How To Make An Enamel Pin, Pt. 1: Negative Painting Technique

Enamel Pin Design Process

Greetings all. Today I wanted to begin sharing the process of making an enamel pin, starting with designing and painting the paper backing the pin will come on. If you're unfamiliar with negative painting, I'll show you the steps I took and recommend some great videos that show the process in depth if you want to try it on your own.

As for making the pin, I know I'm ordering my pin through Awesome Merchandise, so the first step was downloading their art template so I knew the shape of the paper pin backing I should design for, and then thinking of what I wanted to put on it. I decided on a leafy wonderland for the snail I'm making into a pin and then got to painting.

What Is Negative Painting?

Negative painting isn't about painting in a bad mood. It's actually about painting the space around the object you're trying to show. For my example here, I painted a leafy, leafy world for my new snail pin to live in. So instead of painting the leaves themselves, I painted around the leaves, darkening the empty spaces to leave bright leaf shapes behind. Here are the pics I took of this painting at each stage.

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As you can see, I first laid down a wash of color that covered the whole paper, then drew some leaves on it. I then painted a darker layer of paint around those leaves. I repeated this process 5 times until I ended up with my finished leaf painting.

Designing Your Background in Photoshop

Next I took the finished painting into Photoshop to lay some experimental text over it and see how it would look as a pin backing for my snail. I haven't actually made the snail pin yet, but because I'm basing it on a snail sticker I've already made, I used the sticker as a placeholder for the pin to see if I like the direction it's going in.

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Learning Resources For Negative Painting

Here are some links to some great videos showing the negative painting process on Youtube. These videos are by great artists with fantastic channels and I recommend checking out their work.

  • Video 1: PearFleur painting a girl and her fish squad
  • Video 2: PearFleur painting lilypads
  • Video 3: Iraville painting a snowy town
  • Video 4: Iraville painting cheeky bears

Next time I'll be sharing the rest of the pin making process, so stop in to see the finished snail pin! 

Setting Up A Watercolor (or Gouache) Palette

 Hey my peeps, just a quick spotlight on your palette today. How do you know what colors to buy, how do you save money trying new kinds of paints, how can you store the paints you have so they’re accessible? I’m combining tips for watercolor and gouache palettes here because they go so swimmingly well together they’re often used in conjunction.

 

TIP #1 - YOU ONLY NEED A FEW COLORS

If you’re new to painting, or just trying a new medium like gouache instead of your usual acrylic, buy the highest quality paint you can afford but only the primary colors and an opaque white (if not using watercolor). If you want a dark you don’t have to mix from scratch every time I’d recommend a Paynes Gray rather than a black.  Paynes Gray leans towards the cool side but maintains a lot more vibrancy than any regular black will when used straight or in mixes. Alternately you can skip the dark, and mix the three primary colors together to make your own dark and save some money. The color wheel is your best friend and you can mix literally everything you need from the three primaries.

 

TIP #2 - SINGLE PIGMENT PAINTS V.S. MULTI-PIGMENT PAINTS

When you decide to expand your color range with new paints, try to avoid buying paints that are made from more than 1 pigment unless you know you are madly in love with the color and will use it all the freaking time. Paints can be made with 1 pigment or more, and multi-pigment paints can be really beautiful. The problem is that they tend not to mix as well and get muddy when combined with other colors much more easily than a single pigment paint would. If you combine two multi-pigment paints it’s the same as having combined four or more single pigment paints, so you can imagine that could get wonky looking real quickly when mixing stuff together.   On artist quality paint tubes, the pigments used will be listed so you can tell what it’s made from. They’ll usually also tell you how lightfast (fade-proof) and opaque or transparent they are. With watercolors they’ll also say if they granulate or not which is something you should keep in mind if you don’t like texture in your paintings.

