Posts Tagged "drawings"

Pinoy Food Stickers, Awit Awards, and other Updates

If you’ve been checking my Instagram, it might seem that I have been making nothing but stickers…

Pinoy Food Stickers — Ulam, Panghimagas, Almusal, Kakanin, and Merienda

…which is partly true. The reason for this is I am mostly working offline to prepare for a major project I’m undertaking this year. Something very much-delayed in my life as an artist. 😛 Before I reveal details though, I would like to talk about my current batch of stickers. Pictured above is the Filipino Food Sticker Set which consists of my watercolor illustrations of common Pinoy food for almusal (longganisa, itlog na maalat, taho…), ulam (sinigang, bulalo, lechon kawali, adobo…), merienda (fishball, isaw, turon…), kakanin or native delicacies (bibingka, puto bumbong, sapin-sapin, palitaw…) and panghimagas or dessert (leche flan, halo-halo, sago’t gulaman…). It was a challenge to draw the ulam or Filipino dishes especially because our food is so brown and saucy! How to make them look appetizing, right? My solution was to choose food that had vegetables in them to add color, or if they’re just really brown, I placed them on a colored plate. 😀

If you’re interested in these stickers, they are available online at my shop and at Hey Kessy (UP Town Center) and Common Room (near Katipunan Ave cor. Dela Rosa St. QC).

Other designs available are the following: dreaming dogs, smartly-dressed cats, bread and cheese, sushi, girls & kitties, and coffee. Each one is die cut for easy peel-off and size ranges from .5″ to 2″ — perfect for your planners and journals, yes?

stickers philippines

These can be purchased online from my shop too. In-the-making / painting photos are on www.instagram.com/arncyn.

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Other updates since the last time I wrote here:

1. My design for Callalily’s album “Greetings from Callalily” won at last yeat’s Awit Awards for Best Album Packaging. I was in Tokyo when the guys sent me a Viber message so I couldn’t attend the event but it was such a pleasant surprise because I completely forgot about the nomination hehe. It’s my sexond Awit Best Album Packaging Design Award — the first one was for the Eraserheads’ “Fruitcake” in 1997 — 20 years ago OMG. Who knew.

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2. I’ve been working on honing my figure drawing skills by attending WhoAreMaro Live Drawing Setup events. Aside from Arnold, I usually attend with my art date friends Arlene Sy and Kuki Ulpindo of ArtWhale which makes it fun and less nerve-wracking. 😀 Drawing from life is great exercise and WhoAreMaro’s setup is pretty cool. It’s just like the ones we had in school (UPCFA) where the model poses in 5, 10, and 15 minute increments but it’s more hip and millennial-y since they invite guest DJs to provide live background music and serve food & drinks at intermission. Here are drawings from the first one I attended:

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3. I’ve also had two on-the-spot-portrait sessions since 2017 rolled in — one was at the BGC Art Mart and the other one at Hey Kessy’s Valentine Pop-Up. Tin of Hey Kessy took a video while I was at work (below).

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4. I help my good friend and soul sis, fashion designer Tippi Ocampo with her blog every now and then. This time we changed her blog theme and updated her logo. Tippi has always had a hook and eye logo but she had an idea to use her initials “TO” as the hook & eye and I executed it in graphics for her. 🙂 Please visit her site for her updates — she is one of the most talented and insightful people I know. <3

A post shared by Tippi Ocampo (@tippiocampo) on

5. Have I mentioned that I have an online wedding invitation store (and moderately active wedding blog) called Poptastic Bride? I was very active about updating it from 20011-2014 until I got pulled into the arts & crafts scene. The blog is still up and I post updates and freebies (printables) every now and then. I also made an Instagram page for my invitation portfolio. 🙂 Below is one of my bestsellers:


That’s all for now. I promise to update more often this year!

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What Colors to Choose for a Minimalist Watercolor Palette + White Nights Review

Since White Nights (a.k.a. St. Petersburg) Watercolors from Russia became available here in Manila via Deovir, I’ve read a lot of reviews online and have even heard from art-friends that they are easy to re-wet and are highly pigmented. So, being low on EQ I decided to get a few pans for myself. You might already know that I’m not a fan of buying sets (though I have some but they’re either gifts and/or were purchased when I hadn’t the slightest clue about pigments and lightfastness) so I made sure to do my research before buying the paints. My self-imposed rules:

  1. I must be able to use the colors and their combinations in what I love to draw the most — faces, food, and felines (okay, animals in general :))
  2. The colors must consist of single pigments — this is to ensure lightfastness and also reduce the incidence of mud when layering.
  3. They have to fit into my handy DIY mint tin palette, meaning a maximum of 9 pans was in order.
  4. I can’t spend over P1,000.00 because do I really need another set of paints? Umm, no  (see previous post), but then need is sometimes < want. Fortunately White Nights, like ShinHan, isn’t as expensive as the other brands so I was able to stay below my limit.

