The Lightpad

I found something those who still have to decide which lightpad to buy might find very interesting:
The Lightpad!

It comes with a 360° rotating workspace which is imo very cool if you tend to shove, flip, turn and rotate your sketch like I do.

The full information sheet can be found here:
Click Click!

The only downside I see -without having it- is the 1 year warranty. In my eyes a bit weak to give only 1 year. It feels a bit like "don't expect it to last longer" which is -given at the high price for the big version- a downer. Nevertheless it's neat!

I still use my Dörr lightpad (more of a lighthulk since it weighs... a lot) and am happy I purchased that monster.

Before you buy a pad make sure it 100%ly fits your needs and is really big enough for all sizes you might work with. No use in buying a small compromise you end up using only randomly and with the gnawing knowledge that a bit more saving up might have made your life a lot easier.

I think everything under A3 is ergonomically-wise a catastrophy. If you only work on ACEO size.... A4 might be good after all but for A4 illustrations A3 is the most compfy solution.
Keep in mind that you have to rest your lower arm on the surface to relax your shoulders (and avoid possible tendo...). If you can't rest your arm properly and relax your shoulders while working with a pad it's simply put crap.

Moleskine Passion Journal: Food

Okay... so Moleskine decided some years ago that people like me who adore Moleskine journals should spend even more money and created a new line: The passion journals.
These things kill me!
It's not like I am getting grabby hands with every special edition but I regulary use a Moleskine for notes, sketches and meeting doodles (and pretty much everything else) and "burn up" 1 per year. These look odd since my journals don't tend to be super artsy but.... actually only there for keeping my notes neatly in 1 place.

Anyways, the food journal definitely made my heart flutter. I hate the normal looking recipe DIY books and most layouts are either not detailled enough or too cluttered. Moleskine created a tiny thing of awesomeness. And I'm happy I got mine last week.

 That's how it looks on the outside- the usual fake leather is embossed and gives at least a hint about the pretty things inside. I mulled over the decision of customizing it but in the end it will stay like that. Or get a foil cover... still undecided.

 And that's how it looks inside... at least in my journal.

  I tend to switch between languages (why translate if you know what it means?) and doodling vs photos I made beforehand. I guess nobody will be able to read it properly except me. I decided to include only recipes I already made and approved. You know these recipe books where you find on 100 pages only 2 recipes you really love? Yes, pure frustration (I have a lot of these books...argh). So my book will stay frustration free.

 At the moment I'm still trying to gather everything I made over the last couples of years. Cooking on a daily base means: lots of recipes. The good thing is: I tracked every bloody day. So it's easy to "reconstruct" mostly everything. We still have to check a lot of photos I made since usually my hubby is my guinea pig and can hopefully remember the ones he liked.

 The only downside of the journal: The pages are soo thin. I really wanted to use color but marker will 100%ly bleed through and my pencils might be too hard for the surface. At the moment I stick to my Slicci pen but the ink is pretty much a disaster because it tends to fade and even the thin gel liner creeps through the page.

One of the ups: You have a double pouch in the back. If you have any recipes you simply want to store or stickers, labels, notes: That's your place. And there's plenty of it!

The food journal comes with different stickers and labels I might or might not use. I think an unhappy face won't make it into the book but some things might come in handy.

You can check all the different Passion variants on the official Moleskine page. Enjoy!

Grass... again

... and I never get tired of it.
I'm still cleaning up my brush presets- throwing out a lot of things I got from other people or found on the net. Probably 95% of those brushes aren't really useful.
Normally I use the one I already >blogged about< and it's still the most useful although it looks so plain. With nature it gets a bit more tricky. Of course it looks awesome to paint every single blade of grass but mostly you'll end up needing ages to do that.
Since I colorate my comic panels 100%ly and the backgrounds NEED a lot of work I redo my preset-list and try to create grass, flowers (those above are self-made as well) and mostly leaves for bushes or trees.

Since some people seem to be eager but have no clue how to do it... (and you SHOULD do it):
This video explains it pretty well

Keep watching it till the video end. The last part is the most important part of the whole process. Defining the brush presets will take a while and you have to test a lot but it's worth the work! :)

And because it's pretty interesting and I just got it: If you happen to have the awesome artbook of "Open Season" check the background paintings again. There's one page showing some custom brushes they actually used and it's interesting to see how those simple brushes work together and how amazing the final result looks.

