Good morning! Here are some of my traditional works:
-For the first two drawings I only used HB and 2B pencils on a sketchbook paper -The rest I sketch with HB pencil, lineart using drawing pen (0.1, 0.2, 0.5), and colors using Faber-Castell 12 Classic Colored Pencils -And all of my traditional arts are scanned, cleaned up, and enhanced.
And for additional info, for my latest works I do the similar process, only the colorworks are done digitally.
I sketched out my idea, than I transferred it to hotpressed watercolorpaper (I think I made a copy of the sketch, covered the back with graphite and went over the linework with a ballpoint-pen or so, today I use carbon paper). After that I laid down some layers of watercolor and went in with inks and colored pencils to give the piece some depth and texture. That's how I work on bigger watercolor paintings. I have a lot of ink pieces with less complex processes ;D
Not really much to say. Some of the bigger stuff i might do some research with. Make a reference board on MS paint real quick. Then I just do the sketch with a mechanical pencil on cardstock. Do the lineart with a thin tip sharpie. Then when i do the color i keep a scrap piece of paper to test color schemes on before going at it. For color i use a combination of Bic, sharpie, art of painting brand, touchnew, #coloring, super markers, KMM, winston & newton, Arrtx, and pen+gear markers. Basically anything that lasts long, is relatively cheap, and isn't too streaky. Sometimes i'll use my scanner to mess with a pictures hue, or shade but not that often.
I don't keep around NEARLY as many traditional pieces in my gallery as I used to, but I am trained in acrylic and oil painting, and I treat my digital art as such - to the point where I've actively been yelled at about not using fill bucket/masking tools as much as I 'should.' I go digital most times simply because I can't always afford the traditional stuff, and I want my digital experience to match my paints/pastels/charcoals/sketching pencils as much as possible!
That being said, I like acrylic best because I'm impatient, and something like this is just a lot of layering. Big swaths of color, first, washes after washes, occasionally re-sketching the buildings in charcoal over it in case I lose track of where I am. Big to small layers works best for me on something as quick-drying as acrylic, and things tighten up that way. This is what I try to copy in Procreate, digitally.
Oil is that, but much, much, much slower. Also oil's friendlier to blending where I'm happy to leave in a lot of odd-colored brushstrokes with acrylic!
Thanks a ton for sharing, very elaborated pieces. Enlarging your original drawings definitely helps with the proportions (you have more control over smaller drawings imo) even if it's just due to size restrictions. I love watercolor myself, done a few in the past <3
Pencil sketch-> Do it over with black marker->Rub off the pencil lines->Correct any mistakes with white paint->paint out any small details with acrylic/marker->put on watercolor-> add additional shadings with color pencils
I work on either 18x24" or 14x17" paper: very coarse textured and heavyweight. I would use larger pads if I could, but my desk isn't big enough.
I start with construction lines and simple shapes representing the important parts of the picture - the general silhouettes, the pose, objects in the background, horizon line. All that kind of thing. All rough sketches in a cheap mechanical pencil you'd probably find on the floor in a local highschool.
Gradually, I work the whole page like layers, not paying too much attention to any one part of it, adding layers of more and more detail. Everything gets equal "treatment" on the page, to ensure everything is proportionate to each other. I correct any mistakes made prior as I go, keeping up this process until I have finished the sketch - some details, such as certain outline texturing, are left out because they can get messy with a pencil.
Inking time! The most tedious part of it all, where I regret my decisions to add so much detail to the picture because of how annoying it is to go over every. Single. Line. In pen. Also add things like line texturing, such as making things look fuzzy if need be.
I move to shading and unleash my aggression in a heavy-metal flurry, starting with the darkest parts and gradually moving to lightest. Nothing on the paper should be left a clean white unless it's a light source, or reflecting light. To shade parts of things, I will use a lighter base shade on the whole part that will represent that part at its lightest, then darken the edges and fade towards the center to make it seem round. Example: Clepathian fur is charcoal gray/black, so if its in the light(and not clothed), I will shade a whole exposed limb a light gray, then darken the edges and fade out towards the middle.
I shade very quickly and aggressively, sometimes to the point where I actually end up almost burning the paper(that or its the scent of the gears grinding in my head.)
Each picture usually takes anywhere from 3-5 days, with an average of 6-8 hours each day. Some take longer or shorter, depending on how simple or complex it is, or how many hours I spend in a sitting.
Coloring? Nope: not traditionally at least. I don't color for a few reasons. 1: colorblind. Somewhat. Really hard time distinguishing things on the green/yellow and blue/purple side of things. 2: I'd end up ruining a lot of otherwise good drawings trying to learn how to color. I learn by doing artwork itself, not by tedious and repetitive practice lessons. So, if I ever do color, it will be through digital where I can trial-and-error my way through things at no risk of destroying good pictures.
I love your work is really cool! You received my watch!^^
I wish you ask some thing, what the mark of your print? Bristol is thick for my print.
And there are my work in tratidional:
Every is doing with marker in Bristol. The first is do with just black and white colour and some pastel colour with guilty silver gel Pen. The second is doing in raisin format (into A1 and A2 I believe..) so this piece have take long Time.. I would like show the light. The third is a Fanart of my team pokemon of pearl and silver.^^
Thanks for sharing that! about the Bristol, it's Bristol paper, not board, usually 250g/120lbs OR thinner than that, I pick the "thickest" one in my store but something around 30% thinner will do it. I think it should do well in any printer, not 100% sure in this.
I did this one with pen only, nothing else involved. Even though you can't erase pen, if you sketch light enough you can cover up mistakes later I love the feeling of pen on paper, Idk why, but I like it a ton more than pencils.
Also used to take post-its everywhere and draw on them while waiting at the therapist and stuff. Would look up a reference image on my phone and just start drawing
I usually start with sketching with a 2B pencil. Its a little bir dark I know but Im comfortable with a soft pencil. Sometimes my sketchs are too detailed so they can be hard to clean. Then I colour. I usually use pastels and derwent coloursoft pencils. Sometimes I use brush pen marker for lines but nowadays I prefer smooth lines. Otherway drawings look too much cartoonish.
I mostly do digital nowadays, but I also have well over 7 years of traditional art in my gallery (plus Inktober which I always do on paper). Here's some of my traditional work!
I start by making a light pencil sketch to make sure my character fits fine on the page and to get any compositional problems out of the way, then I start defining the contours. After that, I fill in with coloured pencils, typically doing several layers of different colours for every 'single colour' you see. (Except the second piece here, which was greyscale.) After the colours, depending on how much my pencil lines got faded out, I tend to go over them again.