Becca Hillburn's Blog, page 45
March 22, 2016
An Artist's Stance on Brand Loyalty
As an artist, I have favorite brands that I return to time and again because I know they'll produce results. As an art supply reviewer, all brands are subject to my harsh standards. It may seem like I have no brand loyalty, but that's pretty far from the truth. I simply don't have BLIND brand loyalty, as I know there are many excellent companies and stores that are willing to fight for my dollar. As I am not under the employ of any brand or store, I am free to give my honest opinion about brands regardless of maker without fear of reprisal. And as a free agent, I am also free to recommend one store or shop over another, based on product, price, and how they treat their customers.
Customer loyalty is important to me as a comic artist, and I try to do my best to meet all of my customers requests. As a customer, I expect the brands I do business with to work hard as well. As a comic artist and art materials reviewer, I would also like to see a little recognition when my good work helps a brand or company succeed. While I enjoy praising brands that do a good job, I feel that in turn, I deserve a little recognition for my own good work, so any company that's willing to throw me the occasional bone gets higher markers than those that go out of their way to ignore me and my readers.
This may upset some of you, but I am not swayed by 'small business' unless the business goes out of its way to provide customer care and art community support. Nattosoup Studio is a small business, and just like other small businesses, I have to carefully watch my finances. I am very savvy when it comes to pricing art supplies (I have to be), and I respect the fact that many of my readers are on a budget. Just as I would not recommend sub par supplies to them, I'm not going to recommend overpriced stores to them, unless that's the only option available.
I do not expect brands or companies to send me 'free' things (if they're to be reviewed, that's not free, as reviewing takes time, artwork, and energy, but I don't expect brands to send me comped supplies to review either), but it does bother me when companies target crafters over artists to review and test artist grade supplies. I feel that their lack of familiarity with art supplies and techniques does not make them the best spokespeople for art supplies. Adding a few artists to the mix (the more types, the better) who specialize in a variety of media (even better!) definitely changes my opinion.
As a blogger, I would be remiss if I didn't mention that I appreciate stores and companies that allow me to earn money for my product referrals. Both DickBlick and Amazon give me a very minor percentage of product referral sales, which help offset a few of the costs this blog incures. As a business (and a person) with bills to pay, this ability to earn a little bit of money doing something I already do (recommend products) really means a lot to me, and I'm likely to give preferental treatment to stores that are affordable, offer fast shipping, AND have a referral program. Until I acquire sponsors or regular donations, I rely on these referral commissions as a way to help make ends meet and keep the blog going.
My Favorite Brands:
Signal boost artists who tag and use their products, not only promoting their products, but the artist as well. This shows that they regularly check their tags, keeping up with social media, but that they value the artists who use their brands regularly. This sort of recognition costs very little, but it means a lot. Strathmore has been really great about recognizing when I tag their papers in my Instagram posts, so I know they actually check and see what I'm up to. This makes me feel like I have a relationship with a company who produces products I love, and I'm more willing to promote their products to other artists.
Employ a wide variety of artists for promotional art- from fine artists and painters to comic artists, illustrators, calligraphers, and stampers. This demonstrates the wide range one can achieve with their products, and inspires other artists to try something new.
Commission artists not currently in their employ for reviews and tutorials. This introduces fresh perspective and new experience, as well as giving artists an opportunity to earn additional income and extend their reach. In the past, I've been commissioned by Copic to create tutorials for their blog. Not only was this an employment opportunity for me, but it put my work in front of a new audience, and gave me the opportunity to play around with a media I already love.
Release information about products freely, or provide in depth tutorials aimed at artists. Strathmore and DickBlick are fantastic resources for this- I learned how to watercolor from watching all the watercolor videos DickBlick has listed on their site, and I highly recommend them to anyone interested in learning how to watercolor.
Can knowledgeably respond to technical questions when you write in. Unfortunately, I've had more experiences where the Contact Us staff COULDN'T answer questions accurately or on depth than I have had with staff being able to answer my questions. As a blogger, I'd like to be able to utilize a brand's on-site resources in order to write the most accurate reviews I possibly can, and as an artist, I often need to know the gist of what a product is made with, so I'll know what works well together. Staff that cannot answer basic questions aren't doing the company or the consumers any favors.
Regularly offer in store live demonstrations of the product, and encourage participants to explore the product at the table. At Hands on Creativity, lots of fantastic companies had reps with product to demonstrate. I played around with Winsor and Newton's Pigment Markers, as well as their Pigment Marker Paper (which hadn't been released yet), I was given samples of Strathmore's Drawing and Color Pencil paper and Canson's multi paper type sample pack, and I got to play around with ArtGraf's new graphite putty.
Explain their customer, affiliate, and sponsorship programs clearly and fairly. No company OWES a blogger or a customer an explanation of anything but their customer service and return policies, but I am way more likely to give a company return business if all policies are explained upfront. When such policies are explained clearly and simply, and are adhered to by both parties, this creates a reciprocal relationship between consumer and producer. A site or shop allowing you to shop at their location isn't a favor to YOU (you can take your business elsewhere), but you giving this business your business over a competitor, and doing so repeatedly over the years, is a favor to that company. The least they can do is have clearly delineated, fairly enforced policies that serve both you and them own ends.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
Customer loyalty is important to me as a comic artist, and I try to do my best to meet all of my customers requests. As a customer, I expect the brands I do business with to work hard as well. As a comic artist and art materials reviewer, I would also like to see a little recognition when my good work helps a brand or company succeed. While I enjoy praising brands that do a good job, I feel that in turn, I deserve a little recognition for my own good work, so any company that's willing to throw me the occasional bone gets higher markers than those that go out of their way to ignore me and my readers.
This may upset some of you, but I am not swayed by 'small business' unless the business goes out of its way to provide customer care and art community support. Nattosoup Studio is a small business, and just like other small businesses, I have to carefully watch my finances. I am very savvy when it comes to pricing art supplies (I have to be), and I respect the fact that many of my readers are on a budget. Just as I would not recommend sub par supplies to them, I'm not going to recommend overpriced stores to them, unless that's the only option available.
I do not expect brands or companies to send me 'free' things (if they're to be reviewed, that's not free, as reviewing takes time, artwork, and energy, but I don't expect brands to send me comped supplies to review either), but it does bother me when companies target crafters over artists to review and test artist grade supplies. I feel that their lack of familiarity with art supplies and techniques does not make them the best spokespeople for art supplies. Adding a few artists to the mix (the more types, the better) who specialize in a variety of media (even better!) definitely changes my opinion.
As a blogger, I would be remiss if I didn't mention that I appreciate stores and companies that allow me to earn money for my product referrals. Both DickBlick and Amazon give me a very minor percentage of product referral sales, which help offset a few of the costs this blog incures. As a business (and a person) with bills to pay, this ability to earn a little bit of money doing something I already do (recommend products) really means a lot to me, and I'm likely to give preferental treatment to stores that are affordable, offer fast shipping, AND have a referral program. Until I acquire sponsors or regular donations, I rely on these referral commissions as a way to help make ends meet and keep the blog going.
My Favorite Brands:
Signal boost artists who tag and use their products, not only promoting their products, but the artist as well. This shows that they regularly check their tags, keeping up with social media, but that they value the artists who use their brands regularly. This sort of recognition costs very little, but it means a lot. Strathmore has been really great about recognizing when I tag their papers in my Instagram posts, so I know they actually check and see what I'm up to. This makes me feel like I have a relationship with a company who produces products I love, and I'm more willing to promote their products to other artists.
Employ a wide variety of artists for promotional art- from fine artists and painters to comic artists, illustrators, calligraphers, and stampers. This demonstrates the wide range one can achieve with their products, and inspires other artists to try something new.
Commission artists not currently in their employ for reviews and tutorials. This introduces fresh perspective and new experience, as well as giving artists an opportunity to earn additional income and extend their reach. In the past, I've been commissioned by Copic to create tutorials for their blog. Not only was this an employment opportunity for me, but it put my work in front of a new audience, and gave me the opportunity to play around with a media I already love.
Release information about products freely, or provide in depth tutorials aimed at artists. Strathmore and DickBlick are fantastic resources for this- I learned how to watercolor from watching all the watercolor videos DickBlick has listed on their site, and I highly recommend them to anyone interested in learning how to watercolor.
Can knowledgeably respond to technical questions when you write in. Unfortunately, I've had more experiences where the Contact Us staff COULDN'T answer questions accurately or on depth than I have had with staff being able to answer my questions. As a blogger, I'd like to be able to utilize a brand's on-site resources in order to write the most accurate reviews I possibly can, and as an artist, I often need to know the gist of what a product is made with, so I'll know what works well together. Staff that cannot answer basic questions aren't doing the company or the consumers any favors.
Regularly offer in store live demonstrations of the product, and encourage participants to explore the product at the table. At Hands on Creativity, lots of fantastic companies had reps with product to demonstrate. I played around with Winsor and Newton's Pigment Markers, as well as their Pigment Marker Paper (which hadn't been released yet), I was given samples of Strathmore's Drawing and Color Pencil paper and Canson's multi paper type sample pack, and I got to play around with ArtGraf's new graphite putty.
Explain their customer, affiliate, and sponsorship programs clearly and fairly. No company OWES a blogger or a customer an explanation of anything but their customer service and return policies, but I am way more likely to give a company return business if all policies are explained upfront. When such policies are explained clearly and simply, and are adhered to by both parties, this creates a reciprocal relationship between consumer and producer. A site or shop allowing you to shop at their location isn't a favor to YOU (you can take your business elsewhere), but you giving this business your business over a competitor, and doing so repeatedly over the years, is a favor to that company. The least they can do is have clearly delineated, fairly enforced policies that serve both you and them own ends.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 19, 2016
Big Three-Oh
For the past three years, turning thirty has been terrifying to me. Today is my 30th birthday. Hopefully I'm not sitting at home, painting pages or working on reviews—I'd like to think I'm out somewhere having a good time without it being attached to work. I don't write about my personal life often. I'm a private person, and I particular avoid exposing myself on the blog due to past incidents with posts being presented out of context. Yet, I think this is important enough to risk it.
Drifting During the years leading up to today, I've felt like my career in comics, in writing, in reviewing, in illustration has stagnated. Although I've diversified to get my career moving (anthologies, different types of shows, sponsorship requests, trying new platforms, volunteering panels and art education), but I'm still not appealing enough as a person, artist or writer to launch a career. I just can't find the right spark to catch fire. This all circles back to finding a dedicated audience. I've talked about this extensively on the YouTube and at conventions, but people somehow miss when I'm talking about the importance of community that I also need your support.
Turning thirty with no steady employment, no solid future leads, and little career improvement is scary. "Do Good Work and the Audience Will Find You" rings hollow for me, and I could stand to catch a break. I've invested six and a half years in formal art education with no significant return on investment. I've invested seven years in sharing my knowledge with less return on investment and no loyal audience for the comics I make. I still heavily rely on one-time customers from conventions, my Patreon, and YouTube ad revenue to contribute to my income, which is a very precarious situation.
I'm sharing this because artists, especially comic artists, don't elaborate enough on the hard times. Self published artists tend to be cagey about numbers, mental health, and logistics with good reason—we're punished for sharing anything that might reveal how difficult self publishing and promotion can be. A lack of resounding success is seen as proof of failure to publishers, customers, and most damning of all, fellow artists. In other words, a lack of a supportive audience promoting your work and singing your praises tells those around you that you just aren't worth the time—especially so if you've been around for a while. A successful artist has a support system behind them; if not the official seal of approval from a publisher, then a spirited audience willing to help out.
15, High SchoolWhen I was a fifteen-year-old in high school, I thought I would have life figured out by thirty. Married with a kid, maybe a house, and you know, financial and emotional stability. But I've gambled a lot on a career in comics which postponing other aspects of my life. Young me had been reading comics for two years, and had been drawing them for about as long, so I was certain I'd be in Japan by thirty barring I didn't stop drawing between fifteen and the big three oh.
20, UndergradBy twenty, I was an undergrad at UNO. I'd started there with assurance an illustration department was growing, but Hurricane Katrina washed those dreams away. Thankfully, I realized my dream of moving to Japan was ill-thought, but I still wanted to make comics. With 30 being ten years away, I wasn't concerned about time. I already had my eye set on SCAD: The University for Creative Careers, for graduate school, as I was dissatisfied with the quality of my post-Katrina undergrad education. At twenty, I was faced with buying my own art supplies en masse, and I didn't have a clue where to start. I didn't know what differentiated a good brand from a bad, and there were no online resources to guide me.
25, GraduateBy twenty-five, I was halfway through my masters degree in Sequential Art at SCAD. I was told my masters would open doors, and several editors had already hinted at jobs for me in the next two years. I worked mostly in black and white, and I had buckled down on maintaining this blog with my new found insight from SCAD. I had also started tabling at conventions and enjoyed them, even though they are exhausting; I promised myself I could quit my personal con hustle at thirty, because surely I'd have something more concrete lined up.
30, Career?In those past five years since graduation, I've self-published, self-promoted, and released 7" Kara Volume 1, just about finished the illustrations for Gizmo Grandma (fingers-crossed!), contributed comics to anthologies like Hana Doki Kira, Chainmail Bikini, and 1001 Knights. I've attended about one hundred conventions, started How to Be a Con Artist with fellow artist and SCAD-grad Kiriska, increased not only the quality of my posts, but my post volume, launched a YouTube channel with artists interviews, and changed the focus of my YouTube channel to serve as a complement to this blog with more than 40 hours of video. I've painted over 150 pages of finished comic, filled over a dozen sketchbooks, acquired my Masters of Fine Art from SCAD, completed three teaching internships, and taught a handful of panels.
I continue to do conventions, partially because I genuinely enjoy meeting new people, sharing my work in person, and drawing for others. But I regularly struggle with convention-long unstoppable killer migraines. I've cut back on though, so I need each convention to count. I've tried to introduce a variety of items that can be sold while I complete commissions and in between my passion, 7" Kara volumes. In these five years, I've sold hundreds of commissions including many watercolor illustrations, and I've recently started bringing Kara originals to cons in hopes that they inspire customers to request more involved commissions in the future. I work hard to make sure my table continues to evolve through curation, new products, and design.
