This week, I finally completed a color-test of my latest illustration for a new adult coloring book in the works and wanted to share my approach, tools and tips. I learned a few things about my process during this piece—things some of you more experienced colorists probably already know—but I thought they would be worth mentioning. The illustration took approximately 15 hours to draw, and probably about the same to color. It is 7×10 inches and the black and white line version is currently available on Etsy.
The butterfly is based on a pencil sketch I did a few years ago. I pulled it into Procreate and used layers to create a clean black and white line drawing, then added in the spheres, leaf vines, and two other butterflies. I drew one sphere and duplicated it three times, resizing and rotating each layer until I was happy with the composition.
When I save a digital file for future listing in my Etsy shop, I always create two images: one with pure black lines, and then another with lines that have reduced opacity to about 40-50%. I am starting to prefer coloring on the grey-line versions of my work because it allows me to focus more on hue and shape instead those black lines. I can then go back and darken or add lines where I would like to emphasize them.
I print my illustrations on card stock (in this case, it was Neenah Exact Index, 110 lb) with my Epson Stylus NX625 printer, and for the butterfly, I chose the grey-line version from the PDF.
My working space
I have a few hard artist boards I use to draw and color on because they provide a firm, smooth surface, and are easy to move around my desk (and off my desk if I need the space for something else). I also use an OTT Lite above my workspace as well as a small halogen desk lamp with a goose-neck. I also have another OTT light I can pull in if needed. Until I can get bionic eyes, I need to work fairly close to my illustrations. It’s frustrating sometimes, but being able to adjust the angle of my lighting helps.
My small desk area gets pretty messy while I am working.and I only clean up once a project is finished. I store all my pencils in BTSKY and Soucolor cases (which I found on Amazon) and organize them by color and brand and pull them out as needed. The reason I organize them by brand is because they behave a little differently on paper and I want to see my color options for a given need in one place. But more on that in a minute.
Even though the pallet appears to be somewhat limited for this particular illustration, I used many different pencils—brands as well as colors. I wanted to work purples and greens into the spheres, and over time, the colors sort of started dictating themselves. I sometimes have a loose color plan going in, but I don’t always stick to it. I admire colorists who can stick to a specific pallet—especially if it is a limited pallet. I’ve yet to try.
I usually start with the Caran d’Ache Luminance, Pablo, Prismacolor and Polychromos pencils, They provide a nice, soft base of color to build upon. I wish I could say I have one method I always follow but I don’t when it comes to blending. Sometimes I work from darker colors to lighter, sometimes lighter to dark. And I sometimes start wth my mid-tones and work out from there. My favorite pencil for lightening areas and adding highlights is the Luminance white pencil. I’ve used a variety of brands, and this one has become my go-to. It effectively blends underlying colors, but lays down white pigment more effectively than my other white pencils.
With the purple triangular areas for my spheres, I put down a very light layer of Prismacolor Parma violet from the points to about 3/4 of the way down the triangle shape. Then I used Black Cherry from the base (with a heavier hand but decreasing pressure back up to the point. Bistre (#179), one of my favorite Polychromos pencils, was then used to blend the Black Cherry and Parma together from the point about halfway down. The brown really warmed up the violet hues. I blended a little more with those base colors, then used my black Irojiten pencil to deepen the shadows at the base of the triangles. And added a touch of Irojiten Crimson to the tips. Finally, I finished off the triangles with a mix of Irojiten Iris, Plum and Crocus to burnish and seal my colors.
I tend to work with a lot of layers – maybe too many – and I also feel the need to practically push my colors right into the paper. I don’t necessarily recommend this practice (I am not a colored pencil expert) – it’s simply the way I work to get the effects I want. And I experiment a lot and may change my ways over time. But for now, I like to burnish my colors with a final layer using the Irojiten pencils. Because they are harder than most pencils (especially the Prismacolors and Polychromos) they help “press” or “melt” the pigments into one another. Burnishing is typical done with a colorless blender (like the Caran d’Ache full blender) but I discovered I like using the Irojitens instead. The provide a touch of pigment in addition to burnished results and add a little more saturation and depth to my work. You have to choose your colors carefully, but it works for me. So with the purple triangles, using the Plum Irojiten gives a little more reddish saturation to the violets, while the Iris plus in a little more blue. Since Crocus is rather light, it works well as an overall blender with this set of colors.
