – Cute stationery suppliers [online]. Available at: https://www.thefoxandstar.co.uk [Accessed 28 Jan 2019].

Fox and Star UK. (n.d.). Fox and Star UK – MT ex Bird Egg Washi Tape [online]. Available at: https://www.thefoxandstar.co.uk [Accessed 28 Jan 2019].

Licudine, May Ann. (n.d.). Mall Licudine (@shardula) – Instagram photos and videos. [online] Available at: https://www.instagram.com/shardula/ [Accessed 28 Jan 2019].

Michaels. (n.d.). Michaels Stores – Art Supplies [online]. Available at: https://www.michaels.com [Accessed 28 Jan 2019].

MiSoPaper. (n.d.). MiSoPaper – Home [online]. Available at: https://misopaper.co.uk [Accessed 28 Jan 2019].

Paperchase. (n.d.). Paperchase GB [online]. Available at: https://www.paperchase.com/en_gb/ [Accessed 28 Jan 2019].

inspiration

An Ode to the iPad Pro – An Artist’s Review

January 26, 2019May 20, 2019 Chalon Joy

Good morning! ❀

I previously made a post talking about my favourite art materials as an illustrator, but there’s one piece of equipment that has really transformed my practice and stood out amongst the others.

Screen Shot 2019-02-04 at 16.57.43 — *iPad Pro 10.5in, Rose Gold (Collingwood, 2019)*

Digital art is on the rise and it’s still a subject of controversy about whether it’s replacing traditional technique too much, but this is my honest unbiased review of something that I want to use in conjunction with my traditional methods of working. I’m by no means a tech expert so this won’t get too far into the specifics- this is more of an overview of the iPad when used for creative purposes.

Making artwork on my iPad Pro has been a pretty big turning point in my illustrations so far- I used to loathe digital work because using my Wacom Intuos tablet was so fiddly and unnatural, but getting the iPad Pro has made it so much more intuitive and wholesome feeling~

First of all, some specs of my own iPad Pro and Apple Pencil:

iPad Pro

2nd Gen WiFi, 64GB (2017)
10.5-inch screen (measured diagonally)
LED Retina Display with TrueTone
Lightning Port/Headphone Jack
£619 via Apple

Apple Pencil

Bluetooth connectivity
Magnetic ‘cap’ with Lightning Charger (can charge using iPad)
Replaceable nib
17.5cm length/21g weight
£89 via Apple

Put simply, the iPad Pro is brilliant for making artwork- I find the 10.5 inch more than large enough to support all of my ideas, with ample storage space for files that will grow in size as I continue to work on them. The display is stunning, with TrueTone technology that allows the colours on screen to adapt based on your surrounding lighting.

The iPad Pro is light enough to carry around on a daily basis, weighing in at only 469g for the 10.5in Wifi version. Add a nice case (mine also houses the Apple Pencil alongside the tablet), and you’re looking at around 600g… much lighter than most laptops and traditional art setups! I love taking mine travelling with me to record what I discover.

Now, there is one major sticking point with the iPad Pro, and that is that it does *not* support Photoshop, Illustrator or any of the other full Adobe CC software packages. I debated for a long while whether to purchase one because of this, but after some feedback about it from an illustrator friend, I found Procreate to be more than worthy enough to stand in for Photoshop- it even has .psd compatibility, which makes transferring files between programs a total breeze. And at a one-off payment of £12.99, it’s very budget friendly (which you might need to consider after dropping £700+ on this Pencil/iPad package!)