 

TIP #3 - MIX HONEY INTO GOUACHE

This one is specifically for my gouache squad out there. I adore painting with gouache, but having to keep tubes of it out to use can be really limiting if you want to paint outside or are just lazy like me. If you’re lazy like me you may have already tried leaving gouache out to dry on a palette and tried to re-wet it, and may have already discovered that most gouache brands don’t take to this well. Gouache cracks and crumbles as it dries and can be hard to impossible to re-wet to its former glorious consistency and opacity. Here’s a hack for that if you want to have it all, like I do.  Mix a tiny amount of honey into your gouache thoroughly before putting it in a pan to dry (you can also use liquid glycerin for this though I haven’t gotten to try that personally yet). This little bit of honey will stop the cracking and drying out that usually happens, and leave your gouache incredibly smooth and re-wetable on your palette.

*Note: Some brands of gouache like M. Graham already have honey in them because they use it as the binder for the pigment. I personally really dislike the sheen and sticky texture this leaves behind. So I use non-honey based brands of gouache and put WAY less honey in mine to get the best of both worlds - my colors still dry matte and aren’t sticky but are super palette friendly. 

 

TIP #4 - MIX WATERCOLORS WITH GOUACHE

Another gouachey tip is for those of you who already have some watercolors but want to try gouache out too. To start only buy a white tube of gouache and mix your watercolor pigments into the white paint. It pretty much instantly transforms your watercolors into gouache and you can get a feel for the qualities gouache has, like the opacity, fairly intense shift in color as it dries, layering capacity, and the consistency of the paint you need to mix to get the coverage that you want in any given situation. 

 

TIP #5 - PAINT FROM TUBES OR PANS

For watercolorists, I suggest you experiment to see whether you prefer working from tubes or from dried pans. I know some people are tubers for life and feel they get the most vibrant colors that way. For me personally I NEED my pans - they save so much money in wasted paint over time and are incredibly convenient. I wouldn’t trade them for all the tubes in the world.  So I buy my paint in tubes, but squeeze it out to dry in pans and I’ve never felt like I’ve lost any color vibrancy doing things this way.

 

TIP #6  - PRE-MADE WATERCOLOR PALETTES V.S. BUYING YOUR OWN COLORS

It’s up to you whether you buy a pre-made palette or buy individual colors and make your own, but my personal recommendation would be to get your own colors. If you stick with the primaries and a white you should be able to afford higher quality paints for the same amount as a pre-made palette with other colors you may not want in the long run, or the crappy paint brush with hairs sticking out everywhere that every pre-made palette inevitably comes with. And as for the actual palette you start with, seriously to this day I use a plate to mix my paints on - you just really don’t need to buy a palette if you don’t want to. And if you do want a palette to store many colors in but don’t want to spend much money on one you can make your own palette really easily. A great video for this is from the YouTube channel In Liquid Color and you can find it here - I HIGHLY recommend this channel for learning more about pigments, binders, color mixing, palettes, brands of paint, etc...especially for watercolor artists, but not exclusively as much of the information crosses over to other mediums.

 

IN SUMMARY

I hope these tips help give you some direction to start a new palette or start with a new medium without breaking the bank. These are all things I had to learn the hard way (I’m talking to you, huge collection of expensive Arcyla-Gouache I have and hate to paint with), so hopefully you can learn from some of my mistakes. 

Coloring Books & Event Prep

Being an illustrator isn't always about making illustrations - a lot of time gets spent running the business side too! And that can make for the occasional week where there aren't a lot of finished new paintings to share with the interwebs. So even though I don't have any masterpieces to show you today, I thought I'd take you along with me as I begin to create my first coloring book, and continue to prepare for my booth at Crafty Wonderland this May 5th.

 

I FREAKING LOVE THE GREAT BARRIER REEF

I'm a tad obsessed with it actually. I've never been there and it's a major bucket-lister for me. So I had an idea that I could imagine that I've already gone to the reef, and that I kept a sketchbook while I was there. I'd write down notes of things that were memorable, sketch the animals that live in the reefs, and draw scenes from my dives that I could keep with me forever. Hence my the idea for the coloring book was born! I've already done the rough drawings for about 9 pages of it, so here are some pics of the (really) rough sketches.