Another tip with the Irojiten pencils – using Eggshell (which has a very pale yellow tint) is wonderful for burnishing greens. Don’t be afraid to experiment with these lovely wax-based pencils if you own a set. It seems people either love them or hate them, but do give them a chance. Play with your colors on scrap pieces of paper while working to see how different tints will react to your base layers. I purchase my Irojiten pencils through Blick as they have both sets and open stock as well. Since I use black and eggshell the most, I can easily purchase individual pencils.
Another reason I love the Irojitens is that they help give a little sheen to my work and they get rid of any small white spots that may have been left behind from my pencils skipping over minute “pits” that may exist in the paper.
My final step after burnishing (and sometimes during) is using my Verithin pencils (which have a fine, hard point) to sharpen and enhance some of my lines and refine shapes. Sometimes I’ll use a Faber-Castell PITT pen to add darker lines and details as well, plus a few gel pens to add small dots and other embellishments. I prefer matte over metallic Sakura gel pens (because they don’t reflect as much when I scan or photograph my work for other uses) and have a set of Soufflé pens.
That’s about all for now! Feel free to bookmark or follow my blog as I plan to start adding videos as time allows.
“How did you get those colors to pop like that?” Ive been asked that question countless times, and I can say in all honesty that it’s not so much my skills as an artist, but my willingness to experiment with different colors and pencil brands.
While putting my first coloring book together this past July, I purchased a few packages of tinted card stock from Michaels (the “Recollections” brand) so I could include a few of my illustrations on pale blue and brown paper. It was an experiment inspired by an drawing I did of a Lion Fish since, yep, the ocean is blue. Some of the packages I bought included sheets of darker charcoal and black card stock. When I had a little time to color, I printed my Little Bird design on charcoal just to see how it would look. And wow was it fun to color!
I posted my work in progress on Instagram and my followers seemed to love it, too. They inspired me to keep going, and I eventually created a Black Magic coloring book. I knew I would not sell a lot of copies (especially early on), but I wanted to make it available to those brave enough to try–and there are some courageous souls out there from the US and Canada to Germany, France and Malaysia. (And it’s pretty cool to know my illustrations are being colored around the world.)
It took a little experimenting, but I found that certain pencil brands and colors worked better on darker papers than others. For Little Bird, for example, I used mostly Prismacolor and Faber-Castell Polychromos. A light layer of Prismacolor Light Aqua allowed me to build up a few darker shades on the body and wings, like Prismacolor Aquamarine, Electric Blue, Peacock Blue and Indigo mixed with Polychromos Prussian Blue, and Cobalt Turquoise. I also mixed in several green, French grey and brown hues.
The white pencil from the Caran d’Ache Luminance series (and no, I can’t afford the entire set, sadly) is one of my favorite, most used pencils. As with most of my pencils, I order them from Blick individually as needed and usually keep a few sharpened and easy to grab on my desk. They work very well to “pull up” or lighten areas I want highlighted, and they also work well to blend colors (but with a whitish cast).
If I don’t want a whitish or chalky cast when I blend larger areas, I’ve found that my Irojiten pencils (which are fairly hard) work very well–especially if the color I choose is slightly darker (or lighter) than the colors I am trying to blend. Using similar shades can really saturate or intensify the colors, and if I color with a lot of pressure (but not enough to snap a pencil tip) the Irojitens work great as burnishers. And I adore the smoothness of the black Irojiten pencil (which I order individually through Blick) for working in shadowed areas.
The big take-away here is to experiment. And don’t be afraid to screw something up! It’s going to happen now and then, so just embrace your mistakes as opportunities to learn something new about the tools you are using and what it is you want out of your coloring.
I don’t typically plan out all the colors I want to use in a given piece, but I do have a “feel” for what I am going for overall. And I very rarely end up there because the colors sometimes make the choices for me as I work. But that’s okay! When I am using dark paper, I try the colors I want to use on a duplicate print out of my illustration on the same dark paper. If one brand of the color I want does not lay down enough color, or just doesn’t show up as well as I’d like it to, or looks crappy next to another hue, I try another brand or another shade. I don’t have as many colored pencils as many of my fans do, but I do experiment. A lot. My desk is littered with scraps of paper with little scribbles of color on them.
