maker of art, toucher of things

[sometiktoksarevalid]

[jareckiworld]

Adela Szwaja-Dudzińska (1925-2019) — The Other Side of Dawn [oil on canvas, 1994]

[tnerdbean]

Know what I’m salty about?

In all my art classes, I was never taught HOW to use the various tools of art.

Like yes, form, and shape and space and color theory and figure drawing is important, but so is KNOWING what different tools do.

I’m 29 and I JUST learned this past month that India Ink is fucking waterproof when it dries. Why is this important? Because I can line something in India Ink and then go over it with watercolors. And that has CHANGED the ENTIRE way I art and the ease I can create with.

tldr: Art Teachers: teach your students what different tools do. PLEASE.

[spookyscaryscouticus]

WAIT INDIA INK JS WATERPROOF ONCE IT DRIES????? THE ENTIRE REASON IVE AVOIDED MARKERS MY ENTIRE LIFE IS BECAUSE JNK BLEEDS AND YOURE TELLING ME INDIA INK IS

F U C K I N G W A T E R P R O O F

[theshitpostcalligrapher]

yall calligraphers out there this is extremely fuckin important if u wanna get into illumination shenanigans because i swear to you there will b discoveries like these^

heres some of mine, pls take with a grain of salt im a total gotdamn amateur:

a lot of the time, the ability for colored ink to bleed will vary wildly WITHIN A SINGLE BRAND OF COLORED INKS. my cobalts bleed like fucking CRAZY compared to my reds, which, when u reference manuscripts that tend to put white ink ON TOP of either red or blue… you see where shit gets real and real annoying. 

u can buy an aeresol, fully transparent workable sealant for like 5-10 dollars at your local art store. when i realize a piece ive been working on needs a color on TOP of a bleed happy ink, i give it a layer of this stuff. trouble is it CAN warp the paper so its important as soon as it dries to use heavy things (paperweights, books) to counteract the paper curling.

ink solvent, like koh i noor’s rapido-eeze, is only compatible with SOME inks, but will work on most acrylics. If you happen to be working with sturdy vellum that you have pre-sealed, it can be possible to literally use ink solvent to wipe away your calligraphy mistake like a goddamn bounty commercial

[sarahlumweejee]

Shit I Learned Working At Dick Blick: 

WD40, found at your local hardware store, will remove Sharpie marker from almost any hard surface. 

 Acrylic inks will show brush strokes in large areas but are waterproof and quick-drying. 

 Acrylic gouache is vivid, fluid, dried matte, is UTTERLY opaque on black paper, handles exactly like watercolor, and is waterproof. 

Putting an oil painting in the sun will turn the yellowed portions back to their original white and wont hurt the painting. 

 Cheap acrylic paintings will bleach out if left in the sun - get UV protectant spray or varnish. Nicer acrylic paints are less prone to sun bleaching, but they still do. Plan accordingly. Oil paints are much less prone to this. 

Solvent-based markers blend together MUSH MORE SMOOTHLY than alcohol-based markers. 

There is an acrylic paint medium for literally every effect you can conceivably think of (fabric paint medium, gloss medium, fluid medium, sand medium, fast-dying/slow-drying medium, etc.). 

 If you’re going to buy student-grade paint to save cash, buy earth-tones (burnt sienna, ochre, etc.); they are made with cheap pigments already, and you wont tell a difference. You WILL tell a difference between student-grade and artist-grade bright colors (all yellows, blues, and reds). 

If you’re working with markers but aren’t using marker paper, you need to switch. Markers don’t blend on printer paper, they just layer (even expensive markers). 

If you want a glass palette for paint mixing but don’t want to shell out the cash, buy a giant picture frame at Goodwill, take the glass out, and electrical tape it to a piece of foam board the same size for stability. 

 Hog bristle brushes are for oil paint, sable brushes are for watercolor, and synthetic brushes are for acrylic and oil (but not watercolor because synthetic bristles can’t absorb water). 