LighthouseConsidering the depth and breadth I've achieved through these factors, why has nothing really changed for me? Perhaps because as I approached thirty and realized my dreams were so far out of reach, so I stopped thinking about my life as having plenty of time. I grew tired of saying "in five years things will be different" and started saying "I'm ready for things now". I directly asked more of my audience, and while many of you have stepped up and are fantastic, many more of you can't be bothered to spend time valuing what I've provided to you. Those who read How To Be a Con Artist, and don't know a thing about Kiriska or myself. They've never checked out our shops, have never seen our art, have never said hi at a convention, let alone purchased from our tables. They act as though I'm obliged to provide content to them and am a harpy for requesting basic support.
These things exist because when Kiri and I were 15, they did not exist. We dreamed of them, and my numbers and the community say they need to exist. They act as a beacon for aspiring artists like my youthful self to get up to speed faster. But they were not easy things to make, these are not things that maintain themselves. These are not things we are compensated for making. When I was fifteen, few artists wrote about HOW they became comic artists. Few artists wrote about the supplies they used. Few artists shared their candid conventions experiences. Which created a serious stigma to anyone who shared negative experiences. Struggling artists weren't outspoken. It's taken a lot of courage and work to change the face of comic and illustration art online, and I've gotten a lot of flack for it over the years, far more than praise or support. You could change that.
LaunchingFor my thirtieth birthday, the end of my many five-year wishes, please help me achieve my dreams. Share your favorite post from my blog to your Facebook (social links are at the bottom of every post). Grab a copy of 7" Kara for yourself or a loved one or write a short review for it on GoodReads and Amazon. Please recommend 7" Kara volume 1 to a friend, a friend with children, a librarian, a school. Please write to an art supplier on my behalf, introducing them not only to my reviews, but to the fact that you are passionate about my reviews (I have company links in my sidebar). When you watch my YouTube, please watch 30 seconds of the ad for monetized content. Please share one of my videos to your Tumblr, your followers might enjoy them. If you haven't yet, and you enjoy all the community work I do, please consider supporting my Patreon. If you're family, please consider my more realistic commission options, or suggesting a friend commission a family portrait.
Without your support, nothing will change. My career will continue drifting with the tides, and my work will go unnoticed. I really need your help, as all artists need help from those who consume their work. Artists who create work for non-monetized consumption need the most support of all—we don't have reliable income from outside sources, and we depend on you to value our work appropriately and do what you can, when you can.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
Drifting During the years leading up to today, I've felt like my career in comics, in writing, in reviewing, in illustration has stagnated. Although I've diversified to get my career moving (anthologies, different types of shows, sponsorship requests, trying new platforms, volunteering panels and art education), but I'm still not appealing enough as a person, artist or writer to launch a career. I just can't find the right spark to catch fire. This all circles back to finding a dedicated audience. I've talked about this extensively on the YouTube and at conventions, but people somehow miss when I'm talking about the importance of community that I also need your support.
Turning thirty with no steady employment, no solid future leads, and little career improvement is scary. "Do Good Work and the Audience Will Find You" rings hollow for me, and I could stand to catch a break. I've invested six and a half years in formal art education with no significant return on investment. I've invested seven years in sharing my knowledge with less return on investment and no loyal audience for the comics I make. I still heavily rely on one-time customers from conventions, my Patreon, and YouTube ad revenue to contribute to my income, which is a very precarious situation.
I'm sharing this because artists, especially comic artists, don't elaborate enough on the hard times. Self published artists tend to be cagey about numbers, mental health, and logistics with good reason—we're punished for sharing anything that might reveal how difficult self publishing and promotion can be. A lack of resounding success is seen as proof of failure to publishers, customers, and most damning of all, fellow artists. In other words, a lack of a supportive audience promoting your work and singing your praises tells those around you that you just aren't worth the time—especially so if you've been around for a while. A successful artist has a support system behind them; if not the official seal of approval from a publisher, then a spirited audience willing to help out.
15, High SchoolWhen I was a fifteen-year-old in high school, I thought I would have life figured out by thirty. Married with a kid, maybe a house, and you know, financial and emotional stability. But I've gambled a lot on a career in comics which postponing other aspects of my life. Young me had been reading comics for two years, and had been drawing them for about as long, so I was certain I'd be in Japan by thirty barring I didn't stop drawing between fifteen and the big three oh.
20, UndergradBy twenty, I was an undergrad at UNO. I'd started there with assurance an illustration department was growing, but Hurricane Katrina washed those dreams away. Thankfully, I realized my dream of moving to Japan was ill-thought, but I still wanted to make comics. With 30 being ten years away, I wasn't concerned about time. I already had my eye set on SCAD: The University for Creative Careers, for graduate school, as I was dissatisfied with the quality of my post-Katrina undergrad education. At twenty, I was faced with buying my own art supplies en masse, and I didn't have a clue where to start. I didn't know what differentiated a good brand from a bad, and there were no online resources to guide me.
25, GraduateBy twenty-five, I was halfway through my masters degree in Sequential Art at SCAD. I was told my masters would open doors, and several editors had already hinted at jobs for me in the next two years. I worked mostly in black and white, and I had buckled down on maintaining this blog with my new found insight from SCAD. I had also started tabling at conventions and enjoyed them, even though they are exhausting; I promised myself I could quit my personal con hustle at thirty, because surely I'd have something more concrete lined up.
30, Career?In those past five years since graduation, I've self-published, self-promoted, and released 7" Kara Volume 1, just about finished the illustrations for Gizmo Grandma (fingers-crossed!), contributed comics to anthologies like Hana Doki Kira, Chainmail Bikini, and 1001 Knights. I've attended about one hundred conventions, started How to Be a Con Artist with fellow artist and SCAD-grad Kiriska, increased not only the quality of my posts, but my post volume, launched a YouTube channel with artists interviews, and changed the focus of my YouTube channel to serve as a complement to this blog with more than 40 hours of video. I've painted over 150 pages of finished comic, filled over a dozen sketchbooks, acquired my Masters of Fine Art from SCAD, completed three teaching internships, and taught a handful of panels.
I continue to do conventions, partially because I genuinely enjoy meeting new people, sharing my work in person, and drawing for others. But I regularly struggle with convention-long unstoppable killer migraines. I've cut back on though, so I need each convention to count. I've tried to introduce a variety of items that can be sold while I complete commissions and in between my passion, 7" Kara volumes. In these five years, I've sold hundreds of commissions including many watercolor illustrations, and I've recently started bringing Kara originals to cons in hopes that they inspire customers to request more involved commissions in the future. I work hard to make sure my table continues to evolve through curation, new products, and design.
LighthouseConsidering the depth and breadth I've achieved through these factors, why has nothing really changed for me? Perhaps because as I approached thirty and realized my dreams were so far out of reach, so I stopped thinking about my life as having plenty of time. I grew tired of saying "in five years things will be different" and started saying "I'm ready for things now". I directly asked more of my audience, and while many of you have stepped up and are fantastic, many more of you can't be bothered to spend time valuing what I've provided to you. Those who read How To Be a Con Artist, and don't know a thing about Kiriska or myself. They've never checked out our shops, have never seen our art, have never said hi at a convention, let alone purchased from our tables. They act as though I'm obliged to provide content to them and am a harpy for requesting basic support.
These things exist because when Kiri and I were 15, they did not exist. We dreamed of them, and my numbers and the community say they need to exist. They act as a beacon for aspiring artists like my youthful self to get up to speed faster. But they were not easy things to make, these are not things that maintain themselves. These are not things we are compensated for making. When I was fifteen, few artists wrote about HOW they became comic artists. Few artists wrote about the supplies they used. Few artists shared their candid conventions experiences. Which created a serious stigma to anyone who shared negative experiences. Struggling artists weren't outspoken. It's taken a lot of courage and work to change the face of comic and illustration art online, and I've gotten a lot of flack for it over the years, far more than praise or support. You could change that.
LaunchingFor my thirtieth birthday, the end of my many five-year wishes, please help me achieve my dreams. Share your favorite post from my blog to your Facebook (social links are at the bottom of every post). Grab a copy of 7" Kara for yourself or a loved one or write a short review for it on GoodReads and Amazon. Please recommend 7" Kara volume 1 to a friend, a friend with children, a librarian, a school. Please write to an art supplier on my behalf, introducing them not only to my reviews, but to the fact that you are passionate about my reviews (I have company links in my sidebar). When you watch my YouTube, please watch 30 seconds of the ad for monetized content. Please share one of my videos to your Tumblr, your followers might enjoy them. If you haven't yet, and you enjoy all the community work I do, please consider supporting my Patreon. If you're family, please consider my more realistic commission options, or suggesting a friend commission a family portrait.
Without your support, nothing will change. My career will continue drifting with the tides, and my work will go unnoticed. I really need your help, as all artists need help from those who consume their work. Artists who create work for non-monetized consumption need the most support of all—we don't have reliable income from outside sources, and we depend on you to value our work appropriately and do what you can, when you can.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 16, 2016
A New Online Comic Magazine: StArt Faire
StArt Faire is a fairly new monthly online comic magazine and artist resource organized and launched by Draco Plato, the creator of the webcomic Zenchav. Their current roster of artists includes Draco, JD Benefield, and CalimonGraal, and StArt Faire is open for comic submissions from both writers and artists.
Comics that are currently running include Witch Carnival, Chronicles of Fenaur, Restitutor, and Soul Hymn, and StArt Faire hopes to add more in the future.
Page from Witch Carnival, one of the comics featured in StArt FaireYou can check out a fantastic demo issue here, or keep reading for an exclusive interview with Draco Plato regarding all things StArt Faire.
What inspired you to create StArt Faire?
The Japanese comic industry was a huge influence on me growing up and I always enjoyed the community feeling of their magazine comic system. The magazine system is such a great focus for artists because it gives them a set number of pages to do on a regular basis with a clear focus for why they’re doing it. You also are a family of sorts with the other artists working within the magazine, a team, and I think that’s a really nice way to work.
Is there any particular demographic StArt Faire is hoping to reach?
Teens to adults are the main focus for the project. Our rating is PG-13, but it’s very loose since we mainly want to prevent getting submissions that are overly graphic with their sexual situations and use of violence. In general we expect readers to be on the older end since most comic creators and readers I know personally are outside of their teens, although we’d like the content to be entertaining for teens as well.
How often can readers expect updates?
Right now the magazine is planning on updating once a month, at the beginning of every month. Depending on how the magazine grows we’ll try to update in other ways, and more often than once a month if we can. I know a few people have suggested having several magazines with different themes, so depending on how much interest there is in that we could potentially have several magazine themes that update at different times during the month in the future. There’s been a few other ideas tossed around that would create for more regular updates too, but a lot of it is still up in the air based on submissions and interest. The main thing right now is the fantasy themed magazine updating once a month.
Have you considered offering email alerts to remind readers that new chapters are available?
Yes, I think this is a good idea and is something we’ll try to get set up before the first issue is live.
The format- monthly digital magazine that you click to flip through- is the closest I've seen yet to a true digital comics magazine. This is a great way to get readers to consume ALL of the comics in the issue, which seems like the perfect way to introduce new artists along with popular favorites. What inspired you to lay StArt Faire out this way, rather than the more traditional webcomic collective method?
It’s always been my goal to make something online that was as close to a physical magazine as possible, while still utilizing the benefits of being digital. I’m still looking for more ways to further this ideal since I feel like there’s still untapped potential, but I think right now we have a good start.
This format ALSO seems ideal for long form comics that may still be in progress- it gives the readers a substantial chunk to read each month, gives them a date to expect the next installment. I really like the bookmark system too- readers have the option to read each comic individually, and save their progress. Is this an existing system, one you built, or one that has been modified?
When I had the idea I was surprised to find that there’s actually a lot of programs out there for creating digital magazines and books. Originally I thought that it would be just a bit of coding, but apparently it’s a lot more than that. There are a couple of JQuery codes for it, but they were a bit tedious and limiting for inputting the pages. The program I have for it is really easy to work with which helps me out when setting up the magazine itself. I do really like that it works well on mobile, lets you view thumbnails of the pages, and easily choose a spot within the magazine. I have some complaints about it too, but overall it’s a nice program for right now. I really love the idea of a digital magazine for something like comics, I feel for webcomics particularly it’s really a great way to be introduced to a chunk of the comic at a time, since with individual updates you usually get one page at a time weeks a part which can really hurt the pacing and reader interaction with the story.
Will readers be able to download chapters to read offline as PDFs, or will the magazine remain online only?
This is an idea we’ve been tossing around as something to offer in the future. A lot of it depends on how the artists involved in the project would feel about it, since they’re the owners of the work in the magazine. There’s also the option of just allowing the magazine PDF download for all the artists involved in the issue, since it may be easier for them to use a PDF magazine copy to promote their own work with.
In the full issue, what sort of features can readers expect to see? Do you plan on following the traditional comic magazine print model like Jump with fanart sections, letters to the editors, and editorials at any point, or is the focus firmly on comics?
The magazine content is very dependent on the kind of submissions we receive. I would love to see a lot of the traditional comic magazine type content be submitted. I’d also really like to see Indie comic reviews and news since I think that’s something that’s really missing from the indie comic community. We don’t really have a good source of news for what’s going on in our community and we’re overlooked by mainstream sites. I’d like to see that be something that’s incorporated on the website as well, but we really need some dedicated writers that share the same interest in the indie comic community before we can really push through with that idea. The other thing I’d like to see for the magazine (outside of comic submissions) would be more promotional content from creators. I would really love to see the magazine be a forum of promotion for creators so I highly encourage them to submit ads for anything they’re working on; be it comics, or a store, or their Patreon, projects, commissions. For me personally I always thought it’d be really nice to have a place to go where you could find all of that information without having to dig around for it through a sea of links, so I think other people must want to have something like that too. Helping to give artists a venue where they can promote themselves is one of StArt Faire’s aims.
