Stillman and Birn
Art Paper Gallery
Wednesday, December 7, 2016


Artist: Margaret Hunt, USA
Artist Statement: The Iguana is one of numerous sketches done on one of my Key West trips recently. I try to sketch plain air, in situ in a cafe, restaurant or an outdoor venue with pen and ink adding watercolor.

However I don’t know if you have ever chased an iguana around to draw one BUT they are faster than greased lightning. So this is a memory sketch, a composite of the several iguanas that hang around the condos we stay in when we are in Key West.

MEDIA: Ink and Watercolor
SURFACE: Zeta Series – Extra Heavyweight – 270 gsm – White – Smooth Finish

ABOUT THE ARTIST: Margaret Hunt writes, “a painter most of my life, I have been on a journey to draw or paint daily and to post on my blog, Instagram and Facebook consistently. Starting with the intention of posting for thirty days, it has mushroomed. To me it is miraculous that the quest is at 880 days and more are still coming.”
Facebook 1:
Facebook 2:
Twitter: @maggieinsc
Instagram: @maggieinsc


Sunday, December 4, 2016

Holiday Giveaway – Winners Announced

Lindsay Baker
Irina Chtypel (Nikira)
Sophie Delesque
Stacy Egan
Jacqueline Lee
Kiri Østergaard Leonard
Jennifer McLean
C.C. (Minerva) Peyton
Peggy Rustler
Jessica Seacrest

Saturday, November 26, 2016

Holiday Giveaway

We’re giving away ten holiday gifts sets. Each set contains two of our Softcover Edition sketchbooks, a 5½” x 8½” (14.0 x 21.6 cm) portrait format and a 5½” x 3½” (14.0 x 8.9 cm) landscape format. Winners can choose a set from any of our six series (Alpha through Zeta).


Simply email us with your name to: We will automatically enter you. You will receive an email reply confirming your entry within 48 hours. Entry to this contest closes December 3, 2016 at 11:59 PM EST.
Ten winners will be picked at random on December 4, 2016 and we will contact them by email. Winners will also be announced on our social media sites and blog sites that day.
Only one entry per person.
No purchase required.
No geographical restrictions.
Must be over 18 to enter.


Thursday, November 24, 2016

Tommy Kane’s Greatest Sketchbook

Tommy Kane’s sketchbooks are filled with fantastic imagery, rendered by a master draftsman. Thank you Tommy for sharing this new video tour of the art journal you call your “Greatest Sketchbook”.
MEDIA: Ink, watercolor and collage
SURFACE: Delta Series – Extra Heavyweight – 270 gsm – Ivory- Cold Press Finish


Sunday, November 20, 2016

Autumn Water

Artist: David A. Parfitt, U.K.
Artist Statement: What makes this painting particularly special to me is the fact that it is the first successful piece of work I have completed for several months. It was painted in the studio over three days and depicts an autumn view along one of my walks around the Somerset Wetlands. The view itself is partially hidden and requires a little effort to find, which somehow makes it more satisfying. I was drawn to the soft autumnal light and stillness of the water, contrasting with the patchwork of vegetation in the foreground.

It is a watercolour (37x40cms) painted in a fairly traditional way on a stretched piece of Stillman and Birn Beta Series paper. Working from light to dark and preserving the white of the paper for the lightest areas, I worked directly onto the paper without any pencil marks and established the horizon first with a light wash. It was then a matter of gradually introducing ever darker washes using a fairly limited palette (cobalt blue, ultramarine blue, raw sienna, quinacridone gold) while leaving ‘spaces’ for leaves and patches of light. I left the sky and sky reflections until last, with a few calligraphic marks for the reeds and grasses using a rigger brush.