Another key to working with black ink on black (or dark) paper is to have really good lighting. I have a small OTT light and an older halogen light I keep on my desk. Both have bendable necks that I can twist to just the right angle to see my lines. The lines on the Little Bird illustration weren’t too hard to see, but on black paper (like the card stock I used for my Black Magic coloring book) the lines can be very challenging to see–especially for some of my more highly detailed designs. The coloring I started of Ruby Charm herself (below) was done on the same card stock I used in Black Magic and, as you can see, is quite dark. Using a white Verithin pencil to lightly trace over detailed lines that are difficult to see can help quite a bit. As you color, those white lines will be absorbed, so don’t worry.
Finally, I add a lot of my smallest details with a fine-tipped black Faber-Castell PITT pen (to carefully emphasize some lines and dark areas, and a small collection of Sakura Soufflé gel pens for dots. I like the Soufflé pens because they are matte and photograph and scan better than metallics or glitter pens do. The beauty of purchasing, downloading and printing any artist’s coloring pages (I am a big fan of Etsy for this!) is that you have control over not only the paper quality (which is a huge issue for many colorists) but also the color or tint of the paper itself. And if you purchase pages through Etsy, you are directly supporting an artist!
If you have a computer and printer, all you need is a free version of Adobe Reader to download and print your files. Check your local craft and office supply stores to see what they carry in regard to card stock, and don’t be afraid to play around!
Coloring on darker papers can be very challenging, sometimes frustrating and time-consuming, but it can also be unusually rewarding.
This summer and fall, I’ve been putting all of my energy into creating new drawings and paintings. I’ve let a lot of things go (including my hair and my badly neglected garden) to pursue my art, but I have no regrets. We only live once. But we still have to make a living, and this is partly why I decided to dip my toes into the product design arena. That, and I have to be honest–it’s really exciting to hold something you have created in your hands, drink from it, see it on your couch or a wall, or even carry your groceries in it.
I had completed a series of six paintings of vegetables and fruits for a delicatessen in the Traverse City area and, based on positive reactions to them, thought “why not put these images on tote bags?” And prints. And why not coffee mugs and notebooks, too? Of course, I didn’t plan far enough ahead to take advantage of the 2017 Christmas shopping season (I am very new at this and though I have plenty of cheerleaders, I have no helpers), but that’s okay. I needed time to pull all the pieces together, research “print on demand” companies, and then photograph and digitize my work to fit a variety of product shapes sizes. And begin the arduous process of uploading big files to websites that don’t always work as well as you want them to. This all proved to be excruciatingly time consuming. I am still tinkering with not only the products I plan to carry, but also with several companies trying to find the best fit for me, and for my current and future customers.
April 23, 2019 UPDATE: My Garden Goods Collection can now be found exclusively through the GardenZeal website!
I’ve had a number of people ask about my coloring process, and now that my RubyCharmColors Etsy shop is up and running, I have a little time to devote to a new post.
I basically follow a two-step process. First I use watercolor pencils (and blending with a water brush)–and then step two–light layers of regular colored pencils on top of the watercolors. It is a technique that works well for me though I am still experimenting and playing around with it. Not everyone will want to devote a substantial chunk of time to a coloring page, and not everyone will like the same technique I use, but in the spirit of turning adult coloring pages into an art form, here’s how I do it …
Some of my favorite tools I keep handy when coloring
Before we jump into process, I thought it might be useful to talk about a few of the tools I rely on. First, I like to work on a decent illustration board. I have two (one large, one small) from my art school days and am glad I never got rid of them. The surface of a good illustration board is very hard, smooth and shouldn’t scratch. Coloring on a surface that is scratched or dented can make your pencils skip and it’s hard to get a nice even layer of color.