New Homepage is UP, UP, UP!

www.trenchmaker.com

ist finally relaunched. It feel a bit weird to have the video online but I hope some people will find it usefull. We're fixing minor bugs and correct some things but basically it's done.

Regarding the video: I know the japanese one is out of space awesome but at some points me and my colleagues discussed if it's even possible. I think it is possible (to achieve those results with AA) but again, for me the DS is mostly a thing for total beginners, sketching on the road and color concepts (again it comes in handy to have something that's small and uncomplicated).

Therefore the tutorials will show only the basics and images you can do in half an hour. Not more. I spend around 1 1/2 on a paprika, which is fine and I like the result but it's not the main point using it as a pro- in my opinion.

There will be a little contest in some months- so if anyboy is keen on getting a DS and Art Academy for free keep an eye on the blog. :)

Regarding my gallery and the more than honest words on the homepage: It sucks a lot if people steal your art. Really. No matter how much I'd like to be cool and stay above... it doesn't work. I get angry every time somebody sells my artwork for 200 bucks upwards and I can't accept answers like "I found it on Google images, what's the problem?!"
The problem is that it's illegal and the bigger problem is that it's my stuff.

So until we find a solution I have to keep the homepage gallery like it is. I am totally sorry (I already had all images ready :/ ). IF anybody knows how to technically prevent those rips let me know. Maike and me are trying to find a solution and every help is totally appreciated.

If you have any questions- let me know. I'll try to repost the text in German language later.

Please keep in mind that you need to have an account to post something here- it's the only solution to prevent massive spam posts from companies offering stuff you don't want to buy.

Brushtest

One thing I can warmly suggest to everybody is making your own custom brushes in Photoshop... I made a lot in the last months. It makes sense if you need highres and printable brushes and some matching to your style.

Brushes will be brushes after all and you'll likely recognize those but it also means that you have a result without people saying "Ah, I use those as well...." well... doh... not good.

Sometimes people complain: It's all brushed! Oh well, and on canvas it isn't? I use a feather brush for grass, so that's not "cheating"? Or a broken brush for small flower-spots? See, I guess it really depends if you can mold those into your idea or not.
Worst is if you are too lazy and use one that "happens to be available".
Take your time and create some on your own :)

Flip it, Babe! -Photoshop and OpenGL

The Rotation tool of Photoshop CS5 is one of the best inventions ever. I supsected CS5 wouldn't offer (to me) anything I really love but ... gods, I love rotation when I need straight(er) lines and it comes in handy if you need to ink or work neat.

don't ask what the motive is.... anyways, big file is big. I guess you'll be able to see everything....

More information by Adobe can be found here:
http://kb2.adobe.com/cps/404/kb404898.html
and here:
http://help.adobe.com/en_US/photoshop/cs/using/WSA6DF9C40-CEA8-4cfd-9A8B-44108E2975DD.html


I know Painter had it for ages but as some people might have painfully experienced Painter seems to be unable to NOT crash. I mostly work with 600 dpi and I doubt Painter would have liked my game board with 2 m width and 600 dpi.

Hope somebody didn't know the Rotation tool and loves it as much as I do now :)

and it gets bigger

 I totally forgot to write something about the light table i bought some months ago. >_<
A few months ago I had the wonderful situation of getting payed for a game coloration job. And since I needed a new light table (Ikea table didn't work that good if you need to clean up a lot of sketches...) I bought one.

Hurray!
My light table is from the "Dörr Professional Line", measures around 30 x 46 centimeters and is awesome.
It's one of those flat versions and I like the whole thing a lot.
If you need to work with bigger paper sizes a light table with 46 cm length is quite nice, not to mention that it doesn't weigh tons.




Price: around 200 bucks (yeah, a lot)
I got mine from ebay which didn't hurt that much.

What I like as well is that the cable is quite long. If you happen to have a lack of outlets this is very practical (I happen to have a very big lack of outlets).

 Best friend for lightboxes and two sheets of paper: Uhu Glue Roller (non permanent!). I roll some centimeters on the copy paper and stick it to the final sheet... copy... and rub it off.