 If you’re going to splurge on any aspect of your creation, splurge on the paper. Get the good stuff - crappy markers/paint/pencils look good on good paper, but not the other way around.  (There is more, but these are the big ticket items)

[stoneybaloneyskeletony]

Some more, also from working at Dick Blick:

- Palette knives are for mixing paint and TRUST ME you want to learn how to use them. When you mix with your brush you loose paint and it’s hard in your brushes.

- DO NOT FIX YOUR ARTWORK WITH HAIRSPRAY. If you’re proud of your work and want to keep it, buy the actual spray fix. Hairspray is not archival in the slightest and will damage your work.

- On top of that, be careful how you store your work. Newsprint is handy and cheap, but also not acid-free and it will yellow your paper. Foamboard? Matboard? Also not always acid-free (but you can get them acid-free).

- There is no food-safe paint. Period. There are lots of ways you can decorate pottery that aren’t glazes, but only glazes are food safe (and even some of those aren’t).

- Also not food safe: Polymer clay (sculpey), air dry clay, oil-based clay, ceramics that have not been glaze fired, oil pastels, sharpie, glues of any kind, or mod podge (even the ‘dishwasher safe’ kind).

- Don’t even get me started on mod podge. It’s not consistent. It’s not archival. It’s not a sealant, it’s a glue (setting aside some of the weird hyper-specific ones they make that I’ve literally never seen in real life).

- If your glue isn’t archival or at least acid-free, don’t use it in your artwork.

- There are so many different kinds of paper out there, just go try them. But also make sure you know if it’s acid-free or not (it probably is).

- Marker paper is usually 15 to 20 lbs. News print is usually 30 to 35 lbs. Tracing paper is usually 25 lbs. Rice paper can range from 20 to 50 lbs. Printer paper is 20 lbs. Vellum paper is usually 48 to 55 lbs. Sketchbook paper is usually 50 to 60 lbs. Drawing paper is usually 70 to 80 lbs. Cardstock can range from 50 to 110 lbs. Charcoal paper is usually 50 to 65 lbs. Pastel paper can range from 70 lbs to board. Bristol paper can range from 50 lbs to board. Mixed media paper can range from 90 to 140 lbs. Printmaking paper can range from lbs 90 to 300 lbs. Watercolor paper can range from 90 to 500 lbs.

- The heavier and rougher the paper is, the more it will absorb. If you’re using a paper too smooth for your medium it will take forever to dry and may smudge. If you’re using a paper too light for your medium, it will warp and curl.

- If you’re working heavily with water, you need to stretch your paper (aka seal down your edges of the paper to a hard, water resistant surface). If you don’t like doing that because it’s a hassle, buy a watercolor block instead of a pad/individual peices.

- If you’re working on a thicker paper, and make a mistake that your can’t erase or cover- you can scrape and/or cut it out! With a really sharp exacto knife, you can very CAREFULLY remove the top layer of paper fibers on most paper.

- DO NOT USE ACRYLIC AS BODY PAINT. It’s plastic.

- If you paint with oil, buy a silicoil jar. It’s the best $10 you’ve ever spent.

- Acrylic paint is basically water-based plastic. It will basically fuse with anything plastic (like a plastic palette), and will not stick to anything oil-based.

- Acrylic paint and house paint are not the same thing and you cannot mix them together. Acrylic paint is made from a water-based acrylic polymer, and house paint is almost always latex and can come both water-soluable and not.

[auressea]

@pamelab has this amazing reference crossed your dash yet?

[teratocybernetics]

most paints will have a lightfastness rating & pigment code on the tube so you can get an idea of how prone to fading it will be, it’s not 100 percent reliable but it’s a start

it took me goddamned near 20 years to realize bristol paper/cardstock has slightly different texture on each side, it doesn’t matter a whole lot for pencil or ballpoint but can for ink (one bleeds more with microns & similar fluid inks) & if you cut piles of it for messing around like i do, try to store them with that in mind i guess?