MEDIA: Watercolor
SURFACE: Beta Series – Extra Heavyweight – 270 gsm – White – Cold Press Finish

ABOUT THE ARTIST: David A. Parfitt is a British landscape painter working with watercolour and water-based media. He is passionate about watercolours and, over the past few years, has become increasingly consumed with making paintings without the use of opaque or white pigment, while still looking to push the medium as far as he can. He is a Council member of the Royal Institute of Painters in Water Colours (RI) and contributes articles to “The Artist” UK magazine.
Twittter: @davidparfittRI
Instagram: david_a_parfitt_ri


Sunday, November 13, 2016

The Old Church Ruins

Artist: Palma Rea, Italy
Artist’s Statement: In my sketchbooks there can be found bits of paper and cards, colourful sketches, portraits, architectural type drawings, and documentations of moments and events. Rarely do I instantly like the paper in a sketchbook . My rule is that you must first get to know its limits and then make friends with it. Working in two or three sketchbooks at a time keeps my creativity flowing but each book is kept for either drawing in a certain style, paper type or for working with a specific medium. I will often combine various techniques, tools, colours and styles in just one drawing. Rarely do I work with themes as I find that working constantly in the same style or drawing the same subjects gets boring for me and also for the viewer. My sketchbooks and pens can be found on my sofa, on the bookshelves, on the coffee table, on the kitchen table, by my bed, in my bag and there is even one in my car. I have not lost one yet!

SURFACE: Beta Series – Extra Heavyweight – 270 gsm – White – Cold Press

ABOUT THE ARTIST: Palma Rea is a self-taught artist who has had no formal training. She has been creative since a young age and her favourite subject is portraiture. She enjoys doing altered art and working with many mediums and tools but currently favours working with inks and watercolour in her art journals. Her work is versatile and mostly expressive. She has been published twice in collaborative art books and her work has been exhibited at sketching events in Italy including Autori Di Diari In Viaggio at Ferrara and Matite In Viaggio at Mestre.


Wednesday, November 2, 2016

Rorschach Inkblots and Portraiture

Artist: Alicia Harvey, United States
Artist Statement: The process used in this piece was developed in August, 2016 as a 30-day art challenge on Instagram. For this art challenge, I wanted to loosen up my portrait work, to develop more imaginary and abstract pieces. One of the techniques developed during this challenge was what I call “drippy Rorschachs”.

I began by applying random acrylic ink and/or watercolor crystals onto the page, which is then spritzed with a water mister to allow the colors to drip and mix. After the initial colors dry, I turn the page in different directions to discover the face within this Rorschach. When I see the face, I add watercolor pencils and Gelato crayons to tease out the abstract portrait. This technique is loose and totally unpredictable.

MEDIA: Water-soluble pencils, water-soluble pigment sticks (Faber-Castell Gelato crayons), acrylic ink, watercolor crystals (Brusho)
SURFACE: Delta series – Extra Heavyweight – 270 gsm – Ivory – Cold Press Finish

Alicia Harvey is a portrait and figurative acrylic artist (although she loves stretching her artistic muscles with anything that gives the luscious color that she craves). Born and raised near Pittsburgh, PA, she moved to the Seattle, WA area in the mid-1990s. She considers herself “a teaching artist” and loves seeing how art opens and brings joy to others. Alicia has participated in group exhibitions in and around Seattle and primarily teaches demos and workshops at Daniel Smith Artist Materials stores. Although she received an M.F.A. in Fiction Writing from The Pennsylvania State University, everything she knows about her visual art is self-taught.

Instagram and Twitter: aliciaharveyart


Thursday, October 27, 2016

Québec Autumn Foliage

Artist: Larry D. Marshall, Canada
Artist statement: I’ve been doing location sketching for about five years. This particular drawing is like most of my sketches, ‘discovered’ as I was walking through a park near my house. The bright red tree screamed draw me and I set up my stool in the middle of an open area near the park’s edge and drew it. If you look closely you’ll notice that I got so caught up in drawing the tree that I forgot to draw the upper porch railing. Please, don’t look closely.

I start most of my sketches by blocking in the principle forms with pencil and then switch to fountain pen, in this case a Platinum 3776 to do the actual drawing. In this way the organization is already done and I can have fun just drawing what I see in my somewhat cartoony style.