Working digitally has really allowed me to improve on my proportions and layouts (although there’s still a long way to go!), as well as making me less fearful to make bold strokes and quick mark making in the initial stages of a sketch- I was always a bit hesitant to do this traditionally as too many erased errors can really drag down the finished appearance of a piece. It’s also amazing to have loads of brush styles at your fingertips (literally)- this makes the iPad the best portable device for creating on the go c:

Screen Shot 2019-02-04 at 16.58.00 — *iPad Pro and Apple Pencil Stylus (Collingwood, 2019)*

I also wholly recommend the Apple Pencil- it’s nice and sturdy feeling with a good weight to it, and also works seamlessly with programs such as ProCreate (Savage Interactive Ltd, 2019) and the Adobe collection of iPad software (Adobe, 2019). There’s tilt dynamics for brushes, as well as lots of different points of pressure that really enhance the natural feeling when using this stylus. The pencil tips last a long time (much longer than Wacom nibs!) and are cheap-ish to replace considering their longevity- a 4 pack of nibs are £19 from Apple (Apple, 2015).

Since I bought mine in Summer 2018 there is of course a new version out already, complete with a snazzier Apple Pencil companion that boasts gesture controls and wireless charging capabilities. I’m still really happy with my iPad Pro (2nd Gen, 10.5in) and Apple Pencil- technology is so ridiculous now it just makes you wonder what sort of upgrade will come next~

Thanks for reading my wee review! I’m so grateful to have my iPad and Pencil, and I hope more artists discover how great the combo can be for both quick sketches and fully realised detailed artwork ♥

References

Adobe (2019). Adobe Creative Cloud Mobile Apps. [Software]. Available at: https://www.adobe.com/uk/creativecloud/catalog/mobile.html [Accessed 26 Jan 2019].

Apple. (2015). Apple Pencil 1st Generation [Product]. Available at: https://www.apple.com/uk/shop/product/MK0C2ZM/A/apple-pencil [Accessed 26 Jan 2019].

Apple. (2015). Apple Pencil Tips- 4 Pack [Product]. Available at: https://www.apple.com/uk/shop/product/MLUN2ZM/A/apple-pencil-tips-4-pack [Accessed 26 Jan 2019].

Apple. (2017). iPad Pro 10.5 inch/2nd Generation/64GB/Rose Gold [Product]. Available at: https://www.apple.com/uk/shop/buy-ipad/ipad-pro-10-5/rose-gold-64gb-wifi [Accessed 26 Jan 2019].

Collingwood, C. (2019). Apple iPad Pro 10.5 Inch, Rose Gold and Folio Case [Photograph].

Collingwood C, (2019). iPad Pro and Apple Pencil Stylus [Photograph].

Savage Interactive Ltd. (2019). Procreate [Software]. Available at: https://procreate.art [Accessed 26 Jan 2019].

inspiration

Tools of the Trade: My Favourite Artist Materials

January 24, 2019March 22, 2019 Chalon Joy

I thought I’d do a feature on some of my favourite artist materials that have been tried and tested by me throughout my illustration life! Obviously this is my personal (unsponsored) opinion and your mileage may vary, but these bits and bobs are what I use in my own practice ♥

Deleter Inks

I’ve tried quite a few inks since I first started working with traditional inks- I still prefer the first ones I ever used! These inks were first gifted to me by my Dad when I was 10- he bought me a Deleter Manga DX kit (available in the UK from Amazon intermittently) for my birthday (come on… every artist went through some sort of manga/anime phase!)

Screen Shot 2019-02-04 at 16.32.10 — *Deleter Inks: Black 1 and White 1 (Collingwood, 2019)*

Based in Japan, comic art supply company Deleter is a favourite amongst manga and comic artists, but these high quality inks are useful for many more applications. The inks are water resistant (not waterproof) after an hour or so of drying time, which makes them good for use with a variety of different mediums, especially art markers like Promarker, Copic and Deleter’s own brand, Neopiko.

I find these really good for fine detailing, and both the black and white come in a variety of opacities suitable for lots of different uses; Black 1 being the darkest, and Black 6 being a mid-opacity ‘black’. I have Black 1 which is super dark and dries with a nice satin finish, and White 1 which I mainly use for corrections and highlighting. Both are best used with a brush, because the ink dries quite quickly and can block nib tips if left too long!

Winsor and Newton Metallic Inks

You know me… I love a good metallic embellishment feature in my work! These are some of the nicest metallic finish inks I’ve used~ Shake to mix the pigments, which swirl round in the pot like a black hole (it’s seriously mesmerising)!