When will readers be able to read chapters of Chronicles of Fenuar and Restitutor?
All current Magazine Exclusive Comics will be available to read after the first issue of the magazine is released, which will be during the first week of March. Tentatively March 1st since that’s very likely the release date for the first issue.
Right now you have a fantastic demo up, when can readers expect to see full issues?
The goal right now is the first of every month. Since this is the first issue we’ve kept the date a bit loose by saying the first week of March in order to be prepared for any disasters that may come up, but the first is looking very likely.
What sort of stories are you looking for?
We like diversity in stories, so a wide variety in subject matter would be great. The theme of the magazine is fantasy, which means there should be at least one element of fantasy in the story. How we define fantasy is any element that’s outside of the ordinary, so it’s very broad. So broad really that I’d say the only thing we don’t particularly want to see are comic submissions that are strictly based on the creator’s every day life. Maybe we’ll make a magazine with a theme for that in the future, but that’s not something we’re currently looking for.
What type of art?
We’re open to most styles but there are a few we’re not really looking for; such as photo based comics, or stick figure comics. There’s also a quality standard, so submissions need to be approved before being accepted. One thing I’ll say is that we don’t want to see artists sacrifice quality for quantity. This is something I’ve had several artists suggest and I don’t think it’s fair to the magazine to give substandard work. Please only submit your best work, and make sure when submitting an idea that you show us what style you’re planning to use in your comic. As a comic artist myself I completely understand time constraints, which is why there’s the option for artists to submit as a Magazine Exclusive Comic every other month if that’s easier for them. We would much rather that than an artist sacrifice their quality of work to meet a deadline.
Can creators who started out on their own site submit their comic to StArt Faire?
The idea is for Magazine Exclusive Artists to begin their comic for the magazine in the magazine, rather than having already been posting it elsewhere. This is also so that the newest pages of the comic will always be read first in the magazine. We do have the option to submit as a Featured Comic, which is a preview for a comic that’s already available online. An artist can only submit their comic once as a Featured Comic though.
What length is StArt Faire typically looking for in a submission?
Our minimum page submission a month for comics is four pages and a cover, and our maximum is ten pages and a cover. Artists can also submit ads separate from their comic submissions, but ads should be kept to one page. Articles can be up to two pages in length.
Are one shots also welcome?
Yes~! Ones shots can be up to 24 pages and a cover.
Would StArt Faire be open to motion comics in the future?
This is a great idea, I’ll need to look into the how to of making it happen, but I definitely think this is something we could do if someone was interested in submitting one.
For artists who are accepted, what does the submission process look like? How will artists submit pages to StArt Faire, and how does the editor determine how many pages to include?
All submissions are sent to StArtFaire@StArtFaire.com , for anyone interested in submitting I recommend reading the submissions page . We have a page for artists and another page for writers.
For Magazine Exclusive Comics we’d like artists to send us a brief summary of the story they want to do for the magazine and an example of the style they’re going to do for that specific comic. The comic doesn’t need to be drawn yet since it’s supposed to start in the magazine, but we do need to see the style it’ll be in, that’s very important so we can gauge your quality of work.
For Featured Comics we just need a link to where we can read your work online to see if it’s appropriate for the magazine. If it’s accepted we’ll ask for up to ten pages of anywhere in the comic you think will represent it best, in the size closest to our magazine size of 1440px height x 960 px width, along with a cover that has the title of your comic on it and the link to where it can be read online. One shots and short two issue stories submissions are the same as Magazine Exclusive submissions, and for everything else feel free to submit them as an attachment to us in an email. For writing sometimes we do like to help with editing if it’s needed so we like those to be sent in an editable format. If anyone needs help with any aspect of any part of the submission process we’re always more than happy to help so don’t be shy if you have a question regarding anything.
As the magazine grows, will StArt Faire also include the option for a webcomic collective/ community like SpiderForest, an online magazine with a paid subscription model like Sparkler, or to include an ad network like HiveWorks?
I don’t think StArt Faire is that different from a collective, but I do think we’re more of a team. In collectives it’s more just a collection of comic links, but in StArt Faire we’re part of a magazine which is a group project. We’re all meeting a deadline together, and we all want to see the magazine do well and grow, which is why I think team is more appropriate than collective. We’re more invested in promoting our work and the work of others in this project than I think a collective would be. I do like the HiveWorks model, I’m very fond of what they’ve done and I’d like to incorporate some of those creator benefits within the StArt Faire project as well, particularly with promoting artists. We haven’t really decided if we want to incorporate an ad network yet for artists, I think this is something I’ll bring up with the artists themselves to get more of an opinion on. As for Sparkler Monthly’s paid subscription model, that’s something I’d like to avoid. I’d like the online magazine to always be free for readers and artists alike.
As StArt Faire grows, do you have any intentions or plans for monetization?
StArt Faire is a non profit project, it’s run by an artist for artists. We have been trying to think of ways to monetize it for the artists but we haven’t narrowed it down to anything concrete quite yet.
If so, how?
The main idea being tossed around was for a Patreon under the magazine name where all the money was divided between the Magazine Exclusive Artists. This presented a few complications though, since the number of Magazine Exclusive Artists would need to be limited then to keep the split within the same range. Limiting the number of artists would create a very first come first serve comic line up within the magazine, where potentially really amazing comics would be turned away just because all the Exclusive slots were full. There was then the idea of making a Gold Tier for Magazine Exclusive Artists where artists based on the popularity of their comic would be the Patreon receivers, that way we could continue to allow new artists to submit comics to the magazine while also keeping an even split of whatever the Patreon would be. The problem with this is that the magazine would then become a popularity contest which isn’t a mindset we really want to promote. While we’re still actively trying to think of ways to help monetize the project for the artists involved we do highly encourage Magazine Exclusive Artists to make individual Patreons and stores that we can help them to promote and direct people towards for right now.
Are there any partnerships or collaborations in the works for StArt Faire?
StArt Faire is itself a collaborative project between dedicated artists and writers. We’re always open to new ideas though if there are other ways that people are interested in collaborating with us.
After a year of digital publication, is StArt Faire considering offering physical copies of the comics currently published? If so, what's the game plan for sales and distribution? Kickstarter?
Opening an online shop? StArt Faire makes no claim of ownership towards the comics released in it so their being published is up to the creators behind the comics. Having said that we definitely want to see the comics do well and have successful Kickstarters and publications, so we will do everything we can to help support that. Our game plan right now is to get the magazine up and running since we still need to release our first issue. So our main priority has been getting submissions and Magazine Exclusive Artists. After that we need to make sure it can sustain itself in a steady momentum for issues to come, and then once we know that it can we can think more in terms of how to make it grow further and reach more people. We do plan to open an online store at some point in the near future too.
Where do you see StArt Faire in two years?
I’d like three things for the magazine: 1. For it to be a place to read awesome new and ongoing comics 2. For it to be a promotional venue for creators 3. For it to be a source of indie comic news. Hopefully these are things that will happen within the next two years.
What can fans do to help StArt Faire thrive?
Submitting is huge, I think a lot of people think they can only submit a Magazine Exclusive Comic, and that’s really just one aspect of the magazine. There are so many other ways to submit. We’re looking for articles, tutorials, ads, we’re open to every and anything right now so if you have an idea please don’t shy away from throwing it out there for us to see. Because we’re new this is such a great opportunity since the potential for what we can allow in is still wide open. Other ways people can help is by mentioning StArt Faire on forums and social media sites where other people may be interested in it. Reading the magazine when it comes out is also a great way to help support it. Sharing it, talking about, supporting the creators who are dedicating their time to it by reading their other works and letting them know what you think. Feedback is in itself such a great way to support artists since so often being an artist is like screaming into a void. And then of course helping to support those artists on their Patreons if they have one or choose to have one in the future.
Make sure to visit our site for more information
Twitter is also a great place to reach us
You can also get in touch with me on my personal Twitter
Submission Goodies!
Below you'll find a template for comic pages and articles, so keep reading!
Comic Template
Article Sample, full of super helpful information for submitting to StArt Faire as a writerPlease consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 13, 2016
Waterbased Marker Review: Zig Brushables WIP
I'm always interested in finding artist quality waterbased markers. I know some of my readers are highly sensitive to strong smells, so alcohol markers may not be an option for them, and waterbased markers are a cheaper alternative that has low if any odor. Unfortunately, most of the waterbased markers I've tested on this blog, when used as waterbased markers, have a tendency to tear up the paper. So far, the only exception to this has been Up and Up's Supertip waterbased markers, which are increasingly hard to find in stores.
Some of the more promising waterbased markers I've tested have only been tested on their ability to perform as watercolor markers (Tombow ABT, Zig Art and Graphic Twin), and I need to revisit those markers to see how they perform as dry waterbased markers. Other markers like Zig Clean Color and Sakura Koi Coloring Brush markers were tested as both watercolor markers and waterbased markers, but didn't impress me enough to adopt them into my regular work. Some of these markers may prove to perform better on coated marker papers (which I don't usually test for), and may end up with a higher recommendation than they initially started with.
To me, however, the most promising waterbased markers of all are Zig's Brushables. I've reviewed many, MANY Kuretake Zig products over the years (just check out my Review Section), and I'm generally very happy with the quality of their products. If you happen to be happy with the quality of my reviews, you should let Kuretake Zig know on my behalf by contacting them! Your good word and support goes such a long way!
The Brushables markers are one of the waterbased marker types I've been most excited to review- you basically get two colors in one brush marker. One side has a tint, and the other a hue, which should make blending much easier. My first introduction to Brushables was with an ArtSnacks from last year. For awhile, I had just that one marker and when I decided to give Brushables a firm review, I ordered a few more online. Those sat for awhile as my marker review standards changed drastically, and in order to properly review Brushables by current standards, I needed some skintones and hairtones. A trip to Pla-Za introduced me to brick and mortar Brushables openstock, so depending on your local art stores, you may be able to purchase or request Brushables and try them out in person.
If you're interested in buying your own Brushables and would like to help support this blog, please consider buying your Brushables through my affiliate links
Zig Memory System Marker Set, Assorted Colors- $89,99 via Amazon
Brushables, mixed listings, via Amazon
The Stats
One end is a popular color from the Zig Memory system, the other is a 50% tint. This makes these markers easy to color match with other Zig Memory system products.Available in sets from Marker Supply ($11.91 for 4 in a color family), Amazon (prices vary)Available openstock from Scrapbook.com ($2.89), Paper and Ink Arts ($2.77), Amazon (prices vary)LightfastAcid freeWaterproof when dryCan be blended with other brush tip markers from the Zig Memory System (can be used with Zig Art and Graphic Twin markers, for example)Recommended for lettering24 markers, 48 colorsNon-refillableAvailable in sets of 4 (color families) or 24 (all available markers), also available in large Zig Memory System Sets with other Zig Memory System markers- Zig Memory System Set, Assorted colors, Zig Memory System Scroll and Brush 48 Color Set
Digital Color Chart
Image Source
The Markers
I purchased all of my Zig Brushable markers openstock, so I can't comment on the packaging. It probably would have been smarter for me to save a little money and buy a couple sets, but my Pla-Za only had them available openstock, no sets, and I'd already committed to ordering a few colors online.
Zig Brushables currently have two body designs in production- the older, whiter body and the newer, cream colored body.
Other than minor external differences, the two markers are pretty much the same.
The nibs on both sides are the same size, and both have color coordinated collars and caps. Each marker has only one name that's used to capture both the hue and the tint.
Comparison Shots
Since I've reviewed so many waterbased brush markers in the past year, I pulled a few of the most similar out for some comparisons shots. Below are the Zig Art and Graphic Twin (part of the Zig Memory System, and compatible with Brushables), Tombow ABT markers, Marvy LePlume II markers, Distress watercolor markers, Sakura Koi Coloring Brush markers, and Zig Clean Color Real Brush markers.
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real Brush
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real Brush
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real Brush
The Swatch Test- Completed on Hot Press Watercolor Paper (smooth surface, no coating)
Left is original hue, right is tint On watercolor paper, Brushables go down fairly smoothly and streak free.
Blending Tests- On Hot Press Watercolor Paper
I selected this paper for its smooth surface, but lack of surface coating. This paper is durable and should be able to withstand a bit of scrubbing while still wet.
Blending back and forth caused some surface pilling on the hot press paper, as the brushes scrubbed against the damp surface.
Blending marker into marker for continuous gradation
I've purchased all of my Brushables openstock, but I assume that if you purchased a color family 4 pack, you would be able to blend all four of the markers (8 colors total) into a fairly even gradient. I did have two consecutive colors in the Violet/Purple family- Lunar Lavender and English Lavender, so I decided to put this theory to the test.
It's not a perfect blend (the darkest lavender is a little too dark) but it's a fairly decent blend that would be useful for shading.
Blending out with a Blender Marker (Tombow ABT)
On hot press watercolor paper, Zig Brushables cannot be blended with a Tombow ABT waterbased colorless blender.
Blending with Water while Ink is Wet
These markers are permanent once dry (india ink maybe?) so if you want to blend them, you need to do so while the ink is still wet. On absorbent papers like hot press watercolor paper, this is a little difficult to accomplish, so you need to work fast. On papers like this, you CAN use water as a blending tool, although it will not be a perfect blend- you'll still have a fairly harsh line where your marker went down.
The Dry Test (on Winsor and Newton Pigment Marker Paper)
My first full size Brushables test was on Winsor and Newton's Pigment Marker paper. This marker paper has a coating on the surface that allows artists to blend the Pigment Markers a little more easily, and I figured this coating might prevent the Brushables from soaking in immediately, and allow me to blend and layer without the paper pilling.
This piece was penciled and then inked with my trusty Sailor Mitsuo Aida brushpen. This pen is, generally, waterproof and Copic proof, and it's my defacto inking utensil for many of my watercolor tests.
Unfortunately the Mitsuo Aida ink reactivated with zealous application of Brushable (this is due to the paper, not the pen or the markers), so although the paper takes Brushables well, and allows for blending, it's not an idea paper if you enjoy inking your pieces beforehand.
