tag:blogger.com,1999:blog-81729569654888075622024-03-14T03:42:14.631-07:00Eunike NugrohoEunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.comBlogger71125tag:blogger.com,1999:blog-8172956965488807562.post-16100788685773947432015-09-20T18:30:00.000-07:002015-09-21T14:55:51.532-07:00Fire Salamander and Alpine Ibex: Dealing with Different Challenges.Working on commission means being ready for any types of challenge. A couple months ago, Sandro Bacco, the art director of Technologist, a European magazine of science, asked me to create one whole visual of 3-page article showing 6 species that are affected by climate change. It included two subjects that are a contrast to paint, wet-looking and glossy Fire Salamander and furry Alpine Ibex.<br />
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Painting Wet-Looking Salamander with Masking Fluid</h2>
To be honest, the idea of painting something so slick and glossy for the first time was frightening me. The "bumpy" skin of the salamander required many tiny "white" spaces (highlights) and, at the same time, a smooth gradation between shadow and mid-tones, which is harder to paint than a surface that is glossy but smooth and even. Moreover, I thought white gouache was not the correct answer. A few tiny dots of white gouache could be unnoticeable but for this focal-point highlight, the opacity and thickness of gouache would look totally out of place with the transparent watercolour. It can make the painting look shabby.<br />
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Since I mostly paint using wet into wet technique, my initial thought was using masking fluid to protect the intricate highlights of the salamander's skin while spreading paints effortlessly.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqUM1Kvf-bNB7rWOGRLpGW9gV_ho7KWdhcRwFM9-YAdR7dUuyYo5K_0WKOV8wzRXGoayd4w3S_cApWxvNOsLaUeR9jDIWtP2-T47Yi1CljbMAI-6_vHkOtcnVIHf-PWAGc5MT1iMg6Ss/s1600/EunikeNugroho-WIP-Salamander+first+layers.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqUM1Kvf-bNB7rWOGRLpGW9gV_ho7KWdhcRwFM9-YAdR7dUuyYo5K_0WKOV8wzRXGoayd4w3S_cApWxvNOsLaUeR9jDIWtP2-T47Yi1CljbMAI-6_vHkOtcnVIHf-PWAGc5MT1iMg6Ss/s1600/EunikeNugroho-WIP-Salamander+first+layers.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Masking fluid on the yellow markings and white highlight</td></tr>
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If you need to know what is masking fluid, you can read my older post <b><a href="http://eunikenugroho.blogspot.co.id/2012/10/pebeo-winsor-masking-fluid.html" target="_blank">here</a></b> and how to use masking fluid without ruining your painting or brushes <b><a href="http://eunikenugroho.blogspot.co.id/2012/10/tips-cherry-blossom-fear-of-masking.html" target="_blank">here</a></b>.<br />
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Painting salamander deepened my understanding of using masking fluid. Different from using masking fluid for separate parts (e.g. my previous work: masking stamens from petals of<b> <a href="http://eunikenugroho.blogspot.co.id/2012/10/tips-cherry-blossom-fear-of-masking.html" target="_blank">cherry blossom</a></b>), creating highlight is trickier. The reasons were (1) the highlight had to look like it actually came from the same colours with the base; (2) sometimes it has a slightly different colour as a reflection from surrounding; (3) it has varied edges, such as hard/crisp, soft, and sometimes lost edges. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevIh3NtJoDJy3azJAFhTejFYf4XXq1lZEITqMT8PdIX2lkkq-dwYsCDxzQ1VLI3GSozQtWOeiZo2pWifgHrQc84isbOmEgVZVkoXBrRa-gUpHRu5xHixeyxs61mi3Lq7bsClFRLmS62o/s1600/EunikeNugroho_WIP_-Salamander.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevIh3NtJoDJy3azJAFhTejFYf4XXq1lZEITqMT8PdIX2lkkq-dwYsCDxzQ1VLI3GSozQtWOeiZo2pWifgHrQc84isbOmEgVZVkoXBrRa-gUpHRu5xHixeyxs61mi3Lq7bsClFRLmS62o/s400/EunikeNugroho_WIP_-Salamander.jpg" width="313" /></a></div>
And here were some insights I took note of to remind myself:<br />
1. <b>For parts in different colours, I prefer to paint them first before applying the masking fluid</b>, e.g., the yellow markings of the salamander. It reduces the risk of hurting my paper's surface because even a little damage on the surface will be amplified when using wet into wet (my main technique).<br />
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2. <b>Consider the sequence of how you remove the masking fluids before you apply them,</b> because the cohesiveness of dried masking fluid will pull everything off at the same time. Case in point: the masking fluid of the highlight and the yellow marking were prevented from coming into contact with each other. In so doing, I could keep the masking of yellow marking stay on until the painting was done whereas the highlight was removed quite earlier.<br />
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3. <b>Highlight is actually not a pure white and some edges are soft and lost. Thus, I removed the masking fluid of the highlight after the first 3-4 layerings of paints</b>. If I removed it in the late/final stage, I would get hard-edged, too contrasting, and unnatural highlight. After having it removed, I carefully added the next paint part by part to keep the highlight and create the soft and lost edges.<br />
<b>[My tips]: eradicator brush can soften the edges.</b> I used my 1/8" sized flat brush the same way I did <b><a href="http://eunikenugroho.blogspot.co.id/search/label/Honeysuckle" target="_blank">here</a></b> and <b><a href="http://eunikenugroho.blogspot.co.id/2014/09/tips-blueberries-painting-bloom-and.html" target="_blank">here</a></b>.<br />
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And below is the final illustration after I painted cast shadow under the amphibian.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcvQeiE6uB9TLsNs_JvI_sE_0vgvJDAtN6Pc8g-G1-c4gsH7bhppGC_PWEJ-AcUKhpz5ueodrNJ3PHVH6uXVynIJbZ8MbjU_rwwTyFgLEY2m3VkIUwRSdxyq_YqR2C4RnmHwXHgb-HvY/s1600/EunikeNugroho-WIP+Salamander.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcvQeiE6uB9TLsNs_JvI_sE_0vgvJDAtN6Pc8g-G1-c4gsH7bhppGC_PWEJ-AcUKhpz5ueodrNJ3PHVH6uXVynIJbZ8MbjU_rwwTyFgLEY2m3VkIUwRSdxyq_YqR2C4RnmHwXHgb-HvY/s1600/EunikeNugroho-WIP+Salamander.jpg" /></a></div>
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<h2>
Painting Furry Ibex with New 'Spiky' Comber Brush</h2>
Different from my first experience of painting furs in <a href="http://eunikenugroho.blogspot.co.id/2014/04/tips-painting-furs-quickly-with-comber.html" target="_blank">my earlier illustration of brown bear</a> for a wine label, this new commission required a more photo-realistic result, with more varied colours and contours of the fur. And I was happy that I bought a new 'Spiky Comber' from Rosemary&Co. I think it is an advanced version of the flat comber brushes I used before. Compared to my flat comber brush, the curved edge of the new 'spiky' comber brush creates not only many tiny strokes at once but also varied lines. With 1/4 sized brush, I could vary the amount of lines in 1/4 inch or 6.35 mm width of space, from many tiny lines (>15) to 1-2 lines if I lifted the brush. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLA0qbFGEhvvHHSMcE5WNjFp8UK7Ta2owwICWGNbil9cfL5iaRIdIj_aIvd8-VMhxJcJJAll2gMApOcvq_hb4WLXfMKEmneQ96SS7TXifwtzPekgsihdniKQGHRuNDQeEnAgujQS7LILE/s1600/EunikeNugroho_WIP_Ibex.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLA0qbFGEhvvHHSMcE5WNjFp8UK7Ta2owwICWGNbil9cfL5iaRIdIj_aIvd8-VMhxJcJJAll2gMApOcvq_hb4WLXfMKEmneQ96SS7TXifwtzPekgsihdniKQGHRuNDQeEnAgujQS7LILE/s1600/EunikeNugroho_WIP_Ibex.jpg" /></a></div>
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<b>Here are some stages I took to paint the ibex:</b><br />
1. I painted the general shape of the ibex with <b>wet into wet washes using round brush</b>. It didn't have to be perfect and precise, but clear enough to indicate the contour of the furs. *My apologies, I didn't take picture earlier. The lower and left side of the ibex no.1 are what I meant with the initial wet washes.<br />
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2-3. After the painting was dry, <b>I built up the fur with dry brush using new 'spiky' comber brush</b> and sometimes round brush. *Further info about the technique can be read in <b><a href="http://eunikenugroho.blogspot.co.id/2014/04/tips-painting-furs-quickly-with-comber.html" target="_blank">my previous post</a></b>.<br />
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<b>[My tips]</b> [1] I sometimes <b>added wet into wet washes upon the layers of the dry-brush to darken some areas more quickly or to slightly soften the dry-brush edges</b>. It would not lift up the previous layers of paint if you did it on a completely dried layers of dry brush and only brushed the wet washes lightly.<br />
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[2] If your paper is as forgiving as mine (Fabriano Artistico HP 300 gsm), you can even<b> enhance the highlight by softly erasing the paints </b>using eradicator' brush. I wet the area to be removed with clean water by stroking a damp brush gently, then pat the pigment away with tissue (I wrote the technique <b><a href="http://eunikenugroho.blogspot.co.id/search/label/Honeysuckle" target="_blank">here</a></b>).<br />
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I think this post is already too long. I hope you find it useful. And here is how the illustrations look on the magazine's layout. Enjoy!<br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com13tag:blogger.com,1999:blog-8172956965488807562.post-18600398470310080212015-08-27T18:50:00.000-07:002015-08-30T15:03:58.437-07:00Aerides thibautiana: Bird-like Orchids and Colours Permanency<h2>
<span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Blossoms that look like a band of birds praying</span></span></span></span></span></h2>
<span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">When I first time saw <b>Aerides thibautiana</b> while glancing through orchids in my favourite nursery, I almost missed this remarkable subject of painting. The orchid had tiny blossoms and modest, all purple colour, unnoticeable pattern and common petals shape. However, after I could not find what I looked for, I scrutinized again the Indonesian orchids that were blooming. As I paid close attention to </span></span></span></span><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">the Aerides thibautiana, I was surprised to see what I saw, an orchid that resembled band of birds!<br /><br />I had seen some pictures of unique orchids that looked like other species, but only on the internet. That day, I finally found one myself and it was native to Indonesia. What a prize!</span></span></span></span><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Do you see what I saw? Doesn't Aerides thibautiana look like a band of bird praying? </span></span></span></span></span></span></span></span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmrqQPkXUgVRsP9vroH2TE8iClQB8J3sbfocrSsW4XehUse6jESdac-7Hr6U_izrRHoPrPGZL_OlcViKN7RX_QNRZ6SGVSqoYiwl7-gJJZf6YVG1qTfF2a8RgAIeNqdbDqhOuTBV1nrw/s1600/Aerides-thibautiana-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmrqQPkXUgVRsP9vroH2TE8iClQB8J3sbfocrSsW4XehUse6jESdac-7Hr6U_izrRHoPrPGZL_OlcViKN7RX_QNRZ6SGVSqoYiwl7-gJJZf6YVG1qTfF2a8RgAIeNqdbDqhOuTBV1nrw/s1600/Aerides-thibautiana-2.jpg" /></a></span></span></div>
