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Articles by "transferring sketch"
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4:00 AM , , , , , , , ,
Drawing on Frosted Mylar

I first used Frosted Mylar years ago when I was creating technical illustrations. My first job was at IBM in the Law Office. I drew patent illustrations of all sorts of machines and inventions. Down the hall, in a secret room they were developing computers that someday would be able to draw pictures. Imagine that!

After all these years I still enjoy drawing on Frosted Mylar.


This is why:
·         Quality of line is soft and buttery
·         Tone can be added  slow and meticulous or quick with broad strokes
·         Ability to erase back without damaging the paper
·         Translucent- no need to transfer drawing
·         Pencil, Charcoal, Ink or color pencil can be used


Tools:
·         Generals Carbon Sketch #595 Soft
·         Mechanical or Graphite Pencils (range of hard to soft: 4H-4B)
·         Tortilions – Various sizes
·         Kneaded Eraser
·         Peel-Off Magic Rub Eraser for Vinyl and Drafting Film (We used to call them spit eraser for ink)
·         Faber Castell Perfection 7056 (small pencil eraser that is perfect for tiny details)
·         Sable brush and a piece of sandpaper

How I work.
First I photocopy my rough sketch
to the size of the final piece.
Tape the Frosted Mylar over the photocopy.

 Redraw the character making corrections to the pose.

When the rough drawing is sketched out,
rub the Generals Soft Charcoal onto sandpaper.









Using the sable brush dipped in the charcoal dust, I start laying in the tones. Building the tones from light to dark.

Placing a sheet of tracing paper over the
mylar protects it from the oils in my hands.. 


 
If I'm in a hurry, I lay in the dark tones quickly...








...and erase back for the mid tones and
highlights. I'm careful not to blow the eraser crumbs.
Instead, I use a soft brush to wipe away the eraser bits.








When I'm happy with the tones, or run out of time...
which ever comes first, I then go back with a 4B Large
pencil to add lines with a bit of energy.








This is the final drawing. I chose to keep this drawing loose and fun, but frosted mylar also works well for more realistic and detailed images.













And, since there are now computers that can paint, I can easily scan the drawing to add texture and color. At this point, I noticed that her hand was backward. So thanks to technology and all those smart computer geeks, I was able to fix it quite easily.













Hope you enjoy trying this process.
Happy Summer!

Dorothia Rohner enjoys illustrating and writing 
stories for children about nature and the magic of imagination.
Website: www.dorothiarohner.com
Twitter: @dorothiar
Facebook: www.facebook.com/dorothiarohner.illustration
Instagram: @dorothiar
Blog: dorothiasketchblog.wordpress.com






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5:49 PM , , , , , ,


I think best with a pencil in hand, and my process begins with doodling. I actually get to know my characters through the sketching itself. Eventually I get hooked on an idea or image, and I draw it over and over again. In this series, what started as a single character became three, penguins eventually turned into puffins, and a narrative began to emerge.


Once I've found an image that I like, I do an extremely loose transfer on a light box. And by loose, I do mean only a handful of lines.


 I then redraw the sketch entirely, fleshing it out and adding details.


Next, I do a quick value study and an even quicker color study, filling the large areas in photoshop. I've recently added this step to my process and have found it extremely helpful; it ultimately makes the painting much easier.


At this point, if it's a piece that requires large washes, I stretch my paper and staple it to a waterproof board. For a small spot illustration like this one, I just tape it to a small cutting mat. I use Holbein Acryla Gouache and these lovely little brushes from Princeton Artist Brush Co. 


And then I paint, usually starting with skin tones,

slowly moving on to small details, 
and then to larger areas,
 continually adding detail...




Until I've finished.

_ _ _ _ _
Lisa Anchin is a Brooklyn based children's illustrator doodling her way across the five boroughs. You can see more of her work at lisaanchin.com and find her on twitter at @lisaanchin 
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5:20 PM , , , , , , , ,
In a recent post, Jen Betton outlined many different methods for transferring your drawing. I'd like to demonstrate one that's great for preserving the initial gesture in your drawings. In short, you photocopy your sketch and use gel medium to secure it onto the surface you’ll be painting on. For me, that surface is usually wood, but this approach also works well on illustration board.

Note: this method is best for painting in acrylic. Painting on top of gel medium is not recommended if you’re using water-based paints like watercolors or gouache.

Here’s how it’s done.

1) Sketch.


 2) Photocopy your sketch.




3) Cut the photocopy down to size.

4) Cover the surface you’ll be using with gel medium. I recommend Liquitex Glossy Gel Medium or Utrecht Matte Gel Medium. 
Use a flat, medium-sized brush.
Try to spread the medium evenly so it doesn’t clump.


5) Place the photocopy on the surface and press thoroughly. 

6) Apply another layer of gel medium onto the surface of the photocopy. 

7) Blow dry the surface, occasionally pressing to make sure the photocopy is flush with the surface.

Now you’re ready to paint!

...........................................................................................................
Karyn Raz makes art in Santa Monica, California.

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