Since the Brushables worked fairly well on this paper, and my color selection is a bit limited, I broke out my Zig Art and Graphic Twin markers, which are also part of the Zig Memory System. The Zig Art and Graphic Twin markers are also waterbased, although they are not permanent once dry, and can be used as watercolor markers.
The Zig Art and Graphic Twin markers were pretty juicy on this paper, and took awhile to dry, leaving puddles of ink on the paper surface as they did so.
If you're interested in how Zig Brushables and Zig Art and Graphic Twin markers handle on this paper, please watch the video below. As always, if you enjoyed that video, please consider leaving a like and subscribing to my channel for more content like it.
Insert Video Field Test Here
The Dry Test (on cold press watercolor paper)
In this test, I used the Zib Brushables (and only Zig Brushables this time) like watercolor markers for Kara's face, using a side palette of wax paper to apply color carefully with a brush. In more saturated areas, I utilized a direct application and attempted to blend out with a waterbrush while the Brushable ink was still wet. These markers do not perform nearly as well as the Zig Art and Graphic Twin markers as watercolor markers, and as dry markers on cold press watercolor paper, these waterbased markers are prone to streaking. Working areas that are still wet causes pilling.
If you're interested in a step by step process of this piece, as well as my thoughts while using these markers, please watch the video below. If you enjoyed the video, please consider liking and subscribing to my channel.
Insert video here
The Dry Test (on hot press watercolor paper)
I thought a sturdy, smooth surface paper like hot press watercolor paper might fare a little better, so I pulled out my gummed pad of Fluid Hot Press.
My tools for this test were pretty straightforward: A piece of waxed scrap paper for a palette, a waterbrush full of clean water, hot press watercolor paper, and my Zig Brushables.
As with many other tests, this test was inked with my trusty Sailor Mitsuo Aida double sided fude pen, and allowed to 'cure' for 24 hours before applying color.
Since Fawn can be a little dark for Kara's skin, and I wanted the ability to build up shadow, I applied the tint of Fawn to my wax paper palette, and brushed that on with the waterbrush.
I filled in Kara's hair using the tint of Rootbeer. Since I wanted the ability to build up color, I used the same watercolor application technique that I had used for Kara's skin.
Both of these applications went down smoothly and fairly streak free.
For Kara's dress, I knew it was time to dive in, and see how the Brushables handled on hot press watercolor paper for a dry application. My initial layer of Kara's dress was carefully applied, but it was very difficult to avoid streaks on large areas.
The shadows on Kara's skin were applied directly. I thought the contrast was a bit harsh, so I tried to blend it out with water.
Unfortunately, the hot press paper is too absorbant, and the ink wasn't wet enough to allow for blending.
I also tried to apply shading to Kara's dress. Blendable ink builds up saturation quickly, so it was darker than I had wanted.
If you want to utilize watercolor techniques for initial color applications, I highly recommend you let the area dry fully before attempting any direct marker applications- damp paper is prone to pilling. I didn't have that issue with this test, as I gave my paper adequate drying times.
The brush part of Zig Brushables is much smaller and stiffer than those on the Zig Art and Graphic Twin, and it's capable of some very fine details and sharp lines.
The final layer of shadow on Kara's dress was applied using the darker shade of Splash, and it seemed too dark compared to the much lighter hue of Splash, which was darker than the cap indicated.
It took awhile to render with these markers, as I had to be patient and wait for the ink to fully dry before I could apply another layer.
Insert video here
The Verdict
These markers are chimerical- I enjoyed how they handled on the Winsor and Newton Pigment Marker paper, which has a coating, but I wasn't happy that on that paper, they reactivated the Sailor Mitsuo Aida ink I had used for inking the lineart. Of course, what DOESN'T reactivate Sailor Mitsuo Aida ink on that paper?
I was much less excited about how these markers swatched as watercolor markers- it's fine for delicate colors like Fawn, but darker colors don't handle water very well, and I found that waterbased blender markers like my go-to Tombow ABT don't blend these markers as well as I had hoped. In terms of blendability, these markers handle worse than Up and Up's supertip markers (which blended very nicely on watercolor paper), but do blend decently well into each other. The fact these markers include a tint AND the hue really helps- it extends the use of each individual marker, and makes selecting colors for blending so much easier.
Still, I think on the right paper (possibly a coated marker paper, or a vellum) I think these markers have the potential to handle really well, and maybe even serve for some artists as an alternative for alcohol markers. I definitely plan on revisiting these, Tombow ABT waterbased markers, and Zig Art and Graphic Twin markers to see how they handle on a few marker papers.
In general, these markers are very affordable, and they're becoming increasingly available open stock in brick and mortar stores. I recommend checking there first before ordering from Amazon, as the prices tend to be much more reasonable in store. For some colors, Amazon wants $10+ per marker, which is ridiculous. If you're part of a cardmaking or stamping group, your group may be able to put in a group order with Kuretake for further savings.
EDITORS NOTE: I am currently undergoing a MASSIVE marker and paper compatibility test, and I'm Zig Brushables, so if you're intrigued by these brush tipped, waterbased markers, please keep checking the blog (and the Youtube!) for updates.
More about Zig Brushables, including tutorials
Brushables- KuretakeUK
Zig Brushables; Introduction & Techniques- Billie's Craft Room
#95 Elizabeth Crafts Peel Stickers, Glitter & Zig Brushables Markers by Scrapbooking Made Simple-ScrapMadeSimple
Lettering with Music- Martha Lever
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
Some of the more promising waterbased markers I've tested have only been tested on their ability to perform as watercolor markers (Tombow ABT, Zig Art and Graphic Twin), and I need to revisit those markers to see how they perform as dry waterbased markers. Other markers like Zig Clean Color and Sakura Koi Coloring Brush markers were tested as both watercolor markers and waterbased markers, but didn't impress me enough to adopt them into my regular work. Some of these markers may prove to perform better on coated marker papers (which I don't usually test for), and may end up with a higher recommendation than they initially started with.
To me, however, the most promising waterbased markers of all are Zig's Brushables. I've reviewed many, MANY Kuretake Zig products over the years (just check out my Review Section), and I'm generally very happy with the quality of their products. If you happen to be happy with the quality of my reviews, you should let Kuretake Zig know on my behalf by contacting them! Your good word and support goes such a long way!
The Brushables markers are one of the waterbased marker types I've been most excited to review- you basically get two colors in one brush marker. One side has a tint, and the other a hue, which should make blending much easier. My first introduction to Brushables was with an ArtSnacks from last year. For awhile, I had just that one marker and when I decided to give Brushables a firm review, I ordered a few more online. Those sat for awhile as my marker review standards changed drastically, and in order to properly review Brushables by current standards, I needed some skintones and hairtones. A trip to Pla-Za introduced me to brick and mortar Brushables openstock, so depending on your local art stores, you may be able to purchase or request Brushables and try them out in person.
If you're interested in buying your own Brushables and would like to help support this blog, please consider buying your Brushables through my affiliate links
Zig Memory System Marker Set, Assorted Colors- $89,99 via Amazon
Brushables, mixed listings, via Amazon
The Stats
One end is a popular color from the Zig Memory system, the other is a 50% tint. This makes these markers easy to color match with other Zig Memory system products.Available in sets from Marker Supply ($11.91 for 4 in a color family), Amazon (prices vary)Available openstock from Scrapbook.com ($2.89), Paper and Ink Arts ($2.77), Amazon (prices vary)LightfastAcid freeWaterproof when dryCan be blended with other brush tip markers from the Zig Memory System (can be used with Zig Art and Graphic Twin markers, for example)Recommended for lettering24 markers, 48 colorsNon-refillableAvailable in sets of 4 (color families) or 24 (all available markers), also available in large Zig Memory System Sets with other Zig Memory System markers- Zig Memory System Set, Assorted colors, Zig Memory System Scroll and Brush 48 Color Set
Digital Color Chart
Image Source
The Markers
I purchased all of my Zig Brushable markers openstock, so I can't comment on the packaging. It probably would have been smarter for me to save a little money and buy a couple sets, but my Pla-Za only had them available openstock, no sets, and I'd already committed to ordering a few colors online.
Zig Brushables currently have two body designs in production- the older, whiter body and the newer, cream colored body.
Other than minor external differences, the two markers are pretty much the same.
The nibs on both sides are the same size, and both have color coordinated collars and caps. Each marker has only one name that's used to capture both the hue and the tint.
Comparison Shots
Since I've reviewed so many waterbased brush markers in the past year, I pulled a few of the most similar out for some comparisons shots. Below are the Zig Art and Graphic Twin (part of the Zig Memory System, and compatible with Brushables), Tombow ABT markers, Marvy LePlume II markers, Distress watercolor markers, Sakura Koi Coloring Brush markers, and Zig Clean Color Real Brush markers.
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real Brush
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real Brush
From top to bottom: Marvy LePlume II, Zig Art and Graphic Twin, Tombow ABT, Distress watercolor marker, Zig Brushable, Sakura Koi Coloring Brush, Zig Clean Color Real BrushThe Swatch Test- Completed on Hot Press Watercolor Paper (smooth surface, no coating)
Left is original hue, right is tint On watercolor paper, Brushables go down fairly smoothly and streak free.Blending Tests- On Hot Press Watercolor Paper
I selected this paper for its smooth surface, but lack of surface coating. This paper is durable and should be able to withstand a bit of scrubbing while still wet.
Blending back and forth caused some surface pilling on the hot press paper, as the brushes scrubbed against the damp surface.
Blending marker into marker for continuous gradation
I've purchased all of my Brushables openstock, but I assume that if you purchased a color family 4 pack, you would be able to blend all four of the markers (8 colors total) into a fairly even gradient. I did have two consecutive colors in the Violet/Purple family- Lunar Lavender and English Lavender, so I decided to put this theory to the test.It's not a perfect blend (the darkest lavender is a little too dark) but it's a fairly decent blend that would be useful for shading.
Blending out with a Blender Marker (Tombow ABT)
On hot press watercolor paper, Zig Brushables cannot be blended with a Tombow ABT waterbased colorless blender.
Blending with Water while Ink is Wet
These markers are permanent once dry (india ink maybe?) so if you want to blend them, you need to do so while the ink is still wet. On absorbent papers like hot press watercolor paper, this is a little difficult to accomplish, so you need to work fast. On papers like this, you CAN use water as a blending tool, although it will not be a perfect blend- you'll still have a fairly harsh line where your marker went down.
The Dry Test (on Winsor and Newton Pigment Marker Paper)
My first full size Brushables test was on Winsor and Newton's Pigment Marker paper. This marker paper has a coating on the surface that allows artists to blend the Pigment Markers a little more easily, and I figured this coating might prevent the Brushables from soaking in immediately, and allow me to blend and layer without the paper pilling.
This piece was penciled and then inked with my trusty Sailor Mitsuo Aida brushpen. This pen is, generally, waterproof and Copic proof, and it's my defacto inking utensil for many of my watercolor tests.
Unfortunately the Mitsuo Aida ink reactivated with zealous application of Brushable (this is due to the paper, not the pen or the markers), so although the paper takes Brushables well, and allows for blending, it's not an idea paper if you enjoy inking your pieces beforehand.
Since the Brushables worked fairly well on this paper, and my color selection is a bit limited, I broke out my Zig Art and Graphic Twin markers, which are also part of the Zig Memory System. The Zig Art and Graphic Twin markers are also waterbased, although they are not permanent once dry, and can be used as watercolor markers.
The Zig Art and Graphic Twin markers were pretty juicy on this paper, and took awhile to dry, leaving puddles of ink on the paper surface as they did so.
If you're interested in how Zig Brushables and Zig Art and Graphic Twin markers handle on this paper, please watch the video below. As always, if you enjoyed that video, please consider leaving a like and subscribing to my channel for more content like it.
Insert Video Field Test Here
The Dry Test (on cold press watercolor paper)
In this test, I used the Zib Brushables (and only Zig Brushables this time) like watercolor markers for Kara's face, using a side palette of wax paper to apply color carefully with a brush. In more saturated areas, I utilized a direct application and attempted to blend out with a waterbrush while the Brushable ink was still wet. These markers do not perform nearly as well as the Zig Art and Graphic Twin markers as watercolor markers, and as dry markers on cold press watercolor paper, these waterbased markers are prone to streaking. Working areas that are still wet causes pilling.
If you're interested in a step by step process of this piece, as well as my thoughts while using these markers, please watch the video below. If you enjoyed the video, please consider liking and subscribing to my channel.
Insert video here
The Dry Test (on hot press watercolor paper)
I thought a sturdy, smooth surface paper like hot press watercolor paper might fare a little better, so I pulled out my gummed pad of Fluid Hot Press.
My tools for this test were pretty straightforward: A piece of waxed scrap paper for a palette, a waterbrush full of clean water, hot press watercolor paper, and my Zig Brushables.
As with many other tests, this test was inked with my trusty Sailor Mitsuo Aida double sided fude pen, and allowed to 'cure' for 24 hours before applying color.
Since Fawn can be a little dark for Kara's skin, and I wanted the ability to build up shadow, I applied the tint of Fawn to my wax paper palette, and brushed that on with the waterbrush.
I filled in Kara's hair using the tint of Rootbeer. Since I wanted the ability to build up color, I used the same watercolor application technique that I had used for Kara's skin.
Both of these applications went down smoothly and fairly streak free.
For Kara's dress, I knew it was time to dive in, and see how the Brushables handled on hot press watercolor paper for a dry application. My initial layer of Kara's dress was carefully applied, but it was very difficult to avoid streaks on large areas.
The shadows on Kara's skin were applied directly. I thought the contrast was a bit harsh, so I tried to blend it out with water.
Unfortunately, the hot press paper is too absorbant, and the ink wasn't wet enough to allow for blending.
I also tried to apply shading to Kara's dress. Blendable ink builds up saturation quickly, so it was darker than I had wanted.
