INTRODUCTION: Have you ever had an interest in mixed media, or incorporating representational elements into your artwork? Would you like to discover ways to tap into your creative intuition and confidence through your artwork? This session will lead you through a unique exploration of using mixed media as you hone practices of representational artwork. Mixed media is a term used to describe artworks composed of a combination of different media or materials. Incorporating mixed media in your work could include any materials of your choosing, such as paper, photographs, fabric and other ephemera. This practice allows for liberty of expression, and emphasizes process as much as the product. Representational art refers to art that resembles objects or events in the real world, and is unique to each artist's perspective. In this class, you will participate in a mindfulness practice to help you connect and allow your mind to rest. This will help you to accept your emotional and physical sensations and focus on the present. We will warm-up with guided mark-making activities, and move into an exploration of different layering exercises, allowing you to experiment and witness how different mediums interact with one another. The culmination of this session will allow you to create a finished piece, drawing from the inspiration of representational images of your choosing. We will try new things, while strengthening skills in both confidence and creative intuition. You will find ways to develop your own method of applying materials to compose the visual space.
INTENDED AUDIENCE FOR THIS SESSION:
Anyone who wants to explore mixed media or representational art in a unique way.
Those who want to strengthen and develop their own voice as an artist.
Anyone interested in developing skills that help you lock into your creative expression and intuition.
Those who want to discover more ways to source mixed media materials and incorporate them into their work.
This class is perfect for beginners as well as more experienced artists.
MATERIAL NEEDED FOR THIS SESSION: Paper, acrylic paints and at least three different types of media (Pencil, Pen, Marker, Acrylic Paint, Scrap paper). Optional supplies: additional media, brushes, water container, painting supplies, etc. Circular items from around the house (think: plastic caps and cups, paper towel tubes, etc.)
METHOD: Acrylics are fast drying paints that can be used straight from a tube, like oil paints, or can be thinned with water, like water color. They are extremely versatile and vibrant, offering the artist a wide range of textures, colors and consistencies. Acrylics are also affordable, making them ideal for covering large areas with paint. Because these paints are opaque and fast drying, they can be very forgiving, allowing you to cover up mistakes with more paint. They can be painted on almost anything and dry into a water resistant surface. While you need to be aware of how quickly they dry, acrylics can be blended beautifully. The heavy body color of acrylics is buttery and smooth, blending on the canvas almost like oils. Because they basically dry into a plastic surface, they are ideal for using in multimedia painting as well. All of these unique properties mean that you'll need to brush up on your acrylic painting techniques before you get started. It's important to have a good variety of brushes, ranging from small to large. You'll soon learn which you're more comfortable with, but these four are some of the more common shapes you'll encounter. The Filbert brush is a great all-purpose brush that can offer a straight or rounded shape. Here we're using Fevicryl acrylics, which can hold up to a lot of water. These are considered 'Heavy Body Acrylics'. We'd encourage you to experiment with a variety of brands like Faber Castle to see which one you enjoy acrylic painting with the most – everyone has their favorite type and brand. Acrylic paint is essentially plastic; more specifically, pigment suspended in a polymer emulsion. You can break that emulsion with too much water, so take care when thinning it out. The acrylic painting techniques in this article can be put into practice with any heavy body acrylic paint, student or professional grade. Teaching you how to draw a whimsical face is one of my FAVORITEthings to do! I'm having SO much fun with the whimsical face drawing. Not only will this session help us study profile drawing, we'll cover how to draw an head wrap (including how to draw the fabric folds within it), how to draw a semi closed eye, and how to draw a face profile! To get us started off on the right track, I'm doing a mini review of the value scale to help you understand how important this is whenever you're drawing and hoping to take your artwork to the next level. If you incorporate the lightest light ALLLLLLthe way to the darkest dark, and everything in between... your art will be so much more sophisticated!! Profiles can feel extremely tricky to draw because of all the angle variations that make us who we are as individuals. For drawing fabric folds for head scarf, I try to break the overall head scarf down into chunks / shapes Since I'm doing a whimsical drawing, instead of a realistic drawing, I'm able to give myself a little grace here if things aren't perfect. Doesn't THAT feel good?! No need for perfection when you pull out your "whimsy" card. When everything is sketched in, go ahead and start erasing all your guidelines. My favorite eraser is the vanish eraser We want the WHOLEvalue scale represented in your work, because this adds dimension and sophistication!! You have two choices when you're shading- either shading from light to dark or from dark to light. I've chosen to shade dark to light today- hitting the highlighted areas of her nose and chin first. To reduce the streaks, it helps to lay your color down quickly so the shades blend into one another a bit when the ink is wet. You can also choose one color to shade over transitional lines to attempt to soften these lines, or add colored pencil shading over the top of your marker layers. When you're blending copic markers, you can also try shading one solid color in strokes running the opposite direction from how you originally laid down color. I often use the lightest or a medium skin tone when doing this to my face drawing. The farther I get into my project, the more layers I continue to build up on her face to eliminate some of the streakiness in my transitions. But I also discover, the model in my reference image really is much darker than I have portrayed, and I need to continue darkening the shadows and blending skin tones to do a better job replicating what I see. Be sure to take your time here. Start slowly, and gradually build up those values. Honestly, the more layers you have, the more realistic the skin will look- because we're all made up of many colors!! So just keep working and blending until you feel like you're at a good place and happy with what you've got. I used my round brush for my outlining - including the detail work on her eyelashes, just as I have used it in the previous lessons. As I was working the finishing touches on today's drawing, I decided to add just a bit more shading in and around the ear, because something about it was just bothering me! I ended up adding some White and it made all the difference in the world!! Now there is really some deep, gorgeous contrast!
