Finally! This post! I mentioned a couple posts back I did a painting for a friend’s book. Well that book happens to be a graphic novel my artist friend Max Currie premiered at Heroes Convention in NC. He and his co-creator Tony Zollo were set up in the Illustrious Indie Island section of the con selling copies of their newly pressed 120+ paged book.
I am super honored that Max wanted my art for the cover, I have always been a big fan of his work and I really love the story line in “Flag Hunter”. It was a bit of a trial working on it but I really like how it turned out. I’m really not exaggerating about it being a trial: I left myself 24 hours to get it done and fought with my materials every step of the way.
To start my process I do some rough thumbnails to figure out what image I want to go with then I gather reference images. Jared was very accommodating for the whole process.
I enjoy playing with different levels of opacity in my art and revealing different stages of my process underneath. Normally I do this by doing an under-painting in bright accent colors, and selectively add paint on top with an opaque color in oil paint. With the time crunch I put myself in oil paint dry time was out of the question. 🙃
Resigned to using acrylics, I sketched out my image and traced it onto my final substrate, a leftover piece of watercolor paper. Or so I thought. 🙃🙃 There is a reason for shelling out $$$ for watercolor paper, because its fibers have a special sizing that absorbs liquid in a beautiful and feathery way. The paper I had just traced my sketch and partially inked an under-drawing onto was not absorbing water or color in a beautiful or feathery way. Queue some internal and external screaming. **pro tip lesson learned: label scraps of art paper with some artist tape so you always know what you’re using**
I didn’t have any other watercolor paper that was both large enough and smooth enough to work on. I needed something at least 12×18 for the scanner and with a smoother surface so it would play nice with pen tips. I decided to use a piece of paper from an Arches coldpress (textured) block I had. Luckily after tearing the sheet out I discovered the back of it was much less rough so I ended up using that. Crisis averted, and I was able to lay in a beautiful ink wash with my Liquitex inks.
Next up to give me sh*t was my acrylics 🙃🙃💀. I’m mostly an oil and watercolor painter, using acrylic only to do large washes in under-paintings. I haven’t invested in quality acrylics so the majority of my collection is hand me downs or leftover samplers from employee art competitions from my days working in an art store. -Btws those competitions were always with pretty terrible student grade paint- Suffice to say the struggle was unreal. Between terrible thin texture and exceedingly quick dry times I had a few moments where I wondered if it would even come together.
It did though! And I will definitely get a quality set of acrylics before ever working with them again. I was impressed with the few decent tubes of paint I had. There were a few tubes of Liquitex that belonged to my late grandmother that have to be nearly 30 years old by now and were easily the best paints of my collection. Their feel and texture held up and were a small ray of hope in my caffeine paint fueled haze.
My Tombow Markers were the saving grace of this painting. They had bright punchy colors and actually worked on top of the acrylics as well as under it. It was my first time experimenting with this technique and it’s definitely something I will try again.
So with a little caffeine, a little ingenuity, and healthy amount of panic I finished the painting just in time to scan it in and send it to Max. I learned a lot of helpful things while working on it and honestly I did enjoy the process despite my emphasis on the frustrating parts. Now with that accomplishment I am feeling more confident in attacking new projects, be on the look out for more to come!