<span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Since the plant was quite expensive, I was so grateful that Mrs. Tarigan (the owner of the nursery) gave me an inflorescence to bring home. She even offered me to take more than one (I refused) and other orchid blossoms as well.<br /><br />At home I quickly photographed the flowers since I didn't want to miss their prime time. Later, I was happy to be able to paint the illustration based on my photograph and the specimen, which surprisingly remained intact for almost a week.</span></span></span></span></span><br />
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<h2>
<span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGumv5CnBCz5lBKr6TvSyfTOFAYLMrAh_hQRRiqqHL3sximzhUx3iPdRDa7U2RL-ZY8wtzhGfBIxiO9tHcBuqz3JE-33gKhxXsqKxHeIq_FVvMnOyi7QPTld93tkr4C4Y8iYVkw19CPlc/s1600/Eunike_Aerides-thibautiana-WIP1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGumv5CnBCz5lBKr6TvSyfTOFAYLMrAh_hQRRiqqHL3sximzhUx3iPdRDa7U2RL-ZY8wtzhGfBIxiO9tHcBuqz3JE-33gKhxXsqKxHeIq_FVvMnOyi7QPTld93tkr4C4Y8iYVkw19CPlc/s1600/Eunike_Aerides-thibautiana-WIP1.jpg" /></a><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Colour Permanency</span></span></span></span></span></span></h2>
<span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" style="font-size: small;" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">I knew I would want to use <b>Opera Rose</b> to imitate the vivid colours of the blossoms. However, since I learnt that Opera Rose is one of those fugitive colours, I replaced it with WN Quinacridone Magenta, which used the same </span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0">pigment PR122 but without the </span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0">fluorescent dye.</span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><b>Fugitive colours</b> are colours which are based on impermanent pigments or dyes that lighten, darken, or otherwise change in appearance
over time.</span></span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"> The opposite of fugitive is <b>lightfast</b>, which meant </span></span></span></span></span></span></span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">(a dye or pigment) not prone to discoloration when exposed to light and </span></span></span></span></span></span></span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">the atmosphere.</span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">The recognised testing system of lightfastness is <b>ASTM</b> </span></span></span></span></span></span></span></span></span></span>(American Society for Testing and Materials). They rate and classify paints to: I (excellent), II (very
good), III (moderate) and IV (poor). If a paint has not been rated, it is described as N/A= No assignation (Not Rated). Reputable
paint manufacturers usually provide information about the
lightfastness and other qualities of the paints, such as </span></span></span></span></span></span></span></span></span></span><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><a href="http://www.winsornewton.com/na/discover/resources/composition-permanence/professional-water-colour" target="_blank">Winsor & Newton</a>. You can check their websites</span></span></span></span></span></span></span></span></span></span> or check the label of your paints. Further, you consult an easy to read yet informative blog post, "<a href="http://makingamark.blogspot.com/2010/03/what-are-fugitive-colours.html" target="_blank">What are fugitive colours?</a>" by Katherine Tyrrell or read (and bookmark!) a very useful source, <a href="http://www.handprint.com/HP/WCL/water.html" target="_blank">Handprint</a>. </span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1" style="font-size: small;"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">I learnt that </span></span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">some florilegiums and botanical societies and some reputable exhibitions require artists to use only paints with good permanency rating (I and II only). Thus, rather </span></span></span></span></span></span></span></span></span><span style="font-size: small;"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc">than finding my
work got rejected from an exhibition, I resisted my personal satisfaction in seeing vivid opera rose colour </span></span></span></span></span></span></span></span>for this botanical work</span><span style="font-size: small;">. However, I still keep some<span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1"><span data-ft="{"tn":"K"}" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".56.1:4:1:$comment827198497352165_828636367208378:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$text0:0"><span class="_Tgc"> fugitive but favourite of people paints on my paint box, e.g. <b>Alizarin Crimson</b>, <b>A</b></span></span></span></span></span></span></span></span></span></span><b>ureolin</b>, <b>Rose Madder Genuine</b> and of course, Opera Rose and sometimes I use them for short-term or reproduction-orientation commissions.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">The replacement paint, <b>Quinacridone Magenta</b> has exactly the same pigment PR122, which "is a lightfast, semitransparent, staining, dark valued, intense violet red
pigment", said </span><span style="font-size: small;">Bruce MacEvoy from Handprint, "<b>PR122 has the strongest violet hue of any violet red
pigment available in watercolors</b>". However, after using it a lot in this painting (along with Winsor Violet (Dioxazine) PV23 and Permanent Rose PV19), I found that it underwent a <b>drying shift</b>. The dried paint </span><span style="font-size: small;">was not as bright/saturated as when it was still wet. </span><span style="font-size: small;">Sadly it slightly </span><span style="font-size: small;">lightened. Adding more layers of the same paint somewhat helped but only to a certain level, not as intense as I wished.<br /><br />Anyway, I am happy to gain this insight. I love to know how different</span><span style="font-size: small;"> each paint behaves</span><span style="font-size: small;"> (oftentimes not a big deal) and how practice gives me idea on how to deal with it.<br /><br />Here are my work in progress and scanned illustration of Aerides thibautiana.</span></span><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com11tag:blogger.com,1999:blog-8172956965488807562.post-11267713992724754902015-06-26T18:33:00.001-07:002015-06-26T18:33:28.620-07:00On Instagram<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWwx6MUL-Br4odmbYP28hwAfy33aL_rHLAX8MNfEcTeDXjrSVG0ZnHLjDTVCxg3ge-hPuFXj5vcPXf5IQ-gJJvHMGe81X0VW1bjGi6HYTMJqo1IeheIRMOYU0AszRR8LVp8F8_VDunsqU/s1600/IG.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWwx6MUL-Br4odmbYP28hwAfy33aL_rHLAX8MNfEcTeDXjrSVG0ZnHLjDTVCxg3ge-hPuFXj5vcPXf5IQ-gJJvHMGe81X0VW1bjGi6HYTMJqo1IeheIRMOYU0AszRR8LVp8F8_VDunsqU/s320/IG.jpg" width="222" /></a>Dear my lovely readers,<br />
<br />
I have not posted for some times, I am sorry for that. Having Nawang, my little girl, and folowing my calling to be a professional illustrator require almost all the time I have.<br />
<br />
No new blog post doesn't mean I do not paint. In fact, I have been very productive these months ^-^. I have been working on 3 personal paintings and more than a half-dozen commissions.<br />
<br />
Some clients wanted to keep their project confidential but some gave me permission to publish what I did for them. I am certainly excited to share them to you. However, since I do not have much time lately, I tend to post them using my mobile phone on an image-centric online service.<br />
<br />
If you are curious as to what I am working on, please visit my Instagram account @inikeke. You can either visit<b> <a href="https://instagram.com/inikeke/" target="_blank">this url</a></b>, follow my Instagram account<b> <a href="https://instagram.com/inikeke/" target="_blank">@inikeke</a>, </b>or click the new badget "<b>view on instagram</b>" at the top right side of this blog page.<br /><br />I hope to see you there. Thank you :)<br /><br />Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com2tag:blogger.com,1999:blog-8172956965488807562.post-18710533856833854752015-04-01T19:31:00.000-07:002015-04-02T21:53:39.903-07:00Dendrobium spectabile: Limited Palette and Magic Eraser Sponge<h3>
<span style="font-family: inherit;"><span style="font-size: small;">LIMITED PALETTE</span></span></h3>
<span style="font-family: inherit;"><span style="font-size: small;">Learning
from my failures when painting <i>Phalaenopsis cornu-cervi</i> and how
important to effectively pick and mix paints, I decided to do my
<i>Dendrobium spectabile</i> with as few pigments as possible. I used only 3+1
paints, W&N Perylene Maroon (PM), Indanthrene Blue (IB), and Daniel Smith Hansa
Yellow Light (HYL) and, for some area, Permanent Rose.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">I
am pleased that these four are all single-pigment paints and two of
them (PM and IB) have a great range of colour-mix, from which I could
get all colours I
need to paint the orchid. They covered the "white" lip/labellum,
greenish yellow
sepals and petals, to the very dark burgundy pattern on the lip.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Beside having significant amount of
clarity of colours when finished, I found painting with fewest possible
pigments eased my mind. I worked with wet in wet washes a lot, which
allowed me to let the paint flow and mingle with each other. These
limited palette really helped me avoid muddy colours, which could easily
result from inadvertent
clashes of pigments. In addition, the limited pallete brought about
harmony to the
whole painting.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDgJAp215f8dGo959juRDGDl0UUY9MCXi_s_6kfWcF0eVX5EBZOHUSYwL9giSEp0L6EHKNMKx4NMlu3xN63nxb5EOU9xoaCCiavULC-yT_G1U_OQfSP-Y8i8XT2I-s_l0xqEP9a8ZyYhI/s1600/Spectabile_Magic-Sponge.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDgJAp215f8dGo959juRDGDl0UUY9MCXi_s_6kfWcF0eVX5EBZOHUSYwL9giSEp0L6EHKNMKx4NMlu3xN63nxb5EOU9xoaCCiavULC-yT_G1U_OQfSP-Y8i8XT2I-s_l0xqEP9a8ZyYhI/s1600/Spectabile_Magic-Sponge.jpg" height="400" width="280" /></a></div>
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<h3>
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">MAGIC ERASER SPONGE</span></span></span></span></h3>
<span style="font-family: inherit;"><span style="font-size: small;">Magic
eraser sponge can completely remove unwanted marks from the paper but I
avoided using it due to its abrasive nature. However, I made a mistake,
which couldn't be erased using <a href="http://eunikenugroho.blogspot.com/2014/09/tips-blueberries-painting-bloom-and.html" target="_blank">eradicator brush</a>. Hence, I used my
eraser