Works good although i should mention that you shouldn't keep it too long on a sheet or else it gets yucky when you rub it off and smears.


Price: around 4.50 Euro (I bought mine 6 months ago and it's still not empty so the price is *okay*)

And because Lew was so nice and offered help for flattig comics (yes, .. comics!) Ty and me spend the last evening to set up her working space next to mine.

I hope it works... I decided that I rather ask for help than banging my arm again (or worse) and if it works that way and I can finish some things faster.... I have no problem with it. :)

Hurray masking tape- to hell with mounting tape

If you ever consider doing watercolour illustrations everybody keeps telling you: "Use gummed mounting tape. It's the best, it's awesome..."

Awesome nightmares: yes
Awesome results: um... not really






This is my very personal opinion with many nightmarish experiences. Atm I am still sad about an illustration I have to redo (third time) because the mounting tape literally exploded. The paper worked a lot and the tape wasn't able to keep a constant grip.

BANG!
I fixed the illustration as best as possible with Tesa but of course the friction is not the same.
There comes a wave... and another... and another. ARG!








When I studied we used Tesa masking tape. I remembered but couldn't remember why and when. With a test (above... no fancy artistical brilliance) the memory came back.
All smooth like a baby booty. And no waves. and all awesome. And me so happy.


How to:
-Wet the paper some minutes (I do it WITH sketch) as usual
- Let it drain a bit
- put it on your board
- I use some kitchen tissues and dry it a bit more, no need for a lake
- happily apply the masking tape
- (blow-dry... I admit, I'm impatient and want to use the paper 2 minutes later)

Some people might say: Oh my, Anne.. that's no news. Well, no... wasn't even for me but I hope it will keep some people from buying gummed mounting tape.

@Lew Throw yours away o.o .. I'm sorry I gave you the brown tape >_<

finally Amazon offers something useful (for me)

I get asked a lot where I buy my pens. Mostly I can only answer: cons and fairs.
But... hurray just saw it today... Amazon is now offering the Pentel Slicci
Pentel Gel-Tintenroller Slicci BG207, schwarz
which means I can finally get that one easier (and I have to anyway since Treadle loves pens and carries those away frequently O_o ).

I use the 0.3 version like done here and here. If I did comics by hand I would prefer those but since I don't do comics by hand... oh well, nevermind. :)

Price is 1,69 (you only get it cheaper on a con if you make puppy-eyes and start a "But I want five!... Rully!" discussion) which is okay. My last one lasted 8 months which is good. The Signo didn't last that long. Or I sketched less but I doubt it somehow o_o

So... if you want a bundle try to bargain at a con, if not... it's fine. For all those who think: Hurray, plan B for copic liners and color illustrations: Well, not really.... I use the Edding Profi Pen black 0,1- 0,5 for it
EDDING PROFIPEN 1800, SCHWARZ, 0,1 mm
for further information.

What I don't like abouth the Copic thingie is that I have a feeling they have less ink. And the 0,1 even less. I bought 4 of those and I was always dissapointed. Or Copic doesn't like me and I always get the dry ones o_o The only good thing you can do with those is playing with the cats because they have a rounded back. But I guess that wasn't the original intention of usage.

Chubbible Day 9 & some pens

"momonga nap" (Bao might fall down.... wouldn't be the first time though...)

"Weapon Of Mass Destruction" (a short sighted skunk isn't really the best neighbour... )

and my pigment liners /roller:
1. Signo Pen with metal tip: perfect for highlights in combination with water colour, copics, tombows but not with gel roller (that will cause bad smudges)
2. Signo pen black 0.28 with metal tip. My alltime favourite when I have a book signing. :3 very thin lines. Works good with water colours. Might be tricky with tombows and copics though.
3. Pentel Slicci: Awesome for shading sketches in black-n-white. Very smooth lines and oh so fine for details. Problematic with water colours and tombow. The japanese seller told me copics are no problem but I doubt that a little... BEST choice for black and white work though. I am a bit torn between Signo and Slicci but Slicci is better -although I didn't want to admit it >_<
4. Edding 1800 Profi pen 0.1 (available in 0.3, 0.5 and 0.7 as well and different colors): Awesome for linework you want to colorate afterwards. Best choice -i think- for all three options (tombow, water colour and copic). I did my ET Hippo with that and this pen never ever caused problems.
5. Copic Multi liner: I know most people worshop those but I have the feeling that there is much less ink in than eg in Eddings. And the tip... well, I don't like it. And regarding price: Edding and Steadler are cheaper and in my opinion better. The only good thing might be that if an Edding is too thick you can still take a 0.05 Copic and add details.
6. Staedtler Pigment Liner: Second option for working with outlines and coloration. It smugded only one time and i think only because i didn't wait long enough.