[wastelandsteppe]

sketchbook stufff

[wastelandsteppe]

sketchbook stufff

[cardo-de-comer]

finished that old sketch I had lying around, so glad to draw them all together <3

[lov3rboymakes]

wowza. inspired by the eye bit

[wastelandsteppe]

acrylic and watercolor paint markers on mixed media paper

[musubiarte]

The other day I was surfing the internet and I found this specialized painting colour wheel, it shows how real paint colours relate to each other. 

Outside: the purest/brightest colours.

Inside: naturally muted or earthy colors, like browns and ochres.

The Center: dark neutral tones used for mixing shadows.

The Lines: the lines connect colors that are opposites, if you mix them you neutralize the tone creating clean grays or browns instead of muddy puddles.

I want to share this with you because I think it is really illustrative!

Reference: “Quiller Wheel” by Stephen Quiller

[wafflewarrior111]

So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.

I'm going to try it.

[missroserose]

I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how?  How does he know it?”  Interrogate your witnesses.  Cross-examine them.  Make them explain their reasoning.  It pays dividends.

[heck-in-a-handbasket]

All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.

[ineedthesons]

This is your "show not tell" advice explained!

[tarysande]

Editor here.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

“It was rainy.” Versus: “The rain pounded against the roof.” Or “The rain howled like an injured animal.” Or “The rain tapped against the window like an anxious lover.” All of these are inviting the reader deeper into the experience of the story by using stronger verbs and similes. And, at the same time, they stir feelings (instead of TELLING feelings). And feelings keep your reader engaged. Engaged readers keep turning pages; engaged readers become FANS.

[the-haiku-bot]

This is also where

you want to pay attention

to verbs of being.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

[defilerwyrm]

The most valuable advice that Author Ex gave me through the years that we wrote together was this: the problem with all these filter words is that they create distance in the POV.

That means that when you read a line like

John saw that the curtains were open.

It immediately takes you OUT of the character's perspective and instead tells you what they experience as a secondhand observation.

You don't have to get fancy or purple with how you rephrase things like this. Not everything needs a ton of breathing room.

You wanna know what's perfectly impactful while keeping a tight POV?

The curtains were open.

Simple as that.

[kellkyy]

Monk

[wuntrum]

dandelions from the sketchbook ⭐️

[arte-artem-artibus]

Herbert Bayer - Chromatic intersection, 1966, acrylic on canvas, 101 x 101 cm

[389]

Giorgio De Chirico, Sole in una stanza (Sun in a room), 1968, Gouache, watercolour and pencil on card, 35 x 44.8 cm

[daftpatience]

this messed up vintage cat sewing pattern has tormented me since i saw it & like some other folks have done in that post - i tried my hand at tweaking the pattern to resemble the illustration (and my personal tastes) a little more. i've ended up with this, which i have only tested at a small scale and not this final version exactly (where i have done such things as further widening the cheeks and finalizing the leg shapes.) i bestow it upon you nice folks now 👐

go forth and make weird little beanbag kittens! pls show me if you do!

[daftpatience]

woah this got big!! and after another try i have another untested tweak for yall. this should help the weird pinchy side seams out. yey

[calltainn]

My first attempt! I made the pattern a bit smaller as I wanted it to be able to fit in a pocket, but then (accidentally but perhaps unavoidably) sewed it with a wider seam allowance than the resized pattern indicated, so the face is proportionally a bit too big and I lost some detail in the ear shape. I'm pleased with it though! It was fun to make something and to do some handsewing.

[daftpatience]

SOO CUTE AND TINIE 😭

[chthonink]

I tried this pattern a while back to try out some minky and I get no points for making the pattern well but looook at my boyyy

His name is Tofu. Thank you for sharing the pattern I will love him forever

[arttwink]

[monstersovka]

voice

[lov3rboymakes]

your art speaks to me. loooove your style

[bethama]

It's been a while since I shared some old fashioned yarnporn so here's me blending a rainbow batt. If enough people ask I'll try to make a post/video about how I did it.