sponge this time, but with care.<span class="im"> </span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="im">My tips of using magic eraser sponge:</span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">1. Make sure the colouring is final. Once rubbed with the sponge, <b>the paper surface impacted is somewhat damage and difficult to paint</b>.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">2. <b>Use masking tape</b> to protect the other area for precise result. Make sure all paint and paper is completely dried</span></span><span style="font-family: inherit;"><span style="font-size: small;">.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">3. I cut the sponge into a small square because I prefer to use</span></span><span style="font-family: inherit;"><span style="font-size: small;"> pointy corners to rub tiny areas. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">4. Dampen the sponge and rub it gently until the unwanted mark completely removed. <b>Wash and rinse the sponge regularly.</b></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">5. Remove the masking tape when the paper completely is dried</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">6. If you need to tidy the edge, <b>apply only dry brush</b>, as dry as possible.</span></span><br />
<br />
<h3>
<span style="font-family: inherit;"><span style="font-size: small;">DENDROBIUM SPECTABILE</span></span></h3>
<span style="font-family: inherit;"><span style="font-size: small;">The
orchids are native to Papua island (Indonesia and PNG). The blossoms
have an alien look, but I fell in love with it since our first
encounter at a local orchids nursery in Yogyakarta back </span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">in 2013</span></span>. Their </span></span><span style="font-family: inherit;"><span style="font-size: small;">extremely
twisted sepals, petals and curling lip made them look as if they danced and
their intricate patterns were the very first reason I had a crush on them.</span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;">By mid of this month, I visited the same nursery and I was happy to find it bloomed, reminded me of my lon</span></span><span style="font-family: inherit;"><span style="font-size: small;">g desire to paint it. So here is my latest painting, <b>Dendrobium spectabile, The Dancer</b>!</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQg1NLog3ja34V7RxyOJrhUklpph2zOxHoTgyjdsjQfJMJsRmj4zQ3eXdvBiaHSvTXhH3x8UoHRcMead5Ay7k7Uh0B5Y_TZgJ5KwpX4tOpAipQI1mvMsUdKQFP42NdX3tPYOrHr9pmzck/s1600/Eunike-Dendro_spectabile.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQg1NLog3ja34V7RxyOJrhUklpph2zOxHoTgyjdsjQfJMJsRmj4zQ3eXdvBiaHSvTXhH3x8UoHRcMead5Ay7k7Uh0B5Y_TZgJ5KwpX4tOpAipQI1mvMsUdKQFP42NdX3tPYOrHr9pmzck/s1600/Eunike-Dendro_spectabile.jpg" /></a></span></span>Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com10tag:blogger.com,1999:blog-8172956965488807562.post-43305655272072473542015-02-27T16:40:00.000-08:002015-02-28T15:07:09.027-08:00[Commission] Süddeutsche Zeitung MagazinI could be out of my mind when deciding to work on a commission from <a href="http://sz-magazin.sueddeutsche.de/" target="_blank">Süddeutsche Zeitung Magazin</a>. I had only about a month to work on 5 botanical illustrations and, at the same time, I and my family were moving from the UK to Indonesia for good. We had no house when we arrived in Yogyakarta and the contrasting weather was also a real problem for Nawang, my toddler. Mostly, where and when to paint were the big problem.<br />
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The twists and turns of my effort to paint in these chaotic period will take hours to tell! Let's skip it. I thank my family (especially husband) for making it possible and still love me after these months.<br />
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And now the magazine is out! Of course, it looks great! Just to see some of my illustrations on the cover feels like all those hardworking days/nights is paid in full.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ3oYwwfjoQxdMezcSgbI-nEpOzW1NXbjncVwsG3tTcmR_JshoJFEF0EW1t93KTkqqO2LsRz6CVB2jHjZLGq7phLOG1P1ekLwykYeN5BK-jqFXSNcUY4c68USjI79tqTajqFl3UNPPZs/s1600/cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuJ3oYwwfjoQxdMezcSgbI-nEpOzW1NXbjncVwsG3tTcmR_JshoJFEF0EW1t93KTkqqO2LsRz6CVB2jHjZLGq7phLOG1P1ekLwykYeN5BK-jqFXSNcUY4c68USjI79tqTajqFl3UNPPZs/s1600/cover.jpg" /></a></div>
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And taking a look at the fashion pages is such a pleasure. It is said, after a hurricane comes a rainbow. And indeed, the "rainbow" looks wonderful! Thank you, Ralf Zimmermann and Sarah Beckhoff, for having me in this great project!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHD7QESjdKw2FPs8j_JKcMstD9Xxhg3gZT9gCuet1U43jLTHVUFjBiya80CdeB0E0o_fYjcF46896P1xPNvnFpAfQmkZPNqEmhsTVkyFSpYaIvHy8lpfuD1hOebfnYMI7C8Ec5BJgvZng/s1600/LO-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHD7QESjdKw2FPs8j_JKcMstD9Xxhg3gZT9gCuet1U43jLTHVUFjBiya80CdeB0E0o_fYjcF46896P1xPNvnFpAfQmkZPNqEmhsTVkyFSpYaIvHy8lpfuD1hOebfnYMI7C8Ec5BJgvZng/s1600/LO-1.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn_xADwPjM1JaHwytjo6xKiNVwqiafCJVCnpMdv3xbNUV3f0EF-NvVSxWfgYoB5rNjakabsm1FNzikJnvkPZRiz_CKbfZyNcpWuV0RVRrYGG7BrboYjTgbgRXt53WlyONLHvecytCD5W8/s1600/LO-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn_xADwPjM1JaHwytjo6xKiNVwqiafCJVCnpMdv3xbNUV3f0EF-NvVSxWfgYoB5rNjakabsm1FNzikJnvkPZRiz_CKbfZyNcpWuV0RVRrYGG7BrboYjTgbgRXt53WlyONLHvecytCD5W8/s1600/LO-2.jpg" /></a> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLylQTGcKw3bqS1Rk-T5rHDFZVI8-d8YNJN33INahyphenhyphenCbAx7x7WC7lK8saKzhMatRTW1x5S-A-VXulEI7NeCanhWW1NF98y0Csmbp-MyEcLgh_dvEfGDAj8JUPahSrG65Iaqu1z9N7_GmM/s1600/LO-3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLylQTGcKw3bqS1Rk-T5rHDFZVI8-d8YNJN33INahyphenhyphenCbAx7x7WC7lK8saKzhMatRTW1x5S-A-VXulEI7NeCanhWW1NF98y0Csmbp-MyEcLgh_dvEfGDAj8JUPahSrG65Iaqu1z9N7_GmM/s1600/LO-3.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEYjKxYOeZnMLVMP48FggBuIrrRbUKdrrPpBo1YdDF5rO_OejcYNTqLQan9QCnTulNsEEo5rpLapRqe5UFy8Ft_bV6Abh27yCLE6GtLNdhwdz0gA17mfivCFmeeN5UTbXx8otKG8fiV8/s1600/LO-4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEYjKxYOeZnMLVMP48FggBuIrrRbUKdrrPpBo1YdDF5rO_OejcYNTqLQan9QCnTulNsEEo5rpLapRqe5UFy8Ft_bV6Abh27yCLE6GtLNdhwdz0gA17mfivCFmeeN5UTbXx8otKG8fiV8/s1600/LO-4.jpg" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2C-AYCU7-DuKsWkD55O3StiqXA8VyfI5Vhh5Nk9N25oWK-2QKfrrPPAYlvGMikIntTY70qXBwgpQGSJKEnI_x56iWd_dEe8uxk7-oN05H2I3vxgNluZwvOGp_qj8LQFZO_ybTjbD1MLY/s1600/LO-5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2C-AYCU7-DuKsWkD55O3StiqXA8VyfI5Vhh5Nk9N25oWK-2QKfrrPPAYlvGMikIntTY70qXBwgpQGSJKEnI_x56iWd_dEe8uxk7-oN05H2I3vxgNluZwvOGp_qj8LQFZO_ybTjbD1MLY/s1600/LO-5.jpg" /></a><br />
Please check <a href="https://www.behance.net/gallery/23926201/Botanical-Fashion-Story-Sueddeutsche-Zeitung-Magazin" target="_blank">my behance</a> to see the complete original illustrations. Thank you! :)<br />
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<u><span style="font-size: x-small;">Credits</span></u><br />
<span style="font-size: x-small;">Photographer: David BornScheuer</span><br />
<span style="font-size: x-small;">Styling: Almut Vogel</span><br />
<span style="font-size: x-small;"><span class="bold">Illustrator: Eunike Nugroho</span></span><br />
<div style="text-align: left;">
<br />
<span style="font-size: 11px;"><span style="font-size: 9px;">Photo
Assistant: Alex Orjecovschi, David Fitt | Digital Operator: Benjamin
Roulet | Hair: Helene Bidard / Artlist | Makeup: Kathy Le Sant /
airport agency | Styling Assitentin: Anna Koppmann | Model: Helena
Severin / Viva Models |</span></span><span style="font-size: 9px;"> Retouching: Christine Schubeck / Bird Imaging | Location: Studio Daguerre | Thanks to Studio LB Paris.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKE2ZYXf5hKCnwT_Xg-FXkX44CPZwJgMPRqyU_VgvkarplSEXcBjl2wPC8qoqcn4nqjGZPljw5FVomkzxOAxoyV5N8Wts11Z8XWJ5WkCK0mjR729bKXdWyGZL_PSUpnCP_00K6nuK1YHg/s1600/AutoEnhance-Comparison.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKE2ZYXf5hKCnwT_Xg-FXkX44CPZwJgMPRqyU_VgvkarplSEXcBjl2wPC8qoqcn4nqjGZPljw5FVomkzxOAxoyV5N8Wts11Z8XWJ5WkCK0mjR729bKXdWyGZL_PSUpnCP_00K6nuK1YHg/s1600/AutoEnhance-Comparison.jpg"></a></div>
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Actually it has been ages since I realised something was wrong with
pictures uploaded from Google's Blogger. When uploaded, the pictures always turned darker. White
background became grey and all my paintings became darker or more greyish. Many times I went back to my editing programme, made the pictures a bit lighter
and uploaded them again, but, still, they turned darker. Eventually, I
was just too tired and ignored the problem.<br>
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After my previous post of <a href="http://eunikenugroho.blogspot.com/2015/02/sunflower-painting-yellow-and-defeating.html" target="_blank">Painting Yellow and Defeating the Dullness</a>, I couldn't take it anymore! Instead of showing the brightness of the
yellow Sunflower, I got dull greenish yellow petals.</div>
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However, a quick internet browse solved the problem (I wish I did it earlier! T__T). Blame it to <a href="https://support.google.com/plus/answer/3338435?p=photos_auto_enhance&rd=1" target="_blank">Google Auto Enhance</a>, which claims "It makes subtle
adjustments to help your pictures look great". Well, thanks, but NO THANKS! So if you have the same problem with me. Here is how to stop it:</div>
<div style="text-align: left;">
1. Open <b>Google+</b></div>
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2. Place your cursor over the <b>Google+ logo</b> on the top left corner. Click <b>Settings</b>.</div>
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3. Scroll down to <b>Auto Enhance</b> section and click it <b>Off</b>.<br>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NGIM2pQiLXr7WMODQNsgc9GyqfCTiqQP3KLmtb9hcrNlqOBpHX0sOIJ_hUqMkyNV34aDpo-6rrw-KcieNftd7y2EPHtCj94H7flaZSv_-srgPh1qLPUtR1y6aNVwf8iv_-bPoHaNRPM/s1600/Screen-shot-2015-02-08-at-03.57.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NGIM2pQiLXr7WMODQNsgc9GyqfCTiqQP3KLmtb9hcrNlqOBpHX0sOIJ_hUqMkyNV34aDpo-6rrw-KcieNftd7y2EPHtCj94H7flaZSv_-srgPh1qLPUtR1y6aNVwf8iv_-bPoHaNRPM/s1600/Screen-shot-2015-02-08-at-03.57.jpg"> </a></div>
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4. And replace your "enhanced" pictures with the same files from your computer.</div>
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I hope it helps you too! :)<br>
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com1tag:blogger.com,1999:blog-8172956965488807562.post-55161270408026538012015-02-07T01:46:00.000-08:002015-02-07T12:55:32.477-08:00Sunflower: Painting Yellow and Defeating the Dullness<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZY-cC8SZtuzdluyHx2wuZEl0qRPnHYz9jd-8w-2vft8VJOunUx39v7wBm8df6IFupGM9YL-t8D-8NUT761_Wz-M9jKKSzTKwi6BnJHEAtqtzzq3FctaaNy2XtmZiUlg16PJUj1xZZAA/s1600/Eunike_colourchart.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggZY-cC8SZtuzdluyHx2wuZEl0qRPnHYz9jd-8w-2vft8VJOunUx39v7wBm8df6IFupGM9YL-t8D-8NUT761_Wz-M9jKKSzTKwi6BnJHEAtqtzzq3FctaaNy2XtmZiUlg16PJUj1xZZAA/s1600/Eunike_colourchart.jpg" height="320" width="320" /></a></div>
Painting yellow flower was not my favorite thing. I used to ruin my yellow flowers with ugly shadows. Eventually, the glowing brightness of the real yellow flowers was lost.<br />
<br />
Thanks to <a href="http://www.sharontingey.com/" target="_blank">Sharon Tingey</a> who shared her secret mix of colours in her demonstration and her <a href="https://www.facebook.com/SharonTingeyNaturalIllustration" target="_blank">Facebook</a> post, I found a solution to my frustration of painting yellow flowers. And I hope she doesn't mind I write here how her great tips help me.<br />