Another thing I appreciate about a good illustration board is that I can write notes on it with a pencil (if I need to remember which colors I am using) and I can test color combos on it, too. The board can be easily cleaned with a damp cloth and a little soap between projects. Sometimes I tape my work to the board, but since I like to move my paper around to work on different areas, I only tape it if I want to set it aside for another time. My smaller board (pictured above) has a few eye screws on one side so I can hang it up and out of the way when I’m not working on it.
I also can’t live without my pencil books. I have 4 of them (two for watercolor pencils and two for regular colored pencils) so I don’t have to use the tin and cardboard boxes some of my pencils came in. Aside from keeping everything organized, they don’t clang around and there’s less of chance I’ll knock the boxes off my desk and risk cracking the leads inside the pencils. The tin boxes are attractive, but they make a horrendous clatter when they hit the wood floor. There are a few nice cases out there, but I settled on the zip-up “books” made by BTSKY and Soucolor (and ordered them through Amazon). No issues yet, and I use them a lot. Grey for my watercolor pencils and black for my regular colored pencils.
A good pencil sharpener is a must. I have an electric X-ACTO (great for new un-sharpened pencils) and a small brass sharpener. I’ve had it forever and have no idea where it came from. I use the brass sharpener the most because it gives me a fine point without chewing up too much of the pencil.
I also keep a small brush handy for keeping my page free from little chunks of junk that accumulate while I work. I don’t like to brush the paper off with my hands because oil and sweat can make the paper less receptive to the pencils. I also use (at least when the weather is bloody hot) one of those funny-looking artist gloves so the side of my hand doesn’t stick to the paper and smudge things up. I originally got one for working on the glass surface of my iPad. Cooler months aren’t bad, but when it’s hot, I can’t drag my hand across any drawing surface without it sticking. No fun. And not good for smooth lines.
Because I use watercolor pencils for the first layer of color on my drawings, I also use a few different water brushes. They have a reservoir that holds water and slowly releases it as needed. If too much comes out, use a tissue to mop up the excess–and if not enough comes out, give the reservoir a little squeeze. These brushes allow me to control how much water I use, and since the bristles are fairly stiff, they work really well for blending the watercolor pencils in a very controlled manner. I have two Pentel Aquash water-brushes and a few from Derwent and Kuretake. I honestly don’t have a favorite brand at this point but choose based on tip size in relation to the area I am working on. Okay, well maybe the Kuretake has the best fine point for really tight areas.
STEP ONE: WATERCOLOR PENCILS
Below is a close up of the coyote I’ve been working on recently (a grey-line version of my Coyote and Fox illustration) printed on grey card stock) with the first rough layer of watercolor pencil. It looks a little sloppy, but that’s okay. It will all come together.
I used French Grey (my go-to color for nearly all of my work) and Night by Caran d’Ache (Museum Aquarell‘s which are dreamy to work with); Faber-Castell’s Albrecht Dürer watercolor pencils (Warm Grey, Nougat and Bistre); and Blue Grey 68 by Derwent. As mentioned, I don’t have full sets of any of these pencils. Instead, I order individual pencils as needed through Blick or pick them up in stores. Blick usually has decent prices and it is a reliable company, and buying specific pencils instead of full sets helps me avoid collecting colors I may never use.
Once I have filled in areas with the dry watercolor pencils, I use a water-brush to blend my first layer. The wet brown stripe in the middle of the photo above was worked with a fine point Pentel Aquash water-brush. Instead of “painting,” I think of it as gently “scrubbing” the color around … but not so hard the paper loses it’s integrity and falls apart. There’s nothing worse than creating a big ugly hole in the paper–especially if you have a good portion of a piece completed. I’ve done it enough to learn my lesson. Be gentle with purpose.
If you want to try this technique, practice a few times on scrap paper so you get a feel for your brand of watercolor pencils, your brush, and how they all behave (or misbehave) on the paper you will be using for your final piece.
I work in fairly small, controlled areas. Above, you can see where I started blending the brown swirl shapes. Working on small areas at a time allows the water to dry faster and keeps colors I don’t want blended together separated. As one area dries, I tackle a new one until I have finished with the watercolors.
Below, you can see where I’ve moved into the blues and added some Derwent Inktense Sea Blue and Deep Indigo. Watercolor pencils play nicely with one another, so if after blending an area you want more color, just sketch a little more on top and get it wet again. I prefer to add layers after the paper is dry, but a watercolor pencil on wet paper can produce lovely effects, too.