How do you STAMP using acrylic paint? Normally I would just use a brush and apply the acrylic paint onto the any circular stamp or lid before stamping. You have to do it fast though to avoid the acrylic paint drying up. I've tried to dab my stamp onto acrylic paint for stamping but it seems so difficult for me to control the amount of paint I want for stamping. However, there's an easy solution for this, To use your brush which allows you to apply the paint directly onto the stamp or any object. If you're using acrylic paint, you can mix all the colors you want and even apply different colors on different sections of your stamp. It's actually very easy to stamp using acrylic paint. You just need a little patience in the cleaning process. So, start stamping now!!
COLOR Understand your color values. Everything you look at has a color palette. To keep your portrait interesting, choose three main colors that coordinate with color terminology. They can be primary, secondary, tertiary, monochromatic, cool/warm colors, or complementary. To keep it simple I am using a monochromatic color scheme consisting of black with varying grey undertones. Background first. After years of painting, I only just recently got out of the groove of doing the subject first. It is WAY simpler to do the background first. The flow of your painting will increase exponentially if you have a dynamic background. But if you want your focal point to be the subject, attempt to blur the minor details with a wet sponge or large soft brush. Since I want the focus on my subject, I am doing a simple gradient of Black and White. Start color blocking. You can start painting now! Start with a base color for anything like skin As you paint, increase your color intensity and decrease the size of your brush. When color blocking, you work your blocks down to simple strokes and will need a smaller brush. Start confident, and reference from there. You need to color block with a medium-small brush and blend with a semi-wet paint on the canvas, working in sections at a time. These sections aren’t squares. They are organically shaped; i.e. if you chose to start at the nose, do the nose first. Then continue. Keep it flowing. WHERE IS THE LIGHT SOURCE?!1I haven’t had too much trouble with this, but I see beginning artists throwing around light willy nilly. Understand the light source before adding tints of light everywhere. There can be multiple light sources, which will result in different shadows shapes and colors. All you have to do is keep it consistent. Mine will be a muted white light in front/above her (forehead) and behind her (nose). Don’t overwork it! If you are satisfied with a section in the painting and it doesn’t look lopsided or disproportionate, DON’T TOUCH IT. I’ve spent countless hours redoing parts of a painting that just made it look jumbled and chunky in the end, all just because I thought I could do better. It’s almost like rolling a die for each part of the painting you do well. One meaning you NEED to redo it, six being to go home, you can’t do any better. So, if you roll a five, don’t be a gambler and attempt to roll a six. Take the money and run! Trust the process. No matter how bad it seems, keep going … I promise everything will make sense in the end. If you are precise with these steps until the end, you will not regret it. Distance yourself. I love a long functional paint session as much as the next artist. Turning on some tunes and actually getting great traction for the time I put in. But, you have to distance yourself. No. For real. Take a step back. Have lunch, nap, scroll through social media for a little bit. Then, come back and criticize your own work. You may come back and find errors EVERYWHERE. So, when you can, take a break and maybe just use the bathroom. But come back with some fresh eyes. Allow for dry time. With most paints, you have to wait for it to thoroughly dry before adding another layer. Taking a quick break would be great, or work on another section. And, if you are ever so impatient, take a hairdryer to it. But don’t dry it so much that it cracks. Accept criticism the entire time. While painting someone may pass by. Heed their advice. In fact, half way through, ask someone who dislikes you what they think. They will give you full honesty. Then, ask a friend. They will give you criticism and tell you what they like so far. Even at the end. Accept criticism. Remember that art isn’t calculus. it’s subjective… and there is no wrong or right answer. So there is no such thing as an awful portrait. It is the way you made it because of the time and effort you put into it. Keep your effort at maximum and you will not be disappointed.
Don’t be scared to walk alone. Don’t be scared to like it
"Life is like playing a violin solo in public and learning the instrument as one goes on."
Charcoal drawings can be loose or they can be rendered to a high degree of realism. Charcoal drawing is actually closely related to painting. Because of it's characteristics, charcoal can easily be spread, blended, and erased. This allows the artist to use the charcoal in a variety of ways. One way of creating unique marks is by using the eraser to remove the lighter values (tints). This method is called "Highlight Rendering". The drawing begins with a loose contour line sketch using a charcoal pencil. Areas of high contrast are noted with a line.
Charcoal can be applied to just about any surface that will accept the mark. The most common surfaces or papers have a course tooth, or texture. These papers include charcoal paper, pastel papers, and watercolor papers. Smooth surfaces are also acceptable and include newsprint, bristol board, and illustration board.
Some artists prefer to work on toned papers. Typically, when toned papers are used, both white and black charcoal are used in the drawing. Since the paper is toned, the whites are absent and must be applied in charcoal form.
Most of the time, white paper is used. Like with watercolor painting, the white of the paper acts to "mix" grays and create highlights.
Color Black, Shades of Grey and White
Thick and Thin lines
Using thick and thin lines is an interesting idea, and it’s funny how many artists miss this very helpful technique in their work. In a charcoal drawing, if every line has the same width or is drawn using the same exact pressure, it ends up looking like a colouring book drawing and can come across as very monotonous and boring. Using thick and thin lines in your drawing can make it so much livelier.