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I know from experience that yellow flower is not as easy as red, pink, purple, or orange flowers to deal with. I used to stick with W&N Cadmium Lemon or Cadmium Yellow Pale for yellow flowers, whose result did not make me happy. I felt that the more layers I put to built shapes and shades, the less bright the yellow became. It was very tricky for me. A very tiny amount of wrong pigment in the mix would turn the whole flower dull. And the mistake was hard to hide.<br />
<br />
But the misery ended after I watched Sharon's demonstration and saw how well she did her
sunflowers (which won Gold Medals in RHS London Botanical Art Show 2014!). I bought and
tried the same paint she used. And I felt very grateful that she shared
her recipe! It was <a href="http://www.danielsmith.com/Item--i-284-600-041-LIST" target="_blank">Daniel Smith Hansa Yellow Light</a> (HYL). As you can
see in the photograph above, which compares yellow <a href="http://eunikenugroho.blogspot.com/2014/06/tips-making-radial-colour-charts.html" target="_blank">colour chart</a>, HYL is the brightest among other yellow colours I use. The DS site claims that the paint is cleaner, more transparent and brighter in chroma than Cadmium Yellow
Light. Also I guess because HYL uses a single primary pigment, it helps us avoid a dull gray resulting from hidden complements when mixed.<br />
<br />
A mix of HYL
with W&N New Gamboge or Quinacridone Gold or and Perylene Maroon (for
the darkest) really captures the brilliant yellow petals of sunflower.<br />
<br />
And below is a scanned image of my Sunflower illustration. I hope you like it! :)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLeW90f4weJwHM3adyqc1zzOAIucGlMvjU_O9wjgPgSUzoC5HZ3xOsRBFH84Lh4299UdTOwByj7PICn4BPQgG7AFYmhBRKSTnFtt3fzINyEqtA2HxXvWBxsHDOByN7vW-8JrUBZ9fsW4/s1600/Eunike-Sunflower-White-BG.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLeW90f4weJwHM3adyqc1zzOAIucGlMvjU_O9wjgPgSUzoC5HZ3xOsRBFH84Lh4299UdTOwByj7PICn4BPQgG7AFYmhBRKSTnFtt3fzINyEqtA2HxXvWBxsHDOByN7vW-8JrUBZ9fsW4/s1600/Eunike-Sunflower-White-BG.jpg" /></a></div>
Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com18tag:blogger.com,1999:blog-8172956965488807562.post-35156651468522712062015-02-07T01:25:00.000-08:002015-02-09T15:33:15.867-08:00[Commission] Watercolour Illustrations for Kapal Api Coffee Packaging<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9G0LxAeBE-X9vui1QvJIDgypqIsYw20mW0-_fJFpkZDjDZY_gwNOvIMKAuuv9emL1pcSD4phEzgEKMTRHHTPrAffKZvxGQB3o3RG4jhYOt3cwZBfsw-4nIGJN8sBhFTZuQuM5CcjcqCs/s1600/Eunike_KA-Premium.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9G0LxAeBE-X9vui1QvJIDgypqIsYw20mW0-_fJFpkZDjDZY_gwNOvIMKAuuv9emL1pcSD4phEzgEKMTRHHTPrAffKZvxGQB3o3RG4jhYOt3cwZBfsw-4nIGJN8sBhFTZuQuM5CcjcqCs/s1600/Eunike_KA-Premium.jpg" height="250" width="320" /></a></div>
It was a set of illustrations I did in the UK around 2013-2014. So it was a lovely surprise to see them in the real package on a supermarket's shelf in Yogyakarta. The illustrations were commissioned by <a href="http://waktunyakapalapi.com/products" target="_blank">Kapal Api</a>, one of the biggest coffee producer and retailer in Indonesia. I would like to thank <a href="http://kapalapiglobal.com/" target="_blank">Kapal Api</a> and <a href="http://alegriacreative.com/" target="_blank">Alegria</a> for having me in this great project!<br />
<br />
*I have just replaced the lousy picture from my cellular phone with this proper photograph of the coffee product from the client. And, here is one of the illustrations I made in the project.<br />
** it will be nice to enjoy with a cup of coffee! :D<br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com8tag:blogger.com,1999:blog-8172956965488807562.post-66204116632458874932014-11-29T15:57:00.000-08:002014-11-29T15:57:04.321-08:00Paphio praestans: Back to Indonesia<span style="font-family: inherit;"><span style="font-size: small;">While preparing for my return to Indonesia for good, I managed to paint this before leaving Sheffield. I have received too much blessings while living in the UK,
which I lose count, but the most important one is my journey through
botanical arts. I am not sure how my new-found love for botanical art
will survive Indonesia since finding botanical art societies, even
fellow artists, will be difficult in my home country. However, </span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="short_text" id="result_box" lang="en"><span class="hps">let's</span></span></span></span><span class="text Phil-4-6" id="en-NLT-29409"> worry not. Instead, I thank for all things life has given me. Hence, I'd rather think about </span>many intriguing plants<span class="short_text" id="result_box" lang="en"><span class="hps"> in Indonesia waiting to be painted!</span></span></span></span><span class="text Phil-4-6" id="en-NLT-29409"></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">This is a painting of Paphiopedilum praestans, lady</span></span><span style="font-family: inherit;"><span style="font-size: small;"> slipper orchid from Papua, Indonesia, based on my <a href="http://eunikenugroho.blogspot.co.uk/2013/02/orchids-study-sketch-of-paphiopedilum.html" target="_blank">study sketch</a>
and photographs of the specimen I did last year. Somehow having a baby
changed my initial plan on how to paint it. I left my previous sketch of
a complete plant (with leaves and roots), then drew a new sketch driven by
my current feelings. If you notice it, I paint the blossomed flower to
pose as if hugging the bud. Have I become such a sentimental painter
now?</span></span><br />
<br />
<i><span style="font-family: inherit;"><span style="font-size: small;">"The Old and The Young I", </span></span><span style="font-family: inherit;"><span style="font-size: small;">Paphiopedilum praestans. Watercolours on Fabriano Artistico HP paper.</span></span></i><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOW_MNM5rBJYY7MM-q0BaMQq5xgQPSqvdCfntFTla5RbXoioLibcdi2L9R7m5y6olyETc4ZwT0C4AGur_xFhJ5yrENBCw1mlOC_mmcY8UTh3o5nylKsHGSL0WDCvCSx2loithmE87GW4/s1600/Praestans-blog2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOW_MNM5rBJYY7MM-q0BaMQq5xgQPSqvdCfntFTla5RbXoioLibcdi2L9R7m5y6olyETc4ZwT0C4AGur_xFhJ5yrENBCw1mlOC_mmcY8UTh3o5nylKsHGSL0WDCvCSx2loithmE87GW4/s1600/Praestans-blog2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOW_MNM5rBJYY7MM-q0BaMQq5xgQPSqvdCfntFTla5RbXoioLibcdi2L9R7m5y6olyETc4ZwT0C4AGur_xFhJ5yrENBCw1mlOC_mmcY8UTh3o5nylKsHGSL0WDCvCSx2loithmE87GW4/s1600/Praestans-blog2.jpg" /></a></span></span></div>
Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com7tag:blogger.com,1999:blog-8172956965488807562.post-45710530792763354762014-11-16T11:51:00.000-08:002014-11-16T13:52:18.615-08:00Saying Goodbye to The Florilegium Society in Sheffield.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevqeQHL_-26Mwft-9RyUlwuVpDgXNT5qv9LEvmj2bkVoZGHd5kr3Z57dzrIndODa4ySexCvD0uYkiJn1MkRi-nTdqMRGbdWvI2iFdNuYMvXyqazh4haZPRfKwJyYW2OJSJRMl32aiyOQ/s1600/IMG_2116.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevqeQHL_-26Mwft-9RyUlwuVpDgXNT5qv9LEvmj2bkVoZGHd5kr3Z57dzrIndODa4ySexCvD0uYkiJn1MkRi-nTdqMRGbdWvI2iFdNuYMvXyqazh4haZPRfKwJyYW2OJSJRMl32aiyOQ/s1600/IMG_2116.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Valerie Oxley, the chairman of The Florilegium Society - Sheffield</td></tr>
</tbody></table>
It's been taking me forever to write a farewell to Sheffield, especially <a href="http://www.florilegiumsheffield.org.uk/index.php" target="_blank">The Florilegium Society</a>, where I learn painting botanical arts.<br />
<br />
My limited language cannot express how blessed I feel to meet the Florilegium Society (and <a href="http://www.nsbaonline.co.uk/" target="_blank">NSBA</a> as well) during my short life in Sheffield and how lucky I am to know botanical art and to learn it from the best and passionate artists.<br />
<br />
I am keeping my fondest memories of those first times when many of them
encouraged me to join the societies, at our first meeting. And I am very
happy that I took the chance (no matter how intimidated I was with the
quality of their works), because not only that they got me through all
the hoops of making botanical arts, they also offered warm friendships
beyond my expectation. Being part of the societies has been one of the
best part of my life. It also has brought about a big leap of my creative
journey. <br />
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I can hardly believe that the time is coming to an end and I will be going back to Indonesia for good.<br />
I will miss them but I hope to see them again someday.<br />
<br />
P.S. Huge thanks to the Florilegium Society for the unexpected gift, the precious set of 108 tubes of watercolours and beautiful brushes. I will treasure and make the best use of them in my paintings. xx<br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com6tag:blogger.com,1999:blog-8172956965488807562.post-71738856256062338482014-09-27T17:35:00.000-07:002015-02-07T13:38:21.908-08:00[Tips] Blueberries: Painting Bloom and Correcting Mistakes in Watercolour<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1hjyNjtWNtU5VZto2qT1cm17FmdAdb9Htpac11TcYqU_x-IQjXmZkh1KGvOAwwOPxUJlPZDQ7lChoQiB2u7xJoniJztvxv6sFbW_AAmZqSbX4ZnzTKZuUF5gmKRuIPnsbITkyvEnMUU/s1600/Blueberries-step-by-step-shorter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc1hjyNjtWNtU5VZto2qT1cm17FmdAdb9Htpac11TcYqU_x-IQjXmZkh1KGvOAwwOPxUJlPZDQ7lChoQiB2u7xJoniJztvxv6sFbW_AAmZqSbX4ZnzTKZuUF5gmKRuIPnsbITkyvEnMUU/s1600/Blueberries-step-by-step-shorter.jpg" /></a></div>
<h2>
<span style="font-size: large;">Painting Bloom</span><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></h2>
<span style="font-family: inherit;"><span style="font-size: small;">Painting something new is always challenging. Case in point, painting blueberries for the first time gave me the heebie-jeebies. I racked my brains quite long to find a way to do the shine and the bloom (</span></span><span style="font-family: inherit;"><span style="font-size: small;">the </span></span><span style="font-family: inherit;"><span style="font-size: small;">thin white coating of </span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;">powdery wax</span></span> on berries) right. Thanks to <a href="http://sigridfrensen.blogspot.co.uk/2011/02/grapes.html" target="_blank">Sigrid Frensen</a> for her post on painting the grapes, finally I could muster my will to do it. I could imagine how to apply the watercolour</span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"> layer by layer </span></span> from her painting better than from photo references.<br /><br />Since I am bad at remembering, I write these steps to help myself remember. At the same time, I hope you find it useful someday.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><b>Watercolours I used: </b>(all W&N)<b> </b></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><b>- </b>Cobalt Blue</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">- Payne Grey </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">- French Ultramarine</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">- Indigo</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">- Alizarin Crimson</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;"><b>Steps I took:</b> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">1. I based the whole fruits with diluted Cobalt Blue unevenly. I left some parts of the white paper unpainted for the brightest highlight.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">2. I built the shape using wet into wet washes of Payne Grey, but left some parts pale for the bloom. Later, I darkened the bloom with another wash of Cobalt blue.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">3. I used either a mixture of French Ultramarine and Alizarin Crimson, or Indigo and Alizarin Crimson for the darkest areas. I left some edges a bit paler to give them the effect of light reflection.</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">4. With dry brush, I added some details and created the "scratch" effect of the bloom using Payne Grey or the no. 3 mixture. And viola! It was done faster and not as hard as I thought it would be. <span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Instead, it turned out to be fun!</span></span><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><b> </b></span></span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><b>[Insights] The dry brush technique for the scratch effect of the bloom was the most fun part! I did it randomly and the effect still managed to look natural.</b></span></span></span></span><br />