I'm honestly stoked about how it's been coming along, and I dare to hope it will be ready and available in time for Crafty Wonderland. But even if it's not ready by then, it's definitely coming soon and I'm really enjoying working on it. Any excuse to look at pictures of the Great Barrier Reef is a good enough one for me! More updates and behind the scene shots are surely to come so stay tuned for it if you like that kind of thing.

 

MERCH ARRIVAL!

Last thing I'll share today is that some of my merch for the fair has finally arrived and I think everyone is going to be very happy with the way it all came out. I'm delighted with the quality of it all and can't wait to unleash it upon the world as phase one of my plan for world domination. Just kidding about that last part, but the excitement is real. Here's a sneak peak of some of the stuff I've gotten this week.

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A couple of prints, a couple sticker packs, some individual stickers, and a bundle of notebooks that I'm pretty sure are adorbs. I'm anxiously awaiting the delivery of some more very cool stuff, including two enamel pins I can't wait to get my hands on. All this and more will be coming with me to Crafty Wonderland at the Convention Center this May 5th, so be sure to stop by and say hi if you're coming to the fair! I really would love to meet you. Until next time, stay crazy wild.

How To Find Your Art Style

I'm not going to give you a style magic secret in this post, because I don't think there is one. But sometimes we find permission for ourselves in the lives of others, so I want to share with you some of my long and winding art journey and talk a little about why I made things and why they changed over time. I don't have any art from my childhood, or even 8 years ago, so I'll start with the oldest stuff I've got.

MAKE ART IF YOU FEEL LIKE IT

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Here are couple drawings from a sketchbook I kept about 5 years ago. It's REALLY weird to look at these now! At this point in time, I only drew as a way to enjoy myself. As you can see, in these drawings there are people (after a sort), and lettering (kind of), and it's all ink and colored pencil and sharpie. I used those tools because they were what I had.  To this point in time I'd never painted anything - I think back then painting sounded like something only "serious artists" did, and I wasn't serious so it really never occurred to me to try. I specifically didn't want to be a "serious artist" because drawing was my stress-relief, not my own private Fight Club like it sometimes seemed later on. I'd work a job all day and doodle in the night to chill out. 

MAKE ART THAT CELEBRATES THINGS YOU LOVE

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I started at some point not just to draw for fun, but in order to celebrate something I wanted to spend time with. It wasn't a conscious decision, it was something I noticed myself doing. A lot of "developing a style" is just taking the time to notice what you're naturally doing and how it makes you feel. For example, this "Pure Imagination" lettering thing is something I made because I love the original Willy Wonka movie and the song these words come from hits me in the feels. The part of me that loves that song is the part of me that remembers what it was like to be a kid and feel like everything was possible and that every decision was a valid and exciting one. That's a part of me I love, don't want to lose, and that I helped to nourish by spending time drawing out these lyrics.

The goldfish piece next to it was something a friend of mine said to me and it made me really happy because of how wonderfully weird and heartfelt it was. So I drew it and gave it to him and then he was happy, too. 

DEEPLY EXPLORE THINGS THAT INTEREST YOU

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Let's suffice to say I am seriously passionate about food.  I adore fruits and vegetables and so I started drawing them. I was still using colored pencil and pen at this point, but the way I used them began to change. Because I wanted to churn out multiple drawings of different but related things I began making decisions about how I wanted things to look before I'd ever put pencil to paper.  This wasn't something I'd done before and is something I do literally every day now. Because I love food so much I really wanted to delve into it more than anything else I had done to that point and the experience of making my first series of drawings taught me a lot about stylistic decision making and consistency.

