How To Make An Enamel Pin, Pt. 2: Creating the Pin

So we've arrived at the most important part - how do you actually make an enamel pin?

STEP 1: FIND A MANUFACTURER

There are lots of places to get pins made, so you'll have to search the Googles for the one that rocks your world. For my pin I'm going to use Awesome Merchandise because I have some experience with them for my other pins and merch. No this is not a sponsored blog post, and yes I do recommend you research the manufacturer that works best for you. Things to consider when choosing yours are shipping fees, time to manufacture, cost, and minimum order quantities, as well as any "shop local" or environmental concerns you may personally value.

STEP 2: READ THE SPECS

Once you've found the manufacturer you want to use it is EXTREMELY important that you read the specifications they give you for the file you're going to send them. For Awesome Merch, the specs for the soft enamel pin with paper backing that I'm ordering are like this:

Backer Dimensions: Finished Size: 5cm x 8cm

The starting point and most important aspect of a printing job is your design. Making sure that your artwork file is sent across to us correctly is crucial...

Colour Format: CMYK
File Format: PSD, AI, PDF, JPEG, TIFF, EPS
File Resolution: 300dpi

A few tips to get awesome results...

  1. Create your artwork with the resolution at 300dpi - the larger and clearer your file is, the better the end result.  Please note, we don’t accept 72dpi files as they are not usually adequate to create a quality job.
  2. Each colour has to be separated by a line of raised metal, the minimum line thickness is 0.2mm, the minimum colour area is 0.3mm
  3. If you're using text, please set your font to at least 5pt. 
  4. Clearly indicate which areas of your design you would like filling by using the correct colour values along side your artwork - we recommend Pantone Solid Coated guide. 

Note that "Backer Dimensions" refers to the paper backing the pin comes on. The rest of the specs refer to the files for both the paper backing image and the pin itself.

STEP 3: KNOW THE THINGS YOU'LL NEED

To make a pin you're going to need to make nice with technology. I use Photoshop to make my pins because it's the digital program that I hate the least while using, but you can use any software that results in a file format that your manufacturer accepts. You're also going to need to pretend that the pen tool is something you enjoy working with and know how to use. If you're anything like me that's going to require some doing, so if you don't know how to use the pen tool well I suggest looking up tutorials for free on Youtube, or a subscription based place like Skillshare if you're already a member. Yes this is a pain, but it's necessary to make those sweet sweet pins. And pro tip of the day here: once you start making the pin with the pen tool save your file compulsively - you really don't want to lose your progress and have to start over.

STEP 4: KNOW WHAT YOU'RE MAKING

Doodling with the pen tool is no one's idea of a good time, so I really recommend that you draw your pin old school on paper and scan it in, or digitally with a tablet before you start making the pin. You can then trace over your design with the pen tool and save yourself some time fiddling. For my snail pin I was using an old drawing from a sketchbook, so I scanned that in and pen tooled over it. I suggest that you try to keep your drawing/pin idea simple, especially if you're new to the pen tool, because details are hard and pins are pretty small anyway, so use detail wisely. The snail below is the drawing I was referring to for this pin, but I'm only using it as reference for the overall shape of things. It's WAY more detailed than it needs to be, because I didn't draw it with the intention of making it a pin originally.

colored pencil garden snail wildlife illustration animal illustration

 

STEP 5: CREATE THE FILE TO MEET THE SPECS

For my specs I created a file that was 12cmx12cm which is larger than the pin will end up being but close enough. I made sure that my file was set to 300dpi and the the color mode was set to CMYK for printing. Note that I'm making a soft enamel pin here, not a hard one, and the difference is that soft pins have raised metal lines and the paint/color is poured into the depressed areas of the metal like water filling a pool. So the last thing I did was set the width of the line on my pen tool to 0.6pt, keeping in mind the conversion rate between the 0.2mm minimum line thickness the manufacturer requires and the thickness I wanted my lines to be at the end. I also have to keep in mind while making my design that the minimum thickness required for any area of color is 0.3mm and can't be any smaller. This is basically 1.5 times my minimum line width so I just use that as a guide and eyeball it. I'll show you the layers of pen tool shapes that make up my snail pin in case that helps you visualize what you're going to do.

snail enamel pin pen tool how to make enamel pin

STEP 6: YOU'VE MADE THE DESIGN, NOW WHAT?