If you want to utilize watercolor techniques for initial color applications, I highly recommend you let the area dry fully before attempting any direct marker applications- damp paper is prone to pilling. I didn't have that issue with this test, as I gave my paper adequate drying times.
The brush part of Zig Brushables is much smaller and stiffer than those on the Zig Art and Graphic Twin, and it's capable of some very fine details and sharp lines.
The final layer of shadow on Kara's dress was applied using the darker shade of Splash, and it seemed too dark compared to the much lighter hue of Splash, which was darker than the cap indicated.
It took awhile to render with these markers, as I had to be patient and wait for the ink to fully dry before I could apply another layer.
Insert video here
The Verdict
These markers are chimerical- I enjoyed how they handled on the Winsor and Newton Pigment Marker paper, which has a coating, but I wasn't happy that on that paper, they reactivated the Sailor Mitsuo Aida ink I had used for inking the lineart. Of course, what DOESN'T reactivate Sailor Mitsuo Aida ink on that paper?
I was much less excited about how these markers swatched as watercolor markers- it's fine for delicate colors like Fawn, but darker colors don't handle water very well, and I found that waterbased blender markers like my go-to Tombow ABT don't blend these markers as well as I had hoped. In terms of blendability, these markers handle worse than Up and Up's supertip markers (which blended very nicely on watercolor paper), but do blend decently well into each other. The fact these markers include a tint AND the hue really helps- it extends the use of each individual marker, and makes selecting colors for blending so much easier.
Still, I think on the right paper (possibly a coated marker paper, or a vellum) I think these markers have the potential to handle really well, and maybe even serve for some artists as an alternative for alcohol markers. I definitely plan on revisiting these, Tombow ABT waterbased markers, and Zig Art and Graphic Twin markers to see how they handle on a few marker papers.
In general, these markers are very affordable, and they're becoming increasingly available open stock in brick and mortar stores. I recommend checking there first before ordering from Amazon, as the prices tend to be much more reasonable in store. For some colors, Amazon wants $10+ per marker, which is ridiculous. If you're part of a cardmaking or stamping group, your group may be able to put in a group order with Kuretake for further savings.
EDITORS NOTE: I am currently undergoing a MASSIVE marker and paper compatibility test, and I'm Zig Brushables, so if you're intrigued by these brush tipped, waterbased markers, please keep checking the blog (and the Youtube!) for updates.
More about Zig Brushables, including tutorials
Brushables- KuretakeUK
Zig Brushables; Introduction & Techniques- Billie's Craft Room
#95 Elizabeth Crafts Peel Stickers, Glitter & Zig Brushables Markers by Scrapbooking Made Simple-ScrapMadeSimple
Lettering with Music- Martha Lever
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 10, 2016
Kamicon 2016 Con Announcement
Hey guys! I'll be at Kamicon this weekend in Birmingham, Alabama! I'll have all sorts of goodies, including miniprints, mini comics, copies of Chainmail Bikini, and lots more. I've been working on a few new designs for buttons, bookmarks, and prints, and I'm excited to debut them this weekend!
I'm doing lucky dip bags while supplies last- $7 per bag, each bag is valued from at least $10-$20+, with most bags being worth $14. Goodies can include stickers, mini watercolors, mini prints, sassy buttons, and wooden charms.
New Prints
In addition to these new designs, I'll also have my print portfolio full of adorable mini print goodness like dino sets, Steven Universe sets, and more original art.
4"x6" prints are $1 each or sold as sets!
New Bookmarks
In addition to these new designs, I'll also have old favorites like Usagi and Mako, as well as my cute witch and cyclops. Bookmarks have a design on the front, and decorative paper on the back, are laminted, and have a ribbon tie. Any bookmark is just $3!
New Buttons
Not only do I haven new 1.5" button designs, but I have new sassy buttons (limited quantities, so come by early!) and cute little decorated 1.5" buttons.
New Mini Watercolors
New Goodies
To satisfy your sweet tooth, I have these adorable hand assembled barrettes, pins, and bows.
I'll also have copies of Chainmail Bikini, 7" Kara, and my mini comics- Magical Girl March, Favorite Fictional Femmes, and Artistically Challenged for sale while supplies last. I'm taking commissions all weekend, so if you'd like to purchase one, come by early and flip through my sketch portfolio.
So if you're in the Birmingham Alabama area, make sure you swing by Kamicon to say hi, and check out all the new stuff!
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
I'm doing lucky dip bags while supplies last- $7 per bag, each bag is valued from at least $10-$20+, with most bags being worth $14. Goodies can include stickers, mini watercolors, mini prints, sassy buttons, and wooden charms.
New Prints
In addition to these new designs, I'll also have my print portfolio full of adorable mini print goodness like dino sets, Steven Universe sets, and more original art.
4"x6" prints are $1 each or sold as sets!
New Bookmarks
In addition to these new designs, I'll also have old favorites like Usagi and Mako, as well as my cute witch and cyclops. Bookmarks have a design on the front, and decorative paper on the back, are laminted, and have a ribbon tie. Any bookmark is just $3!
New Buttons
Not only do I haven new 1.5" button designs, but I have new sassy buttons (limited quantities, so come by early!) and cute little decorated 1.5" buttons.
New Mini Watercolors
New Goodies
To satisfy your sweet tooth, I have these adorable hand assembled barrettes, pins, and bows.
I'll also have copies of Chainmail Bikini, 7" Kara, and my mini comics- Magical Girl March, Favorite Fictional Femmes, and Artistically Challenged for sale while supplies last. I'm taking commissions all weekend, so if you'd like to purchase one, come by early and flip through my sketch portfolio.
So if you're in the Birmingham Alabama area, make sure you swing by Kamicon to say hi, and check out all the new stuff!
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 7, 2016
March 2016 ArtSnacks Vs. Sketchbox
This post was sponsored by my Patreon and my Patrons. The SketchBox year subscription was purchased by me, the ArtSnacks year suscription was purchased by my mother as a Christmas present.
Thank you so much to my Patrons on Patreon for pledging enough to make posts like this possible. Without my Patron's generous support, we wouldn't've hit the $15 a month goal necessary for unlocking March's ArtSnacks Vs. SketchBox review. If you enjoy content like this, and would like to help produce more, please consider pledging to the Patreon .
Special February Thanks to:
Wayne Norris
Andrew Blake
C. Ellis
Entreat
And to Ristro, for joining us in March!
I apologize that this post has taken a little while to go live- I've worked on it steadily, but March has been one fire after another. I really need an assistant to help with some of the more basic tasks- fact checking, basic photography, laying out the post, but the Studio doesn't make enough at this time for us to afford to hire the extra help. I appreciate your patience regarding the delay.
Previous SketchBox Vs. ArtSnacks
January- Winner: ArtSnacks
February- Winner: SketchBox
SketchBox Basic: $25mo+$5 Shipping/$240 yr (Monthly subs include an additional $5 for shipping)
ArtSnacks: $20mo/$200 yr (shipping included)
March SketchBox (Basic) Includes:
Copic Wide in V15Wallet of 20 Stabilo Point 88 Fineliners
March ArtSnacks Includes
Irojiten Pencil (kingfisher)KUM Longpoint 2 Step SharpenerUni Posca Ultra Fine PaintmarkerKoh-I-Noor Progresso ColorpencilLiquitex 2mm Paint marker
To the left: March ArtSnacks. To the right, March SketchBox Basic
SketchBoxThis Month's SketchBox Brands are
CopicStabilo
March SketchBox (Basic) Vs ArtSnacks Unboxing- Nattosoup
SketchBox Unboxing
March SketchBox Overview and Demonstration-Nattosoup
The Included Cards
The card reads:
"This Month we're featuring line art products that will allow you to have some serious precision in your work. Line art rose to prominence during the print era where it was the standard illustration technique.
Inside this month's basic bbox you'll find 21 items to use in your own line art piece, or add finer details to any of your other work. There's a full 20 PIECE SET (sic) of Stabilo Point 88 fineliners. These .4mm pens feature waterbased ink in vibrant colors, formulated to sustain a long cap-off time.
We included a Copic wide (sic) marker. Copic markers are one of our most requested items, a true favorite by artists around the globe. The Copic wide marker is 3 times wider than the original copic (sic) marker and allows you the freedom to use either the wide edge or the fine tip of the nib. THese markers feature an alcohol based ink and are refillable!
Have fun and remember to tag your art with #SketchBoxMarch if you'd like to be included in our monthly contest- the winner gets their art printed on a future box lid!
If you received SketchBox as a gift, and this is your last box- please sign up at www.getSketchBox.com to keep your boxes coming. Use coupon code "COMEBACK" to save 10% on your order."
The card reads:
March Featured ArtistCody Ruse
Creating art that catches your eye the second you notice it and makes you wonder how so many small details being brought together can make a whole piece of work is what I do. Whether it's portraits or animals, I love the idea of being able to bring together so many aspects of drawing that seem simple and almost basic to produce images. The combination of patterns, geometric shapes, fine lines and texture is inspired by my desire to make my work as aesthetically pleasing as I possibly can. My process is like an alternate universe. The concept of time is warped as I spend, what feels like the blink of an eye but is actually, hours upon hours immersed in the details and watching the lines work together to create a final piece.
Check out more of his art on instagram @CodyRuseArt
We're so thankful for the talent that Cody shared with us, if you'd like to get your art featured- email an example of your work to us at
info@sketchbox.com
The Goods
Copic Wide in V17
Longtime readers know I use Copic Wides to quickly lay down washes of alcohol marker. I first utilized this technique when rendering an alternate cover of 7" Kara Chapter 1, and have regularly used it since. V17 is a darker color than I would usually purchase in Wides, but it encouraged me to break out the adhesive frisket and give masking a shot.
20 piece Stabilo Point 88 wallet
I've used Stabilo Point 66 bullet nibbbed pens in the past for faux inkwash techniques that you can check out on this blog. These fineliners are very water soluable, making them inappropriate for waterbased techniques, but perfect for use with alcohol markers. This set of 20 is pretty handy, and comes in a reusable wallet.
The Breakdown for the Basic Box:Copic Wide: $5.99 on Markerpop
Stabilo Point 88 Waterbased Fineliners: $12.45 with Prime on Amazon
Total Value: $18.44
Total Paid: $30 (including Shipping)
The Premium Box
Sketchbox March 2016 Unboxing- abcohende
SketchBox Premium March Instagram Photos
HereHere
The Breakdown
The premium seems to have different box art this month from the basic, although the interior art seems the same.
Cards
Sticker
Packing material
Daler Rowney Simply Pocket Sketchook- best guess cost $2.99 on Amazon
Ironlak 16 Color, .4mm Fineliners- $24.99 on Amazon, $16.35 on TPY Copic Wide: $5.99 on Markerpop (see above)
NOTE: The Simply line is Daler Rowney's lowest end for supplies. You can read more about that line in my review of Daler Rowney's Simply Watercolors here. I'm having trouble finding the one shown in the unboxing photos and video (it may be a sample), but it seems similar to Moleskine's sample pocket sketchbooks, and you can find other Simply sketchbooks on Amazon . Although not the same, the smallest Simply sketchbook I could find was 5.5"x8.5" wirebound for $2.99+$7.95 shipping with Daler-Rowney's Amazon site
I'm not particularly familiar with Ironlak's fineliners, so I can't honestly say if they perform better than the Stabilo fineliners included in the Basic Box. I do know that Ironlak is a brand of art supplies geared towards graffiti artists, and they make black books, alcohol markers, paints, and fineliners geared towards that market. The Ironlak site (http://ironlak.com/product_markers.html) has no information available about their fineliners, so I'm not even sure if they're waterbased or alcohol based, or if they're permanent once dry.
Total Value: $25.33
Total Paid: $40 (including shipping)
ArtSnacks
This Month's ArtSnacks Brands Are:
Tombow
KUM
Uni
Koh-i-noor
Liquitex
ArtSnacks Unboxing
March ArtSnacks Overview and Unboxing
ArtSnacksArtSnacks is turning 3!
Here's what's on the Menu for March
KUM Automatic Long Point Sharpener$10.65 retail
Staff Favorite How many mile-s of pencil have you ground away over the years, trying to create a sharp point? All the way from Germany, the KUM Automatic Long Point Sharpener (pronounced "KOOM") is here to fix that problem! Use the first sharpener to trim away the wood as needed, then use the second to hone the graphite to a fine point. Make your pencils last longer while still creating the sharp point that you need for detail work.
Tombow Irojiten Colored Pencil$2.39 retail
The Tombow Irojiten Colored Pencil features a firm point that gives you exceptional control. These professional-grade colored pencils are also great for layering. "Irojiten" is a Japanese expression that means "color dictionary"; full sets of these pencils are available from Tomow in elegant volumes.
KOH-i-Noor Woodless Colored Pencil$1.04 retail
Pick up your new KOH-i-Noor Woodless Colored Pencil and feel the weight in your hand. You're holding a stick of pure color! Try experimenting with this one, coloring from the point or layering the edge against the page for a softer, wider application.
Uni Posca Paint Marker
$4.50 retail
Give the Posca Paint Marker a shake, press gently against the paper to start paint flow, and start laying down water-based paint with precision. We love the bold colors in this line and the level of control that the extra fine point provides. This marker can color over other paints, once they are dry.
Liquitex Professional Paint Marker
$6.99 retail
It's time for an alternative kind of painting experience. The Liquitex Professional Paint Marker has a brilliant water-based color that dries permanently. This chubby marker is great for covering large scale artwork, outlining murals, and other mix media purposes.
RENDR Paper
Bonus Item
Don't hold back with that paint marker when trying out your RENDR paper. It's specially designed to handle wet media without bleeding through. But it's also the perfect surface or your dry media- it loves your colored pencils as much as your markers! Now that you can draw and paint on both sides of the page, it's like doubling the life of your sketchbook!
Take the ArtSnacks Challenge!
Use all of the products in your box to create an original piece of art. Snap a picture of your artwork and share it on Facebook, Twitter, Tumblr or Instagra with the hashtag #artsnackschallengeLike a product? Order more.