So how do you use this technique, and what do you need to know? The rule of thumb is that lines on top of things are thinner since light is hitting them and lines underneath objects can be thicker since there are usually shadows sitting there. The cool thing about charcoal is that it’s easy to control. You can move it around easily. Once you apply charcoal you can remove it or erase it where it's not needed. In the picture above, the erased part marks out where the light is hitting the model's head.
Supplies Charcoal- vine, Compressed Charcoal Pencil - Black and White, Kneaded Eraser, Acid Free Cold Pressed A4 Paper
SOLD / INR 8,000 (Fashion Production House Logo) SIZE / L : 8 inch W : 11 inch
“Open your eyes, look within. Are you satisfied with the life you’re living?” – Bob Marley
Drawing is probably the most archaic form of expression that is still in use today. It is the simplest way to communicate through visual elements and association, and probably it is the most genuine skill ever. People that draw as an extensive part of their daily lives have a different and more intimate outlook on the world. Think about children, and how they learn how to draw and assemble shapes, colours and lines before they know how to communicate properly. Drawing is indeed an integral part of our communicative beings.
Drawing may be an intuitive skill when needed, but also an incredibly challenging skill to master. Nowadays, pencil drawing is still a vital skill that the artist should master when entering traditional forms of creative education. To master the technique, it does not necessarily mean that one should pursue any type of realism. But when in the initial stages of learning, it is something that every artist tries to achieve- to replicate a photograph because that means that the artist is inherently good, an expert of the technique. With the rise of photography in the contemporary world, artists started feeling this need to create a new kind of movement. Hyperrealism succeeded the Realism and Photorealism movements in the ’60s, but it sought very different convictions. While in Realism and Photorealism, the artist sought to distance themselves from the subject, only focusing on portraying the seen, Hyperrealism aimed for its complete opposite. Hyperrealism was about the connection with the subject, rendering emotive narratives though its compositions. Photorealism was more about the accuracy, while Hyperrealism was more about a consciousness of the subjects through extreme attention to detail. Hyperrealism creates worlds close to ours but somewhat illusionary, exposing a new reality of the existent subjects into an extreme perfection of the real. Internet was a massive influence in the success story, which led many Artist showcase there art in fairs and galleries worldwide.
The photorealist artist enjoys portraying emotion through the eyes. One of his signature images is the surrealist composition of the eyes surrounded with facial hairs. The drawing feature a very smooth contrasting between shade but with sharp endings. Color
Black, Shades of Grey and White
Staedtler Mars Lumograph
Drawing Pencil Set comes with 24 degrees, 4H, 3H, 2H, H, F, HB, B, 2B, 3B, 4B, 5B and 6B. To make it simple, I like to just use a pencil in the middle of the range. My favourite are 2B, 3B & 6B. I love to use Staedtler as my famous brand.
There are 6 types of Hatching and this Art almost involved all of them.
Parallel hatching Parallel hatching is one of the most basic forms of hatching, and it’s still a very effective way of demonstrating value (light and dark) in a drawing. It consists of rows of parallel lines placed closely together. Anywhere you put hatching in a drawing, that area will appear darker or in shadow, and anywhere you don’t will appear as a highlight. All of the hatching is vertical in the example below, but it can be at any angle. Notice that some hatch marks are closer together, such as along the top of the index finger. When you increase the density of a collection of hatch marks, the area will appear darker, which can be useful for creating value variations as we’ll see. Contour hatching Rather than simple parallel lines, contour hatching is when the lines follow the contours of the subject. Here, the hatch marks follow the curves of the hand. This method of hatching greatly enhances the sense of volume and three-dimensionality of anything you are drawing, in addition to providing value. Crosshatching This is such a well-known method that nearly every artist has encountered it, and it’s exactly what it sounds like. After laying down one pass of hatch marks, another set of hatch marks are drawn on top, usually in a perpendicular or near-perpendicular direction to the first set. This method is one of the quickest and most effective ways to vary the density and darken the values in your hatching. As you can see, it creates a richer overall feel to the drawing. Cross hatching can be applied as simple straight lines, just like parallel hatching. Fine crosshatching This is the richest and most subtle form of crosshatching, and it might even read as a tonal or pencil-shaded drawing from far away. The method is the same as above, with several layers of cross hatch marks rather than just two, to create even more nuanced differences in tone and value. A fine-line pen is the best tool for fine crosshatching, as the close marks will appear to blend together from a distance. “Basket” or “woven” hatching I don’t know that there is an official name for this type of hatching, but it is a very striking and graphic style of hatching when used correctly. Rather than all parallel marks, this method uses short sets of parallel marks in one direction, then an adjacent group of parallel marks in an almost perpendicular direction. The effect looks woven when done well, and they can also be crosshatched to add density if desired. “Tick” hatching This is another very graphic style of hatching, consisting of very short parallel strokes or “ticks.” Because the marks are so small and short, you can almost pile them on top of one another to create density, without worrying about crosshatching. This style often works best with a thicker pen to increase the graphic quality.
Supplies Staedtler Mars Lumograph Artist Pencil Set, Acid Free Hot Pressed A2 Paper
Simple Feeling of Euphoria experienced by Music alone.....
