Categories
5: This England In Process Technique

SketchClub

For sketching and painting with some very distinctive styles. What I like best are:

  • Sketch brushes: these are great for shading
  • Pixel brush: can produce beautiful mosaics
  • Vector brush with gradient: for delicate Japanese watercolour effects
  • Zen-like pens: for very expressive drawings and calligraphy.

SketchClub community website is rather uninspiring but accessible from within the App for easy upload: https://app.sketchclub.com

Facebook page is much more inspiring but still does not really do the App justice: https://www.facebook.com/SketchClubApp/

Features

Canvas: Customisable sizes and resolution to very high quality.
Templates for comics etc.

Layers: Up to 64 with blend modes and filters. Mirror and reflect features.

Brushes: Cusomisable: Art, Blur, Erase, Fill, Pen, Procedural,Selection, Sketchy and smooth, Smudge, TextArt, Vector Brush. Vector shapes.

Type: Type Art only

Colour: Central and easy access customisable palette, colour picker.
Colour Adjustments

Book/Gallery: Gallery with folders

Video: yes

Output: JPG, PNG, PSD, Animated GIF,Folders and comic templates, large file sizes possible.

Art examples

SketchClub is incredibly versatile, but with a distinctive look.

Using one of the paper options and the sketching tool.

Smooth sketch tool.

https://www.youtube.com/watch?v=Qolr9dO4neE

Sketching

Realistic painting

Animated illustration

https://www.youtube.com/watch?v=iOb5AMyyrBo

Vector Tool

https://www.youtube.com/watch?v=qUFoFl6xF4g

Tutorials

Tips and updates

https://www.youtube.com/watch?v=CTuqfPPDfZc

Basic tutorials

Categories
5: Presentation: Zemni 2021 5: This England In Process Technique

SketchBook Pro


!!I have used this quite a lot, but not yet sorted all my the images out.I find it best for sketching and portraits.

SketchBook (Autodesk) is one of the earliest iPad Aps, but has been kept up to date. From available images on he web it is obvious it can produce very professional illustrations. It combines raster and vector features with:

  •  a wide range of digital pencils, pens, markers, and airbrushes and ability to pin toolbars to the screen for easy access.
  • text in all installed fonts that can be manipulated and distorted.
  • basic rectangles, circles and vector line with variety of mirror functions
  • image import and video export.

You Tube Tutorials

Better for comic inking

Categories
4: Audience: Shifting Edges East Anglia Inspiration Location Printmaking Printmaking Technique

Chrissy Norman


Curlew River
Fishermen’s huts at Sizewell
Bawdsey cliffs
Covehithe Iii
Aldeburgh staircase
Categories
2: Landscapes of Place 6.1: Road to Cabanatuan 6: JourneyasBeginning Photography Technique

Lightroom Black and White

Black and White landscapes

Using built in profiles for quick different looks.
Categories
2: Landscapes of Place 6: JourneyasBeginning Photography Technique

Lightroom Workflow

Snapshots, Virtual Copies and Stacking enables effective exploration of different versions.
Categories
2.2 Shutterscapes 2: Landscapes of Place Photography Technique

Photoshop: jpg artifact and noise reduction

A very basic explanation of removal of jpg artifacts in the Noise Reduction filter, discussing the potential tensions between different aims. Improves, but does not produce a high quality image.
An interesting approach using Lab Colour mode to separate out the lightness, colour and contrast channels of the image. Artifacts are most evident in the colour and contrast A and B channels. Add Gaussian blur to A and B channels. Higher values give a sort of watercolour effect. Sharpen the lightness channel. Go back to RGB at the end to use filters etc again.
Duplicate the image. On top layer use surface blur – avoids blurring the edges. Change to colour blend mode to get rid of colour noise. Mask areas if necessary. Duplicate again and use dust and scratches filter gets rid of luminance noise. Again use masks to [reserve details. Duplicate again and Reduce Noise filter and use preserve details slider.
Uses Dfine and Lumensia combined in Photoshop.
Uses multiple images as layers and image average.

Categories
2.2 Shutterscapes 2: Landscapes of Place 6.1: Road to Cabanatuan 6: JourneyasBeginning Photography Technique