Visit ArtSnacks.co/productssupport@artsnack...
ArtSnacks turns 3 this month!
It has been an exciting year, and we are celebrating it with a birthday gift to you- a special edition 1" enamel ArtSnacks logo pin.
Thank you to all our loyal supporters for three wonderful years!
The Goods
ArtSnacks 3rd Birthday Enamel Pen
This pen is really cute- it's the ArtSnacks penc-tzel, but I've misplaced the sweater it's pinned to, so photos will have to wait.
Rendr Sketchbook Sample
I've used a full size Rendr No Show Thru Paper sketchbook for a couple things in the recent past- last month's ArtSnacks challenge, and an alcohol marker test for my upcoming series on marker/paper compatibility. While it's true that markers, even alcohol markers, don't bleed through on Rendr, colors seem desaturated and muted compared to how they appear on other papers. Rendr takes ink, including brushpen, fairly well, and can handle heavier media like paint pens, although I've yet to try it for watercolor, as the paper has no texture.
February's ArtSnacks challenge on full size Crescent Rendr paper. Inked with a Sailor Mitsuo Aida, colored with Winsor and Newton Promarkers and Brushmarkers, accents added with a Zig Posterman and Sakura Gellyroll.
Inked with a Mitsuo Aida- Copic, Blick Studio Marker, and Prismacolor
Irojiten Kingfisher Color Pencil
February SketchBox piece created with Irojiten color pencils
ArtSnacks actually sent me this pencil two years ago, while I was working on my earlier ArtSnacks review series. I also received a set of Irojiten pencils in last month's SketchBox. Although these color pencils may suit some, I find the core too hard to use enjoyably, and prefer Derwent's Coloursoft colored pencils. Points were definitely taken off for repeat supplies.
Liquitex 2mm Acrylic Paint Pen
I've purchased a few of these in the past with every intention of using them for mixed media, and somehow that goal keeps getting pushed further and further back. In general, I like what I see regarding build quality, and I wish these had been around when I took that acrylic painting class in undergrad.
POSCA Ultra Fine waterbased Paint Pen
Markering Okami with POSCA Paint Pens (Tutorial)- Nattosoup
I've used POSCA Fine bullet nibbed paint pens in the past, and I'm working on an in-depth review of those for this blog. This Ultra-Fine Paint pen is even easier to use!
Koh-i-Noor Progresso Woodless Color Pencil
To be quite honest, I don't use color pencils on their own for my work. Those I do purchase tend to go for a bit more than $.75 openstock, but that's because I want soft, highly pigmented color pencils for my watercolor pages. A woodless color pencil gives you a lot more core for your buck, but needs to be made of sufficiently hard materials in order to not crumble in your pencil case. According to the DickBlick website: "Each high-density pencil includes five times as much lead as a regular pencil. Pencils are pre-sharpened and have a lacquer coating. They can be sharpened in any pencil sharpener" The lacquer coating means that you would need to scrape away the outer layer if you wanted to use the color pencil's side for huge strokes of color, but this is far easier to accomplish with lacquered woodless color pencils than it is with traditional wood-cased color pencils. If you're interested in trying these color pencils, you can read reviews for them here.
KUM Longpoint Sharpener
As stated in my demonstration video, I don't usually use longpoint sharpeners- this is my first. I am very familiar with KUM pencil sharpeners in general, and have several around my studio. I buy the little magnesium single hole sharpeners in bulk because they're fantastic, and I have a couple KUM dual hole sharpeners living on my desk. These sharpeners do a fantastic job sharpening your pencils, and I have far fewer breakages with this brand (even with finicky Prismacolor color pencils).
The Field Test
I decided to do a joint challenge this month, as both boxes required outside supplies.
Additional Materials Used:
Grafix Masking FrisketCopic Sketch in E51Niji WaterbrushStrathmore Visual Art Journal- Vellum Bristol
The Breakdown
Liquitex Paint Marker: $4.19 on DickBlick
Koh-I-Noor Progresso, openstock: $.75 on DickBlick
Koh-I-Noor, Progresso, 24 piece set, individual unit price: $.58 on DickBlick
Uni POSCA (openstock): $2.89 on Durable Supply
KUM Longpoint: $5.60 on Jetpens
Irojiten (set): Individual unit: $1.61 on DickBlick
Irojiten (openstock): $2.33 on DickBlick
Total Value: $15.76Total Paid: $20, including shipping
The Verdict
This month FEELS like a tie- I liked using the Stabilo 88's as watercolors, and I've meant to purchase a set for awhile, but SketchBox continues to fall short of my target price range of $20-$25 worth of supplies. ArtSnacks felt little disjointed this month- to the point that I couldn't think of anything to create using just my ArtSnacks for the challenge, but the price was right in the sweet zone ($15.76- my target is $15-$17), and I enjoyed the included supplies. I was introduced to something brand new- a long point sharpener, and I liked the performance of the POSCA ultra-fine.
What keeps sticking in my head is how SketchBox continues to fall short in a couple departments- novelty and value. One can make up for the shortcomings of the other, but to be short both is a failing that's hard to overlook.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
Thank you so much to my Patrons on Patreon for pledging enough to make posts like this possible. Without my Patron's generous support, we wouldn't've hit the $15 a month goal necessary for unlocking March's ArtSnacks Vs. SketchBox review. If you enjoy content like this, and would like to help produce more, please consider pledging to the Patreon .
Special February Thanks to:
Wayne Norris
Andrew Blake
C. Ellis
Entreat
And to Ristro, for joining us in March!
I apologize that this post has taken a little while to go live- I've worked on it steadily, but March has been one fire after another. I really need an assistant to help with some of the more basic tasks- fact checking, basic photography, laying out the post, but the Studio doesn't make enough at this time for us to afford to hire the extra help. I appreciate your patience regarding the delay.
Previous SketchBox Vs. ArtSnacks
January- Winner: ArtSnacks
February- Winner: SketchBox
SketchBox Basic: $25mo+$5 Shipping/$240 yr (Monthly subs include an additional $5 for shipping)
ArtSnacks: $20mo/$200 yr (shipping included)
March SketchBox (Basic) Includes:
Copic Wide in V15Wallet of 20 Stabilo Point 88 Fineliners
March ArtSnacks Includes
Irojiten Pencil (kingfisher)KUM Longpoint 2 Step SharpenerUni Posca Ultra Fine PaintmarkerKoh-I-Noor Progresso ColorpencilLiquitex 2mm Paint marker
To the left: March ArtSnacks. To the right, March SketchBox BasicSketchBoxThis Month's SketchBox Brands are
CopicStabilo
March SketchBox (Basic) Vs ArtSnacks Unboxing- Nattosoup
SketchBox Unboxing
March SketchBox Overview and Demonstration-Nattosoup
The Included Cards
The card reads:
"This Month we're featuring line art products that will allow you to have some serious precision in your work. Line art rose to prominence during the print era where it was the standard illustration technique.
Inside this month's basic bbox you'll find 21 items to use in your own line art piece, or add finer details to any of your other work. There's a full 20 PIECE SET (sic) of Stabilo Point 88 fineliners. These .4mm pens feature waterbased ink in vibrant colors, formulated to sustain a long cap-off time.
We included a Copic wide (sic) marker. Copic markers are one of our most requested items, a true favorite by artists around the globe. The Copic wide marker is 3 times wider than the original copic (sic) marker and allows you the freedom to use either the wide edge or the fine tip of the nib. THese markers feature an alcohol based ink and are refillable!
Have fun and remember to tag your art with #SketchBoxMarch if you'd like to be included in our monthly contest- the winner gets their art printed on a future box lid!
If you received SketchBox as a gift, and this is your last box- please sign up at www.getSketchBox.com to keep your boxes coming. Use coupon code "COMEBACK" to save 10% on your order."
The card reads:
March Featured ArtistCody Ruse
Creating art that catches your eye the second you notice it and makes you wonder how so many small details being brought together can make a whole piece of work is what I do. Whether it's portraits or animals, I love the idea of being able to bring together so many aspects of drawing that seem simple and almost basic to produce images. The combination of patterns, geometric shapes, fine lines and texture is inspired by my desire to make my work as aesthetically pleasing as I possibly can. My process is like an alternate universe. The concept of time is warped as I spend, what feels like the blink of an eye but is actually, hours upon hours immersed in the details and watching the lines work together to create a final piece.
Check out more of his art on instagram @CodyRuseArt
We're so thankful for the talent that Cody shared with us, if you'd like to get your art featured- email an example of your work to us at
info@sketchbox.com
The Goods
Copic Wide in V17
Longtime readers know I use Copic Wides to quickly lay down washes of alcohol marker. I first utilized this technique when rendering an alternate cover of 7" Kara Chapter 1, and have regularly used it since. V17 is a darker color than I would usually purchase in Wides, but it encouraged me to break out the adhesive frisket and give masking a shot.
20 piece Stabilo Point 88 wallet
I've used Stabilo Point 66 bullet nibbbed pens in the past for faux inkwash techniques that you can check out on this blog. These fineliners are very water soluable, making them inappropriate for waterbased techniques, but perfect for use with alcohol markers. This set of 20 is pretty handy, and comes in a reusable wallet.
The Breakdown for the Basic Box:Copic Wide: $5.99 on Markerpop
Stabilo Point 88 Waterbased Fineliners: $12.45 with Prime on Amazon
Total Value: $18.44
Total Paid: $30 (including Shipping)
The Premium Box
Sketchbox March 2016 Unboxing- abcohende
SketchBox Premium March Instagram Photos
HereHere
The Breakdown
The premium seems to have different box art this month from the basic, although the interior art seems the same.
Cards
Sticker
Packing material
Daler Rowney Simply Pocket Sketchook- best guess cost $2.99 on Amazon
Ironlak 16 Color, .4mm Fineliners- $24.99 on Amazon, $16.35 on TPY Copic Wide: $5.99 on Markerpop (see above)
NOTE: The Simply line is Daler Rowney's lowest end for supplies. You can read more about that line in my review of Daler Rowney's Simply Watercolors here. I'm having trouble finding the one shown in the unboxing photos and video (it may be a sample), but it seems similar to Moleskine's sample pocket sketchbooks, and you can find other Simply sketchbooks on Amazon . Although not the same, the smallest Simply sketchbook I could find was 5.5"x8.5" wirebound for $2.99+$7.95 shipping with Daler-Rowney's Amazon site
I'm not particularly familiar with Ironlak's fineliners, so I can't honestly say if they perform better than the Stabilo fineliners included in the Basic Box. I do know that Ironlak is a brand of art supplies geared towards graffiti artists, and they make black books, alcohol markers, paints, and fineliners geared towards that market. The Ironlak site (http://ironlak.com/product_markers.html) has no information available about their fineliners, so I'm not even sure if they're waterbased or alcohol based, or if they're permanent once dry.
Total Value: $25.33
Total Paid: $40 (including shipping)
ArtSnacks
This Month's ArtSnacks Brands Are:
Tombow
KUM
Uni
Koh-i-noor
Liquitex
ArtSnacks Unboxing
March ArtSnacks Overview and Unboxing
ArtSnacksArtSnacks is turning 3!
Here's what's on the Menu for March
KUM Automatic Long Point Sharpener$10.65 retail
Staff Favorite How many mile-s of pencil have you ground away over the years, trying to create a sharp point? All the way from Germany, the KUM Automatic Long Point Sharpener (pronounced "KOOM") is here to fix that problem! Use the first sharpener to trim away the wood as needed, then use the second to hone the graphite to a fine point. Make your pencils last longer while still creating the sharp point that you need for detail work.
Tombow Irojiten Colored Pencil$2.39 retail
The Tombow Irojiten Colored Pencil features a firm point that gives you exceptional control. These professional-grade colored pencils are also great for layering. "Irojiten" is a Japanese expression that means "color dictionary"; full sets of these pencils are available from Tomow in elegant volumes.
KOH-i-Noor Woodless Colored Pencil$1.04 retail
Pick up your new KOH-i-Noor Woodless Colored Pencil and feel the weight in your hand. You're holding a stick of pure color! Try experimenting with this one, coloring from the point or layering the edge against the page for a softer, wider application.
Uni Posca Paint Marker
$4.50 retail
Give the Posca Paint Marker a shake, press gently against the paper to start paint flow, and start laying down water-based paint with precision. We love the bold colors in this line and the level of control that the extra fine point provides. This marker can color over other paints, once they are dry.
Liquitex Professional Paint Marker
$6.99 retail
It's time for an alternative kind of painting experience. The Liquitex Professional Paint Marker has a brilliant water-based color that dries permanently. This chubby marker is great for covering large scale artwork, outlining murals, and other mix media purposes.
RENDR Paper
Bonus Item
Don't hold back with that paint marker when trying out your RENDR paper. It's specially designed to handle wet media without bleeding through. But it's also the perfect surface or your dry media- it loves your colored pencils as much as your markers! Now that you can draw and paint on both sides of the page, it's like doubling the life of your sketchbook!
Take the ArtSnacks Challenge!
Use all of the products in your box to create an original piece of art. Snap a picture of your artwork and share it on Facebook, Twitter, Tumblr or Instagra with the hashtag #artsnackschallengeLike a product? Order more.
Visit ArtSnacks.co/productssupport@artsnack...
ArtSnacks turns 3 this month!
It has been an exciting year, and we are celebrating it with a birthday gift to you- a special edition 1" enamel ArtSnacks logo pin.
Thank you to all our loyal supporters for three wonderful years!
The Goods
ArtSnacks 3rd Birthday Enamel Pen
This pen is really cute- it's the ArtSnacks penc-tzel, but I've misplaced the sweater it's pinned to, so photos will have to wait.
Rendr Sketchbook Sample
I've used a full size Rendr No Show Thru Paper sketchbook for a couple things in the recent past- last month's ArtSnacks challenge, and an alcohol marker test for my upcoming series on marker/paper compatibility. While it's true that markers, even alcohol markers, don't bleed through on Rendr, colors seem desaturated and muted compared to how they appear on other papers. Rendr takes ink, including brushpen, fairly well, and can handle heavier media like paint pens, although I've yet to try it for watercolor, as the paper has no texture.