What Is CROQUIS in Fashion? Croquis means “sketch” in French. In the world of fashion design, a croquis is a quick sketch of a fashion figure. The word can also refer to the practice of drawing live models. Croquis drawings are minimalist in style and serve as a blank canvas for drawing clothing.
Charcoal and Ink Drawing Charcoal drawing is addictive. Maybe it’s because charcoal drawings are so fast and immediate, or maybe because the final look is often so impressive, but people love charcoals. Even the great Michelangelo created a number of charcoal drawings. Whatever the reasons for its popularity as a medium, there are certain charcoal drawing techniques you should know before you create your first charcoal masterpiece.
Graphite media includes pencils, powder or compressed sticks. Each one creates a range of values depending on the hardness or softness inherent in the material. Hard graphite tones range from light to dark gray, while softer graphite allows a range from light gray to nearly black. Charcoal, perhaps the oldest form of drawing media, is made by simply charring wooden sticks or small branches, called vine charcoal, but is also available in a mechanically compressed form. Vine charcoal comes in three densities: soft, medium and hard, each one handling a little different than the other. Soft charcoals give a more velvety feel to a drawing. The artist doesn’t have to apply as much pressure to the stick in order to get a solid mark. Hard vine charcoal offers more control but generally doesn’t give the darkest tones. Compressed charcoals give deeper blacks than vine charcoal, but are more difficult to manipulate once they are applied to paper.
CROQUIS Drawings Whether you use a pen and paper or tablet and stylus, regular sketching is an essential way to maintain and improve your skills.
American artist Terryl Whitlach, who’s known for her creature designs for Lucasfilm, says: “It’s important to get better as an artist, and to have a platform to experiment, mess up, try again – and again – and grow. Sometimes, things just don't turn out, but that is the process of getting out of one’s comfort zone, and getting better.”
Regular sketching can also help you come up with concepts and ideas that you may not reach through other routes.
Fantasy artist Tony Diterlizzi, says: “I often sketch random ideas conjured from a relaxed state of mind. Accessing this part of my imagination allows me to sketch out unusual ideas, which I can later incorporate into finished illustrations.”
The best tools for creating Croquis drawings are a thick piece of paper and a hard lead pencil.
Before putting pencil to paper, create a mood board to conceptualize your ideas. Use magazines, photographs, and images of street styles to build separate boards for fabrics, colors, textures, and accessories.
Remember that body proportions for croquis drawings are disproportionate to the human body. Legs are elongated to exaggerate height. The standard length of croquis figure, from top to bottom, is approximately nine times the length of the drawn head.
Croquis drawings can be posed in different ways to better convey the movement of a design and to best showcase the garment. For example, one hand resting on the hip with the pelvic area tilted, or legs standing wider apart to better show off the design of a skirt. In this Croquis Art we have had her elongated legs shaped like a hexagon and her hands on her head and face - tilted.
What would you need is Artist's Graphite pencils, Papers, Erasers, Charcoal sticks, Carré sticks, Graphite sticks, Inks, Pens, Craft knife, and sharpeners. ...
The word 'value' gets thrown around a lot in art, and can seem confusing. What we mean by 'value' is simply a walk from white to black (light to dark), on a range of one to 10. One is the white of the page and 10 is black, so a five, 50 per cent or 'halftone' is a medium grey, halfway between white and black. Every image is composed of values (darks or lights), regardless of color.
To help you with this, work from the middle out, keeping your darkest dark (the shadows) no darker than a value of six or seven, and your lightest (the light effect or everything in the light) a three or four value. Work your way towards the darks (accents) and your whites (highlights).Since many sketches will appear a little light on screen, it’s important to increase the contrast and play around with the Levels and Curves. In the Layers panel, you can bring up these adjustment layers by clicking on the half-filled circle icon and clicking Levels or Curves. Move the sliders to increase the intensity of white and blacks in your sketch.
Color Black, Shades of Grey and White
Supplies Staedtler Mars Lumograph Artist Pencil Set, Charcoal- vine, Compressed Charcoal Pencil - Black and White, Kneaded Eraser, Acid Free Cold Pressed A2 Paper
I simply love fashion and many things surrounding it, specially fashion sketches and illustrations! I really like browsing around looking for nice and inspiring fashion sketches. I think that fashion illustrations are extremely beautiful, elegant, delicate... they transmit a good vibe. I'm not sure why they enchant me this much, but I just can't get tired of fashion sketches. And this is exactly why I decided to put this selection together.
Fashion Illustration is the art of conversing fashion ideas in a visual form that originated with sketching, drawing, and painting. For someone else to get the idea or design of the fashion designer word-by-word can be cumbersome, but by illustrating them with a sketch-by-sketch analysis makes the contemplation better. It looks more appealing and portrays the professionalism of the designer. Thus fashion illustration plays a huge role in conveying the new trend in the clothing market. For the illustration, to speak in words it has to be precise from each and every angle, looking real and attractive including the body shape, facial expression, character poses, natural movements, placement of clothes, hair, etc. Hence it requires expert hands for the illustration to take its best form and look sharper.