MAKE THINGS YOU WANT TO SHARE

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After I started drawing food and had a taste for what doing a series of things could teach me, I wanted to do another series of food. So I decided to make drawings of ingredients from recipes from Julia Child's "Mastering the Art of French Cooking". This was because I adore Julia Child as much as I adore food, and was also teaching myself to speak French. I eventually had the idea that I could share my love of Julia by taking the drawings I was doing and making them into a calendar that I imagined hanging in like-minded kitchens around the world. And so I did make all the drawings for the calendar, but I never actually made the calendar.

By the end of drawing all the things I realized that I didn't feel like my art was good enough to invest in having calendars made because I didn't think anyone would buy them. This was an important realization at the time because I could have taken this feeling two different ways. I could have made it mean that I sucked, would forever suck, and should stop doing the thing I sucked at. Or I could have decided I wanted to do it better next time and try to learn how. As I have always drawn and will always draw, the first way wasn't an option. So I took the second route and decided to try to get better at the things I wanted to do.

LEARN FROM LOTS OF REALLY DIFFERENT PEOPLE

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I'm a fan of learning from others because it's faster. Once I decided to really become a proper student of art I looked to online communities and teachers. I decided to try the 52 Weeks Illustration Challenge because I thought I could learn a lot from the critiques of the other people there. The two paintings above were based on word prompts, and they're really different from stuff I'd done before, both because I I'd started trying to learn watercolor painting and because the group I was in leaned heavily towards a children's book style of art and I was trying to fit in. I envied how easy it seemed for other people to tell stories with their art because that's never come naturally to me. So I started trying to imagine stories and characters for things. The painting below is the most successful I was at story and character creation during that time.

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I was enjoying trying a different style but ended up feeling severely out of place in the 52 Weeks group. At first I thought my restrictions on style were self-imposed, not iron-clad. But after deciding to do a piece that expressed a different vibe which REALLY didn't go over well in the group I moved on to find a different crowd. These are the legs that really pissed some people off, which I'm still kind of proud of :)

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I then tried a different prompt-based group with a different style and tried again to fit in there. I was doing things that were less children's bookish but still based on telling a story, like this drawing based on the prompt "Stallion".

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Unfortunately there wasn't a lot of community in that community, more people just sharing and leaving without critiquing others, and I was tired of "trying to fit in" places. So I basically gave up on group directed learning and moved to individual online resources like Youtube, Skillshare, SVS Learn, and Schoolism. As I learned from different instructors I still tried different things, but didn't try to make those things look any certain way to fit a group's aesthetic. I learned that trying different things is really important, but trying to fit in is a real bummer and you shouldn't do it.

FIND YOUR OWN SUBJECT MATTER

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Around this time I gave up on drawing people because I realized I don't enjoy it and usually I only drew them when I had something negative I wanted to express. So I just stopped drawing them. Animals are more interesting and expressive to me, and have featured more prominently in my life in positive ways than people have. So while I continued learning from different artists, and trying things like the character designs above, it all became animal based. The Beluga Whale character on the left is an attempt at anthropomorphization that helped me realize I don't generally feel good about anthropomorphizing animals. And the bunny on the right is a self portrait if only I'd been born in a bun-bod.

FIND YOUR OWN VOICE

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Once I decided I was going to focus on animals I decided to do an Inktober series all about animal exploitation. That way I could practice combining storytelling with more realistic looking animals. I thought I would be the personal champion of animals everywhere by learning about every horrible thing that happens to them and making people look at it and that I'd still somehow manage to have people like what I was showing them. In retrospect it was incredibly stupid but sadly I had to learn that by doing it. And despite how depressing those ink paintings are, I still can see how much I learned and grew in doing them.

FIND YOUR OWN MESSAGE

I learned a lot from that Inktober, but the most important thing was that people aren't going to want to look at things that bum them out, and there aren't enough anti-depressants in the world to support me while I learn more about animal abuse. Anyway I paint animals because I completely love them so I wanted to learn how to keep it positive and share the goodness. I started trying things like this Hammerhead, which was the first legitimate watercolor painting I ever attempted.