Photoshop sketch and line drawings

Jesus Ramirez Photoshop Channel
1) isolate model from background eg select subject and click on add mask. refine selection.make smart object.
2) Duplicate: original, base,
3) duplicate, invert .colour dodge blend. Gaussian blur filter eg 31.8. black and white adjustment layer Charcoal filter. blend mode multiply
4) Lines layer: duplicate BW, glowing edges,invert, multiply blend. levels. blend if to hide detail.
5) Fine tune with mask
6) Add some fine pencil lines with brush tile ultimate pencil
7) Can then replace the original image in the smart object and re-edit the smart filters
Piximperfect.
1) Create the surface and base image. Mask areas you do not want.
2) Pencil sketch filter Graphic pen . use blend if to vary blackness. Split slider. Decrease opacity. Add a bit of blur .3
3) New layer pencil outline Kyle Ultimate pencil. Clip layer to sketch, so is never darker than under sketch. Can turn off pencil layer top follow the underlying photo if wsnt.
Normal colour dodge approach: BW, BW, copy, invert, blend colour dodge, filter Gaussian Blur
His approach:
Smart Object layer ‘Shadows’
#3 filters: Copy, Gaussian Blur, High Pass, Sketch/notepaper 0 0 25 Levels adjust
Shadows layer: charcoal filter. multiply.
Can add paper texture. Multiply.
Can change image.
Tony Harmer ‘The Design Ninja’ approach.
Uses 1 Smart Object layer
1) Gaussian blur. dial in large value (eg 50) Divide blend mode
2) CRaw filter. Black and white.
3) Can add glowing edges. Subtract blend.
4) Oil paint filter
5) fine tune with local effects using CRaw adjustment brush on new layer
6) Can change the image through re-linking the base file.
Colin Smith Photoshop cafe
1) Duplicate layer CSU black and white Colour Dodge. Gaussian Blur
2) Duplicate again invert
3) Combine to layer group and duplicate. Blur top layer even more. Blend top group to darken. Reduce opacity in top layer
4) Duplicate top layer group increase top blur a lot. Add layer mask, fill black and paint in. Largeish brush 30%. Additional details in face and hair.
5) Select everything SACE for sharpening mode. Overlay blend. High Pass.
Uses brushes and masks.
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2.1: Bridge 2: Landscapes of Place Screenprinting Technique

Screenprinting

See tutorials etc on my Printmaking blog: http://print.zemniimages.info/screenprinting/

Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil.

I used screenprinting as a supporting technique in:

Printing technique

There are various terms used for what is essentially the same technique. But they all have the following in common:

  • Use of a frame (generally wood or aluminium) on which a mesh  is mounted under tension. The mesh can be of different types: eg silk, polyester, nylon or metal and of varying degrees of fineness depending on the type of surface to be printed.
  • A stencil is formed on the mesh by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate. The stencil can be made through different techniques: direct stencils made with photoscreen techniques or using masking solutions and indirect stencils used as masks.
  • Mesh/frame preparation: The surface to be printed (commonly referred to as a pallet) is coated with a wide ‘pallet tape’ to protect the ‘pallet’ from any unwanted ink leaking through the screen and potentially staining the ‘pallet’ or transferring unwanted ink onto the next substrate. Next, the screen and frame are lined with a tape. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. These aggressive tapes are generally used for UV and water-based inks due to the inks’ lower viscosities. The last process in the ‘pre-press’ is blocking out any unwanted ‘pin-holes’ in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, speciality emulsions and ‘block-out pens’ may be used effectively.
  • A blade or squeegee is moved across the screen to fill or ‘flood’ the open mesh apertures with ink, and a reverse stroke then prints the image as the screen touches the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.
  • One colour is printed at a time, so several screens are layered to produce a multicoloured image or design. Hinge clamps keep the screen in place for easy registration

Bibliography

Adam, R. & Robertson, C., (2003) Screenprinting: the complete water-based system, London: Thames & Hudson.

Barker, D., Traditional Techniques in Contemporary Chinese Printmaking, London: A & C Black.

D’arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques,London: Quarto Publishing.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Stromquist, A., (2004) Simple Screenprinting: basic techniques and creative projects, New York: Lark Books.

Williamson, C., (2011) Reinventing Screenprinting, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

Categories
2.1: Bridge 2: Landscapes of Place 5: Presentation: Zemni 2021 Printmaking

Photolithography

Using drawings and tusche on mylar as the plate

Preparing photographs

All digital images or photographs need to be converted to greyscale and printed in black ink only onto transparent film using an inkjet or laser printer. If an image contains greys it is better to darken them as they are likely to overexpose and not show up in the print.

  • Image sizes:Image resolution: 300ppi.
  • Plate sizes: A3 37x45cms allow 6cms border so height 39cms and constrain proportions. A4: 38×25.3cms

Use CMYK? 8bit. Convert to bitmap. Output 700dpi. Method Halftone screen OK. Frequency 47 lines/inch, angle 30 degrees, Shape round.

Categories
Technique

Gouache

Combine watercolour and acrylic techniques. Work dark to light or other way round. Washes and detail.

all about edges. Can work back in.

use mediums and then wash out. Print with kitchen towel and other surfaces. Lift off and blot out. Sgraffito.

texture and transfer effects.

 

See also post Jonathon Leyton Vera

John laws
Youtube https://m.youtube.com/watch?v=ztXQvKMnhas

Good look at sketching with gouache and making little gesture studies. Uses dry brush scumbling.

Traditional gouache

Acrylic gouache

Aqyla gouache