White Nights Watercolors customized palette

So taking all that into account, here are the colors I ended up with along with their pigment info & light fastness ratings:
— 2 reds (1 cool, 1 warm): Madder Lake Red Light (PR 187 / LF ***) and Cadmium Red Light (PR 108 / LF ***)
— 1 warm yellow: Cadmium Yellow Medium (PY 35 / LF ***)
— 1 green: Emerald Green (PG7 / LF ***)
— 2 earth hues: Raw Sienna (PBr 7 / LF ***) and Burnt Sienna (PBr 7 / LF ***)
— 2 blues (1 warm, 1 cool): Ultramarine (PB29 / LF ***) and Prussian Blue (PB27 / LF ***)
— 1 neutral: Payne’s Grey (PBk7, PB15, PV3 / LF **)
[source]

The last one, Payne’s Grey is not a single-pigment color (it’s made up of 3 pigments) and is something I could’ve gone without since I can mix greys using some of the colors so it’s really just a handy “convenience hue” for days when I can’t be bothered to do extra mixing. 😀

Just to show you the range of colors that are possible using just these 9 pans, here are a couple of watercolor charts I made:

White Nights Watercolor Chart

This one (above) shows the range of color combinations and tonal ranges that can be achieved from mixing the brights with the darks. And just because I always paint portraits and people, I made a separate color chart mainly for the reds and yellows (below). I just added the column for green since there was extra space.

white nights watercolor chart skintones

Here’s something I painted using just the colors in the palette (you can view the work-in-progress video on my Instagram). I used them on Khadi Paper purchased a while back from ArtWhale.

white nights watercolor palette

My capsule review for White Nights Watercolors:
1. Indeed they are easy to re-wet, pick up with the brush and are highly pigmented (some colors more than others though)
2. They are also highly transparent — except for the Cadmiums which are opaque — so they are great for layering.
3. At only P87.00 per pan (except for the Cadmiums which are I think P120 / pan), they are quite affordable. My customized set amounted to around P849.00 and it consists of colors that I will actually use. (Sets usually have 3 or more pans that I always end up never using.) Also, these are FULL pans, not half pans, so you get a lot of paint for your hard-earned cash. 😛

And here is something else I painted using White Nights, a simple maguro sushi for my Youtube Channel (hah! If you’re one of my whopping 3 regular viewers, thank you for not laughing at my attempts to make these home videos <3)

Other observations:
1. ShinHan, Holbein, and Daniel Smith are still my favorites in terms of color intensity and flow but I’m happy to have this inexpensive set of vivid paints for drawings that will be scanned and for practice work. Van Gogh, my student-grade set that was a birthday gift from Arnold last year, is my other go-to for practice work but they are strangely more expensive than White Nights.
2. The pans remain moist for a while so I can’t close the lid of the tin until they dry completely because they might stick in the lid when I store them sideways.

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My Watercolor Portrait Workshop: quick recap + snaps

Last Saturday I had the privilege of teaching my first watercolor class on portraits. If anyone told the me of 2015 that I’d be holding workshops in a year’s time, I would have laughed in their face. Seriously, it took me a lot of thinking, overthinking, and convincing to finally crawl out of my comfort zone and gather the confidence to actually go and do it. Why? Because workshops are the new ballet lessons? Well …yes (*sheepish smile*) but also because I’ve gained so much from being part of Manila’s growing handmade art community so it’s time to give back. <3 And why not share what I’ve learned over the years decades that I’ve been drawing faces to budding artists who share the same passion for creating?