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When I finished this painting I struggled with what should be interesting to people about it. Of course, I'm an animal nerd and just inherently find the symbiotic relationship between Vagabond Fish and Hammerhead Sharks interesting, but how many people even know about it? Would this painting mean anything to them if they didn't? This led me to the idea of becoming an educator with my art and my first attempt was going to be a coloring book that taught people about rare animals and showed them scenes from their lives. Here's an example from that.

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I did a couple of animal spreads for that coloring book before I realized that being an educator was really boring. So if I wasn't going to be a champion of animal rights or an educator, then what was I going to do? Enter surrealism.

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For me personally, I've found that surrealism is a way I can use animals to tell stories that are personally meaningful to me, while being vague enough to allow viewers to imbue the paintings with their own meanings. This way everybody wins.

LEARN THE TOOLS OF YOUR TRADE

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A lot of the tools I've learned to use were because I had a goal in mind that necessitated it. The "Pure Imagination" drawing from before prompted me to begin trying to learn Photoshop to correct some errors in the original piece. The calendar series made me realize the doing things in colored pencil took way too long and was limiting for me in some important ways. The desire to cover large areas with flat washes of color helped me decide to learn to paint with watercolors. The need to be able to cover mistakes and make changes as well as the desire to paint on surfaces like wood (see above octopus) led me to learn gouache, and the desire to paint in layers led me to start learning acrylic painting. Each of these things taught me how to use my other tools better and so I kept learning. At some point I realized I'd gone a long way down a road of skill acquirement that most people won't go down in their lifetimes and that makes what I've learned valuable as a commodity. So I decided to make it my day job and here we are.

FINAL THOUGHTS

I don't think style should be something you create and then adhere to. I think style should be a reflection of where you're at on your life/art journey at any given time. This post isn't me saying, "Look I've learned all the things and now I do surrealism and people treat me like a rock star". Because I haven't and they don't. A year from now I can guarantee that my work will look really different, and that I'll get there by struggling from here forward without a cheerleading squad by my art desk. It's work you do largely alone, with help from others when you can find it. And if you engage in that conversation with yourself, it's because you feel driven to and you've chosen not to ignore that drive.  I don't think making art, or having a style, or finding an audience ever gets easier, and I don't think it would be a good thing if it did. The last images I'll share here are a picture of a dolphin I painted for a taxonomy just a few months ago, and a shark I painted for a new taxonomy this week. Already these paintings look ridiculously different and I think that's kind of fantastic and kind of a pain in the ass too, but I'm gonna roll with it because the alternative is being stagnant as an artist and as a person.

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Good luck and remember to enjoy the journey, because it's probably going to a really long one. Until next time, stay wild my friends.

Paint Da Sharks

As promised I'm back today with some painting process stuff. I'm painting a series of sharks to make a taxonomy of them to sell alongside my dolphin and crystal prints at Crafty Wonderland. Even though they aren't conceptual pieces, I'm trying out some different painting techniques than usual and thought I'd share the joy. Today I'll be focusing on a Thresher Shark I've painted. Here's the initial sketch I spent all of 5 minutes on.

Thresher Shark Sketch Painting Process

You can see I just focused on the form of the shark and made a couple lines to note the curves of the form, meaning that the top is lighter then the middle or bottom, etc. Okay, so now for the good stuff. I heard somewhere that if you tend to use desaturated color you should make your underpainting really saturated and have decided to start trying that. For this series I also decided to play with hue by using whatever color I felt like, reality be damned, and only concerning myself with the saturation of the color to make the shape of the shark make sense in space. So here is a pic of my first hideous layer of paint for this guy.

Thresher Shark Underpainting Painting Process

I know, it's like "shield your eyes" right? While I painted this layer I looked at shark reference photos to determine what colors I could find in their bods, and then threw in some hot pinks and lime greens because I felt like. As I layered more gouache over the shark, I continued to focus on making shark body parts that were farther away from me less saturated and maintaining a soft lighting scheme. A few layers later he looked like this.