Screen Shot 2019-02-04 at 16.32.18 — *Winsor and Newton Inks: Gold and Silver (Collingwood, 2019)*

They dry down really nicely and are perfect for dip pen and brush application.

Honorable mention to Liquitex Copper Ink- Winsor and Newton don’t make a copper yet! This is acrylic ink, so it’s a bit thicker but gets the job done with a paintbrush for what I like to use it for c:

Sakura Pigma Micron Pens ❀

Fineliners are definitely personal preference since there’s so many different types, but for me the Sakura Pigma Microns are some of the best c:

Screen Shot 2019-02-04 at 16.32.32 — *Sakura Pigma Micron Pens (Collingwood, 2019)*

They nice stay nice and sharp throughout their life to give the best quality of line, and in my experience these Pigma Micron pens are the best fineliners to use with wet media. They are also smudge proof after a short drying time, and don’t bleed through paper which makes them ideal for writing too! Since my knowledge only goes as far as usability, here’s some specifics courtesy of my favourite pen website, Cult Pens:

“The first disposable technical pen to use archival pigment ink, the Micron range is by favoured artists, writers and illustrators everywhere. […] Archival quality ink is acid-free, chemically stable, waterproof, and fade resistant. No smears, feathers, or bleed-through on most papers. Strong plastic tip is steel clad for strength and for use against rulers and drawing instruments” (Cult Pens, 2019).

Available in a whole rainbow of colours here! I really love using the sepia toned ones for a softer look line art, and the purple ones are also really nice to use as an underlayer to be inked over in the next stage of my workflow.

My iPad Pro/Apple Pencil has also been indispensable piece of equipment for me- I have lots to say about this so I’ll cover it in another post [Update 26th Jan 2019: new post here!] ♥

References

Amazon.com (n.d.). Deleter: Manga Took Kit DX [Product]. Available at: https://www.amazon.co.uk/Deleter-Manga-Tool-Kit-DX/dp/B000DZXB4O [Accessed 24 Jan 2019].

Collingwood, C. (2019). Deleter Inks: Black 1 and White 1 [Photograph].

Collingwood, C. (2019). Sakura Pigma Micron Pens [Photograph].

Collingwood, C. (2019). Winsor and Newton Inks: Gold and Silver [Photograph].

Cult Pens. (2019). Sakura Pigma Micron Drawing Pen [Product]. Available at: https://www.cultpens.com/i/q/SK21084/sakura-pigma-micron-drawing-pen [Accessed 24 Jan 2019].

about, inspiration

Design Philosophies

November 26, 2018March 22, 2019 Chalon Joy

Late last week I was tasked with creating a set of ‘philosophies’ that define my practice as an illustrator. These can be about design narrative/context, visual aesthetics, workflow or personal preferences during the entire process.

This was much more challenging than it seemed- honestly I think I’m still building up to having a very distinct design aesthetic, but I definitely have a strong idea of what I want my work to portray in my head. The two don’t always come together in the final image (yet), but my process has a few unique facets to it that help me create my work.

The final list can be found here, as well as via the top menu bar: Info -> Design Philosophies.

Hopefully these shed some more light on my practice and design criteria, as I don’t often talk about it personally. I suppose that’s the point of a blog though~

❀

inspiration, research, SWOT/Target Setting

Concept Development – Project Beginnings

November 20, 2018May 27, 2019 Chalon Joy

This new week means the start of a new project- quite the relief! As much as I enjoyed the riso project, it was very overwhelming learning literally an ENTIRELY new process, from the design basics to the niggly little details surrounding printing and technical issues. I’m not completely done with riso printing, however- I still hope to use it more actively in the new year, especially for print editions to sell at final show.