Fashion Illustrations have been used for nearly 500-years. In the late 1800s and early 1900s, figures were draped in the elaborate costumes of the time period's upper class amidst classical backdrops. High fashion magazines used these to create industry standard fashion plates until around 1924. By the 1920s, many prominent fashion magazines such as Vogue and Harper's Bazaar commissioned beautiful fashion illustrations to grace their covers. Fashion Illustration is the platform for fashion communication through the medium of sketching, drawing and painting. It is usually commissioned work for reproduction in fashion magazines as part of an editorial feature or for the purpose of advertising and promoting.
In fashion illustration there is certain basic concepts that are being given focus in the study of fashion illustration. One is the construction of the figure in the paper and other surfaces used. The design of the clothing along and the measurement of the figure are essential the field. Rules govern both for the female and the male figures.
Black, Red, Shades of Grey and White
Water Color / Wash Effect / Monochromatic
There's more than one way to approach laying a watercolor wash —
Wet Wash on a wet surface or a dry one. .. A wet surface watercolor wash is about the same as a dry wash, with one main difference: First you’ll dip your brush in water and brush it over the whole surface. Be generous with the water here — you want the paper glistening with moisture. Once you’ve wet the area, dip the brush in paint and apply lines of color within the wet area, just like you would with a dry wash. The paint will blend together into one luminous wash of color.
Sponge Painting Technique This sponge painting used in background is very simple and easy to make, it is especially good for really young kids. Sponge painting techniques can be done using a natural marine sponge or a regular kitchen sponge, in contrasting or subtle color combinations, and in various sheen and transparency levels.
Wet-In-Wet Watercolor Painting. ... Wet-in-wet painting is one of the most basic techniques — so basic you might have already done it before without realizing it! Start by brushing water (and only water) onto your paper. Then dip your brush in paint and spread it over the water wash. The paint will feather and diffuse like magic.
Underpainting. ... An underpainting is essentially a monochrome wash that’s used for the first layer of the painting. You’ll add layers of transparent washes over the underpainting, which gives realistic and luminous effects. First, mix a light purple shade (a combo of cadmium red and ultramarine blue works great). Neutral shades of blue or green can also work. Lightly paint your subject using the purple, and pay careful attention to light and shade. Since you’re only working in one color, you can really focus on rendering the shape. Use a soft brush and a light hand to keep the purple from overpowering the rest of the painting. Let the underpainting dry completely before moving on to glazing in color. If it’s wet, you might muddy your colors.
Gradients and Color Blending. ... A simple watercolor wash uses just one color, but you can add depth to your work by using more hues in a gradient. Start by adding fresh watercolor to a wet paint surface. Then place the second color — either a more intense version of the same hue or a different hue entirely — right beside the first color. Because the paints are on a wet surface, they’ll blend slightly and create a natural gradient in the tones. You can control how neat or painterly a gradient comes out by the wetness of the paint.
Layering Watercolors. ... The art of layering watercolors is also called glazing. Just like any painting medium, it is all about adding additional layers of paint on an already dried painting surface to achieve a dynamic effect of colors that get infuse together. The process of layering watercolors may seem hard or complicated however if you know how to practice this kind of painting technique then you will find out that it is just as easy as any other basic painting technique out there.
Dry Brush. ... Dry brushing painting is one of a number of watercolor, oil and acrylic painting techniques that focus on the viscosity of the medium at hand. In dry brush, the artist uses a brush that is slightly damp and paint that is thicker than normal.
Lifting Color. ... In some cases, you’ll want to remove pigment from your painting. This is especially handy when you’ve made a mistake or when you want to add white space to your work. Using different techniques, you can lift color from wet or dry watercolor.
Watercolor Blooms. Watercolor blooms or blossoms like these happen when very wet paint spreads on a drier (but not completely dry) area of a painting. When you apply wet paint on a still-damp wash, the liquid forces the original pigment out, and it creates these fun, irregularly shaped splotches.
PS - Wondering the color coding above......
GREEN I used in this ART.
ORANGE not used but to give you some knowledge
Supplies Staedtler Mars Lumograph Artist Pencil Set, Acid Free Hot Pressed A4 Paper, Water Color, Black Highlighter and White Highlighter,
Available/ INR 5,000 SIZE / L : 8 inch W : 11 inch
The more difficult the mountain was to climb, the more avant-garde, the better, they believed.
In fashion illustration there is certain basic concepts that are being given focus in the study of fashion illustration. One is the construction of the figure in the paper and other surfaces used. The design of the clothing along and the measurement of the figure are essential the field. Rules govern both for the female and the male figures.
Black, Blue, Shades of Grey and White
Pastel Shading and Texturing
Do you want to try painting in soft pastel but you are not sure where to start? Check out these basic pastel painting techniques to get you going. Soft pastel is one of the most fun painting mediums: it is direct, it doesn't require any prep, you don't need to wait for it to dry and you don't need any other materials. Soft pastels are accessible to all: a basic set does not have to cost much and the quality is often pretty good. So what are you waiting for? Get yourself a little box, check out the basic techniques for pastel painting below and try them out yourself. If you are reluctant to get started because you don't know what to do: then this article is here to help. You will learn the most by simply doing. The more you play around with soft pastel, the more you will get a feel for what these little colored sticks can do for you. So after your first and hesitant marks, keep going, keep at it, make mistakes, pick yourself up and try again. You will discover that pastel painting is endless fun (and messy!).