February's ArtSnacks challenge on full size Crescent Rendr paper. Inked with a Sailor Mitsuo Aida, colored with Winsor and Newton Promarkers and Brushmarkers, accents added with a Zig Posterman and Sakura Gellyroll.
Inked with a Mitsuo Aida- Copic, Blick Studio Marker, and PrismacolorIrojiten Kingfisher Color Pencil
February SketchBox piece created with Irojiten color pencilsArtSnacks actually sent me this pencil two years ago, while I was working on my earlier ArtSnacks review series. I also received a set of Irojiten pencils in last month's SketchBox. Although these color pencils may suit some, I find the core too hard to use enjoyably, and prefer Derwent's Coloursoft colored pencils. Points were definitely taken off for repeat supplies.
Liquitex 2mm Acrylic Paint Pen
I've purchased a few of these in the past with every intention of using them for mixed media, and somehow that goal keeps getting pushed further and further back. In general, I like what I see regarding build quality, and I wish these had been around when I took that acrylic painting class in undergrad.
POSCA Ultra Fine waterbased Paint Pen
Markering Okami with POSCA Paint Pens (Tutorial)- Nattosoup
I've used POSCA Fine bullet nibbed paint pens in the past, and I'm working on an in-depth review of those for this blog. This Ultra-Fine Paint pen is even easier to use!
Koh-i-Noor Progresso Woodless Color Pencil
To be quite honest, I don't use color pencils on their own for my work. Those I do purchase tend to go for a bit more than $.75 openstock, but that's because I want soft, highly pigmented color pencils for my watercolor pages. A woodless color pencil gives you a lot more core for your buck, but needs to be made of sufficiently hard materials in order to not crumble in your pencil case. According to the DickBlick website: "Each high-density pencil includes five times as much lead as a regular pencil. Pencils are pre-sharpened and have a lacquer coating. They can be sharpened in any pencil sharpener" The lacquer coating means that you would need to scrape away the outer layer if you wanted to use the color pencil's side for huge strokes of color, but this is far easier to accomplish with lacquered woodless color pencils than it is with traditional wood-cased color pencils. If you're interested in trying these color pencils, you can read reviews for them here.
KUM Longpoint Sharpener
As stated in my demonstration video, I don't usually use longpoint sharpeners- this is my first. I am very familiar with KUM pencil sharpeners in general, and have several around my studio. I buy the little magnesium single hole sharpeners in bulk because they're fantastic, and I have a couple KUM dual hole sharpeners living on my desk. These sharpeners do a fantastic job sharpening your pencils, and I have far fewer breakages with this brand (even with finicky Prismacolor color pencils).
The Field Test
I decided to do a joint challenge this month, as both boxes required outside supplies.
Additional Materials Used:
Grafix Masking FrisketCopic Sketch in E51Niji WaterbrushStrathmore Visual Art Journal- Vellum Bristol
The BreakdownLiquitex Paint Marker: $4.19 on DickBlick
Koh-I-Noor Progresso, openstock: $.75 on DickBlick
Koh-I-Noor, Progresso, 24 piece set, individual unit price: $.58 on DickBlick
Uni POSCA (openstock): $2.89 on Durable Supply
KUM Longpoint: $5.60 on Jetpens
Irojiten (set): Individual unit: $1.61 on DickBlick
Irojiten (openstock): $2.33 on DickBlick
Total Value: $15.76Total Paid: $20, including shipping
The Verdict
This month FEELS like a tie- I liked using the Stabilo 88's as watercolors, and I've meant to purchase a set for awhile, but SketchBox continues to fall short of my target price range of $20-$25 worth of supplies. ArtSnacks felt little disjointed this month- to the point that I couldn't think of anything to create using just my ArtSnacks for the challenge, but the price was right in the sweet zone ($15.76- my target is $15-$17), and I enjoyed the included supplies. I was introduced to something brand new- a long point sharpener, and I liked the performance of the POSCA ultra-fine.
What keeps sticking in my head is how SketchBox continues to fall short in a couple departments- novelty and value. One can make up for the shortcomings of the other, but to be short both is a failing that's hard to overlook.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 6, 2016
Recommended Products of 2015
It's a little late for year end reviews, , but a boatload of end of, and beginning of, year travelling can really wreck havoc with one's ability to get everything up as soon as possible. I beg your forgiveness, and I hope you'll still give this list a glance.
I reviewed A LOT of products in 2015, and while some of them were disappointing duds, many of them really impressed me. I thought I'd take my favorite products reviewed in 2015 and compile them into a handy dandy list.
Blick Studio Brush Marker- Review Color Guide/Gift Guide
Zig Brushables Review- in progress Video Get Your Own
Winsor & Newton Watercolor Markers Review Video Tutorial Get Your Own
Up and Up waterbased markers Review
Crayola Supertip waterbased markers- Review Get Your Own
Prismacolor Pencils for gesture sketching- Not reviewed on blog, but often shown in my various sketchdumps Get Your Own
Zig Art and Graphic Twin Review Get your Own
DoCrafts Artiste Watercolor Markers Review Get your Own
Sailor Mitsuo Aida- Review Get Your Own
Artbin Marker Storage- Video Review coming up soon Get Your Own Extra Tray
Derwent Inktense Color Pencils- Not officially reviewed, used on 7" Kara pages and watercolor illustrations- Get Your Own
Derwent Coloursoft- Not yet officially reviewed- Get Your Own
Strathmore Toned Tan Paper- Review Get Your Own
Gatorboard-Watercolor Paper Stretching Tutorial- Get Your Own
Pentel Touch Fude Pen Review Get Your Own
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
I reviewed A LOT of products in 2015, and while some of them were disappointing duds, many of them really impressed me. I thought I'd take my favorite products reviewed in 2015 and compile them into a handy dandy list.
Blick Studio Brush Marker- Review Color Guide/Gift Guide
Zig Brushables Review- in progress Video Get Your Own
Winsor & Newton Watercolor Markers Review Video Tutorial Get Your Own
Up and Up waterbased markers Review
Crayola Supertip waterbased markers- Review Get Your Own
Prismacolor Pencils for gesture sketching- Not reviewed on blog, but often shown in my various sketchdumps Get Your Own
Zig Art and Graphic Twin Review Get your Own
DoCrafts Artiste Watercolor Markers Review Get your Own
Sailor Mitsuo Aida- Review Get Your Own
Artbin Marker Storage- Video Review coming up soon Get Your Own Extra Tray
Derwent Inktense Color Pencils- Not officially reviewed, used on 7" Kara pages and watercolor illustrations- Get Your Own
Derwent Coloursoft- Not yet officially reviewed- Get Your Own
Strathmore Toned Tan Paper- Review Get Your Own
Gatorboard-Watercolor Paper Stretching Tutorial- Get Your Own
Pentel Touch Fude Pen Review Get Your Own
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 4, 2016
New Prints for 2016
Below are a few new mini prints that I finally got around to finishing. For most, the main art had been finished for a long time- they just needed backgrounds. With Kamicon and MTAC around the corner, I decided to stop procrastinating, and get them finished. Since these are destined to become mini prints, I opted to keep the backgrounds simple, and the focus on the character depicted.
Check below the break for some Steven Universe chibis!
These mini print designs are a bit older- they were finished just in time for Mechacon 2015, but I never shared them here. My friend, Alex Hoffman, was commissioned to create the space backgrounds, and he did a great job.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
Check below the break for some Steven Universe chibis!
These mini print designs are a bit older- they were finished just in time for Mechacon 2015, but I never shared them here. My friend, Alex Hoffman, was commissioned to create the space backgrounds, and he did a great job.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
March 2, 2016
Comic Artist Starter Pack
I thought I'd written this list at least a dozen times, but checking my archives, it's nowhere to be seen. I've probably written it as a draft a dozen times, and through various computer deaths, have lost it a dozen times. So by popular request, here are my recommendations for those interested in making comics.
There's no 'gimmick' that will make you a better artist, let alone a better comic artist. I refuse to promise easy steps, or that these materials will change your life for the better. What matters most is the time YOU put in to improving.
These are, however, materials and methods that work for me. These are the tools I use regularly, the books I've learned from
Sketching:
Nonphoto blue lead- I like Color Eno Soft Blue in .7
HB and B Graphite lead- I prefer Pentel Hi Polymer leads in .7
Mechanical Pencils- I have at least 2- 1 dedicated to holding non photo blue lead, 1 for my H lead, 1 for B lead. The metal bodied drafting pencils look legit, but after years of using one, it's wrecked my hand. For regular sketching, plastic is more than fine, and if you can find something you like with a good grip, all the better. You can always buy different pencils, but you've only got one pair of hands.
Blick Sketchbook or Strathmore Sketchbook- I use 9"x12" top spiral bound sketchbooks
Color pencils or china markers for quick studies
Recommended colors:
Henna
Black
Terra Cotta
Tuscan Red
Espresso
Sepia
Inking:
Kuretake Fudegokochi
Sailor Mitsuo Aida - Double sided, waterproof and alcohol marker proof on most papers
Creative Mark Rhapsody Brush Size 1 or 0
Waterproof India Ink
Tech Pens:
Budget: Prisma Illustration Technical Pens (they're really very good!)
Copic Multiliner SP (refillable and replaceable nibs, metal bodies)
Correction:
Signo White Gel Pen
Copic Opaque White
Synthetic brush for application
Rulers:
I invested in a 24" Alumicolor aluminum ruler that has lasted me half a decade with no signs of deterioration but honestly, even cheap rulers are fine. I would stay away from wavy metal yardsticks. 12" and 18" clear plastic rulers are fantastic and very affordable
School compass for circles
Comic Paper:
Strathmore 500 Series Vellum and Plate Bristol- For your finished pages.
Neenah Cardstock
Canson Montval Watercolor Paper or Blick Studio Watercolor paper (budget)
Watercolors:
Budget- Sakura Koi or Marie's watercolors
Midrange: Kuretake Gansai Tambi (if you don't plan on traveling with it)
Favorite: Winsor and Newton Half Pan Set
Brushes:
Cotman Mop Brush
Cotman Flat Brush
Creative Mark Rhapsody Brushes, Round- 2, 4, 6
As you paint, you'll discover what brushes you need, but these will help you get started.
Markers:
If you're serious about getting into markers, I've written a buying guide that you can read here
Blick Studio Brush Markers
Recommended Reading on Storytelling and Drawing
The Glen Vilppu Drawing Manual - Glen VilppuVol. 1 (Kindle)Vilppu Drawing Manual (Book)Figure Drawing, Design and Invention (Book)Andrew Loomis books Drawing the Head and Hands Figure Drawing for All Its Worth Drawing Words, Writing Pictures (Book) - Jessica Abel and Matt MaddenUnderstanding Comics (Book) - Scott McCloudStory (Book) - Robert McKeeOn Writing- Stephen KingPerspective! for Comic Book Artists: How to Achieve a Professional Look in your Artwork- David ChelseaDrawn to Life Vol. 1 and Vol. 2 - Walt Stanchfield Temple of the Seven Golden Camels
Reference Sites:
Humanae
Humans of New York
The Sartorialist
Senshi Stock (stock poses) Senshi Stock (figure drawing study tool)
Pixelovely- figure drawing tool, nudes (NSFW)
Google Sketchup
For even more great recommendations, please check the sidebar on the blog. You can also check out this fairly comprehensive list.
You learn the most reading other people's work and analyzing what works and what does not. You cannot write/draw if you don't consume the works of others, so read avidly!
If you're broke and JUST starting out, I highly recommend you purchase a sketchbook, a copy of Glen Vilppu's Drawing Manual, and some color pencils/wooden graphite pencils and get to sketching. Those items, your time, and sincere dedication to practice and improvement, are some of the best investments you can make in your artistic development.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
There's no 'gimmick' that will make you a better artist, let alone a better comic artist. I refuse to promise easy steps, or that these materials will change your life for the better. What matters most is the time YOU put in to improving.
These are, however, materials and methods that work for me. These are the tools I use regularly, the books I've learned from
Sketching:
Nonphoto blue lead- I like Color Eno Soft Blue in .7
HB and B Graphite lead- I prefer Pentel Hi Polymer leads in .7
Mechanical Pencils- I have at least 2- 1 dedicated to holding non photo blue lead, 1 for my H lead, 1 for B lead. The metal bodied drafting pencils look legit, but after years of using one, it's wrecked my hand. For regular sketching, plastic is more than fine, and if you can find something you like with a good grip, all the better. You can always buy different pencils, but you've only got one pair of hands.
Blick Sketchbook or Strathmore Sketchbook- I use 9"x12" top spiral bound sketchbooks
Color pencils or china markers for quick studies
Recommended colors:
Henna
Black
Terra Cotta
Tuscan Red
Espresso
Sepia
Inking:
Kuretake Fudegokochi
Sailor Mitsuo Aida - Double sided, waterproof and alcohol marker proof on most papers
Creative Mark Rhapsody Brush Size 1 or 0
Waterproof India Ink
Tech Pens:
Budget: Prisma Illustration Technical Pens (they're really very good!)
Copic Multiliner SP (refillable and replaceable nibs, metal bodies)
Correction:
Signo White Gel Pen
Copic Opaque White
Synthetic brush for application
Rulers:
I invested in a 24" Alumicolor aluminum ruler that has lasted me half a decade with no signs of deterioration but honestly, even cheap rulers are fine. I would stay away from wavy metal yardsticks. 12" and 18" clear plastic rulers are fantastic and very affordable
School compass for circles
Comic Paper:
Strathmore 500 Series Vellum and Plate Bristol- For your finished pages.
Neenah Cardstock
Canson Montval Watercolor Paper or Blick Studio Watercolor paper (budget)
Watercolors:
Budget- Sakura Koi or Marie's watercolors
Midrange: Kuretake Gansai Tambi (if you don't plan on traveling with it)
Favorite: Winsor and Newton Half Pan Set
Brushes:
Cotman Mop Brush
Cotman Flat Brush
Creative Mark Rhapsody Brushes, Round- 2, 4, 6
As you paint, you'll discover what brushes you need, but these will help you get started.