Onto the new project- Character and Narrative Development! As much as this represents its own set of experimental challenges, I’m hoping it’ll be a little more of a gradual learning curve, rather than the ‘throw myself in the deep end’ approach of the riso printing process ^^”

Thus far, I’m deep into the research portion of my workflow- since this project has been on my mind for a very long time (read: years), I already had quite a good vision of what the aesthetics of the environments and characters will look like. As such, my list of existing artist inspiration is long! To name a few, Nicole Gustafsson, Taryn Knight and Heikala are some of the most influential people I’ve looked at (examples of their work below.)

Screen Shot 2018-11-22 at 18.04.29.png — Left to right: Heikala, 2018. Gustafsson, 2018. Knight, 2018.

More on this in my artist research file, but I especially love Gustafsson’s work with anthropomorphic characters- this will be a big source of inspiration for my deer-man character. A similar simplified art style like Heikala’s work would work well for the animation, as I must always be mindful of the level of detail in the imagery- while I’ve timetabled quite a few weeks to realise the project, I don’t want to overwhelm myself with detail in the work.

I want the piece to have a warm, familiar feel with a woodsy colour palette for the most part- with warmer, organic tones for the deer-man and more youthful, fresh colours for the centric female character. More details on character, aesthetic and the more technical side of my project are documented in my initial mind map:

My initial mood board for the project- gathers all my thinkings into one place! (Collingwood, 2018).

For the rest of the week, I’m aiming to make some mood boards that can portray my intentions for aesthetic, colour and character design in a very strong way- I often struggle to find faith in my initial ideas, especially when pitching them to other people, so I’m hoping a few mood boards that are well put together will aid me from the outset. (…did I also mention that mood boards are an excellent prop to hide behind during formal presentations…?)

In addition, I often like to fully flesh out my characters with MBTI personalities and trait lists… all part of my process to feel more connected to my characters. This will be the main focus of next week.

More soon ♥

References

Collingwood, C. (2018). Personal Project 2: Initial Mind Map.

Gustafsson, N. (2018). Shiba Spellcaster [Acrylic].

Heikkala, L. (2018). Astrochemist [Ink].

Knight, T. (2018). Untitled [Watercolour].

inspiration, research

November Update – Reflection and Target Setting

November 12, 2018December 14, 2018 Chalon Joy

It’s been a wee while since I wrote the last post… it’s been a weird few weeks with only a little bit of progress unfortunately! I’ll hopefully be back into the swing of things now, with updates at least once weekly.

In terms of the riso project, I’ve finished everything bar the actual printing of the artwork… so yes, I’m slightly behind. I’ll correct this during this coming weeks while I work alongside the Character Design Development project so I don’t fall behind- I can’t afford to lose any project time this year.

Additionally, the list of book titles for the Penguin Student Award has been released- initially I was torn between Wonder by R.J. Palacio, and Norwegian Wood by Haruki Murakami. The current iterations of the cover art for both titles are very minimal and follow a specific theme throughout the rest of the author’s novels. Below are the two most recent covers released in the UK:

Screen Shot 2018-11-12 at 11.27.42.png — Left: Palacio, 2014. Right: Murakami, 1987.

Ultimately, I’m marginally more partial to Wonder, especially as I think some of the key imagery and thematic elements that are featured in the narrative lend themselves towards my style and interests slightly more than Norwegian Wood. More on this next month when I start production on the project~

I’m also due to start my Character Design/Animation Development project this month- I’ll do an update soon about my initial research and where I’m going with the characters and storyline. This is a project that I’ve had in mind for *years*, so it’ll be nice to finally bring it into realisation ♥

It’s been a rough few weeks but I’m excited for what lies ahead and for the upcoming projects I’ll be working on- but for now, I’ll be mostly focusing on finishing the riso project (e.g. doing some initial test prints while we wait for the new ink colours to arrive)- at present I’m in the dark as to what the test prints will yield. It could be that I’ll have to completely re-do my artwork, or alter some of the design, or a number of other things. I’m worried about it, but I’m also too excited to start the next project so my mind is all over the place! Hopefully I’ll be able to have some closure with the riso project soon.

Targets for the following month include finishing the riso project very soon (in order to leave ample time for the other two projects), as well as continuing to promote ‘radial thinking’ in my process, particularly as part of the experimental nature of Semester 1.