MEDIA: Ink and watercolors
SURFACE: Beta Series – Extra-Heavyweight – 270gsm – White – Medium Grain Finish

ABOUT THE ARTIST: Larry Marshall is a Canadian urban sketcher who enjoys wandering the streets of Quebec City looking for things to draw. He’s a big fan of fountain pens and Stillman & Birn products which he combines while sitting on a tripod stool. One of his favorite things is talking to the tourists who wonder why a grown man would do such a thing.


Wednesday, October 19, 2016

Larry Marshall Reviews “5-Minute Sketching: Architecture” by Liz Steel

The following are excerpts from Larry Marshall’s review of a new book about sketching by Liz Steel, the Australian Urban Sketcher luminary.

“I have followed Liz Steel’s blog and Facebook posts for several years. She’s been one of the most giving artists within our sketching world. She’s also one of the best. I’ve taken all three of Liz’s online classes and have found them truly amazing because Liz “gets it” when it comes to teaching art. She’s one of my sketching heroes.

Firefly Books has just launched this new “5-Minute Sketching” series of books including this one by Liz Steel. The content of these books is tightly structured by the publisher. Each has four chapters with identical titles, and many of the sub-section titles are identical as well, particularly in chapters three and four. It’s interesting to see how Liz has packed a wealth of knowledge into this somewhat restrictive construct, adjusting it to fit each particularly topic. These kinds of books are starting to fill the needs of people who have moved beyond basic drawing skills and who want books about how to approach subjects, how to use basic skills to solve problems, etc.

Liz’ book does exactly that. She is not teaching you how to draw buildings. She’s teaching how to sketch buildings quickly and well. She has managed to pack very much information into this book so this is a book you’ll want to read more than once. It’s a book you’ll want to study and apply to your art. In conclusion, if you’re interested in drawing buildings on location, or just want to improve your location sketching in general, this is a book worthy of your time.”

This is the link to Larry Marshall’s complete review:…/


Sunday, October 16, 2016

Washington Square Arch

Artist: Mike Daikubara, United States
Artist Statement: The Arch in Washington Square Park in NYC. Drawn early in the morning on the S&B Beta series, laying down color washes first with a mop brush/Holbein colors, blowing on it to speed up drying time :), then going in the various details with a fine Micron pen. Additional dark tones were later added on then finished off with some white highlights using the Sakura gel pen.

[Ed. Note: The Washington Square Arch is a marble triumphal arch built in 1892 in Washington Square Park in the Greenwich Village neighborhood of Lower Manhattan in New York City. It celebrates the centennial of George Washington’s inauguration as President of the United States in 1789 and forms the grand southern terminus of Fifth Avenue. Washington Square Arch, constructed of white marble, was modeled by Stanford White on the Arc de Triomphe, built in 1806, in Paris. Source: Wikipedia]

MEDIA: Ink, watercolor, gel pen
SURFACE: Beta Series – Extra Heavyweight – 270 gsm – White – Cold Press Finish

ABOUT THE ARTIST: Mike Daikubara (Boston, USA) began carrying a sketchbook in 2000 to be able to communicate faster and better at his design day job. Now he sketches daily to see, understand and enjoy! A Japanese-American, Mike grew up in Tokyo and New York City. He’s currently the Director of Brand & Design Development responsible for all Industrial Design and Graphic Design disciplines at a Boston-based kitchen and bath manufacturer. He’s published 7 sketch-related books.


Monday, October 10, 2016


Artist: Joe Rayome, United States
Artist Statement: When my wife and I met in college, her family had a year-old English Setter pup named Sophie. Sophie was everything a good dog could be – loyal, lovable, protective and smart. She taught herself to ring a bell hung on a doorknob as a Christmas decoration when she wanted to go outside, which was always. In the woods, she was the finest bird dog I’ve ever seen. Her bottom front teeth were crooked and she had cinnamon colored spots. I called her “freckle face”. She was beautiful.