So you set up you file, you traced over your drawing with the pen tool, and now it looks like a pin. The next step in an ideal world would be to whip out your Pantone Solid Coated Guidebook, visually compare the colors to what you see on the screen, jot them down on your pin file as notes for the printer, and call it a day. But because Pantone guides are expensive and I don't have one, what I do here is look up a free PDF of it online and compare that way. THIS IS NOT IDEAL, and the reason is because CMYK colors for printed materials and RGB colors for digital viewing display differently and don't always match the way your eye thinks they will. As an example of what this can lead to I will show you the file I sent for my shark pin, and the result I got back after it was printed.

great white shark enamel pin design nature wildlife illustration how to

One is pastel and the other is a shark flavored candy corn. Much sighing occured. Alternately I used the same method to match colors for my Orca pin and it turned out swimmingly, as you can see on the before and after for that pin below.

orca killer whale enamel pin design how to nature wildlife art

So until I can get my grubby paws on a Pantone Guidebook I'm going to do my best to visually match things on the computer, and I'm going to ask Awesome Merchandise to send me a proof of the pin (fancy printer words for getting an example of the pin) before making the entire order of them so I can see how it looks and make changes before I end up with 100 messed up looking snails.

STEP 7: SEND IT TO THE MANUFACTURER

The last thing you'll do is send the file to the manufacturer, taking care to make everything as clear as possible for them and meeting all the criteria they gave you in the specs. With Awesome Merchandise I make sure to check my email frequently because if they have any questions or issues that come up with my file they'll reach out to me and I'll have to correct it before the printing can continue. So that about covers it from start to finish on how to make a pin and I really hope it helps if you're new to it and want to get started building your own pin empire. If you haven't seen the first part of this post which covers how I made the paper backing for this pin you can find it here.

Experimenting With Art Styles

Experimenting with Art Styles

Greetings fine people. Today I want to talk about experimenting with your art style, because it’s my favorite thing to talk about in the world. Art has an infinite capacity for exploration, learning, and expression and that is amazing. Style experiments can help you find your style if you don’t know what it is, improve your art at any stage of skill, and be really refreshing if you feel like you’re stuck in a rut. 

This topic could be huge, so I’m going to limit it to the example of some studies I did this week. There will be some tips at the end in case you want to try some style experiments of your own.

Enter the Experiment Zone

For my experiments this week I used a reference image of some free-range sea lions I took in Newport, Oregon. I painted this same image 3 different ways, none of which focused on realism. I honestly dislike all of them as paintings, but I had a lot of fun, learned a bunch, and gained a lot of insight into new things I’d like to explore so it was completely 100% totally super worth it and you should definitely try this at home.

sea lions newport oregon wildlife illustration reference image

Watercolor Wildlife Illustration

For my first attempt I decided to try the old school combo of inked lines and watercolor washes because I’ve never tried it in earnest. I stayed pretty limited on color choices, and didn’t really use the ink lines very expressively which is something I’d change if I were to do this again.

sea lion watercolor wildlife illustration study

Colorful Wildlife Gouache Paintings

For my next two studies I really focused more on color since the first one felt so dull. This second study was all about picking random colors and trying to make them work by fitting them into to places with a similar value to the reference image. I also challenged myself to use an oversized flat brush in straight lines, only to see if I could do it. The brush was hard too work with and I went way overboard on the colors so I decided to change things up for the third painting.

wildlife animal illustration art study gouache painting

This third study was done with a smaller round brush instead of the unwieldy flat one and I tried to mix in some more realistic colors. I also really focused on lost edges in places of condensed shadow.

wildlife animal illustration art study gouache painting

Like I said before, I don't love all of these studies as end results, but they were completely worth doing. I learned SO much trying these different things out and now I have many new ideas of things I’d like to refine and add to my personal paintings in the future. I can’t recommend doing studies like these enough. So if you’re game to try, here are some tips.

Art Style Tips For Experimenting

1. Work small and use the same drawing transferred to multiple sheets of paper. You save drawing time, and learn about the image each time you paint it, which can help you come up with ideas for new things to try next time.

2. Listen to artists teaching core principles for ideas of things to explore, or look at art that inspires you and try to incorporate something you like about it into your painting. These things are easily found on the almighty interwebs.

3. Look in unusual places for ideas. For example, I usually paint in a semi-realistic style but I've been doing a lot of studying in animation art books. Really skilled artists making things that look wholly different than anything you do can still have a lot to teach you.

3. Have a clear and defined goal or focus for each study you do, and write it down on your paper before you start to paint. It helps remind you what your focus should be and what the point of the study is so you don’t get lost or discouraged halfway through it.

4. Use a really ugly sketchbook that you kind of hate and don’t mind ruining. Don’t use anything that makes you feel restricted or precious about painting these studies. Rejoice in the freedom an ugly sketchbook can offer you.

Good luck and stay experimental!

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.

crab-painting-process

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! 

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. 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!