This year Copic Design Team member, Debbie Olson, will assist Ken (President Emeritus of Imagination International, Inc., importer of Copic Markers.)

The plan is to spend two weeks at a tiny art school in Umbria (1 1/2 hours North of Rome), each day traveling to a nearby hill town to sketch, and returning to our base in LaRomita School Of Art. We are taken care of by two Italian cooks, and we stay there in apartments remodeled in a 15th Century Monastery.

The cost for this two week workshop is $3,600 plus airfare. It includes food, room, instruction, and all local transportation as we travel each day out to new hill towns. Other costs may include a few lunches, snacks and gifts.

If this adventure is of interest to you, please write to ken@copicmarker.com for more information and a list of FAQ.

Largely self-taught illustrator Drew Blom talked with us about having work curated into the Art for Hope exhibit, his art making experience, and using SketchBook Pro Copic Edition.

Congratulations! How did it feel to be approached by Autodesk for this art show?

I was contacted by Chris Cheung at Autodesk to see if I was interested in contributing a piece for their Art For Hope benefit book in partnership with Viz Media. It was right around the time the Copic Edition of SketchBook Pro (SBP) was released. I planned everything digitally, printed out and did a traditional graphite rendering, scanned back in and used the new Copic settings to create the colors for my piece.

I was pretty humbled to asked to be part of the Art For Hope book. It’s a great cause, I was excited to work on the piece  – and excited to hear it was selected. It was quite an honor.

Unless you’re a big name who’s having their work reviewed all the time it is easy to work in a vacuum. I’m not a big name so it’s kind of fun to see that the piece is making an impression on others.

Anything you’d like viewers to keep in mind while viewing your piece?

The piece was created as a cover for my story Calvin Hedge and the Iron Golem. It’s a story about hope, so it was a natural fit for the anthology. The story is intended to be the first of a trilogy of YA fantasy novels. I am writing and illustrating a children’s book as a precursor to the world and characters early next year. The characters in the image were not just put in to fill the composition. They all have a part in the story. Knowing who the characters are really helps me as I work on the actual piece.

Calvin Hedge and the Iron Golem, Graphite, Strathmore 500, Digital, 11″ x 17″

How do you normally go about art making?

I use digital drawing tools like SketchBook Pro for planning because it’s easiest to change, but for the actual work (rendering and line art) I prefer traditional media.

Every artist has a preference for tools and it usually winds up being the ones they have the most control over. Graphite and colored pencil are my go-to most of the time. Markers and pen-and-ink techniques are also a part of my process. I like the digital tools available because of the speed and ease of making changes. But I am still a sucker for the texture and depth of traditional media. The computer does “perfect” really well. But the hand of the artist is more readily visible with traditional media.

I did a talk recently explaining the process a little bit here. My part starts about 20 minutes in:

I use traditional Copic markers as well and am planning on using them as a monochromatic underpainting layer for a children’s book I’m writing and illustrating. After that I go in with digital color, similar to the SketchBook piece. I just need to start building up my grayscale collection of Copics.

Underpainting is a technique that has been around for a long time. In traditional oils it is used to define value and texture before a full-color realization is done over the top.

Calvin Hedge and the Iron Golem, underpainting

With the piece above, I used graphite pencils for the values, lighting and materials. It’s my version of underpainting and brings in the texture of the traditional media I’m working with.

With my upcoming children’s book I’m exploring a new process where the initial planning of the composition is done with SBP. The piece is then printed off and traditional Copics are used to lay in value, lighting and texture to the scene. Once the values are defined and the edges are contained with colored pencil the piece is scanned back in and a full color treatment is done digitally. This allows the texture of the paper and the markers to build up as they naturally would in a 100% traditional piece but also allows for the speed of doing final colors digitally.

What makes Copic your marker of choice for that?

The Copics blend very well, and with a set of grays you can lay in value incrementally. I like to feel in control as I’m creating the piece and the Copics are very natural and easy to reign in.

Have you been using SketchBook Pro (SBP) very long?

In one way or another, I’ve been using SketchBook Pro since version 1.1. I started out using it for storyboards but now use it for a lot of other things like planning out my compositions and coloring my final pieces.

How about SketchBook Copic Edition?

I picked it up the day it was released. I did a pretty quick update when the announcement was posted.  I already was using the markers so it was a natural transition.

It’s is a very natural sketching tool. Because I work on a tablet computer, I appreciate the gesture-based navigation. For coloring it is a bit different than I’m used to for my comic work, which is based on laying down flat color for selection and then building up volume. Its closer to traditional media which makes it very easy to get started with. You can tell the software was developed from an artist’s perspective.

The Copic presets are helpful as well. The palettes make sense and are great for narrowing in on a limited palette. The brush presets make the transition from traditional to digital media pretty smooth.

Any advice to people wanting to give SBP Copic Edition a try?

If you’re used to traditional Copics you’ll be familiar with the color palette. And the actual use of the digital preset brushes is pretty close too. Just like with traditional markers you can’t lay in light color over darks. It was a bit odd at first because I was used to standard digital tools, but over time it became an advantage because it kept me in the same mindset from traditional to digital.

Anything else you’d like to add?

Thanks for taking the time to talk to me.

___________________________
Connect with Drew online: http://about.me/drewblom

We’re very excited to be a part of Autodesk University in Las Vegas, November 29th – December 1st. Join members of the Copic team in the Creative Studio, which is completely free and open to the public!