References

Palacio, R. (2014). Wonder. London: Corgi. p. Cover Artwork.

Murakami, H. (1987). Norwegian Wood. London: Vintage. p. Cover Artwork.

inspiration

3 Ways to Enhance Your Artwork

October 30, 2018December 14, 2018 Chalon Joy

When exhibiting artwork (especially when the art is for sale), it’s important to consider new and interesting ways to add interest in order to capture the viewer’s attention, possibly increasing sales in an exceedingly competitive sector of the creative industry.

Of course, this isn’t from a purely business point of view, as the result must also compliment the artwork and be aesthetically pleasing. I love to add things on top of artwork, particularly runs of prints, as it adds a handmade touch that makes each piece unique.

Here are my 3 favourite ways to do this~

1- Surface Embellishment

I’m a big fan of glittery things- anything that sparkles or shifts in the light is sure to catch the eye of a bypasser, whether they like it or not! If the imagery is suited to it, adding a little bit of glitter or other embellishment can really make the difference between run of the mill art, and something people will buy.

I bought a piece from one of my favourite artists (@m_atelier on Instagram, more info in my references), and she jazzed up the art with tiny star shaped sequins before mailing it to me. As it fit well with the other imagery in the work, it looked lovely and created a sense of personalisation and preciousness.

Another example of surface embellishment is using patterned paper or washi tape- @shardula uses this technique quite often, with gorgeous results that add detail and intricacy to the artwork. I suppose I use this technique myself in some of my artwork- I like to digitally overlay patterns as a replacement for colour (see the Artwork tab for examples of this), which is a similar process.

Screen Shot 2018-12-06 at 21.51.06.png — *Left: Lopez (2017). Right: Licudine (2018).*

2- Metallic Overlays

This form of embellishment can come from specially made inks or pens, as well as gold leaf or gold foils- each of these methods is best suited to different applications, so it’s up to you to find out which is best for your artwork. Foils can be added to fabric, which can add ‘a little something extra’ to screen printed tote bags or t-shirts, or they can be applied on top of prints using heat or screen-printed glue.

In terms of physical printed or traditional artwork, I find it best to use either pre-filled ink pens (my favourite is the Sakura Touch-Pen Fine, available here in all sorts of finishes), or nib-pens/fine brushes with inks such as the Winsor and Newton metallic calligraphy inks (link here), which are slightly more opaque and concentrated (but are a little harder to get the hang of).

Use metallic embellishment to add highlights or extra detail to the art- again, some of my favourite examples are from artists such as Sibylline Meynet (@sibylline_m) and Feefal (@feefal), shown below:

Screen Shot 2018-12-06 at 22.24.15.png — *Left: Feefal (2018). Right: Meynet (2016).*

3- Proper Packaging

If the art is hand-pulled and won’t be produced again in the same format, you can market the pieces as a ‘limited run’ by numbering and signing them individually on the border of the art. Doing this adds value to the work, as numbered editions are considered the highest quality pieces from a run of prints (e.g. risograph, screen print, etc).

If art is being offered for sale, the general consensus is to sign numbered editions in the border of the art, and printed/mass produced prints inside the actual artwork (e.g. in the bottom corner of the piece, as long as it does not detract from the overall image). Always use pencil when numbering/signing artwork in the border, as this cannot be reproduced by printing!

By investing in some fitted cellophane bags, you can protect artwork from fingerprints or creases when selling, as well as add to the value. Mounting the artwork can also add to the overall appeal, as presentation of artwork is important when vying against competing illustrators. Additionally, including a business card with each print, or making a special branded stamp or sticker to seal the packet can add a sense of professionalism.

All of these techniques can help set your art apart from the rest aesthetically, as well as increasing value which in turn will allow you to make a little bit more profit on a piece.