This is a watercolor sketch in a Stillman & Birn Beta Series sketchbook. The underlying drawing was done in watercolor pencil and graphite. Recently, I’ve been experimenting with a technique where I first block in the major shapes lightly with a watercolor pencil. The concept is similar to the use of non-photo blue pencils in animation. With a 2B pencil I draw a cleaner, more accurate drawing over the watercolor pencil sketch. Working in this manner allows me to avoid extra pencil lines and eraser smudges. On bigger paintings, it also helps keep me from falling in to the trap of drawing unnecessary details. A thin wash of clean water dissolves the watercolor pencil but not the graphite, leaving a clean, accurate drawing. The rest is a simple watercolor sketch, light to dark, preserving highlights, utilizing negatives. A white gel pen was used for whiskers and stray hairs.

MEDIA: Watercolor Pencil, Pencil, Watercolor, Gel Pen
SURFACE: Beta Series – Extra Heavyweight – 270 gsm – White – Cold Press Finish

ABOUT THE ARTIST: Joe Rayome is a full-time artist and Signature Member of the Transparent Watercolor Society of America. He lives in New York City.
Instagram @joerayomeart


Wednesday, October 5, 2016

Spires of Copenhagen

Artist: Amanda Kavanagh, United States
Artist Statement: For a recent two-week trip to Denmark, I had to make some decisions about which art supplies to pack and which to leave behind. After many years of traveling I have come to the conclusion that the more supplies I bring, the more distracted I become and the less productive I am. So for this trip I decided to narrow it down to one sketchbook, one set of watercolors, and a few pens/pencils. Knowing I would be doing heavy washes along with fine detailed writing, I wanted a heavy weight but smooth paper. The Zeta Hardbound 5.5 x 8.5 was the perfect choice.

I love architecture and great design. I love walking for miles through old cities. I love sitting and sketching in outdoor cafes. Copenhagen was the perfect city for me. After a few days of warming up, I found that this journal practically drew itself. My goal was to complete a spread a day and I just about made it.

MEDIA: Pencil, ink and watercolors
SURFACE: Zeta Series – Extra Heavyweight – 270 gsm – White – Smooth Finish

Amanda Kavanagh is a painter and graphic designer based in Brooklyn, NY. Her oil paintings have been shown in several New York City and east coast galleries. When not in the studio, she is busy sketching. Her handmade journals have been featured in several books, ‘An Illustrated Life’, and ‘An Illustrated Journey’, both by Danny Gregory and ‘1000 Artist Journal Pages’ by Dawn DeVries Sokol.
Amanda’s work can be seen at:
Instagram: @velvetina


Thursday, September 29, 2016

By Liz Steel, Australia

A few weeks ago I received a package of the new Stillman & Birn softcover sketchbooks to test out. They are available in every paper type in the S&B range and in five different sizes. This photo shows four sizes (the largest size can be seen in a photo below) with only the Beta and Alpha paper.

My thought when I initially heard about the new range was that the lack of a hardcover for a support when sketching in all kinds of situations wouldn’t suit me. But now that I have them here, I really like the feel of holding them in my hand. Having a lighter weight version of the sketchbook paper I love is a really important feature – in particular for my everyday book which I carry around with me everywhere.

This week I finally finished my current Alpha 9 x 6 hardcover book that I started in May before my big trip, and so I cracked open the A5 portrait book (5.5″ x 8.5″). It feels wonderful to have a different format sketchbook and the reduction in weight is not insignificant!

I have hardly sketched this week, but here are my first thoughts:
• I love the feel of a lighter weight sketchbook (I know I have mentioned this two other times already, but this is huge!)
• It makes my daily sketchbook feel a little more personal and less formal than a hardcover – I like this very much,
• It is less bulky than the hardcover version – so much easier to get in and out of my everyday handbag.
• Like all other S&B books, it opens flat – this is a massive requirement if you want to sketch across the gutter. So a big tick!
• It was lovely to be able to stamp the sketchbook number on the front cover (Kelly Purkey Southport stamp set with Stazon ink).