Thresher Shark Painting Process Layering Gouache

So by this point the shark is starting to make a little more sense I think. I've already made a lot of notes with my colors and have pretty much stopped looking at any reference images by now. Now I'm just working on making my shark seem dimensional. So I paint paint paint until he looks like this.

Painting Thresher Shark in Gouache Process

By this point a lot of the work is done, but detailing becomes really important. For instance the eye and face of the shark needed more definition at this stage. And I wanted to be sure to add highlights to make him look more fishy. I also wanted to darken his belly a bit to make him seem rounder. So I addressed all the things and here's a pic of the finished shark as he actually looks, as well as a picture of him after I took him into photoshop and played with hue until I found out it would have been better if I'd made him red.

Gouache Painting Thresher Sharks Illustration

The above infographic is brought to you by The Curious Wild, proving once again that hindsight is 20/20 and that red is better. Thanks for stopping by and, until next time, stay wild my dudes.

A Crab-tastic Painting Process

This week I wanted to take you through the planning and painting process of my most recent painting. It all started with an idea - *cue dream sequence music and slow fade*...

CONCEPT ART

Pom Pom Crab Concept Art Sketch

Specifically with THIS idea. I've wanted to put a Pom Pom Crab in a painting for a while because they amuse me. If you're unfamiliar with them, Pom Pom Crabs are a tiny creb that snip pieces off of poisonous sea anemones and either bandy them about like short swords in their crab hands, or attach them to the back of their crab bods as a means of warding off predators. So I took the idea of a crab waving an anemone at me and mentally connected it to the archetype of a grumpy old man yelling at kids to get off his lawn. Crab was now defending his turf, so I needed to give him turf. For his home I used a Red Fox Skull as a base because I think they look cool and I wanted to draw one. Then I filled the skull with an impossible combination of sea and forest dwelling plants because it's my painting and I do what I want. Then I wanted to emphasize the oblivious personality of the crab so I added some fish trespassers hiding out in the nose of the skull, and some octopus eggs attached to skull which would inevitably come with an octo-mom hiding behind them. Octo-mom's presence is felt but never seen because I wanted the crab to be the focal point. After the hit it and quit it sketch you see above I drew all the elements I wanted in the piece separately and then combined them into this final sketch.

Painting Process

Concept Art Ink Drawing

I scanned this line drawing in and played around with some color palette ideas, as well as painting some tiny little watercolor color comps traditionally until I thought I'd found the right vibe. I also digitally added the lines in the background and the circles near the crab as ways to include a background that emphasized the movement of things in the piece as well as to create additional depth. After all these things were done I printed out my sketch and transferred it using graphite transfer paper to a prepared wood panel that I planned to paint the crab on. Then I started painting.

Acrylic Gouache Painting Process

Using Holbein Acryla-Gouache I started with background elements including the lines behind the skull and circles near the crab, as well as some paint splatter and scribbly bits to even out the space and add some crab chi to the piece. Then I did the skull since it takes up so much surface area and I wanted to get the colors on it right.

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Next I painted the ferns in the background and for some unknown reason I then painted the succulent and moss, but that was silly and I should have painted the things behind them first.

Aoede Pando Painting

Then I painted and painted for what seemed years until I'd gotten most things added. In a choice I will regret until my death, I waited until last to paint the mushrooms in the front of the skull and completely botched the colors on them. I asked my non-artist husband what he'd do to fix them and he said to "sparkle them up with some purple shit". Taking this sage advice to heart I made them purple and covered them in gold. I repainted the shrooms several times before eventually deciding they had reached an acceptable level and I couldn't look at them anymore.