I hope this was slightly helpful… of course the quality of the artwork is second to none when it comes to a successful illustrator, so consider this above all else ♥

References

Cass Art (n.d.). Winsor and Newton Ink [online]. Available at: https://www.cassart.co.uk/drawing/calligraphy/calligraphy_ink/winsor_newton_ink.htm?productid=1609&utm_source=google&utm_medium=base&gclid=EAIaIQobChMIlPOX15qM3wIVCEPTCh2__AkXEAQYAyABEgKbQPD_BwE [Accessed 3 Dec 2018].

Cult Pens (n.d.). Sakura Pen-Touch Fine. [online]. Available at: https://www.cultpens.com/i/q/SK21037/sakura-pen-touch-fine?gclid=EAIaIQobChMIoavCs5mM3wIVQeJ3Ch3cEgMdEAQYASABEgLa4fD_BwE [Accessed 3 Dec 2018].

Feefal. (n.d.). Instagram – @feefal [online]. Available at: https://www.instagram.com/feefal/ [Accessed 3 Dec 2018].

Feefal (2018). Untitled [Ink].

Licudine, M. (n.d.). Instagram – @shardula [online]. Available at: https://www.instagram.com/shardula/ [Accessed 3 Dec 2018].

Licudine, M. (2018). Golden [Mixed media].

Lopez, M. (n.d.) Instagram – @m_atelier [online]. Available at: https://www.instagram.com/m_atelier/ [Accessed 3 Dec 2018].

Lopez, M. (2017). Pavonis [Watercolour, ink].

Meynet, S. (n.d.). Instagram – @sibylline_m [online]. Available at: https://www.instagram.com/sibylline_m/ [Accessed 3 Dec 2018].

Meynet, S (2016). Mermay 2016 [Ink].

inspiration, research

Printmaking – Screenprint Experimentation

October 15, 2018December 14, 2018 Chalon Joy

To start the week, I’ll be working on concepts for the A4 screenprints we’ll be producing on Friday- as this is intended to be experimental, I’ll be straying away from my usual techniques, instead trying out digitally based fills for some of my initial ideas. For example, halftones, custom patterns, noise fills, and other fill techniques that produce results that will work well with a silk screen- since you can add lots of very fine detail with screenprinting, it’ll be a great opportunity to try these new styles out.

The last printmaking project I did involved monoprinting with a laser cut perspex plate- the results were mixed, but most importantly plate printing allowed for a lot less detail on the design (compared to screenprinting).

We were shown a mini tutorial on Photoshop and Cinema 4D, using shaded spheres as an example when applying each technique. They really looked like little planets… so I decided that using the solar system as a base would be a nice way to still include something from my own personal interest.

I may even make a second layer that details additional embellishment on the final design- this way, I can come back to my love of gold foil, using liquid glue to print the exact areas for foiling. I can then go in with the foil, brushing it on by hand. Going back to the monoprint project from Year 2, I used gold ink to work on top of my prints by hand after trying to print with glue… the pressure from the roller combined with the tackiness of the glue ended up a mess (lesson learned)

Screen Shot 2018-10-15 at 13.38.59.png — Collingwood, C. (2016)

Doing it by hand was tedious, but the results were good… yet not perfect. Look at the way the line art came out on the print- the details were too fine for the ink to stick to the printing plate when I rolled out the ink, especially with the white outline bordering the sky. It was a combination of the lines being too thin, and the ink being too thick. It was a lot more cost-effective compared to silk screen printing, but I feel plate printing is more suited to less detailed imagery.

With this new technique I’m trialling, I’ll be able to apply the foil with a lot more precision, yielding better results (as well as being able to have finer details on the base black layer). Also the gold foil is so much more vibrant and pretty compared to gold ink~

I’ll research this thoroughly before I go in and ruin all my prints, but I think if it works well this could be a really useful technique for the future.

There might even be the potential to create runs of hand-embellished prints (e.g. foils, inks, pattern collage, painted details), making each one unique. This could be a good way to market prints that I can sell, either at final show or on sites such as instagram, Etsy, etc.

Watch this space for a Friday update ♥

~~no pun intended~~

References

Collingwood, C. (2016). Cassiopia [Ink].