I am wondering how tatty the cover will get with all the rough handling I normally give my sketchbooks. I normally use rubber bands to hold my pages down (from wind etc) but I can’t do that with these books as it curls the whole book, though I can use one to hold the whole book together. So instead of rubber bands, I am having to use bull-dog clips which I normally don’t like using as they easily catch on things in my bag. But I am willing to have a go and see how bad it is (probably not a big problem). I have noticed already that the clips are leaving a mark in the cover, but I am not over precious about my sketchbooks. I love the wear and tear and warped pages of a used book. As I use a support board most of the time when I am out and about I am thinking that lack of support in the sketchbook itself is not such a big deal, but of course I have to remember to have the board with me.

Doing my daily latte sketches this week (sitting at a table) there was a noticeable flex when drawing on the left side of the spread. This will obviously occur at the start and the end of the book when working on the side with less pages, but not so much when I am working in the middle of the book.

So in summary, even though I consider myself a hardcover sketchbook girl, I am really excited to try something different. I can see that the smaller sizes might be the most useful for me as a book I carry in my pocket and the flex issue will not be so noticeable in them.

I am already surprised that I am liking the feel of the 5.5 x 8.5 book much more than I expected. So stay tuned for the final verdict once I have filled it.


This is the link to Liz Steel’s review with photos:…/


Sunday, September 25, 2016

Zinnias from my Garden

Artist: Leslie Fehling, United States
Artist Statement: The zinnias in my garden are a mass of color every summer, and I often cut bouquets to bring inside. When I was looking around late one evening for something to draw for a daily sketch challenge that I’ve been participating in during September, I spied this arrangement of zinnias on my kitchen table. I grabbed my 5.5″ x 8.5″ Stillman and Birn Zeta series softcover sketchbook, my paint palette, a #14 round Escoda Prado brush, and a Tombow Dual Brush Pen #977 Saddle Brown. One of the rules for the September challenge I’m participating is that I draw directly in ink with no pencil underdrawing, so I began my sketch by placing light dots to mark the boundaries of a few of the foreground flowers with the fine tip on the Tombow pen. I then drew the flowers, petal by petal, not fussing over accuracy, but sketching quickly to get it all down (so I could go to bed!) I continued to use the dot technique to give myself guides for the shape of the flowers as I worked my way up the page. Then it was time for the watercolor. Using a #14 brush allowed me to paint the flowers quickly, without a lot of fussing. I left white highlights on the flowers where they were struck by the light. The Tombow saddle brown ink is water-soluble, so the lines were softened as I worked, the brown mixing with the watercolors to mute them a bit and add unity to the varied colors of the blossoms. I worked my way around the page, allowing one section to dry while I tackled another flower. The lightest greens were painted on stems and leaves, then after they dried, deeper blue-greens were added. A darker wash on each flower was used to indicate shadows, with the darkest values reserved for the deep dark burgandy brown around the flower centers. All in all, the sketch didn’t take much more than a half hour to complete.

Sketching daily is a great motivator and attitude-changer. It helps me get over my hang-ups and perfectionist tendencies and encourages me to just dive in and do it without worrying about the end result. Here, my quickie bedtime sketch turned out better than I had dared hope it would. Sometimes the secret to successful sketching is in having no expectations of greatness when we start out. Just getting something down on paper, being in the moment and really looking at what it is you’re sketching often results in a sketch that’s full of life and expresses the happiness and wonder you felt as you sketched it.

MEDIA: Ink and watercolor
SURFACE: Zeta Series – Extra Heavyweight – 270 gsm – White – Smooth Finish

Leslie Fehling is a full-time watercolor artist who makes her home in rural Pennsylvania. She teaches workshops across the US and in Europe, sharing her unique approach to illustrated watercolor journaling. Her popular Everyday Artist blog [ ] has connected her with art enthusiasts around the world and inspired countless followers to find their own creative voice.


Wednesday, September 21, 2016

Beta Softcover Giveaway

Thank you Sandra Strait for sponsoring this Beta Softcover Giveaway and for your review. International entries ok for giveaway.