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The scan of the final piece is below. This painting is titled "It's Only Good If It's A Weapon" and is currently hanging at Fresh Pot on Washington in downtown Portland. It'll be there for the whole month of March along with a lot of other original pieces and stickers for sale, so I encourage you to stop by if you're in the neighborhood.

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Before signing off I wanted to announce I've been accepted to participate in Crafty Wonderland this May 5th at the Oregon Convention Center. I''ll be making lots on fun new things for the event so follow me on Instagram to stay up to date on those. If you're local and plan on stopping by Crafty Wonderland, please come by and introduce yourself, I'd love to meet you! 

Crabs, Fish, Turtles & Birds

This week I have lots of lil' bits to share, so let's get right to it. I hinted in my last blog post about a delusional crab I'm going to paint, and I can now share with you the concept sketch for the painting I'll be doing.

Boxer Crab and Fox Skull Painting Concept Ink Sketch

Why is this Pom Pom Crab delusional? Because he thinks he owns the little plot of skull-land he's standing on, and is vigorously preparing to defend it with his filched anemone Pom Poms. However, below him are some octopus eggs, evidence that a lady octopus is living beneath the skull, and there are some tiny fish hiding out in the skull's nose that call it home too. He's a deliciously inglorious crab, and once I thought of his oblivious character I knew I had to make this a painting. 

I've already done some color studies in Photoshop for this piece, and am currently waiting for the gesso to dry on my wood panel to start the actual painting process. I'll share the stages of this crab with you in an upcoming blog post as I complete it, which should happen next week. 

In the meantime I've been working on creating a series of notebooks that are dear to my heart. This is where "growing as an artist" comes in. For whatever reason I've always tended towards a degree of realism and felt compelled to put lots of detail into things. So I decided I wanted to see what it's like to draw the simplest versions of animals that I could, fighting my inherent tendencies for the sake of stylization.

I decided to do this experiment on a series of notebooks called Land, Sea & Sky with each notebook having an animal representative for their respective space on Earth. For Land I decided to draw turtles, for Sea I drew fish, and for Sky I'll be drawing birds. I wanted to have fun with shapes and colors, and to practice making simple things that have personalities. At first the struggle was real. So my mantra was "keep it simplest", and I tried to imagine each animal I drew in sunglasses for attitude. After I finished drawing the fish I felt like the turtles came along much easier, and now I'm really looking forward to giving the birds a go. Here are some of the fish and turtles.

Illustrated Fish Notebook
Illustrated Turtles Notebook

Aside from the fact that fish, turtles, and birds are uniquely important animals to me, these notebook designs are special for me because I learned that I can keep it simple and enjoy myself making something without obsessing over details. The notebooks themselves will be made available in my online shops at some point in the near future, so keep an eye out if you'd like to get one. Until next week, stay tuned and stay wild!

Paintings and Stickers of Slugs

I've two more Nudibranch paintings done this week. Here's how they turned out!

Nudibranch Animal Art Painting
Nudibranch Animal Art Painting

I particularly enjoyed painting this one above with the floral patterns behind him. I don't know why I enjoyed painting him as much as I did, but I was pretty stoked about it. I was inspired by my own composition apparently :) 

Obligatory plug: If you like these slugs and want prints of the two above, or stickers of any of them, they're up on my Society6 page here. May they bring a tinge of undersea flavor to your home.

There will be more Nudis to come, and I've also begun working on a personal piece featuring a delusional Pom Pom Crab that I look forward to sharing with you soon. Stay tuned and stay wild <3

Show at Townshend's & More Nudibranchs!

I'm happy to say the show at Townshend's Tea House on Mississippi Ave. is finally up and available to be seen by the peoples. Here are a couple shots of one of the walls.

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At home, the painting continues. I have two more finished nudibranchs to share for now, with more still underway. Pictures will be below. But before I share them, I'm also excited to say that I've applied to be a part of my first art fair. If you read my list of goals for 2018 a couple blog posts back, you'll know that doing my first event was a goal I'd set for myself this year. I'd imagined that it would be farther in the future than this, but I suppose when the right opportunity presents itself it's better to hustle than miss it. So I'm keeping my fingers and toes crossed that I get in to the one I've applied for. If not though it's okay - there's an entire year left ahead of me to keep trying. Alright, now on to the sluggos.