Things still looks a little sloppy at this point, and that’s fine. Before I started using colored pencils over watercolor, I was a lot more precise applying the color before blending with water. On their own, watercolor pencils produce a beautiful look. But since I will be adding a few layers of colored pencil over the top, I think of this as a simple under-body or base layer of color to build upon.
Why go through the trouble of laying down this watercolor base layer?
I have found that it gives the paper a really nice, faintly “gritty” texture or “tooth” that my colored pencils really seem to love–especially on smoother types of paper and card stock. The key is to make sure the paper has dried before grabbing your colored pencils.
Small, self-contained areas are pretty easy to work on because they have a definitive start and end point (such as the brown lines on the coyote’s rear and neck). Where it gets tricky is where there are larger areas that move from one color to another (behind the ears all the way to the back, tail, and part of the legs). I’ve had to learn to work fast. I typically “scrub” quickly in small circles, but sometimes I pull the brush along the edge of a border to get a larger area damp. Then my circular strokes are used to scrub those colors around and blend them together. If some of the areas look a little splotchy, don’t worry. The colors usually even out as they dry, and if they don’t, the colored pencil layer will eventually blend it all together.
My best advice? Play. Experiment! One of the great things about having digital copies of an illustration is that you can print out a few on different types of paper and play around with techniques and different color pallets before committing to a final piece. And … if you royally screw something up (I’ve done it plenty) you can print and try, try again.
While all of the areas I have water-colored are drying (it should not take long at all), I put my watercolor pencils away and pull out my regular colored pencils. I try not to mix them up because it really stinks when you color a whole area and hit it with water only to realize you hadn’t used a watercolor pencil. And watercolor pencils don’t work very well over regular colored pencils because of the waxes and oils in the colored pencil leads. They can, if thick enough, repel water. So I try to keep my pencils types separate.
The pic above shows the coyote with all the watercolors blended and a start (on the belly) with regular colored pencil layers. Adding light layers can give your work a lot more depth, vibrancy and definition.
I like to use the softer colored pencils (Prismacolor, Faber-Castell, Caran d’Ache Luminance and Pablo, and Bruynzeel) for the larger areas and I work with a light touch and try to avoid coloring in the same direction. Light circles or tight cross-hatching works well. Sometimes the layers can get a little too thick and an annoying “chunky” build-up can occur. It happened with some of the sepia (see pic below) I was using to the left of the big white star. Too much build-up from being a little heavy-handed in that area, whoops.
Some of the sheen in my photos are a reflection of the wax in the pencil leads and appears when you apply a lot of pressure, or go over the same area quickly back and forth. Burnishing, as it is often called, can be a great way to deepen colors and set them, but you can overdo it so be careful. Once I have my softer layers of pencil down, I then use my harder pencils (like Tombow’s Irojiten pencils, the Verithins by Prismacolor, and Derwent’s Studio pencils) to carefully carve in sharper details. I used black, Tuscan red and indigo Verithins to define parts of the coloring below.
I also like to use the Caran d’Ache white Luminance pencil for all of my brighter highlights. It seems to give me the best coverage of all the white pencils I have. A little pricey compared to other brands, but for a responsive, reliable white pencil, I think it’s worth the price. Most of my white pencils barely show up when applied over other colors.
One tip about whites … if you want a bright white to appear over another color, always color that area with your white pencil first. Next, work your other colors around it and right up to the white. And then, hit the white area with your white pencil again being conscious of pushing from the white center toward the other color(s). If you pull from the other color(s) into the white, you’ll get more blending (and not a brighter white).
I find that I can blend and burnish colors together pretty well with the Derwent and Irojiten pencils as a final top layer. I usually use a shade or few lighter than the color I am working over. For instance, on the brown and taupe colored areas of the coyote, I used Irojiten’s Pigeon Grey, Chesnut and Eggshell to “set” the final layer over the Prismacolor and Polychromos French Grey and Bistre. I’ll do the same with the blues. Irojiten Indigo over Polychromos and Prismacolor Indigo for the darker areas, and maybe Irojiten Midnight Blue or Kingfisher for the medium blues.