<br />
<h2>
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;"><b>Correcting Watercolour Mistakes with Flat Brushes</b></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></span></span></h2>
<span style="font-size: small;"><span style="font-family: inherit;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">As I wrote <a href="http://eunikenugroho.blogspot.co.uk/2013/07/commision-honeysuckle-illustration-for.html" target="_blank">here</a>, </span></span>a good watercolour paper usually has a robust surface that it forgives some mistakes. I, quite often, lift watercolour paints or correct mistakes using my old <a href="http://www.artsupplies.co.uk/brushes-prolene-series-106-flat-one-stroke-brush.htm" target="_blank">Proarte 106, flat 1/8" sized brush</a>
(see picture below, the black handle). However, the brush wore off quite fast in a couple months. The hair ends were bent, losing their accuracy of correction. FYI, I saw Billy Showell has similar
brushes in her demonstration; it was called the eradicator brushes. </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;">In addition to that brush, I have other brushes for fixing for more precise point, the cheap, flat,</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"> 00 sized </span></span>brushes (see picture, the red handles), which I got from a clearance sale. As you can see in the
picture, they are much smaller than my 1/8" sized brush, which usually is the
smallest size of flat brushes. </span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">They are also less thick that I can lift paints more precisely. The hairs are synthetic and quite
stiff to rub papers and lift paints. They also stay in good shape
longer than my 1/8" sized brushes. If you are
curious why the rightmost brush is shorter, it is because I cut it with scissor. I
use the stiffer hairs for the toughest stains since it is more abrasive to papers.</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;"><b><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><b>[Tips] I wet the area to be removed or corrected with clean water by stroking a damp brush gently, then pat the pigment away with a kitchen towel/paper. </b></span></span></b></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;"><b><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">[Tips] I lift paints using my "broken" 1/8" sized brush for a soft-edged result, e.g. to enhance highlights</span></span>.
In the meantime, I use the 00 sized brush for the sharper edges, e.g. to remove paints</b><b><span data-ft="{"tn":"K"}" data-reactid=".18l.1:3:1:$comment863133257039503_863264593693036:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".18l.1:3:1:$comment863133257039503_863264593693036:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".18l.1:3:1:$comment863133257039503_863264593693036:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0"> that go beyond the outlines</span></span></span> (see pictures below) or to create lines or vines of leaves when the paint is not completely dry.</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8D-YLSiEufmQPliG61wMgDhws7MwfXbyxAvDMU19ZX7_z12BzShTHmva7Dpnc8gszvbk9f5mnYlGSqvNddCHBpLLywxMfShbyKo-p8iireCNNQEGCK72fp2_s4IUysvUNhffYch0NKFA/s1600/Erasing.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8D-YLSiEufmQPliG61wMgDhws7MwfXbyxAvDMU19ZX7_z12BzShTHmva7Dpnc8gszvbk9f5mnYlGSqvNddCHBpLLywxMfShbyKo-p8iireCNNQEGCK72fp2_s4IUysvUNhffYch0NKFA/s1600/Erasing.jpg" /></a><span style="font-size: small;"><span style="font-family: inherit;">The illustration was quite small, about 10 x 10 cm, hence it was not very detailed. It is one of the 15
illustrations of ingredients and nature elements I did for <a href="http://www.hatsun.com/ibaco/fun_flavours.html" target="_blank">Ibaco ice cream</a>'s serving cup. The project was fun, supervised by a kind art director, Diya Pallikal of <a href="http://www.rubeconcreative.com/" target="_blank">Rubecon</a>.</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">*Please visit <a href="https://www.behance.net/gallery/19994323/Ingredients-Nature-Illustrations-Ibaco" target="_blank">my behance</a> to see more illustrations of the project :) Enjoy!</span></span><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com11tag:blogger.com,1999:blog-8172956965488807562.post-40580991163403136682014-09-23T14:07:00.000-07:002015-02-07T13:11:45.657-08:00[Tips] Magnolia: Painting White Flowers<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CwZmISp8sAzE8uCrR4Awy-0ohWf_tXY0WxfktPZdlpAgzoRVCkQmiOLQ0Aizg2cNbCba-Koljn675hTjA_RArgbP4256dL7phVF3EKQCZksHBp3GPgaj5gekpy-UHVkGF4H7dRvcn50/s1600/EUN_1977.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CwZmISp8sAzE8uCrR4Awy-0ohWf_tXY0WxfktPZdlpAgzoRVCkQmiOLQ0Aizg2cNbCba-Koljn675hTjA_RArgbP4256dL7phVF3EKQCZksHBp3GPgaj5gekpy-UHVkGF4H7dRvcn50/s1600/EUN_1977.jpg" height="240" width="400" /></a></div>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;"><span style="color: black;">Mixing 3 primary colour paints will produce richer "grey" than using only diluted single black/grey pigment to paint white objects. </span>As I mentioned <a href="http://eunikenugroho.blogspot.co.uk/2012/04/garlic-and-scapes.html" target="_blank">here</a>, the mix consisted of 2 parts of
French Ultramarine, 1 part of Cadmium Yellow Pale, and 1 part of Cadmium red deep. I
added a small amount of other paint that matched with the object's hue, e.g. Permanent Rose for the Magnolia and the Hydrangea, or Cadmium
Lemon for the snowy wood-rush (illustration in the middle).<b> </b></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;"><b>[Insights] Those 3 paints of basic mix didn't mix together long, they would separate out. It meant I needed to stir it again soon before applying it on paper.</b> You can even expect them to separate again on paper if the wash is really wet. However, </span>I liked the "separated" effect especially when the granulating french ultramarine came out in this Magnolia illustration. The shadow tone looked rich and it lent the leathery effect of the petals, too.</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">In addition, I used white gouache for the fine hair of the buds. <b>[Tips] I mixed white gouache with yellow watercolour, hence it blended nicely with the whole illustration</b>. If not, the white gouache tended to look bluish.</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;">And here is the scanned image of the Magnolia. It is one of the 4 illustrations I made for Rathbone Square Garden. Please visit <a href="https://www.behance.net/gallery/15821751/Cutting-of-Plant-Illustrations-Rathbone-Square-Garden" target="_blank">my Behance</a> to see the complete illustrations. Cheers :)</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="https://m1.behance.net/rendition/modules/134204635/disp/bae7ff2f023a46942d8858c696d2ebf6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://m1.behance.net/rendition/modules/134204635/disp/bae7ff2f023a46942d8858c696d2ebf6.jpg" /></a></span></span></div>
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com10tag:blogger.com,1999:blog-8172956965488807562.post-88083605619801711742014-09-19T16:45:00.001-07:002014-09-19T16:48:51.910-07:00[Commission] Rathbone Square Garden - London W1I worked on 4 illustrations for Rathbone Square's brochure. The illustrations were created to show the key plantings of their garden. I will write a tip or two on other post. Please check out the
complete illustrations on <a href="https://www.behance.net/gallery/15821751/Cutting-of-Plant-Illustrations-Rathbone-Square-Garden" target="_blank">my Behance</a>.<br />
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**Thank you, <a href="http://heavenly.co.uk/" target="_blank">Heavenly</a> and Great Portland Estates for having me in this great project!<br />
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<br />Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com2tag:blogger.com,1999:blog-8172956965488807562.post-54262135636369536052014-07-15T21:16:00.000-07:002014-07-19T11:48:32.269-07:00Rose Petals: Playing with New Colours<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK1vQL1lZVWEP48eV8C02D5UyOfUvmcrnfcrgguRac_TI4N81-V8u_GUCL1ginoz-bbA8Ia7m5a9oThaxeXVrIaS0peEzCp9RCB2n_z7YXQvRtsI3yEfx-K_qr4DS7bGphPrAM8wGMNGM/s1600/Rose-Petals_colourwheels.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK1vQL1lZVWEP48eV8C02D5UyOfUvmcrnfcrgguRac_TI4N81-V8u_GUCL1ginoz-bbA8Ia7m5a9oThaxeXVrIaS0peEzCp9RCB2n_z7YXQvRtsI3yEfx-K_qr4DS7bGphPrAM8wGMNGM/s1600/Rose-Petals_colourwheels.jpg" height="318" width="400" /></a>Finally I've got the reason to try some new paints I bought long time ago. The reason was a bunch of rose petals of Sheffield Botanical Garden. Quite simple objects to play with colours.<br />
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Before I painted them, I compared the petals' colours side by side with my <a href="http://eunikenugroho.blogspot.co.uk/2014/06/tips-making-radial-colour-charts.html" target="_blank">radial colour charts/wheels</a>. I singled out the closest colours by rotating them out from the stacks.<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: x-small;"></span></span><br />
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The new paints I used:<br />
1. Daniel Smith Quinacridone Red for the red splotch of white round petal (see the middle left petal in the final work). <br />
2. W&N Red Deep for the colour mix of the middle bottom red petal. It has a wide tonal range and spread in wetted area smoothly.<br />
3. W&N Scarlet Lake for the colour mix of the reddish-orange petal in the center. A very vibrant colour!<br />
4. W&N Quinacridone Magenta<br />
5. W&N Permanent Magenta.<br />