Pastel techniques are little challenging as the medium is mixed and blended directly on the working surface. In other painting mediums, you can test the colors on palette before applying to the surface. It is advised to experiment with the pastels in the small scale on the rough piece of paper before applying to the final composition. Some of pastel techniques are similar to water color techniques as well as charcoal painting. You have to be more careful while using pastel techniques because the pastel errors cannot be covered the way paint can be painted out.
Select the appropriate pastel chalks and shave off enough colour to achieve the required shade. Apply the chalk powder using a cotton wool ball and gradually build up the layer. Keep adding more colour until you are happy with the desired effect. A darker colour can then be added to create a slight contrast. This can be applied using a cotton bud and then gently tapping this down on the surface area to create a textured effect. The most common techniques are -
Stipling – is a process when small dots are used to render an object. The play of light and shade is also shown with the use of dots.
Hatching – is a process when small cross lines are used to render an object. It can also create half tones.
Cross Hatching – is a process when small criss cross lines are used to render an object.
Shading – is a process when pencil is used show the play of light on an object. The same effect can be created with the use of colors.
Texturing – Apart from the basic techniques, various textures can be created to depict a particular object.
Contour Lines - Contour lines can be done in many ways but basically the idea is to have the lines follow the shape of what you are drawing. You can use contour lines for shading.
Scribbles - Scribbling or scumbling is a fun way to shade a drawing and it goes fast! Scumbling or scribble drawings shading works particularly well for portraits and still life.
Zentangles and patterns - You can also use any pattern you would like for shading including zentangle types patterns. Just evaluate how dark a pattern will be and fill the area corresponding to this shade with your zentangle pattern.
In this Art we have used Shading and Texturing. So what is TEXTURE? We touch an object and can feel that it is smooth or rough, but how do we translate what we feel into what we see. The type of surface and the amount of texture determines the amount of light that is reflected off the surface. Hard surfaces – A hard, smooth surface such as metal or glass is highly reflective. This means that the light hits more of the surface and bounces off. This creates sharp, crisp edges and stronger contrasts of light and dark values. Soft surfaces – A soft surface such as cloth or leaves absorb the light, creating smooth transitions between highlights and shadows. Rough surfaces – If the surface is rough, the light hits less of the surface or hits it in less or sporadic areas. The reflected light is less, making softer variances in values. But the deeper the dips or crevices, the rougher the texture is. Rough surfaces like tree bark, have many small ridges that catch the light on the high ridge with a dark shadow behind the ridge, creating stronger variances.
SHADING is used in drawing for depicting levels of darkness on paper by applying media more densely or with a darker shade for darker areas, and less densely or with a lighter shade for lighter areas. … Light patterns, such as objects having light and shaded areas, help when creating the illusion of depth on paper.
Supplies I use artist grade colored Staedtler Pencils for rendering highlights, deep shadows and prints/ patterns/ textures/ weaves. Sometimes I also use China Marker in white or black for super-high contrast. Also a black brush pen can give great striking visual contrast here and there for shadows or line.
Pencils are perfect for this. From a 2b mechanical pencil to a 2B-6B soft graphite or Ebony pencil.
ALL YOUR ESSENTIALS in one place. Just look. Black, white, and grey, (for light and dark), red, yellow, and blue (primaries for mixing all colors), plus Dark Brown, Yellow Ochre, Naples yellow, burnt sienna. You’ve got to have the earth tones that are great for skin and hair. I’ll be posting more about each of these over the year. My favorite tube brands are Turner, Daler Rowney, Winsor and Newton. and Utretcht.
Best Chalk: Prismacolor NuPastel Artists Pastels
Available/ INR 5,000 SIZE / L : 8 inch W : 11 inch
Fashion Illustration is the art of conversing fashion ideas in a visual form that originated with sketching, drawing, and painting. For someone else to get the idea or design of the fashion designer word-by-word can be cumbersome, but by illustrating them with a sketch-by-sketch analysis makes the contemplation better. It looks more appealing and portrays the professionalism of the designer. Thus fashion illustration plays a huge role in conveying the new trend in the clothing market. For the illustration, to speak in words it has to be precise from each and every angle, looking real and attractive including the body shape, facial expression, character poses, natural movements, placement of clothes, hair, etc. Hence it requires expert hands for the illustration to take its best form and look sharper. Color
Black, Red, Shades of Grey and White
Water Color / Wash Effect / Sponge
These days, successful sponged finishes require a lighter hand and more subtle, well thought-out color combinations. Mind you, the effect can still be very impressive and dramatic if that's what you want (the proof is in the pictures below), but when it's done in earthy and closely related colors, the result looks not only more organic, but also timeless... less forced, don't you agree?