As a side note, I have found that the Irojiten Eggshell pencil has become a favorite go-to for blending many different colors–it’s light enough to pick up the color of the layer underneath without muddying things up and it’s hard enough to push the colors together.
And there is a push and pull when it comes to working with colored pencils …
Below: slowly working more colors. I think I had about 2 or 3 hours into the coyote at this point. I realize not everyone wants to spend this much time on a coloring project, but I really enjoy the process. While I love to see the final product, it’s the act of choosing the colors, working the water and the pencils, and having time to focus on something tangible and tactile. An escape from all the screens virtual everythings.
The bottom photo shows the final layers of colored pencils, plus a few details that make the image pop. I like using the Sakura Pen-Touch paint pens to add small dots (be careful you don’t smudge if you try this – paint pens take a little time to dry). I also go in with a black waterproof Faber-Castell PITT pen to add dots and lines, or sometimes just to darken areas that got a little covered by pencil marks (like the coyote’s eye). Gel, metallic and glitter pens are fun, but I don’t use them much anymore because they don’t photograph or scan well.
I also try not to feel restricted when it comes to following the original design of any page (including my own illustrations for coloring) and often add in new details like the oblong white and grey shapes on the tail.
Here is the same coyote I tested out with color after my original black line drawing was complete and converted into a vector for printing. It was printed on white card stock (instead of the grey-scale lines on grey card stock for my current coyote). Not sure which one I like best, but they were both enjoyable to work on.
I hope some of the information about my process and techniques can be useful to you. Again, my approach isn’t for everyone, but hopefully it inspires you to try something new. Don’t be afraid to take your time and push your creativity to the next level. I am always trying to learn–always thinking about ways to improve. And while my own relationship to art (and now coloring) certainly provides relief from stress, art is also my passion (and can surely cause stress at times).
Isn’t that the Yinyang of life? 😉
I’d love to hear from you if you have questions, comments, or techniques you would like to share!
UPDATE: I now have six pencils cases – seems my pencil collection has grown a little. I am sure some of you can relate to this! 😉
Scenario: I am sitting at my desk covered with pencils and pens coloring one of my illustrations. Someone walks past my open door and suddenly I feel like a little kid. Guilty that I am “playing” and not doing more important things. But I am working. Really.
Over the past few months, I have found that it is absolutely necessary to color each of the designs I am illustrating for a coloring book and coloring pages. First, because it allows me to uncover flaws in the design itself. Perhaps there is a line missing that throws off the parameters of a space. Or a line that causes uneven spacing. Or maybe it’s just a messy line. Minutia for sure, but it is important for me to think about audience and how an audience might approach a design.
If someone is filling a space with color and he or she realizes there’s a flaw, it could be frustrating, yes? And people who love to color seem to enjoy the relaxation the act of coloring provides … so I test out my designs.
In the design below, the bottom curl on the right side of the rod puppet needed another line to complete the overlap of hair over the the blue “cloud” curve in the background. A very small detail, but without actually coloring the design I may have never found it. And it bugs me. The solution? I pull up the line drawing in Procreate on my iPad and correct the issue before making it available for others to use.
Sometimes we can fudge an illustration and make it look okay (I used this flawed version in some of my social media), but for final designs ready to be sold, I like to be sure they are right.
Another reason I color my illustrations is so that I can use them in my social media accounts, for parts of my website and other marketing materials. And, I can’t lie: I do find laying down some color very enjoyable – especially on a wet, grey afternoon when it’s too crummy for yard work or a walk with the dogs.
A black and white illustration and a colorized version for testing. The process of coloring allows met to catch potential issues before someone else does.
While testing this illustration, I discovered a missing line at the bottom of the lion’s leg. I added into my master drawing on the iPad, and also added small dots along the bottom of the leg to make that space more clear, and to imply a little dimension.
Part of the reason I have struggled to “find time” to work on my art projects is simply because I have given it that title: find time. Well, that’s a big, steamy pile of poo. It’s a crappy human construct we continually allow ourselves to be tricked by.
If you want to get serious about something, you have to make time. Intentionally schedule it. Rope it off. Learn to say no. Say no a lot.
