xx-bl00d-sush1-f0r3v3r-xx asked:

YO I NEED TO KNOW HOW YOU DO COLORBLOCK

i’ll discuss this based on sunstone from this post

1. i make a messy ass sketch in which i figure out the basic silhouette, shapes and very basic outfit elements (i usually draw things like the rest of the arms but here i was lazy lol) usually when i start i have a vague idea of what the thing will look like, but most of stuff appears when i work. sunstone was a bit different since i just redesigned the previous one, so i even had color palette already set.

note, i leave the drawing messy and fix proportions later, but the sketch is where you usually should do those things. but do whatever works with you best.

2. i make a new layer on top, and start locking shapes. you can do it however you want - lasso tool, magnetic/polygonal lasso, or just good old hard round brush. anything that leaves solid edges works. here i used a mix of lasso tool and brush. i make sure to do every shape or at least groups of shapes that do not touch each other on new layer, like this:

this allows me to change one area without touching the other. remember to lock the transparency after you’re done with setting the shapes, so the shapes stay the same and you can fill them quickly.

also, this is the step where i fix proportions and stuff (since this is my weakness i can’t say if i do a good job) i feel like working with solid shapes is quicker and clearer than a messy sketch i usually do.

3. adding things like patterns and other colors: i make a new layer on top of the one with base shape and create a clipping mask

aaaand this is where the real fun starts. once i have the shapes all prepared, i start messing with color palettes and patterns to put on top. remember to make a new layer for every new shape - this makes the workflow faster cause you can fill layers with one click and only change one desired shape instead of the entire group. this is the longest part since i usually am indecisive or can’t get something right. in this case this is the patterns and color placement i went with:

in this case it went real quick cause i had palette and patterns from previous sunstone :P

i hope this is clear enough!

Starlett is totally the character who you think murdered someone at the beginning of a Murder, She Wrote episode, but then she gets murdered. IT WAS A DISTRACTION

BEYOND THE CHARACTER

inspired by the post by sevenknotwind

i am writing this short essay to give a brief overview of theoretical reflexions, aspects of my exploration and experiences in drawing: the content might be not so obvious for you, the observer, when just looking at or seeing or perceiving my artworks.


dynamic line drawing and mixed media painting/drawing
on paper are the center of my artwork.
figure / character narratives play the leading role.

reduction, abstraction and the challenge
of perception — in simplicity and also complexity
are conceptual themes i am interested in.

when i draw, i let the line decide, let the line flow.
this process i call ‘flowstate-drawing’.


i think in general one can say that i am interested in the mind, and perception; among other things i am actively exploring these topics on the frontiers of a process framed by the word ‘drawing’.

in the draft mode i am writing in here, i can mark 3 aspects from the background:

AUTOTELIC EXPERIENCE

‘A thing which is autotelic is described as “having a purpose in and not apart from itself”.’ ( wikipedia )

you do not need a reason to draw. just drawing, the process of drawing can be perceived as a life enriching experience.

maybe it is close to this state of mind, which we had as kids – when we were totally into drawing: not thinking of a result, not thinking of art, not thinking if the things we create were right or wrong, good or bad, adequate or inadequate.

during my research, i have read various articles, which point out that a lot of people draw as children, and then most of them stop at a certain point in their life – but why? one author calls this the “tyranny of realism”. there is a moment when we start to compare the things, we have created and it is interesting to investigate the influence of society ( teachers, parents,.. ) telling us that this is not the way a sun or a house or a figure looks like, and that we often leave our pure sphere of creating to make things the ‘right way’. “Formulation”, like Arno Stern calls the result of his research, is lost. since a lot of children follow the way of positive feedback, and just some few are highly talented with ability of drawing realistically – they go on, and the others, the majority ‘puts down the pen’.

Lynda Barry is a great source to consult for rediscovering our ability to create without boundaries. for example, i loved her advice to make sound effects while drawing – like we did as kids. this illustrates the autotelic experience – the process and the drawing are one. yes, that’s it. ( What It Is, Drawn & Quarterly )

my individual autotelic drawing process, i call flowstate-drawing.


THE SPACE BEYOND WORDS

i experience drawing also as philosophical discourse, and meditative practise. these two aspects are connected ( if they can be divided ).

our thinking – for example the intellectual-/ critical thinking and reflexion of our minds works on the basis of language. but the experienced world is much  bigger than the layer of language.

i find interesting to read that cultures have developed a different vocabolary concerning the aspects of the mind: our western societies have build a well knitted spectrum of words dealing with the outside world supporting our urge for physical science, while eastern cultures differently investigated the inside world, supporting various meditative practises. for example discovering the term ‘no mind’ ( jap. mushin ) is something which inspired me a lot. just like the New Phenomenology of german philosopher Hermann Schmitz ( Neue Phänomenologie ). maybe he is able to build some kind of bridge between eastern and western philosophies? i highly recommend to read his writings, especially about the atmospheres ( Atmosphären, Verlag Karl Alber ).

when drawing, you can enter ‘the space beyond words‘ and explore this realm. like pursuing continuoulsy a meditation practise, and therefore experiencing a deeper understanding of inner processes and awareness – moving a line in the white universe might give you a rewarding insight in our being and can be perceived as practical philosophy.

GROWING WORLDS

with my abstract-figurative drawing process i am exploring the joy of creating, space, line drawing and the possibities of self-expression. i draw characters because i like to. this might be because japanese anime and the world of comics had a strong influence on me. i like to describe this process of creation as organic

when entering the perticular state of mind, mistakes do not happen, doubt does not exist. i never think of composition – harmony creates itself, beauty creates itself, everything flows.

for starters, this might sound like i am doing nothing. but it is a cultivated process, which evolved from years of education, autodidatic learning, exploration and practise. finally i have searched words universe for the perfect match to my experience when drawing – i found none. certain ideas were similar, but not sufficient. so, i gave it a name – ‘flowstate-drawing‘. since then i am exploring my visual art and line drawing in various conditions, like abstraction, narrative and figurative worlds, reduction and also complexity.

i tested how i could combine the organic process with also conceptual approaches and it worked out fantastically. ‘puzzle drawings’ is another sub-process which i could mark out recently.

writing this, i have reached the actual status quo: i am exploring my growing worlds, and in reflexion i am witness to a kind of evolutionary process.

i am happy to have finally found the motivation to begin to write this essay, to share this with you, even uncomplete and in this sketch mode. if this aspects gave some insight and maybe also some inspiration – this would be great. if you have notes or questions about the text please ask or write me an email. i have answered already some questions about my process on my website, so you can also check the faq.


i would like to end with a recent question about my view on beauty – and my answer that i love the idea of wabi sabi. i am highly attracted to organic and living beings and things.

let’s create :D

Always in Process

‘The truth is that we’re always in some kind of in-between state, always in process. We never fully arrive. When we’re present with the dynamic quality of our lives, we’re also present with impermanence, uncertainty and change. If we can stay present, then we might finally get that there’s no security or certainty in the objects of our pleasure or the objects of our pain, no security or certainty in winning or losing, in compliments or criticism, in good reputation or bad - no security or certainty ever in anything that’s fleeting, that’s subject to change.’

- Pema Chodron, Living Beautifully with Uncertainty and Change.

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