Markers:
If you're serious about getting into markers, I've written a buying guide that you can read here
Blick Studio Brush Markers
Recommended Reading on Storytelling and Drawing
The Glen Vilppu Drawing Manual - Glen VilppuVol. 1 (Kindle)Vilppu Drawing Manual (Book)Figure Drawing, Design and Invention (Book)Andrew Loomis books Drawing the Head and Hands Figure Drawing for All Its Worth Drawing Words, Writing Pictures (Book) - Jessica Abel and Matt MaddenUnderstanding Comics (Book) - Scott McCloudStory (Book) - Robert McKeeOn Writing- Stephen KingPerspective! for Comic Book Artists: How to Achieve a Professional Look in your Artwork- David ChelseaDrawn to Life Vol. 1 and Vol. 2 - Walt Stanchfield Temple of the Seven Golden Camels
Reference Sites:
Humanae
Humans of New York
The Sartorialist
Senshi Stock (stock poses) Senshi Stock (figure drawing study tool)
Pixelovely- figure drawing tool, nudes (NSFW)
Google Sketchup
For even more great recommendations, please check the sidebar on the blog. You can also check out this fairly comprehensive list.
You learn the most reading other people's work and analyzing what works and what does not. You cannot write/draw if you don't consume the works of others, so read avidly!
If you're broke and JUST starting out, I highly recommend you purchase a sketchbook, a copy of Glen Vilppu's Drawing Manual, and some color pencils/wooden graphite pencils and get to sketching. Those items, your time, and sincere dedication to practice and improvement, are some of the best investments you can make in your artistic development.
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
February 28, 2016
November- January Miscellaneous Color Illustrations
I end up creating a lot of illustrations when testing and reviewing art supplies. Some of these were used for YouTube reviews or tutorials, and some are part of larger posts that will be shared here. All of them take a significant amount of time to draw, ink, and render, and I thought they were worth showcasing on their own merit, as they often get lost in larger posts.
These are in no particular order, and some illustrations may end up rescanned and cleaned up for use elsewhere, as it was difficult to get the initial scan.
While breaking in my Strathmore Visual Watercolor Journal, I decided to do some fun Line Tool inspired emotion stickers. They're really cute in real life, but didn't scan very well, due to the watercolor sketchbook warping with use.
You can get your own Strathmore Visual Watercolor Journal in a variety of sizes. I used the 8.5"x5" journal for these watercolor doodles.
Based on the above illustration of Kara with cinnamon buns, I thought it would be cute to do some Line Tool style 'stickers' of various emotions.
Above: Sailor Mitsuo Aida ink on Strathmore Visual Watercolor Journal Paper, Winsor and Newton half pan watercolors.
Winsor and Newton non waterproof inks in Strathmore Visual Watercolor JournalAfter a long day, I decided to treat myself with a fun handlettering exercise- a letter b in daisies. I inked this with Winsor and Newton non waterproof inks, and the process video is up on Youtube, if you'd like to check it out!
Sailor Mitsuo Aida ink and Winsor and Newton half pan watercolors on Strathmore Visual Art Watercolor JournalThe above illustration is super tiny- 4"x4" tops. It was inked with a Sailor Mitsuo Aida brush pen (waterproof!) and painted with Winsor and Newton half pan watercolors. I used a set I've assembled myself over the years, but you can get started today with this set. This was the same set I started with years ago.
Sailor Mitsuo Aida ink on Fluid 100 cotton rag watercolor paper, Winsor and Newton half pan watercolorsAbove is a watercolor test for Fluid's new cotton rag watercolor paper, Fluid 100. That review is coming up soon, but I was really pleased with how this turned out!
Copics, Blick Studio Brush Markers, Prismacolor Brush markers, Shin Han Twin Touch markers on Strathmore 400 series Mixed Media paperI recorded a time lapse video of the above Copic illustration (which scanned really dark), which should be up on my Youtube channel in a few weeks! New stuff goes up once a week, and it's often a sneak peek into what I'll be reviewing on the blog! This marker piece was completed on Strathmore's 400 series Mixed Media paper.
Sailor Mitsuo Aida ink on Arches rough press watercolor block, Kuretake Gansai Tambi watercolorsThis piece was a field test for the Kuretake Gambi Tansai watercolor set Heidi Black sent me as a Christmas present. I inked it with a Sailor Mitsuo Aida brushpen, and used my normal sable and squirrel brushes to paint on Arches Rough watercolor paper.
Sailor Mitsuo Aida ink on Winsor and Newton Pigment Marker Paper, Zig Brushables and Zig Art and Graphic TwinThis little illustration of Kara in lavender was completed as part of my review for Zig Brushables waterbased markers. I loved how they handled on the Winsor and Newton Pigment paper, but didn't love that they reactivated my ink. I've since found that pretty much ANYTHING will reactivate Sailor Mitsuo Aida ink on Pigment Marker Paper, so I'm giving the Brushables a shot on a couple different types of coated marker paper.
Sailor Mitsuo Aida ink on Winsor and Newton Pigment Marker paper, Copic markersThis is a Copic and Prismacolor marker test on the Pigment Marker Paper. Alcohol markers will reactivate Sailor Mitsuo Aida ink on this paper too, so be careful! The full review for both Pigment Markers, and Pigment Marker papers will be coming up soon, so keep an eye out!
Sailor Mitsuo Aida ink on Strathmore canvas paper, Winsor and Newton Pigment MarkersStrathmore's linen paper for acrylics turned out to handle the pigment markers best for how I like to render- no smeared ink, fairly easy to layer, drying times didn't matter as much.
Winsor and Newton half pan watercolors on Ranger's Distress Watercolor CardstockI've strongly hinted my feelings regarding craft supplies that over promise and under deliver in the past. I'm putting Ranger's Distress Watercolor Cardstock under some strenuous testing to see if it makes the cut, and here are a couple field tests. The top is a not yet color corrected portrait of my cat Bowie, below are some tasty chocolates I'd received as a Christmas present.
Sailor Mitsuo Aida Ink, Copic, Prismacolor, and Blick alcohol markers on Strathmore 400 series Mixed Media paperThe above illustration has an accompanying step by step process video in the works (editing takes forever!) so keep an eye out on my Youtube Channel for it. I discuss Copic Wides, making your own Copic Misters, and general marker techniques!
Sailor Mitsuo Aida Ink, Copic, Prismacolor, and Blick alcohol markers on Strathmore 400 series mixed media paper. Copic Opaque and Winsor and Newton Iridescence Medium sprayd and flicked on topThis illustration was created to test out Strathmore's 400 series Mixed Media paper- how it handles ink, alcohol markers, alcohol, water, and ink sprays. There should be an upcoming time lapse video of the process, and I'm working on the overall review (so many!)
Sailor Mitsuo Aida ink on Strathmore Vellum Bristol Visual Art Journal paper. Copic, Prismacolor, and Blick alcohol based markers. Copic various ink in spray bottle.I'd purchased several Strathmore Visual Journals for review purposes (watercolor, Bristol Vellum, Mixed Media) and here's an alcohol marker test on the Bristol Vellum. I believe there should be an accompanying video at some point too.
2 layers. Color Eno Soft Blue lead for bluelines (non visible), Kuretake Fudegokochi inks in Blick Studio sketchbook. Winsor and Newton Pigment markers and Pigment marker paper. Compiled in PhotoshopAnd lastly (for now), the assembled Pigment Marker and Ink illustration. The two layers were completed separately, as ink tends to smear on Pigment Marker paper, and I wanted to get a true bead on how this paper handles.
I think that just about completes the majority of what I've been working on behind the scenes at Nattosoiup Studio. I hope you found it a little bit inspiring, and I hope you're looking forward to these upcoming videos and reviews. If you're interested in what I'm working on between posts, you should definitely check out my Instagram and Twitter, I post new art daily!
Twitter
Instagram
Youtube
Please consider donating to this blog or purchasing from Natto-shop (http://nattosoup.com/shop) if you want me to continue publishing quality content. All materials tested were purchased from my own pocket. Keep on Truckin' Nattosoup is not under any sponsorship.
These are in no particular order, and some illustrations may end up rescanned and cleaned up for use elsewhere, as it was difficult to get the initial scan.
While breaking in my Strathmore Visual Watercolor Journal, I decided to do some fun Line Tool inspired emotion stickers. They're really cute in real life, but didn't scan very well, due to the watercolor sketchbook warping with use.
You can get your own Strathmore Visual Watercolor Journal in a variety of sizes. I used the 8.5"x5" journal for these watercolor doodles.
Based on the above illustration of Kara with cinnamon buns, I thought it would be cute to do some Line Tool style 'stickers' of various emotions.
Above: Sailor Mitsuo Aida ink on Strathmore Visual Watercolor Journal Paper, Winsor and Newton half pan watercolors.
Winsor and Newton non waterproof inks in Strathmore Visual Watercolor JournalAfter a long day, I decided to treat myself with a fun handlettering exercise- a letter b in daisies. I inked this with Winsor and Newton non waterproof inks, and the process video is up on Youtube, if you'd like to check it out!
Sailor Mitsuo Aida ink and Winsor and Newton half pan watercolors on Strathmore Visual Art Watercolor JournalThe above illustration is super tiny- 4"x4" tops. It was inked with a Sailor Mitsuo Aida brush pen (waterproof!) and painted with Winsor and Newton half pan watercolors. I used a set I've assembled myself over the years, but you can get started today with this set. This was the same set I started with years ago.
Sailor Mitsuo Aida ink on Fluid 100 cotton rag watercolor paper, Winsor and Newton half pan watercolorsAbove is a watercolor test for Fluid's new cotton rag watercolor paper, Fluid 100. That review is coming up soon, but I was really pleased with how this turned out!
Copics, Blick Studio Brush Markers, Prismacolor Brush markers, Shin Han Twin Touch markers on Strathmore 400 series Mixed Media paperI recorded a time lapse video of the above Copic illustration (which scanned really dark), which should be up on my Youtube channel in a few weeks! New stuff goes up once a week, and it's often a sneak peek into what I'll be reviewing on the blog! This marker piece was completed on Strathmore's 400 series Mixed Media paper.
Sailor Mitsuo Aida ink on Arches rough press watercolor block, Kuretake Gansai Tambi watercolorsThis piece was a field test for the Kuretake Gambi Tansai watercolor set Heidi Black sent me as a Christmas present. I inked it with a Sailor Mitsuo Aida brushpen, and used my normal sable and squirrel brushes to paint on Arches Rough watercolor paper.
Sailor Mitsuo Aida ink on Winsor and Newton Pigment Marker Paper, Zig Brushables and Zig Art and Graphic TwinThis little illustration of Kara in lavender was completed as part of my review for Zig Brushables waterbased markers. I loved how they handled on the Winsor and Newton Pigment paper, but didn't love that they reactivated my ink. I've since found that pretty much ANYTHING will reactivate Sailor Mitsuo Aida ink on Pigment Marker Paper, so I'm giving the Brushables a shot on a couple different types of coated marker paper.
Sailor Mitsuo Aida ink on Winsor and Newton Pigment Marker paper, Copic markersThis is a Copic and Prismacolor marker test on the Pigment Marker Paper. Alcohol markers will reactivate Sailor Mitsuo Aida ink on this paper too, so be careful! The full review for both Pigment Markers, and Pigment Marker papers will be coming up soon, so keep an eye out!
Sailor Mitsuo Aida ink on Strathmore canvas paper, Winsor and Newton Pigment MarkersStrathmore's linen paper for acrylics turned out to handle the pigment markers best for how I like to render- no smeared ink, fairly easy to layer, drying times didn't matter as much.
Winsor and Newton half pan watercolors on Ranger's Distress Watercolor CardstockI've strongly hinted my feelings regarding craft supplies that over promise and under deliver in the past. I'm putting Ranger's Distress Watercolor Cardstock under some strenuous testing to see if it makes the cut, and here are a couple field tests. The top is a not yet color corrected portrait of my cat Bowie, below are some tasty chocolates I'd received as a Christmas present.
Sailor Mitsuo Aida Ink, Copic, Prismacolor, and Blick alcohol markers on Strathmore 400 series Mixed Media paperThe above illustration has an accompanying step by step process video in the works (editing takes forever!) so keep an eye out on my Youtube Channel for it. I discuss Copic Wides, making your own Copic Misters, and general marker techniques!
Sailor Mitsuo Aida Ink, Copic, Prismacolor, and Blick alcohol markers on Strathmore 400 series mixed media paper. Copic Opaque and Winsor and Newton Iridescence Medium sprayd and flicked on topThis illustration was created to test out Strathmore's 400 series Mixed Media paper- how it handles ink, alcohol markers, alcohol, water, and ink sprays. There should be an upcoming time lapse video of the process, and I'm working on the overall review (so many!)
Sailor Mitsuo Aida ink on Strathmore Vellum Bristol Visual Art Journal paper. Copic, Prismacolor, and Blick alcohol based markers. Copic various ink in spray bottle.I'd purchased several Strathmore Visual Journals for review purposes (watercolor, Bristol Vellum, Mixed Media) and here's an alcohol marker test on the Bristol Vellum. I believe there should be an accompanying video at some point too.
2 layers. Color Eno Soft Blue lead for bluelines (non visible), Kuretake Fudegokochi inks in Blick Studio sketchbook. Winsor and Newton Pigment markers and Pigment marker paper. Compiled in PhotoshopAnd lastly (for now), the assembled Pigment Marker and Ink illustration. The two layers were completed separately, as ink tends to smear on Pigment Marker paper, and I wanted to get a true bead on how this paper handles.I think that just about completes the majority of what I've been working on behind the scenes at Nattosoiup Studio. I hope you found it a little bit inspiring, and I hope you're looking forward to these upcoming videos and reviews. If you're interested in what I'm working on between posts, you should definitely check out my Instagram and Twitter, I post new art daily!
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