Thanks for showing us how this went for you-it helps a lot! Just a note: Winsor Blue = same pigment number as Phthalo Blue Green Shade. A much “cooler” and more intense color than Ultramarine Blue. But as you say, the values are the big thing, more important than exact color.
I have solved the proby of my long list of projects by putting everything in a box on tarrot like cards that I made myself: (projects, materials I want to play with, courses I want to take, even rewards like "buy a new set of pencils"). Whenever I get a new idea, add something to my wishlist etc. I write it in a list in my sketchbook in order to make new cards. I can draw 1-3 cards at once and complete the projects 1 at a time. If relevant, I can put the cards back in the stack. Last time I got "collage" "urban sketching" "acrylics". I ended up not doing it and will probably draw another one when I have time. Currently I am too busy with teaching, client work, book keeping and finishing a Skillshare class, all while raising a family.
Honestly i do the same thing i have a old tablet and i have a old apple tablet and i do go back and forth between the two different views im glad im not only person who thought of doing same thing if o couldve figured put how to do a side by side view on my old apple tablet id do that but its okay im glad im able to be able to have two views...i think ian is funny awesome and it makes it fun to try to create some kind same sketch i say that in a funny laugh....thanks for video....
Thank you, I liked your sketch. Brave. I am at the Church Street modular. Warming up watching Ian, then caught your take. I too feel a bit of dread 😕. Will get on with lesson step by step.
I got this course as a gift for Mothers Day in March and I haven't started it yet but I am really looking forward to having some decent time to work through it. I am like you and feel like I need a 'Fenelly Collection' of materials just for the course 🤣
Great idea about using an iPad or a tablet for reference while sketching.👍 I'll try that out on the next lesson. If you are looking for an economical hot press smooth paper may I suggest Daler Rowney Aquafine Smooth. It does take a lot of water and hardly buckles. This is the paper I use for Ian's lessons. However if I use too much of the Tombow markers on one spot my paper also starts to 'flake' ...maybe because it's not a cotton paper. Still a great paper though, especially for my needs and Ian's courses.
Wow, I think you pulled it off. The brick's on the street look way tilted up because the angle should be much more sharp left to right, focusing on horizontal pen travel not vertical. But you already said that. Great job
Great follow up from previous parts of the course, Taria. Like you, I'm not slavish to an educator's method and simply pick up what works for me. You did a fab job here. Those grey Faber-Castell brush pens have finally come off my wishlist. Yay! Just haven't used them much yet; still early days and liking how they handle, for me so far. I've got the black tombow and like it, and like the idea of water soluble ink brushes, but I'm still confused that Ian Fennelly sells his artwork when the tombows arent lightfast. Bit expensive when it's likely to fade over time. I don't know, it's just me maybe. There must be other ways to get the same results that are permanent; as you did by mixing up grey watercolours instead. Don't get me wrong, in sketchbooks it isn't so important, but some people look to pass on sketchbooks as precious memories for future generations and I guess washed out and non-vibrant illustrations would be a concern then. Followed the link and Ian Fennelly has a free line work course with a quaint village street subject at the moment (May 2022) so I signed up for that pronto 🙂 No doubt I'll get to enjoy this course eventually. Surprised Ian uses Hooker's Green which is not usually an urban sketchers palette staple... But then, it is a vibrant two pigment colour, yet not a realistic green so really needs to be mixed. Hadn't noticed that before now anyway. But then, he does have a penchant for bright colours over desaturated realistic hues unless it's ground colouring with earth and grey course. Still, the splashes of vibrant colour are part of his style. Just my humble opinion, but I love the irregular lines on your version. I'm coming to love and be spellbound more and more seeing artistic digression far more interesting than trying to replicate diligently. The subject is still obvious. We aren't technical drawing here, and that's what I was like in the beginning...anal to the nth degree of accurate detail and I really wasn't enjoying it with that mindset (glad I shrugged that off quickly, lol). For me, the imperfections and wonky lines, way less windows, lol, and often unrealistic colours are the fascinating highlights and gives a sketch uniqueness and credibility. Mind you, for botanicals I keep the subject to scale and enjoy exploring realistic desaturated colour mixes then (hope that makes sense). Especially those beautiful flowers past their prime, yet far more stunning in their autumn or winter ages (maybe my autumn years age influences that thought too, that there is beauty in the aged, lol). Fab, as always, ❤️❤️👍👍
Thanks for showing us how this went for you-it helps a lot!
Just a note: Winsor Blue = same pigment number as Phthalo Blue Green Shade. A much “cooler” and more intense color than Ultramarine Blue. But as you say, the values are the big thing, more important than exact color.