There's more than one way to approach laying a watercolor wash. —
Sponge Painting Technique This sponge painting used in background is very simple and easy to make, it is especially good for really young kids. Sponge painting techniques can be done using a natural marine sponge or a regular kitchen sponge, in contrasting or subtle color combinations, and in various sheen and transparency levels. Wet Wash on a wet surface or a dry one. .. A wet surface watercolor wash is about the same as a dry wash, with one main difference: First you’ll dip your brush in water and brush it over the whole surface. Be generous with the water here — you want the paper glistening with moisture. Once you’ve wet the area, dip the brush in paint and apply lines of color within the wet area, just like you would with a dry wash. The paint will blend together into one luminous wash of color. Wet-In-Wet Watercolor Painting. ... Wet-in-wet painting is one of the most basic techniques — so basic you might have already done it before without realizing it! Start by brushing water (and only water) onto your paper. Then dip your brush in paint and spread it over the water wash. The paint will feather and diffuse like magic. Underpainting. ... An underpainting is essentially a monochrome wash that’s used for the first layer of the painting. You’ll add layers of transparent washes over the underpainting, which gives realistic and luminous effects. First, mix a light purple shade (a combo of cadmium red and ultramarine blue works great). Neutral shades of blue or green can also work. Lightly paint your subject using the purple, and pay careful attention to light and shade. Since you’re only working in one color, you can really focus on rendering the shape. Use a soft brush and a light hand to keep the purple from overpowering the rest of the painting. Let the underpainting dry completely before moving on to glazing in color. If it’s wet, you might muddy your colors. Gradients and Color Blending. ... A simple watercolor wash uses just one color, but you can add depth to your work by using more hues in a gradient. Start by adding fresh watercolor to a wet paint surface. Then place the second color — either a more intense version of the same hue or a different hue entirely — right beside the first color. Because the paints are on a wet surface, they’ll blend slightly and create a natural gradient in the tones. You can control how neat or painterly a gradient comes out by the wetness of the paint. Layering Watercolors. ... The art of layering watercolors is also called glazing. Just like any painting medium, it is all about adding additional layers of paint on an already dried painting surface to achieve a dynamic effect of colors that get infuse together. The process of layering watercolors may seem hard or complicated however if you know how to practice this kind of painting technique then you will find out that it is just as easy as any other basic painting technique out there. Dry Brush. ... Dry brushing painting is one of a number of watercolor, oil and acrylic painting techniques that focus on the viscosity of the medium at hand. In dry brush, the artist uses a brush that is slightly damp and paint that is thicker than normal. Lifting Color. ... In some cases, you’ll want to remove pigment from your painting. This is especially handy when you’ve made a mistake or when you want to add white space to your work. Using different techniques, you can lift color from wet or dry watercolor. Watercolor Blooms. Watercolor blooms or blossoms like these happen when very wet paint spreads on a drier (but not completely dry) area of a painting. When you apply wet paint on a still-damp wash, the liquid forces the original pigment out, and it creates these fun, irregularly shaped splotches. PS - Wondering the color coding above......
GREEN I used in this ART. ORANGE not used but to give you some knowledge
Supplies Staedtler Mars Lumograph Artist Pencil Set, Acid Free Hot Pressed A4 Paper, Water Color, Black Highlighter and White Highlighter, Brustro Paint Brush Set.
Available/ INR 5,000 can be used for Accessories like Cushion Cover, TShirts, Bags, Etc.., Publishing House, Fashion Houses, Salon's , Digital Printing, Logo and Backgrounds. SIZE / L : 8 inch W : 11 inch
"Courage is being scared to death but saddling up anyway."
Tired of painting portraits of humans? Try something different this time! Due to the different shapes, sizes and colors, animals can make for very interesting and fun subjects to draw and paint. Also, let’s not forget how cute they are!
Horses symbolize the nobility of virtue, spirit, companionship and fortitude during hard times. Often times, those who hang paintings of horses, they do so because these paintings capture and reflect the above mentioned qualities. While painting a horse can seem somewhat daunting, it is not impossible. You just have to take it one step at a time to learn how to paint a horse.
Step 1: Use a reference image
Pick a simple reference image of a horse to begin with. Pick a close-up image of a horse so that it’s not too complex to paint the horse, allowing you to learn gradually, without overwhelming you.
Step 2: Sketching the horse
Lightly sketch the outline of the horse, as per the reference image you picked. Avoid making bold strokes with the pastels. Hold the pastel firmly but make sure that when you sketch, the tip of the pastel lands softly on the paper. This way, you will avoid making dents on the paper that can’t be hidden using oil pastels.
I look at my reference picture and working from dark to light I pick out all of the pastels that I have that match. If there are any key colors missing I will go through different ranges of pastels, until I find something close. From these, I select three colors for the initial sketch and early work: a medium dark, a midtone and a highlight. I do as much as possible with those three to create a simple under-painting of the main tones. Only once that’s done do I allow myself to start bringing in the other colors.
For the backgrounds, I tend to take a good quality print-out of my reference picture to pick out the perfect color soft pastels from different ranges.
Step 3: Getting the under painting right
Since this horse is colorful, start by colorings a base coat of the Tertiary colors Red-Orange, Yellow-Orange, Yellow-Green, Blue-Green, Blue-Violet, Red-Violet.. You can use a light shade of any color depending on the color of the horse.
Step 4: Shading in
Start coloring the edges of the horse’s face. Where the light hits the body of the horse, make use of lighter colors such as
mixed with white. If you notice carefully, this horse has multiple colors on its coat, so you will have to use a mix of all those colors to make the painting look as realistic as possible.
Step 5: Highlighting features
Blend the darker color with a lighter color to bring out the depth in the face of the horse. Draw thin strokes with the pastels to draw the hair along the nasal bridge of the horse. Then, color in the eyes. Make sure to use white with a darker shade to give the eyes a depth. The jaw line, the ears and the nose of the horse should begin to stand out at this stage. Note that while coloring in straight lines can be used to highlight the bone structure of the head and the nose very well, coloring in circles can help in painting the jaw of the horse.
Step 6: Shaping the features further
Once you have roughly colored the different parts of the horse’s face, focus on each feature (the ears, eyes, nose, etc) to further sharpen it. Focus on creating a natural contrast by bringing out the play between the light and shadows.