Friday, September 16, 2016

Gate to Cathedral Green

Artist: Thomas W. Schaller, United States
Artist Statement: I was just waiting at the airport for the trip to Vancouver (where I am now and where I am teaching for a week starting tomorrow). Anyhow, I had a couple of hours and was watching how the light would stream in a window and illuminate a wall or storefront or the people in front. But it was so bright that a lot of it bounced off and more subtly illuminated objects across the hall.

So I was reminded of the Cathedral Green Gate in Wells, England – where I taught earlier this year. And so did this sketch in my trusty S&B sketchbook. The afternoon sun illuminated the unforgettable facade of the Cathedral (in my namesake town!) in such a theatrical way that it was easy to overlook the beautiful ancient gate behind us . It was also illuminated – albeit in a more subdued manner – by the light bouncing off the brilliant Cathedral many yards away…

And so I guess it was meant as a study of the things we see – those that “grab the headlines” – but can also make us overlook many other wonderful things that are right there in front of us – if we could only learn to see.

I even (embarrassingly) wrote a little poem about that moment when I was there – and this thought occurred to me

At Wells Cathedral
The late sun slants across the green
And climbs the Cathedral’s golden heights
But the forgotten gate behind us still
Quietly waits to also bask
In the same reflected, and borrowed light.
T Wells Schaller – Sept ‘16

MEDIUM: Graphite
SURFACE: Beta Series – Extra Heavyweight – 270 gsm – White – Cold Press Finish

After a career as an architect in New York City of twenty years, Thomas Schaller now devotes himself full-time to artwork in the watercolor medium. Thomas has long been considered one of the foremost architectural artists in the world. In the field, he has won every major award for his artwork – including being a two-time recipient of the Hugh Ferriss Memorial Prize. He has authored two books; the best-selling, and AIA award of merit winner, Architecture in Watercolor, and The Art of Architectural Drawing. He is increasingly in demand internationally to conduct his watercolor workshop series, “The Architecture of Light”. His strengths as a teacher are to emphasize composition over technique or medium, and light and atmosphere over specific subject matter. His artwork is collected and exhibited around the world.


Tuesday, September 6, 2016

Nature Journaling

Artist: Jan Blencowe, United States
Artist Statement: Nature is by far my favorite sketching subject. As a result, about ninety percent of my sketchbook entries are nature studies. Although a great deal of my nature journal studies are done right on my own property (because I believe that your relationship with nature should start right on the little patch of earth where you live), this particular entry was done on a day trip to Outer Island in Stony Creek, Branford, CT. It was a wonderful opportunity to explore a new environment and make use off the spotting scopes available on viewing platforms on the island, which look out into the Long Island Sound. When I’m working with live (and therefore moving) subjects I like to begin with a very brief sketch done with a mechanical pencil. Once the gesture is established I move right in with a fountain pen. I’m a big fan of economy of line, that is, saying as much as I can in as few lines as possible. I find sketches created that way have a boldness and a liveliness that brings power to the subject. I also use line work to establish some very basic value patterns. Once that’s done watercolors bring the sketches to life. After the sketches were complete I found a shady spot to sit and using brochures I picked up at the information center I was able to write some interesting facts as part of my journal entry. Cormorants and terns, the birds in this entry, both have some unique characteristics that I tried to focus on, as well as capturing them in some interesting poses.

MEDIA: Fountain pen, ink, watercolors
SURFACE: Delta Series – Extra Heavyweight – 270 gsm – Ivory – Cold Press Finish

ABOUT THE ARTIST: Jan Blencowe is a Connecticut landscape painter, and a keen observer of the natural world. She keeps a nature journal, and explores and documents her life through visual and illustrated mixed media journals. Her work has been published in the recently released book, Artist’s Sketchbook: Exercises & Techniques for Sketching on the Spot, and Strokes of Genius 5, The Nurture Nature Center’s nature journal curriculum, and used in promotional materials for Derwent Cumberland Pencil Company, Stillman & Birn Sketchbooks, and Golden Artist Colors. Her sketchbook, Winter in Connecticut, is part of the permanent collection at the Brooklyn Art Library in New York.