... and the heads. Left Signo (Slicci looks the same but is slim and straight), right Edding (same head as Copic and Staedtler).
I LOVE the steel head. It's so much more comfort to draw with that one if you work with a bit more pressure (like I normally do). The biggest problem of steel-nip combination is that the tip vanishes with too much pressure or bends or breaks or splits (had that... uncool). Those accidents are impossible with a full steel head. But... I am still waiting for a 100%ly water-resistent solution for those.
H

How I (let) scan...

Something new to learn.
I went scanning this week (on Thuesday). The bag was heavy. 12 canvases.. I even had to take an extra bag although mine is huge and the extra-bag was still missing (because my editor forgot to give it back :/ ) so I strolled around with something that looked like smuggling weapons or a little rocket... or both.
For those who always wanted to have a big bag where you can transport canvases and like ten million things along:


that´s mine... 72 x 55 x 7 cm for around 35 bucks. You won´t get a better for THAT price and I love the bag. I had a MH Way years ago but the problem is that you can´t put that many canvases in. Horray for a bag! (and you know, this is the only bag Ty carries around for me... because it´s sooo impressivly huge- sure a cool thing ).

Back to scanning. I´ve been scanning on a Cruse cam for over two years now. And I could cry every time I see the results. Not because those are bad but because I had to scan the images for my first book on a roll scanner. Which means you have to cut the canvas from the frame. And if the roll scanner doesn´t grip the canvas right the colors suck. The colors suck anyway so whatever you do: Never scan on a roll scanner. Never.

The Cruse scanner looks like this:


The top is the actual scan head. On both sides (45°) are fluorecent tubes (the REAL.. expensive-I-will-never-be-able-to-afford-those daylight lamps since they have to "warm up" (just like my Lilliput) for 20 minutes). The canvas (or object) is put onto the flat screen at the bottom. There are different measurement scales on so that the scanner can position the object accurately.

As you might see there is no real "touching" which is the reason why highly damagable things are scanned with the Cruse. Mr. König, my favourite scanner (who is now owner of the Kulla book he scanned... ) told me that the German Museum scanned some of the sensitive papers (like original music sheets, letters..) on it. Which is understandable. Try to do that on a roll scanner *haha >_>*

When the canvas is on the Cruse, the head moves slightly and scans the surface (in that case all two centimeters down... which means the edges of the canvas is really sharp). For artists who work with medium or structure paste this is heaven, because the camera catches all uneven parts without extreme shadows. If you wanna learn more google Cruse camera.
I just want to add that scanning is pricy. If you don´t do a mass-scanning the setup might be listed extra and ... well, let me mention that I payed over 350 Euro. For my Thuesday visit. And this was one of three appointments. I think the price is totally okay for me and for book illustrations but if you just want to digitalize a little canvas/illustration "for fun" you might consider your home scanner or a photo repro (as a cheaper solution).

instead of flowers...

i got jars. A lot of jars O_o I don´t even know if I need all those since I already mixed my basic colors. Well... at least I can´t complain that I have no jars for my colors for the next ... ten years.
I got a Miffy as well. I don´t like Miffy -__- I tried to "read" a book of those but after ten pages I thought "oh my god, where´s the plot, where the message?!"
If I offend anybody sorry, but I am rather into traditional story-telling. Or did anybody ever found a sense in Teletubby? See... that´s what I mean.
I´ll keep her. Ty couldn´t know so I can´t blame him. For a plush it´s kinda cute... if you ignore the Miffy fact.


my recent tool "list"
1. synthetic fan brush
2. bristle fan brush
3. bristle short head
4. bristle normal head
5. retouch brushes
6. synthetic cat-tongue
7. normal synthetic brush
8. bright sable
9. folding leg (for my palette ... not for painting)
10. sponges
11. hand broom (getting rid of dust)