But first, credit where it’s due. The first and only drawing-related workshop I ever attended is veteran artist Fernando Sena’s Summer Art Workshop way back in 1986. Believe me that was enough. (He still conducts these workshops, do check them out.) It was an intensive 8-session art course (complete with an on-site sketching session at Hinulugang Taktak in Antipolo, a “graduation” and an exhibit) while I was between 2nd and 3rd year high school and that was where I honed my drawing skills. I learned how to use graphite, charcoal, oil pastels, and even oil paints. It completely prepared me for the courses in the UP College of Fine Arts that I would eventually take. 🙂

oil portrait painting by cynthia bauzon arre

An oil portrait painting I made of my Tita Lina back in 1986. My Ate Peach sent this pic to me via IG. Haven’t seen it in years since it’s in their family home in Sydney. 🙂

After that I’d do charcoal and oil portraits of relatives, friends, and the random 80s teen hearthrob (i.e. River Phoenix, Scott Baio, Robby Rosa… I know, so very #titahits). It was only last year when I picked up the old hobby again and taught myself how to do it using watercolors by watching Youtube videos and reading tutorials. I would also observe Arnold whenever he drew and applied some of his digital sketching techniques to my analog work. And that’s how I developed a watercolor portrait style that I’m quite happy with — and that’s what I shared and demonstrated in my class last Saturday.

It was held at Hey Kessy, a cute little art and crafts store in Katipunan which also houses a charmingly decorated brightly-lit workshop venue. It’s also where I did the Shrink Art workshop last year. I love the place’s artsy, creative vibe so please expect more workshops from me in the space.

Some photos of what went on…

watercolor workshop portraits

I thought it was important for them to learn face-drawing basics first so I guided the participants on how to do it then let them apply what they learned when sketching from a reference photo. *I just had to pick Kiko Mizuhara as our practice model. How pretty is she?

watercolor workshop portraits watercolor workshop portraits philippines

After we were happy with our respective pencil drawings, we started painting. Below is the result of the face I sketched and painted on-site. Admittedly, this was the part I stressed over for weeks since I’ve never drawn in front of an audience before — can I do it fast enough? Will it turn out okay?

watercolor workshop portraits manila

Below: everyone hard at work on their paintings.

watercolor workshop portraits quezon city

And finally, the result of everyone’s efforts — yay, class photo!

watercolor workshop philippines

A few of the participants are illustrators like my friend Jovan de Ocampo who’s a cake designer and longtime member of AngINK; some are young art students looking to hone their portrait skills, and some are new to watercolors and admitted that they’ve never properly drawn faces before. But look at their outputs above and below, they did it and I think some of their own styles are already emerging! I’m so proud of them. 🙂

workshop participant works

One of the participants, Chu, even shared a before and after photo (below, left)  of a portrait she made a month ago (inset) and her work after she took my workshop.

workshop student works

The other drawing (aboce, right) is a portrait wherein she used a technique I taught them. So happy to see so much improvement in such a short time!

You can keep track of my workshops and student outputs via the hashtag #cynarreworkshops on Instagram. I will definitely hold another class like this soon so if you’d like to join the next one, please leave a comment on this post + your preference of area (QC / Makati) so I can update you once I get hold of more details. 🙂

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My favorite watercolor papers

I recently blogged about my watercolor paints and brushes in two parts — ONE / TWO

However, what good are those wonderful paints and brushes for without beautiful, high-quality paper? For daily practice work, inexpensive student quality pads like the Canson papers with the hot air balloon drawing on the cover that you can find at NBS and a Monologue Sketchbook (which I’ve also been abusing using) are great to have around but for commission work, it’s more appropriate to use paper that will allow illustrations to shine and last for a long time.

Here are some of my staples (so far) along with close-ups of samples of my illustrations using the different papers so that you can see their textures up close as well as how colors respond to them

.comparing watercolor papers

L-R and in no order of preference, these are the paper brands I keep going back to: Arches, Hahnemuhle, Khadi, and Canson. I’ve been hearing good things about Fabriano and Strathmore too but I have to wait for my shipment to arrive so I can try them out. The red, yellow, and blue paint I used for the comparison shot above are Shinhan PWC Permanent Red, Cadmium Yellow Deep, and Peacock Blue (from ArtWhale).