Step 7: Accentuating the horse’s head
Once you have finished highlighting each feature of the horse, color the background of the horse. If the background is made up of a dark shade as shown in the image above, be sure to color the border of the horse’s face with a lighter shade.
Step 8: Finishing touches Make sure that the subject of your painting does not merge with the background. Add a light border to your subject to separate it from the background clearly. After you are satisfied with the details of the horse and its background, focus on the foreground.
Supplies Staedtler Mars Lumograph Artist Pencil Set,
Sanded pastel card, Pastel Colors, Fixative, Sketchbook for Practicing, An Easel, Drawing Board, Bulldog Clips,
Sanded pastel card is a stiff kind of paper with a coating that gives a soft but gritty surface that really grabs and holds pastel. Think of very fine sandpaper stuck to a card. It's more expensive than pastel paper, but do try it at least once, as it holds far more layers of pastel more readily. Working with soft pastels on it gives a creamy, painterly feel.
Available/ INR 5,000 can be used for Accessories like Cushion Cover, T-Shirts, Bags, Etc.., Publishing House, Salon's , Digital Printing, Logo and Backgrounds. SIZE / L : 27 inch W : 40 inch
"Magnificently accoutred, he was led up to the high altar"
…..Edges, curves, textures, and lines. “Contours” are turning, winding edges.
CONTOURS are something I refer to A LOT. Once you get into discussing visual arts and drawings, it is a vital word. Specifically, CONTOUR refers to outlines, and edges. For fashion design sketching, most obviously, that can result in a silhouette that defines the look or feeling of the whole ensemble.
Fashion illustration forms the initial face of every design. It can be defined as the basic transmission of an idea into a creative design through diagrams and drawings. Fashion illustration is a visual way of explaining different design ideas. They have played a critical role in fashion designing since the evolution of clothes.
In simple words, illustration is an art via which fashion can be explained, demonstrated, and communicated. Now that you know what fashion illustration is, you can most expectantly ask what its importance for a typical fashion designer is. Well, the points mentioned below can provide you with a clear idea in this regard -
It helps in visualizing the ideas in fashion design training
Fashion illustration helps a designer to put down his/her ideas practically. This, in turn, helps in visualizing the ideas and concepts surrounding the design. The visual aids such as diagrams and images carry messages within them and become a communication medium for the designer. Illustrations bring to light the important details that need more focus and attention. They form the foundation on which the entire planning and approach for the design of a particular garment or accessory are based upon.
It is the initial face of fashion designing Every journey to deliver a fashionable product starts with a fashion illustration. Without it, nothing really can be made. The illustration of the idea is the initial picture of the entire process of designing.
It promotes and propagates an entirely new trend Through fashion illustration, designers can practically put down their ideas. They can freely explore their thoughts and desires. The illustration helps designers to create new concepts by introducing their unique and authentic ideas practically. This gives life to new fashion trends. The illustration helps in propagating a new sense of fashion.
It represents the creative skills of a fashion designer and fashion design schools Fashion designers need a place to express their unique thoughts and ideas. The illustration gives them that platform where they can showcase their creativity. They also help judge how the designs of a particular designer stand out from the rest. Fashion illustrations make the potentials of a fashion designer get easily recognized
It helps in propelling new customers Fashion illustrations help to bring in new consumers who can become potential buyers. Since they visually offer a new concept to the consumers, there is a lot of chance that the particular viewer will be convinced to purchase a new style. Illustrations help to propel customers and increase sales. They make product marketing easier.
Since illustrations hold such a critical position in fashion designing, it is important for every aspiring fashion designer to learn fashion illustration. Every fashion design course in India or anywhere worldwide emphasizes on the enhancement of the illustration skills and starts its designing classes with lessons on this subject.
Why you should create an inspiration folder of outfits you love? How to create an inspiration folder of ideas you love?
You may think that an outfit inspiration folder is not for you. That it’s for creative types, women who are really into “fashion” or women with a lot of time on their hands. However, I’m here to tell you that we all need an inspiration folder and here are five great reasons why you should design your own folder.
First, what is a clothes inspiration folder? Basically it’s a collection, either digital or physical, of pictures/pages of clothes, outfits and “looks” that you like. You can have an inspiration folder for anything, I’m sure you will have had one for your home refurbishment, or house extension at some point. Well this is the same but it’s for your wardrobe.
An inspiration folder is empowering and gives you clarity. The second reason why you should keep an inspiration folder is that it puts the decision making process of buying and wearing clothes back in your hands so it is both empowering and gives you clarity. If you are not intentional about what you wear then you are probably saying things like, “I’ve got nothing to wear”, “I don’t know what to wear”, “Nothing suits me”. At that point you may run off to the shops and expect them to present you with a variety of ideas and solve your problem. Well, the problem with that is that stores are there to present you with ideas, not to solve your problems. You need to solve your own problems first and then go and look at the ideas. An inspiration folder gives you peace of mind over what you want to wear. It gives you control. So, for example, if the majority of he dresses/skirts in your ideas folder are knee length, but dresses in the shops this season are midi length then you know you have a choice.
You can wait for that trend to pass and for knee length dresses to return. You could buy but have them tailored to the right length. Buy knowing that it is a compromise – don’t recommend, will probably lead to 2 or binning.