It’s not easy. Everyone wants a piece of your day. Kids, dogs, co-workers, spouses, friends. And they all need (and deserve) a little of your time, but not at such a cost it leaves you depleted. Exhausted. Resentful. No time to do much else but feel mad and sorry for yourself during that brief period of time between your head hitting the pillow and falling asleep.
And then there are distractions. Phone calls. The constant ding or buzz of texts and email. The mail lady honking her horn in your yard because she doesn’t want to walk all the way to the door to leave your dumb package. You hear something crash in the kitchen. The wood stove needs another chunk of wood. That flipping woodpecker won’t stop banging on the side of the house no matter how many times you pound the window or run outside in your socks to scare it away.
There are days I feel like Pavlov’s dog.
But I think that when you start demanding your own time, things fall into place. It gets easier to ignore the distractions. People figure out you are serious and they start respecting your time. Especially if you close the door.
A few things will pile up (dishes, laundry, etc.) but in the big scheme of things, does that really matter? If someone needs food, they’ll clean a pan to cook it.
Back in the 90s, I spent a little over a year in the Kalahari in Southern Africa. I met many wonderful people and was able to camp in a number of parks in Botswana and Zimbabwe when I had time to wander. While teaching English in a small school in the village of Kang, I started an art club with my students. I also adopted a Rhodesian Ridgeback puppy–the runt of a litter of dogs born in Kanye–and spent many days walking around the village with him on my heels.
When it was time to head back to the States, I was fully prepared to bring my little dog with me. His crate was ready and I had all the necessary fees paid and paperwork filled out and that included a period of quarantine in England. Days before our flight, a veterinarian in Gaborone informed me that Baka had cancer in his hip and would not live very long at all. His hip was quickly and painfully deteriorating. Because he was accustomed to a life that most dogs in Botswana were not–he lived in my house and slept on my couch–and because I had no one who could guarantee his care once I was gone, I made the gut-wrenching decision to have him euthanized. It still bothers me to this day.
I did manage to bring home a few treasures, though–reminders of my time in Africa: a set of gazelle horns found in the sand a mile or so from Kang; an empty ostrich egg and turtle shell amulet given to me by Setsane, an old Bushman, and his tiny grandson who used to come by for tea and fatcakes now and then; a handful of Devil’s Claws; several journals detailing my experiences; photos; a well-used tin of Staedtler Aquarell watercolor pencils; and a folder of illustrations.
The bigger illustrations, done on 12 x 17 inch sheets of paper, were inspired by the wildlife I saw, but also by the bizarre dreams I had as a result of taking Mefloquine which is a drug used to prevent malaria. Over the years, even though the illustrations have been stored in a large ITOYA portfolio for much of the time, the colors have faded. The pencils were purchased from a small art store in the central mall of Gaborone, but I can’t recall where I found the paper. It wasn’t the best quality and has yellowed significantly over the past 20 or so years. A good reminder that if you want your art to last, use the best acid-free paper you can find.
horse and flying cats
gazelle and fox
I have only 8 of those Staedtler watercolor pencils left, but it feels good seeing them nestled in with my newer art supplies. Comforting, somehow, that they made it far and long enough to see me get back to my arty roots and finally launch this new project.
Ruby Charm is a character from a children’s book I started writing and illustrating years ago. I have yet to finish the book, but different versions of Ruby are taped to my wall (and sometimes fall out of folders) in my office/studio.
Ruby was inspired by an eerily beautiful, old Javanese Wayang Golek rod puppet that my husband gave me for Christmas back in 2000. We found her in an antique store in the Eastern Market in Detroit, but I could not afford to spend what little money I had at the time on a puppet. Months later, when we got up Christmas morning, she was propped up under our Christmas tree. I am still touched by my husband’s thoughtfulness.
The puppet has been perched high on a shelf overlooking my room ever since. She is quite old. Her clothing is fragile and faded and the paint on her face is chipped, but I think she is stunning. Almost magical. So it seems fitting for Ruby Charm to be my mascot–a pseudonym for creative projects moving forward.
The original Wayang Golek puppet that inspired Ruby Charm and a recent rendition of her.