All of the above are acid-free and, save for Canson Montval Torchon which uses 100% cellulose, are fine artist quality papers made of natural fibers like cotton rag and bamboo in Hahnemuhle Bamboo Mixed Media Board’s case. Below are some notes:

arches watercolor paper sample work

Arches Cold-Pressed Cotton Watercolor Paper, 300 gsm (available at NBS and some Fully Booked branches though I got mine from Amazon.com)

I prefer cold-pressed to hot-pressed watercolor papers because I love the rough texture which IMHO lends an organic feel. Arches 100% cotton paper has a nicely coarse “tooth” that seems to absorb pigments easily which allows colors to remain vibrant and intense. I’m also able to paint big juicy washes and draw fine details with minimal buckling, even when I don’t stretch the paper (which I really usually don’t, being lazy). At 300 gsm, it’s also thick enough to handle re-wetting with no visible damage when I make mistakes. 😛

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Hahnemuhle matte watercolor paper

Hahnemuhle Mould-Made Watercolor Paper (Matte), 200 gsm (available at Deovir Arts)

Arnold introduced me to this paper so it was the first “fine art” paper I ever used. (I’m a bit embarrassed to admit that all of my watercolor work from years ago were done on yellow-backed illustration boards and sketch pads). Because of that, this has become my “benchmark” paper. It’s awesome for wet-on-wet painting (the paper drinks up the water & pigments without diminishing color vibrancy) and as you can see above, I can also do crisp-edged drawings on it with no problems. At 200 gsm, I avoid painting large washes though it may be possible if stretched beforehand. Mistakes are also easy to re-wet and “erase,” making it an ideal choice for beginners. It’s very economical to buy big sheets of these and tear them down to a more manageable size. The deckle edge is a nice touch and it’s inspired me to keep the torn edges when I tear it up into smaller pieces for a raw handmade look. 🙂

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Hahnemuhle mould made watercolor paper rough

Hahnemuhle Mould-Made Watercolor Paper (Rough), 300 gsm (available at Deovir Arts)

This one comes in block form and has a rougher, slightly raised and woven texture compared to the matt variant. A block is very convenient since you can immediately apply large washes with no need for stretching. I found the weave-like texture off-putting at first since I was already used to the fine-grained fibrous texture of Hahnemuhle’s matt paper but after using this for a while. I learned to like it as well. It appears that the pigments sink and “sit” in the grooves and so deep, rich colors are preserved.

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khadi handmade watercolor paper circle

Khadi Handmade Paper 320 gsm, circle (above) and A5 (below) — (available at ArtWhale)

At 329 gsm, this paper handmade in India is thicker than all the other natural-fiber papers I’ve tried and because it’s made of long-fiber cotton rag (upcycled t-shirt cuttings, anyone?), it seems to be more absorbent than the other papers. The painting above was done on the circle variant (which reminds me of pita bread 😉 ) months ago using ShinHan Korean Colors but because the pigments were fully absorbed by the paper, it looks as if it was painted just yesterday. Also, as you can see almost the entire surface is covered in watercolor but at 320 gsm, the paper didn’t buckle much and actually stiffened a bit once the paint dried — possibly because the rag combined with the pigments.

The A5 variant (below) has a slightly finer grain. Since my first artwork is almost opaque, I tried to see how the paper react to a transparent wet-on-wet technique and it performed beyond my expectations. 🙂 The paper was able to soak in a lot of water and it never once buckled. Also, just look at how rich the colors stayed even after the paint dried (I used ShinHan PWC paints for the test below). The A5 size is perfect for portraits too and the deckle edges add a beautiful handmade touch.

khadi handmade watercolor paper a5

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hahnemuhle bamboo mixed media board

Hahnemuhle Bamboo Mixed Media Board 265 gsm (available at Deovir Arts)

This is an all-in-one artist-grade paper made from 90% bamboo fibers and 10% rag which can be used with watercolour, gouache, acrylics, colored pencils, chalk and oil pastel, stamp pad inks, etc. It comes in sheets at Deovir (for around P118 per 19″ x 25″ sheet) which is great value since you can cut it up into smaller pieces and it can handle almost any media. The surface is smooth and watercolor glides on it with ease. I like using this paper with the wet-on-dry watercolor technique since colors seems to maintain brilliancy that way.

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Canson Montval Torchon watercolor paper

Canson Montval Torchon Watercolor Paper, 270 gsm (available at NBS and Fully Booked)

Among relatively inexpensive student-grade papers, this is the closest I’ve found that can mimic the behavior of premium watercolor paper. Made from archival cellulose, the texture is similar to that of Hahnemuhle Bamboo’s — smooth but grainy enough to absorb paint and give paintings a “watercolory” look, meaning it won’t look like the paint is just sitting on top of the paper. At 270 gsm it’s not prone to much buckling unless you’re doing heavy-duty washes. Remember though that this isn’t fine art paper and drawings might eventually fade so make sure to use this only when you will scan and digitize your work.