Outer Island cormorants and terns

Thursday, September 1, 2016

A Vacation Map

Artist: Jean Mackay, United States
Artist Statement: When traveling to a new place, I like to start with a map in my sketchbook. Though I’ve been to Maine many times, I’d never been to Deer Isle. Prior to setting off, I sketched the island outline and painted the deep blue water, using a lot of water and letting the colors merge right on the paper. The map created a sense of anticipation and helped me get oriented to the island when I arrived. Thereafter, I added details each day, which made for a nice record of the week’s activities. There’s a lot going on on the page so I chose to keep the color scheme for the islands pretty basic. My final step was to add the paler blue around the text to tie it all together.

MEDIA: Ink and watercolors
SURFACE: Zeta Series – Extra Heavyweight – 270 gsm – White – Smooth Finish

ABOUT THE ARTIST: Artist and educator, Jean Mackay immortalizes the ephemera of everyday life and nature in her artist journal and on her blog, “Drawn In”. She lives in Connecticut.


Sunday, August 28, 2016

Rain Tunnel, Viterbo

Artist: Fred Lynch, United States
Artist Statement: Every July, I travel to the small medieval city of Viterbo, sixty miles north of Rome to teach Journalistic Drawing to college students studying abroad. However, when not teaching, I practice what I preach. That is, I undertake a long-term investigation and documentation of this overlooked yet historic place; home to Popes, Roman bathes, murder-scene churches and countless other curiosities from history and human nature.

Following in the footsteps of the great Grand Tour artists, such as Edward Lear, William Turner, Corot and Claude Lorraine, I aim to explore, bear witness and to share this particular place through my on-site drawings of correspondence. Most often, I find myself drawing for long hours in the shade of a hot mid-afternoon, during Italy’s time of siesta. The result is a portrait of silence as well as of travel, discovery and history.

The works created with pencil, and then brown ink, on heavy paper. Following a couple of hours on-site, the drawings are darkened with more washes back in my studio.

MEDIA: Pencil, ink and ink wash
SURFACE: Alpha Series – Heavyweight – 150 gsm – White – Medium Grain Finish

ABOUT THE ARTIST: Fred Lynch is an artist and illustrator who lives outside of Boston, Massachusetts. He’s a well-known correspondent for Urban Sketches and his work has been won recognition in many books, magazines and exhibitions. When Fred’s not drawing, he’s drawing conclusions, as a professor at Rhode Island School of Design and with the Summer Study in Italy Program of Montserrat College of Art.

Fred Lynch

Wednesday, August 24, 2016

Lifting Pigment on Zeta Series

Artist: Reham Moniem, Egypt
Artist Statement: In this drawing I used a big mop brush to create large washes the lifted them with tissue (tissue blotting) using firm pressure when the wash was still wet. Later in the process, I wanted to lighten the value of colors in certain areas in my drawing, especially in the light spots of the flower petals. So I lifted some of the pigment with a clean brush, alternating a brush that was little bit moist and other times a totally dry “thirsty brush”. Usually I love to add ink outlines at the end of my painting but here I just used a gel pen (white) for final touches because I wanted to create an exaggerated effect with extra white lines for the background. At the end I used I used a toothbrush to do some splashes in ultramarine to add a cool color effect (as you can see the reds are eye-catching in this painting, so adding a contrasting cool color was a must in my opinion).

The paper I used in this sketch is Stillman & Birn’s Zeta sketchbook. It’s smooth and extra white paper which I prefer. The whiteness of the paper helps to show the contrast of shades when you are lifting color, even with the light tones, as you can see in the light green leaves. Even though the paper is smooth, it withstood my techniques and did not get damaged even though I did so much lifting. The paper was very forgiving.

MEDIA: Watercolor and ink
SURFACE: Zeta Series – Extra Heavyweight – 270 gsm – White – Smooth Finish

ABOUT THE ARTIST: Reham Moniem is an Egyptian artist /interior architect who is an assistant professor of architecture. She lives between Egypt and Saudi Arabia and is interested in drawing and painting. She works in a variety of media including acrylic, gouache, oil, pastel, charcoal but mostly watercolor and ink.

lifting technqiues