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Sadly, I failed to digitalise the painting :( I tried to scan it several times but the vibrant reds kept losing the details and made ugly, uneven gradations. This is what I can share from my camera. Enjoy! :)<br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com4tag:blogger.com,1999:blog-8172956965488807562.post-86544443097634053112014-07-10T18:00:00.000-07:002014-07-19T11:41:26.846-07:00A Painting Class with Rachel Pedder-Smith<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrXxbBVpziCAot_vfh3oEDIMtarw99HNh5gLIvsuIEogNOeqxwdRLk-GFD7gWdrJNTTvF4aPew1WYxtGwyPgkmu-SQC38GckK-R-ROsoLpPOnMU_FwaAqzbk7f31oU8fMeFZkD7Ieisw/s1600/photo-4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggrXxbBVpziCAot_vfh3oEDIMtarw99HNh5gLIvsuIEogNOeqxwdRLk-GFD7gWdrJNTTvF4aPew1WYxtGwyPgkmu-SQC38GckK-R-ROsoLpPOnMU_FwaAqzbk7f31oU8fMeFZkD7Ieisw/s1600/photo-4.jpg" height="320" width="253" /></a>Thanks to Husband for taking care our baby. Hence, I could enjoy my "me time" by joining <a href="http://www.rachelpeddersmith.com/Home.html" target="_blank">Rachel Pedder-Smith's</a> workshop. It
was held by <a href="http://www.florilegiumsheffield.org.uk/" target="_blank">the Florilegium Society</a> in Sheffield Botanical Garden on Monday, 7 July 2014. <br />
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In the beginning, Rachel presented a very interesting slideshow and prints of her works. I was mesmerised mostly by her paintings of the herbarium specimens (dried-pressed plants) of the Kew Garden. They are massive and GRAND (I do mean it when I say grand!). <a href="http://www.rachelpeddersmith.com/Herbarium/Herbarium.html" target="_blank">One of them </a>was a 5 meters long. It contained very well composed of 700 specimens of 504 families of the plant kingdom. It was a fascinating assortment, from tiny Amborella (the oldest and most “primitive” plant
family) to a leaf of passion fruit that was collected by Charles Darwin himself. She explained that it took 766 days to complete this scientifically accurate and exquisite painting. What a labour of love! *Please check <a href="http://www.rachelpeddersmith.com/Key%20to%20Herbarium%20Specimen%20Painting.pdf" target="_blank">this</a> out to see how fascinating the work.<br />
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Rachel did a quick demonstration of painting an Afzelia seed before she gave us 2-3 hours and her favorite paper, Saunders Waterford hot pressed paper, to work on our seeds/pods under her care.<br />
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And I painted these.. :)<br />
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<br />Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com2tag:blogger.com,1999:blog-8172956965488807562.post-37017039758509246142014-06-07T11:40:00.001-07:002014-06-07T13:16:00.666-07:00[Tips] Making Radial Colour Charts<div class="tr_bq">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">An idea hit me 2 days ago when I saw a pile of my leftover watercolour papers. What if I can turn them into a radial colour chart? After a little research on how to make a stack of papers rotatable, I made some for my self and I think it is a fun activity to share with my fellow botanical artists. The colour charts are really useful for our painting reference and, as we all know, we need to manage a load of colour charts, which keep growing over the time.</span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Tools:</b> Cutter, ruler, hole punch plier, split brassed paper fastener.</span></span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><b>Step by step:</b></span></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">1. I cut my favorite watercolour papers, Fabriano Artistico 140lb, into 2x6 cm pieces using a cutter and a ruler. I chose the form of small tags to make the best use of the leftovers :p<br /> </span></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">2. I made clean, 2.5 mm-sized holes with a punch plier (usually for leather belt) on the deckle-edged side of the paper.</span></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />3. I applied the paint on the other edge of the paper (to the very edge!) and write the colours' name soon, for fear of being buried in a pile of unnamed colour tags.</span></span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">4. I arranged the colours by tone and fastened them with the split pin/brassed paper fastener. Since a cover would be a nice touch, I painted the cover with many colours to represent the content of the chart.</span></span><br />
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6x9f3vtghgyyl8LHEqLTpSEljr4lnYCtmP_SoWvKJvgQC5fY3TYmVKeclct5Enewto0KUg7XCb-rJ1CYk4t0MZK1pVr1n_L6XzkGtzFqqDTU5ihvCJdIY1b_eL_G2HQT1IWDALh_2d54/s1600/EUN_2650.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6x9f3vtghgyyl8LHEqLTpSEljr4lnYCtmP_SoWvKJvgQC5fY3TYmVKeclct5Enewto0KUg7XCb-rJ1CYk4t0MZK1pVr1n_L6XzkGtzFqqDTU5ihvCJdIY1b_eL_G2HQT1IWDALh_2d54/s1600/EUN_2650.jpg" height="335" width="400" /></a>I have never made a colour chart before. Instead, I used to mixing and testing colours on an unused paper when I painted and throwing it after the painting was done. I also couldn't really use the common, tile-system colour chart because I couldn't make a side-by-side comparison between each of the colours and the object I painted. <b>To me, the physical juxtaposition was important in finding the right colour.</b> Yet, the tile-system colour charts did not help much in singling out the right colour. Then, I remembered the Pantone's colours chart and I thought that a radial watercolour chart was what I wanted all along.<br /> </span></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">Now, I really enjoy my radial watercolour chart! <b>I can compare the colours side by side just by rotating them or put it side by side to the object of painting. I can add new colours or rearrange the stack easily because the split pin can unlock and lock without a sweat. </b>I can also write additional note on the rear side. I can release the picked colour from the stack if I needed to. Well, am I easy to be satisfied or what? :p</span></span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /><span style="font-size: x-small;">*I made the blue, purple, yellow, and green colour chart as well and I will enjoy making the earth colour chart as well as any other colour in the future.</span></span></span><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com12tag:blogger.com,1999:blog-8172956965488807562.post-8448136296673668422014-04-15T04:00:00.000-07:002014-07-30T00:25:17.308-07:00[Commission] Vinos del Paseante - CODORNÍU S.A.<div style="text-align: left;">
Finally the wine set with my illustrations on them were launched this month. I will write about the process on other posts. To see the complete illustrations, please visit <a href="https://www.behance.net/gallery/Illustrations-for-Wine-Labels-CODORNIU-SA/15746363" target="_blank">my Behance</a>. Thank you, Miquel Capo and <a href="http://www.xavierbas.com/" target="_blank">Xavier Bas</a> for having me in this exicting project!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizK9aROkdGft9ULg7-R8wG-eTo1dWQzhV4EobpUKAOBf-1XRWb129D6rYXQHDKH0imRq8BCJlvyiIwTBiUp3yIJvFdOouUU_m4L7uSFh-Setn3FwT8ef9lRUKfy_uV9flnRu-cmDUG3XM/s1600/Vdp_Family.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizK9aROkdGft9ULg7-R8wG-eTo1dWQzhV4EobpUKAOBf-1XRWb129D6rYXQHDKH0imRq8BCJlvyiIwTBiUp3yIJvFdOouUU_m4L7uSFh-Setn3FwT8ef9lRUKfy_uV9flnRu-cmDUG3XM/s1600/Vdp_Family.jpg" /></a></div>
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<br />Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com5tag:blogger.com,1999:blog-8172956965488807562.post-11276803042832576982014-04-15T00:53:00.001-07:002014-07-30T02:07:37.641-07:00[Tips] Painting Furs Quickly with Comber Brushes<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDyz3wwtIZriNJXBLGM4iWaYQpYPMvW_tWqN23op7O39c_rwxz3j7ZA8jvBOO3tuhhzgBDwx0pMdya32e2bDtQ4tcvqlE6mfkyhPFj6GkkY8Sm6sXLj69ttbCy_pVbkbusUkwe3M5e-8/s1600/Eunike_WIP-El-Pispa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBDyz3wwtIZriNJXBLGM4iWaYQpYPMvW_tWqN23op7O39c_rwxz3j7ZA8jvBOO3tuhhzgBDwx0pMdya32e2bDtQ4tcvqlE6mfkyhPFj6GkkY8Sm6sXLj69ttbCy_pVbkbusUkwe3M5e-8/s1600/Eunike_WIP-El-Pispa.jpg" height="300" width="400" /></a>I
worked on some illustrations for <a href="http://www.codorniu.com/en" target="_blank">Codorníu S.A.</a> under the direction of Miquel Capo of <a href="http://www.xavierbas.com/" target="_blank">Xavier Bas Disseny</a>, generally in 2 steps. First, I blocked all the designated spaces with wet washes. And, later, I built up the figure with many layers of
fur and feathers, using a very dry brush strokes.<br />
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I painted them mostly in dry brush in order to imitate the paintings style of <a href="http://en.wikipedia.org/wiki/Alexander_Marshal" target="_blank">Mr Alexander Marshal</a>, an English entomologist, gardener, and botanical artist from XVII century.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEsXw_-HV8Uc0ky-2zfC37QtoZ9_Y-qtAvgrQrMwmNYnjK_TbTFk9mKdZZFn_ypHQR4YwsqX_hSi42fX_eXDkLI54bWZYK1dMYzEgQTZ0rkeieFxbJhcCFIIOad3-PX3OnBgfujMDRbbk/s1600/IMG_4850.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEsXw_-HV8Uc0ky-2zfC37QtoZ9_Y-qtAvgrQrMwmNYnjK_TbTFk9mKdZZFn_ypHQR4YwsqX_hSi42fX_eXDkLI54bWZYK1dMYzEgQTZ0rkeieFxbJhcCFIIOad3-PX3OnBgfujMDRbbk/s1600/IMG_4850.jpg" height="343" width="400" /></a>I
was not used to work with dry brush. I did it by trial and error. When
I worked on "El Pispa," the goldfinch bird illustration, I got quite frustrated with how long it
took to build up the body of the bird with a small round brush. I even wore
out my two favourite brushes. Fortunately, I bought 2 <a href="http://www.rosemaryandco.com/golden-flat-comber" target="_blank">comber brushes from Rosemary</a> afterward, which I used to work on the next illustration, "La Pelea." The brush has unique
shape that can create many tiny strokes at once. It made the work of painting the furs much
quicker and easier.<br />
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Some insight I gained in the process:<br />
1. Adjust the dryness on a different paper to create separated fur at once.<br />
2. Combine the round and comber brushes for natural variability. I used a comber brush for wide
area and a round brush to put down some details or correct the stray
lines made by the comber brush.<br />
3. Follow the fur direction and control the pressure. I lifted the brush up at the end of the stroke to make pointy furs/hairlines.<br />
4. Since I didn't use white paint, I started from light and moved to dark colour. The highlights were effected by making fewer strokes on the area while adding more layers on the shadows.<br />
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I know the illustrations was not a perfect sample of realistic painting but I believe these comber brushes can greatly help to make it happen.<br />
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And here is the scanned illustration of La Pelea for Codorníu S.A. Enjoy!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZ4sBVEzNfcTbn0PBjqPIPbGpoGLFFm0N2Y3qolrIm6zBfL6UfilK4NflvuVxiljQ2uL50-FNZ0YmrYBGtl6CFfrEKpojbu1OJvm7-GlEIuOJH8K_8crIw6FHGjIJ-8AM1x7Om9VMAHI/s1600/La-Pelea.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZ4sBVEzNfcTbn0PBjqPIPbGpoGLFFm0N2Y3qolrIm6zBfL6UfilK4NflvuVxiljQ2uL50-FNZ0YmrYBGtl6CFfrEKpojbu1OJvm7-GlEIuOJH8K_8crIw6FHGjIJ-8AM1x7Om9VMAHI/s1600/La-Pelea.jpg" /></a>