I have solved the proby of my long list of projects by putting everything in a box on tarrot like cards that I made myself: (projects, materials I want to play with, courses I want to take, even rewards like "buy a new set of pencils"). Whenever I get a new idea, add something to my wishlist etc. I write it in a list in my sketchbook in order to make new cards. I can draw 1-3 cards at once and complete the projects 1 at a time. If relevant, I can put the cards back in the stack. Last time I got "collage" "urban sketching" "acrylics". I ended up not doing it and will probably draw another one when I have time. Currently I am too busy with teaching, client work, book keeping and finishing a Skillshare class, all while raising a family.
Thanks Taria! I also stopped at module 2 and after seeing your work I'm ready to continue with Ian's course. Good work!!!!
Honestly i do the same thing i have a old tablet and i have a old apple tablet and i do go back and forth between the two different views im glad im not only person who thought of doing same thing if o couldve figured put how to do a side by side view on my old apple tablet id do that but its okay im glad im able to be able to have two views...i think ian is funny awesome and it makes it fun to try to create some kind same sketch i say that in a funny laugh....thanks for video....
Thank you, I liked your sketch. Brave. I am at the Church Street modular. Warming up watching Ian, then caught your take. I too feel a bit of dread 😕. Will get on with lesson step by step.
I got this course as a gift for Mothers Day in March and I haven't started it yet but I am really looking forward to having some decent time to work through it. I am like you and feel like I need a 'Fenelly Collection' of materials just for the course 🤣
Great idea about using an iPad or a tablet for reference while sketching.👍 I'll try that out on the next lesson.
If you are looking for an economical hot press smooth paper may I suggest Daler Rowney Aquafine Smooth.
It does take a lot of water and hardly buckles. This is the paper I use for Ian's lessons.
However if I use too much of the Tombow markers on one spot my paper also starts to 'flake' ...maybe because it's not a cotton paper. Still a great paper though, especially for my needs and Ian's courses.
Wow, I think you pulled it off.
The brick's on the street look way tilted up because the angle should be much more sharp left to right, focusing on horizontal pen travel not vertical.
But you already said that.
Great job
Amazing video dear friend as always. Good job ❤🤗
Theres a sketchbook by Clairefontaine with hot pressed watercolour paper. I haven't tried it, but it exists. Maybe you want to try it out.
Great follow up from previous parts of the course, Taria. Like you, I'm not slavish to an educator's method and simply pick up what works for me. You did a fab job here.
Those grey Faber-Castell brush pens have finally come off my wishlist. Yay! Just haven't used them much yet; still early days and liking how they handle, for me so far.
I've got the black tombow and like it, and like the idea of water soluble ink brushes, but I'm still confused that Ian Fennelly sells his artwork when the tombows arent lightfast. Bit expensive when it's likely to fade over time. I don't know, it's just me maybe. There must be other ways to get the same results that are permanent; as you did by mixing up grey watercolours instead. Don't get me wrong, in sketchbooks it isn't so important, but some people look to pass on sketchbooks as precious memories for future generations and I guess washed out and non-vibrant illustrations would be a concern then.
Followed the link and Ian Fennelly has a free line work course with a quaint village street subject at the moment (May 2022) so I signed up for that pronto 🙂 No doubt I'll get to enjoy this course eventually.
Surprised Ian uses Hooker's Green which is not usually an urban sketchers palette staple... But then, it is a vibrant two pigment colour, yet not a realistic green so really needs to be mixed. Hadn't noticed that before now anyway. But then, he does have a penchant for bright colours over desaturated realistic hues unless it's ground colouring with earth and grey course. Still, the splashes of vibrant colour are part of his style.
Just my humble opinion, but I love the irregular lines on your version. I'm coming to love and be spellbound more and more seeing artistic digression far more interesting than trying to replicate diligently. The subject is still obvious. We aren't technical drawing here, and that's what I was like in the beginning...anal to the nth degree of accurate detail and I really wasn't enjoying it with that mindset (glad I shrugged that off quickly, lol). For me, the imperfections and wonky lines, way less windows, lol, and often unrealistic colours are the fascinating highlights and gives a sketch uniqueness and credibility. Mind you, for botanicals I keep the subject to scale and enjoy exploring realistic desaturated colour mixes then (hope that makes sense). Especially those beautiful flowers past their prime, yet far more stunning in their autumn or winter ages (maybe my autumn years age influences that thought too, that there is beauty in the aged, lol).
Fab, as always, ❤️❤️👍👍
Good point for Tombow not being lightfast. For that money Faber Castell Albrecht Dürer bushes can be used, which are lightfast.