I would love to know what brands and kinds of paper you like using. Please do share in the comments section. 🙂

See also:

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Comparing Watercolor Brands (Using Tomato Drawings)

A few projects are keeping me on a food-drawing blitz and, encountering some downtime last night, I thought of painting a tomato using all the brands of watercolor that I have on hand. This Tomato Watercolor Chart™ (LOL) should prove useful as a reference since it clearly shows (1) color/pigment intensity; and (2) paint dispersion or how they spread on wet paper and into other colors. Let me share my findings with you.

comparing watercolor brands

For consistency’s sake I used a sheet of Canson Montval Torchon (280 gsm) for the exercise.

Prang (student grade) – colors are bright and the paint itself is fluid and easy to blend. Very transparent too so glazing is not a problem. Just look at that smooth finish — very impressive for a student brand. The only downside with Prang is that the colors will fade over time so it’s really best for practice work and illustrations that will be scanned/digitized anyway. (Available at NBS branches)

Van Gogh (high quality student grade, in the league of W&N Cotman) — as with Prang, Van Gogh colors are bright, fluid, transparent, and very easy to dilute and blend. The reds and greens are more intense though and from experience, the color intensity lasts pretty long. (Available at Deovir Arts)

Louvre (student grade brand by Lefranc & Bourgeois, in the league of Reeves and Pebeo) — colors come in tubes and are very bold and bright for a student brand but are more on the opaque side. It took me a while to get the colors to blend correctly (which explains the splotches) so I guess Louvre is best for artworks that are rendered in a more “painterly” or impressionistic style where strokes are intentionally pronounced and visible. (Available at NBS branches)

Gansai Tambi (high quality student grade brand by Kuretake and IMHO in the league of ShinHan Korean Colours) — very radiant colors that are more opaque than usual — but look at how bright the colors are! A little difficult to blend and produce a smooth finish though as you can see, my attempts to blend the colors yielded interesting results. I think the Gansai Tambi is more suited for flat, gouache-like renderings. (Available from Zig Philippines though I got mine from Amazon.com
)

Shin Han Korean Colours (high quality student grade brand) — I already did a lengthy review here but based on the tomato test, the colors are creamy and very intense — shockingly so that I had to water it down a bit. It was fairly easy to blend the colors but the thick quality of the paint makes it more suitable for painterly and gouache-like renditions. (Exclusively available from ArtWhale Philippines)

ShinHan PWC Extra Fine Premium Watercolors (artist grade) – straight out of the tube, these paints look bright and saturated and once you add water to the colors, they just flow into each other like butter — not kidding at all. I looove how fluid and juicy the paints are and when I use them for portraits, I can just feel the painting paint by itself LOL. And because it’s an artist grade paint, there is very little chance of fading especially if you use archival paper. (Exclusively available from ArtWhale Philippines)

Holbein (artist grade) — in my portrait painting experience Holbein is as radiant and flows and behaves almost exactly like ShinHan PWC and I can’t tell the difference, even when I use them together. The tomato above looks slightly more orangey since I don’t have Permanent Red in my Holbein set, but the colors are bright and wonderful for if you want to achieve a true “watercolor look.”  (Available at Deovir Arts though my pan set is from an independent seller I met on IG)

Examples of how I’ve used some of the brands in portraiture —

A photo posted by Cynthia Bauzon-Arre (@arncyn) on


Prang

A photo posted by Cynthia Bauzon-Arre (@arncyn) on


Van Gogh Watercolors

A photo posted by Cynthia Bauzon-Arre (@arncyn) on


Louvre

A photo posted by Cynthia Bauzon-Arre (@arncyn) on


ShinHan Korean Colors

A photo posted by Cynthia Bauzon-Arre (@arncyn) on


ShinHan PWC


Holbein

You can also check out my previous post My watercolors, brushes, and other painting tools for other notes regarding the brands, plus there’s so much more example work to be found (in real time!) on my IG @arncyn 😀

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I'm Cynthia Bauzon-Arre, a Filipino illustrator, graphic designer, and craft hobbyist. I live in QC with my talented graphic novelist hubby Arnold and our friendly marmalade tabby Abbas. This blog has been chronicling my life, likes, and loves since 2001. [ more ]

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