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com3tag:blogger.com,1999:blog-8172956965488807562.post-12467637919175755282013-12-10T12:21:00.000-08:002013-12-10T14:27:12.926-08:00Japanese Chrysanthemum: Continuing an Unfinished Artwork.More than a year ago, I found a lovely specimen of Japanese chrysanthemum. I made the sketch and painted most part of the flowers. I stopped working on it when I had too many things to do between our moving back from the UK to Indonesia and my pregnancy. Last week, I decided to finish this unfinished work. And these are some little insights during the process.<br />
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I found that the paper's characteristics somewhat changed. It was more absorbent and its surface was not as robust as I remembered. I realised it when I used the wet washes and lifting technique frequently. I wonder whether it changed since I brought it back to Yogyakarta and neglected it for about 7 months.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr-Ox6ai9hRk6WPCMnwUO3AGxIszhSZ5JpF-gEhm1yYL13TVipRD9tgLQnJcr68PCSpBs_e8SalSWbUu-Znu8WDj2VFNivbaBHxXALA-8Cs5pDgHIiEUlviGxbsQzxLVMnc4MePL76u90/s1600/WIP-JC-Leaves.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr-Ox6ai9hRk6WPCMnwUO3AGxIszhSZ5JpF-gEhm1yYL13TVipRD9tgLQnJcr68PCSpBs_e8SalSWbUu-Znu8WDj2VFNivbaBHxXALA-8Cs5pDgHIiEUlviGxbsQzxLVMnc4MePL76u90/s400/WIP-JC-Leaves.jpg" width="400" /></a>I am still wondering how to solve the humidity problem in the tropical
Indonesia. The Japanese Chrysanthemum was not the only one that had been
affected. I faced the same problem when working on the Paphiopedilum
glaucophyllum orchids. Not to mention my shocking encounter with the massive mold attack
on my other drawings when I left them on the hardboard for 4 days only
(when I was in the hospital, giving birth to my baby). The weather was so
humid, it seemed to pose the watercolour paper with many risks. Does anyone of my kind readers here have any idea as to how to solve the problem? <br />
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Back to the unfinished painting, I tried some new green mixing I learnt from <a href="http://www.artistsnetwork.com/articles/art-demos-techniques/mixing-greens" target="_blank">artistnetwork</a>. I bought Winsor & Newton Permanent Sap Green and I found it was easy to mix with my existing colours. But what made me happy was that the sap green mixing was not as staining as Winsor Blue (green shade) that I usually use. It made lifting the pigment easier both when the paint was still wet/damp and when it completely dried. I mixed sap green with French Ultramarine to get a dark green, or Cadmium Lemon/ Cadmium Yellow Pale to get the bright one. And a little touch of Alizarin Crimson, if needed.<br />
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Another new thing I tried was using kolinsky sable brushes as my main tool. I decided to invest in Raphael series 8404 no 2 and 4 after Billy Showell's demonstration. I found the natural brushes was very different from my existing synthetic one (mostly Pro Arte series 101). Here are my first impressions of using Raphael kolinsky sable brushes:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbBz5yu2U6G0EWzPDTmotXFbcHLnHf9UgHiTNB9ia6IYyWzyT_ltWdkOc-EOGRKghuavDRcIu21dJETJbAKQweqRWoXRl_goFevtyNoIUE_au2UODuVsqeLxccyP64NntQ55AzWi62-20/s1600/Eunike_Raphael-brushes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbBz5yu2U6G0EWzPDTmotXFbcHLnHf9UgHiTNB9ia6IYyWzyT_ltWdkOc-EOGRKghuavDRcIu21dJETJbAKQweqRWoXRl_goFevtyNoIUE_au2UODuVsqeLxccyP64NntQ55AzWi62-20/s1600/Eunike_Raphael-brushes.jpg" /></a>1. They are bigger than the synthetic ones with the same number size. The Raphael size 4 is even a bit bigger than my Pro Arte size 6.<br />
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2. They have much bigger capacity to hold water. It is good for glazing/washing big area, on the other hand, it requires more watercolour mixing prepared. <b>[Tips] Use a cheap/discarded brush to pick up pigments and mix watercolour rather than using an expensive sable brush.</b><br />
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3. They release water/paints slower but more evenly. So they tend not to dump water/paints in a puddle.<br />
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4. The tuft/hair is softer and bend more easily (or somewhat a bit defenselessly for me).<br />
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5. The brushes' tip do not naturally point out when dry (whereas the synthetic do) and need to be reshaped when wet (whereas the synthetic needn't). I was aware of it since I saw Billy kept twirling her brushes' tip on a kitchen towel after she dipped them in water/paints.<br />
<b>[Tips] I reshape the brush by loading the brush with water, then shaking the excess vigorously</b> with my elbow or tapping the brush handle with my other hand before I dip it in the watercolour mixing. I usually have the brush tip very pointed afterward without touching my finger on it.<br />
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The kolinsky sable brushes are not cheap, but at least now I know the difference between them and the synthetic ones. I need much more practise to feel more comfortable with them. However, as other people said: knowing how to best use what you have is more important than the "tool" itself. Cheers!<br />
<i><br />Another post about taking care watercolour brushes is <a href="http://eunikenugroho.blogspot.co.uk/2012/09/tips-taking-care-watercolour-brushes.html" target="_blank">here</a>.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDTYKQQNpkFojmr3khTBaovoxKwV2Md-SpilGp2pybhvMAfZaAXZs0Z9SwjwMf3GCsNefQIxBdqj7il1JicbLdWaSzHD2DOwTYPbrP4k4RFwt_sr2vmg4MaG4W61HT90vWf7ElJiSb4c/s1600/WIP3-JC-Leaves.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDTYKQQNpkFojmr3khTBaovoxKwV2Md-SpilGp2pybhvMAfZaAXZs0Z9SwjwMf3GCsNefQIxBdqj7il1JicbLdWaSzHD2DOwTYPbrP4k4RFwt_sr2vmg4MaG4W61HT90vWf7ElJiSb4c/s1600/WIP3-JC-Leaves.jpg" /></a></div>
And here is the scanned illustration.<br /><i><span style="font-size: x-small;"><span class="userContent">28 x 38 cm - 300 gsm traditional white HP Fabriano Artistico paper.</span></span></i><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com5tag:blogger.com,1999:blog-8172956965488807562.post-78592839305793936822013-11-28T03:52:00.000-08:002013-11-28T03:52:18.824-08:00Anemone Flower<div style="text-align: center;">
<span style="font-family: Times,"Times New Roman",serif;"><i>A little piece was done when my baby slept..</i></span></div>
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com3tag:blogger.com,1999:blog-8172956965488807562.post-43788662972828353872013-10-12T06:35:00.000-07:002013-10-12T06:35:05.288-07:00[Tips] How to Transfer a Drawing using Tracing Paper<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0t3fZFwhe_bPs_QAaVrCXZJIz2gCFVSJUFacERDcJp7a14yrmQQnHzEMyqEv5QbsXxfDGhoE3wr2E1wSdOfa_3zPGNZ-lJiIvlC66rmTMZmYPY9oCBPhSN3byVYF4pC2WOUfeiAZpPro/s1600/Tracing-paper-03.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0t3fZFwhe_bPs_QAaVrCXZJIz2gCFVSJUFacERDcJp7a14yrmQQnHzEMyqEv5QbsXxfDGhoE3wr2E1wSdOfa_3zPGNZ-lJiIvlC66rmTMZmYPY9oCBPhSN3byVYF4pC2WOUfeiAZpPro/s640/Tracing-paper-03.jpg" width="423" /></a></div>
The idea is simple. The transparency of tracing paper allows me to precisely copy a sketch to the "real" paper.<br />
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By keeping the watercolour paper clean, I can sketch and revise as many as I want, for example, to accommodate the client's requests. Sketching directly on the "real" paper will leave too many erases and pencil scratches on the otherwise good watercolour paper. The other advantage is that I can transfer the sketch already coloured, or only necessary lines.<br />
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Here are the tools I need: <br />
1. Tracing papers<br />
2. Pencils or water soluble colour pencils to coat the other side of paper<br />
3. A very pointy and hard pencil (e.g. 2H - 4H) to trace the drawing<br />
4. (Optional) Eraser, pencil sharpener, kitchen towel, sandpaper.<br />
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And here are the steps:<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDgvgTqgZMP8H8D1JZKIfP171qyKpZ4ta5hReUAfifQ8857GbRW6RK7NtP11KUj91muEtfCNpZcVp8bqbQKdqup5Spl6lXXvJrX1SmRp-pkhNoxqh9kvA6ZylSxLqF4ZyVZyx6dbn3Uk/s1600/Tracing-paper-02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDgvgTqgZMP8H8D1JZKIfP171qyKpZ4ta5hReUAfifQ8857GbRW6RK7NtP11KUj91muEtfCNpZcVp8bqbQKdqup5Spl6lXXvJrX1SmRp-pkhNoxqh9kvA6ZylSxLqF4ZyVZyx6dbn3Uk/s320/Tracing-paper-02.jpg" width="320" /></a>1. Once a sketch was approved by client, I scanned and then printed it on a tracing paper. Again, it saved me another time from transferring a drawing twice from sketch pad to a tracing paper then to a watercolour paper. It was also less messy because it prevented me from smearing the watercolour paper with pencil dust that clings on my palm.<b> Another tips to avoid pencil dust: Place clean paper between your hand and tracing paper if you aren't going the scan-print route.</b><span class="template"> </span><br />
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<span class="template">2. To coat the blank side of the tracing paper quickly, I held the pencil almost
completely sideways then spread the mark with a kitchen towel. This helped me to gain an even outline like I draw directly on the watercolour paper with 2H pencil.</span><b><span class="template"> </span></b><br />
<b><span class="template">My tips:</span> For delicate botanical illustration or light coloured object, use water-soluble colour pencils with similar colours to
those of the final paints</b> to coat the backside of the tracing paper. This would
save you some time from erasing it as it
leaves no trace of pencil. On the other hand, when I
paint less detailed or dark coloured object, I use graphite pencil to coat the backside as I did in this Asian palm
civet illustration.<br />
<span class="template"><br /></span><span class="template"><span class="whb">3. I placed the tracing paper on top of a watercolour paper and secured it with masking tape</span> before I t</span><span class="whb">raced the image with very pointy 4H pencil. </span><span class="whb">I trace only necessary outline to the watercolour paper and I did it with a steady pressure</span><span class="template">.<br /><b>My tips: Grind the pencil to sandpaper </b></span><span class="template"><b>almost completely sideways to keep it very sharp/pointy.</b></span><br />
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<span class="whb">4. After I had completed tracing the drawing</span>, I gently removed the tracing paper and <span class="template">drew necessary line for the missing part. And the watercolour paints were ready to GO!</span><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com6tag:blogger.com,1999:blog-8172956965488807562.post-24569133375767027282013-08-04T02:02:00.001-07:002014-07-19T15:07:23.926-07:00[Tips] How to Make Hard Edged WatercolourHard edges occur when water pushes paint to the edge of the wetted area and the paint forms thin 'outline' as it is drying. Usually I avoid it in my paintings, but in this illustration I made it on purpose. And I like it!<br />