Cadlina Luteomarginata. This piece is titled "I've Become One With The Wallpaper".

Cadlina Luteomarginata. This piece is titled "I've Become One With The Wallpaper".

Acanthodoris Lutea. This piece is titled "Podcasts All Damn Day". Because that's my life.

Acanthodoris Lutea. This piece is titled "Podcasts All Damn Day". Because that's my life.

Sea Slugs and Café Shows

Hey everybody! I'm delighted to show you some scans of the first two Nudibranchs (sea slugs) I've painted for a series I'm doing right now. The sluggos will eventually be made into a taxonomical print, the originals sold, and stickers made, etc. Here are the first little guys!

Elysia Ornata a.k.a. the Ornate Leaf Slug. This piece is titled "This is gonna be a good year."

Elysia Ornata a.k.a. the Ornate Leaf Slug. This piece is titled "This is gonna be a good year."

Jorunna Parva a.k.a. the Sea Bunny.&nbsp;This piece is titled "I sometimes pretend my life is a TV show."

Jorunna Parva a.k.a. the Sea Bunny. This piece is titled "I sometimes pretend my life is a TV show."

I really only needed to paint the slugs for my project but I decided to have a little fun and make mini paintings out of them. I'll crop them out of their surroundings for the taxonomy when I've finished painting them all. They will all be painted with acrylic gouache like these two were.

These Nudibranchs, along with many original paintings I've completed over the last several months, will be up on display and for sale at Townshend's Tea House on Mississippi Ave. here in Portland, OR through the month of February, so if you're a local feel free to stop by. See you next time, and in the meanwhile stay wild!

Baby Turtles and 2018 Goals

Hey everyone and happy new year! I'm off to a late start this year, having come down with the flu of death a few weeks ago and only recently recovered. But I'm better now and have recently finished my first painting of 2018, a little Burmese Star Tortoise that I'll be hanging in Townshend's Tea House on Mississippi next month along with some other originals and prints. If you're in the PDX area, please stop by and take a look!

burmese-tortoise

I made a process video showing the stages of painting this turtle that will be up on my Instagram later today if you'd like to see the steps I took. I painted this guy in acrylic gouache, a medium I have yet to comprehend and have much to learn about.

2018 Illustration Goals

I really appreciate hearing other artists share their goals for the year, so I thought I'd share mine with you.  These are just a few, but I'm sure that I'll be adding more to the list as the year kicks in!

  • Participate in my first Art Fair. I've never gone out and gotten a booth at a fair or convention before and this year is the year I want to take that step.
  • Start accepting commissions. I want to start accepting commissions from individuals as well as editorial work. 
  • Maintain a better work/life balance. I realized this last year that I wasn't making enough time for myself and my wellbeing in my schedule. So this year I'm trying to take weekends off, get back into some yoga classes, and make sure to get out into nature more.
  • Sketchbooks! I really want to up my sketchbooking game this year, and instead of only using sketch time to study anatomy, or practice values, etc...I want to just stop thinking and sketch for fun. I like to imagine it like stream-of-consciousness writing - I don't care if I understand why I'm drawing a pigeon, I want to just let myself draw that pigeon without caring if it's anatomically accurate. I can worry about those things later, I just want to get the sketch down and play with things for fun. Yay for self expression.
  • Requisite art goals. The ones we all have. Improve my color choices, push my gestures, emphasize values and relationships, get loose where I should be loose and tight where I should be tight. And so on and so forth - far too many things to mention that I want to improve in my craft.

So those are a few of the more important goals I have this year. I'd love to hear what goals you have for your creative life this year so please feel free to let me know in the comments. See you next time!