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It was a commissioned illustration for a wedding invitation of a dog-lover couple, 'German Shepherds' to be specific.<br />
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The German shepherds have special characteristics, such as black nose, black mark near the eyes, and black 'saddle'-shaped mark on the back. And I thought these features were fitting for the hard edged style.<br />
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Here are a little insights I found when doing the hard edges effect:<br />
1. I mixed a generous volume of water with less pigment to make a thin mixture. When applying the mix I made an effort to control the shape of the wetted area.<br />
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2. <b>I dropped more water in the colour when the area was still wet.</b> It pushed the pigment to the edge of the area and made the outline more striking.<br />
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3. I positioned the paper on a perfectly flat surface so that it created a uniformly sized outline.<br />
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4. To have a very fine outline, <b>I avoided thick mixture. Too much pigment will make heavy, coarse outlines</b>.<br />
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5. <b>I made sure the area was completely dry before I put another hard edged</b> washes and stroked the brush gently. The brush's pressure can scrape the previous outline.<br />
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I think there are many 'fun' possibilities for the hard edged watercolour as a stand-alone style or combined with other washes!<br />
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<i>(<b>Edited</b> on 19/07/2014) I add the final artwork and a closer look to their eyes :)</i><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com5tag:blogger.com,1999:blog-8172956965488807562.post-83366257247767414652013-07-18T23:42:00.000-07:002013-08-04T06:33:07.603-07:00[Commision] Honeysuckle Illustration for Book Cover<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAauPs5nbvWUyzCqAGPcV288qXNFx_il1JaAVHewj9amMvg5pLQaXlZDyh6mp1sGcE9ny3vp2wraRsAOcaAgi1F1KBHEfmnH096oKi5iFpX7xie8GdnJ5RmpWbFNsMOBgi7rnSB5haaYY/s1600/IMG_5013.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCps6aAlXBWYjmUaE9fdyInS3Qi297HzVZEF9pnlEYKjfgz9kpXWX7R_StgbE5Unyim4fSYq6QaJ1d7jbHUIDaMFywB2AcZW29NYbbW13AMSpfGlRGD0LAI-L2ZNafBPfDa1fr0vyxkmI/s640/IMG_5012.jpg" width="478" /></a>I just saw the book ready for pre-order on Amazon, and I think it's the time to blog about the creative process of the illustration. It was a commission I worked on in the late autumn last year. I remember that it was a serious challenge for me, but with much excitement.<br />
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The biggest challenge was that I had never seen the real honeysuckle flowers! Born and grew in 2 seasons country Indonesia and lived only a year in the UK, yes, I saw countless 'first time to see' flowers in the Spring, in the Summer and fewer in the Autumn but never once I luckily bumped into honeysuckle flowers. Google provided many reference images, but I was afraid I could not paint it right when I didn't see the flower with my own eyes.<br />
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It was late of the Autumn, and it was reaaaally hard to find a honeysuckle plant blooming. After corresponding via e-mail with about 20 nurseries and florists, I managed to make a shortlist of potential sellers. I even sought an advice from a generous botanical painter, Jarnie Godwin, regarding the varieties that were possible to flower in the late autumn/winter. She helped this clueless illustrator by pointing some varieties and a reference of nursery. With the knowledge of the variety and my husband's calls to some sellers, later I found the only one 'Graham Thomas' honeysuckle that still flowered from a nursery in Buckingham. I bought it for almost five times more expensive than its price at the local supermarkets in the Spring/Summer. But I was very relieved to finally get it!<br />
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The plant came within 24 hours. I took some pictures of the flowers and showed them to the client. We both agreed that they were not in their prime time. But at least, I know 'whom' I dealt with. The inflorescence had intricate shape and many different parts and I think I was right to see it myself rather than only worked on its image reference.<br />
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Beside the real specimen, I also worked based on some image references because it was the dark pink-yellow-orange honeysuckle flowers that was wanted, not the white-yellowish 'Graham Thomas' I had.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAauPs5nbvWUyzCqAGPcV288qXNFx_il1JaAVHewj9amMvg5pLQaXlZDyh6mp1sGcE9ny3vp2wraRsAOcaAgi1F1KBHEfmnH096oKi5iFpX7xie8GdnJ5RmpWbFNsMOBgi7rnSB5haaYY/s1600/IMG_5013.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAauPs5nbvWUyzCqAGPcV288qXNFx_il1JaAVHewj9amMvg5pLQaXlZDyh6mp1sGcE9ny3vp2wraRsAOcaAgi1F1KBHEfmnH096oKi5iFpX7xie8GdnJ5RmpWbFNsMOBgi7rnSB5haaYY/s320/IMG_5013.jpg" width="320" /></a>First, I made 5-6 separate sketches of a inflorescence and composed them digitally to get the approval from the client. Out of 5 inflorescence of the brief, finally a sketch of 3 inflorescence was approved. Tracing paper is especially useful to consider the layout as I can easily move the object in different layers while still be able to see it.<br />
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I also used tracing papers to transfer the approved sketch onto 28x38 cm watercolour paper. As usual, I used water-soluble colour pencils to draw the outline/contour on the watercolour paper. This would save me some time from erasing as it leaves no trace of pencil.<br />
<b>[My tips] Use the similar colours as those of the paint.</b><br />
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Wet into wet was the most technique I used. I glazed the paper with clean water before applying the pigments. To create the highlight, I left a certain area of the paper white or lifted some of the paint with clean damp brush while the wash was still wet.<br />
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With a good watercolour paper, most watercolour pigment can be dissolved or lifted off after it has dried. A good watercolour paper is treated with a substance to reduce the cellulose absorbency. It makes the surface quite robust and forgiving of mistakes. It also makes the colour looks bright/clear since the pigment lays on the top of the surface.<br />
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In this illustration, I lifted off the permanent rose pigment when I made a little alteration of the flower bud.<br />
<b>[My tips] Wet the area to be removed with clean water by stroking a damp brush gently, then pat the pigment away with a
tissue. Avoid using this technique for staining colors such as Prussian Blue,
Alizarin Crimson, or Winsor colours. Check which the staining colours are (marked with "St") <a href="http://www.winsornewton.com/main.aspx?PageID=269" target="_blank">here</a>.</b><br />
<b>[My tips] A flat brush works better than the round one for lifting the colour off. I use </b><b><b>1/8"</b> synthetic flat brush for correcting a mistake.</b><br />
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For final touch, I used <a href="http://eunikenugroho.blogspot.co.uk/2012/09/chrysanthemum-touch-of-dry-brush.html" target="_blank">dry brush technique</a> to create striking texture on some petals. And after all the pigments completely dried, I rubbed the masking fluid off from the paper and painted it as planned.<br />
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All the process was done within 2 weeks. Although the illustration is used only as a faint background of the book cover of '<a href="http://www.amazon.com/The-Sweetest-Hallelujah-Elaine-Hussey/dp/0778315193" target="_blank">The Sweetest Hallelujah</a>' by Elaine Hussey, it was an exciting experience for me. It was the first time for me to work with renowned publisher, the Harlequin. It was the first time for me to see a beautiful honeysuckle flowers with my own eyes and to smell their fresh lemony-sweet fragrance all over my room. I think I can still remember how it smells. Heavenly!<br />
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Here is the scanned illustration.<br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com14tag:blogger.com,1999:blog-8172956965488807562.post-65034948962607716762013-07-14T06:41:00.001-07:002013-08-04T06:33:32.198-07:00Hibicus Flowers: Loose Looks in Constrained Way<div class="" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGEeoUDpDcH_LxTw51wnH2Ji5HQ2qfEd-6u8jXdVcagEC5YnFraV5QdgiDY1XzKZX_-EiC2eXpIk099TZmKv1KuKFFNnp4SAeAmJyQAPrVO-MAmHXkdbeQXVb0PjjyHrD1YtnLV4W_lM/s1600/EUN_1114.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGEeoUDpDcH_LxTw51wnH2Ji5HQ2qfEd-6u8jXdVcagEC5YnFraV5QdgiDY1XzKZX_-EiC2eXpIk099TZmKv1KuKFFNnp4SAeAmJyQAPrVO-MAmHXkdbeQXVb0PjjyHrD1YtnLV4W_lM/s640/EUN_1114.jpg" width="518" /></a>During my last days in Yogyakarta I meant to work on a painting of Hibicus flowers. It was a memento for Mr & Ms Jarret, who have generous enough to let us use their guest house during our stay in Yogya. The flowers were planted at the house and bloomed while I was staying there.<br />
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Since giving birth to Nawang, my 3 MO baby girl, I only had very few hours to paint so I decided to paint the flowers loosely rather than botanically.<br />
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Having the best time at 3.30 to 6 a.m. and a half or <span class="st">quarter of an hour or a few minutes while the baby awoke, in fact I worked on the loose looks in constrained way. I was ready to be interrupted anytime while painting.</span> Because of the condition, sometimes I couldn't keep any eye on my watercolour washes. I tried to make only a single stroke or two that I predicted to look
good and let it dry then check it out later after taking care of my
baby.<br />
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I used much of wet into wet washes on this painting. I made certain area of paper wet with clean water then applied
strokes or drops of pigment. Or sometimes I dropped water on a wet pigmented area. I love wet into wet washes; it was fun to see 'unexpected' results and those characteristic watercolour effects. I still can enhance (or correct) the colours by applying the same technique over existing washes after they were dry. | <i><span style="font-size: x-small;">The Hibicus Flower was painted on A2 Fabriano Artistico HP paper with Winsor & Newton Artists' watercolours.</span></i><br />
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Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com2tag:blogger.com,1999:blog-8172956965488807562.post-14817433444030439252013-05-21T17:00:00.000-07:002013-05-21T03:14:20.383-07:00[ORCHIDS] Study sketch of Vanda arcuataVanda arcuata from Northern Sulawesi, Indonesia. I made the sketch bigger than the life size, easier for me to paint the pattern.<br />
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<br />Eunike Nugrohohttp://www.blogger.com/profile/07732465242368585870noreply@blogger.com1