Jackson Root, artist and Copic expert, will be on-hand each day to demo SketchBook’s Copic marker features and share his tips & tricks for traditional art with Copic markers.

On Thursday, December 1, at 11am, there will be some Copic Q&A on the stage as well.

Hope to see you there!

Hours of operation:
- Tuesday – 9:30am-7pm
- Wed & Thurs – 9:30am-6pm

Visit Copic Marker at Comikaze Expo in Los Angeles, November 5th & 6th! We’ll be at booth #1202, near the entrance.

To stay current on everything Copic during Comikaze, be sure to follow us on Twitter and Facebook.

See you there!

What’s it like? Who started it? How can I participate? To help answer these questions, and promote this wonderful event, we’ve compiled a list of 10 helpful links:

1. 24 Hour Comics Day site

2. 24HCD Event Locator

3. 24HCD Blog

4. 24HCD Twitter

5. #24HCD Hashtag feed

6. YouTube Videos from Last Year

7. About Nat Gertler, The Founder

8. Blog Post on the Experience by Artist @Matt Madden

9. About DIVA’s Eugene, Oregon Event

10. Some 24 Hr. Comics by World Record Holding Artist, David Chelsea

[BONUS]: Scott McCloud’s describes “The Phenomenon”

[EXTRA BONUS] Blitz Comics’ Survival Kit

Check out our previous posts on David Chelsea, whose Snow Angel comic was recently featured in Dark Horse Presents – Issue 2.

If you live in Oregon, join us at the event on Saturday, and at the DIVA’s related show “Art of the Graphic Novel”, which opens Oct.7th. See you there!

Come see us at Anime Expo in Los Angeles, July 1st – 4th! We’ll be at booth #501 – first thing you’ll see, can’t miss us.

Check out the awesome events happening this year at the Copic booth:

- An exciting announcement from Copic Marker, created with YOU, the artist, in mind!
- Anime demonstrations by Ran Mutsuki & Kaoppe, the artists who have been with us for the past 5 years, on Friday, Saturday, and Monday
- Creature design demonstrations by Terryl Whitlatch (Star Wars) Saturday – Monday
- Preview of a unique online learning experience brought to you by Copic Marker and Terryl Whitlatch
- Copic beginner workshops taught by our product specialist, Marianne Walker (Saturday and Sunday, 12-2pm in Workshop Room 2, LA Convention Center Room #501)

Visit Copic Marker at Anime.Music.Manga in Anaheim, July 1st – 3rd!

This year at the Copic booth:

- An exciting announcement from Copic Marker, created with YOU, the artist, in mind!
- Creature design demonstrations by Terryl Whitlatch (Star Wars) on Friday
- Preview of a unique online learning experience brought to you by Copic Marker and Terryl Whitlatch
- Anime demonstrations by Ran Mutsuki & Kaoppe on Sunday

To stay current on everything Copic during Anime Expo and Anime.Music.Manga, be sure to follow us on Twitter and Facebook. See you there!

How do you feel about winning this contest?

Extremely honored, I would like to take this time to thank all of the players involved for stepping up to the plate and cracking one out of the park.

How did you first hear about it?

A print ad gracing the back cover of Ethos Magazine.

How does your piece relate to the theme “One World, Many Stories”?

Humans communicate and share knowledge via story, without stories there would be no “one world.”

What was the creative process used?

Did Harry Houdini reveal his secrets and tricks? Mystery dons a veil.

What were your sources of inspiration?

I source inspiration from experience and intuition.

Who are some of your favorite artists? Any local artists?

Tony Coslett, Bob Dohrmann, Phillip Dillon, Simon Goetz, Peter Goff, Tony Gresham, Josh Heilaman,
Jonathan Hils, Michael Lesage, Takashi Murakami, Billy Reid IV, Angela Renke, Todd Renshaw, Dero Sanford

How long have you been creating art?

9 lifetimes.

What’s your favorite thing about using Copic Multiliner SP pens?

They feel as though they’ve been dipped in butter, plus anything housed in aluminum gains my approval.

What does having your work in such highly visible location mean to you?

Again it’s a great honor to work with the community of Eugene, infinite thanks are in order.

What theme would you like to see for next year’s contest?

Grimm’s law.

Any advice to someone thinking about entering the next competition?

It’s advice, you either take it or you don’t.

Congratulations Cory, and thank you to all of this year’s entrants!

Above: James Book of Ninkasi Brewery and John Darland of Copic Marker unveil Cory Scott’s winning entry. The piece will be displayed in downtown Eugene, Oregon for nine months.

TEWSR1 displayed work in the gallery and did live graffiti work at the event. In addition to those at the recent Black Book event, TEWSR1 has worked with notable artists and comanies such as Cypress Hill, Snoop Dogg, Steve-O from Jack-Ass, Audio Hustlerz Records, One World, FIND Art Magazine and 5 Star Clothing.

You can go here to find out more about the Black Book event and to read attendee comments and feedback. Or view more of TEWSR1′s work at waistedtalent.com. We’ve pictured work done by TEWSR1 with Copic Markers in this interview, but his website will give you a glimpse at work he does in other mediums. 

You can also see his work this summer at the L.A. Art Machine International Urban Art Festivalfrom July 14-17th.

Tell us about your background and how art played a role in your life growing up.

I grew up in Orange County, California in a city without much of a strong graffiti element or influential art movement to speak of at the time. I began copying and drawing from comic books and old cartoons when i was younger. I eventually developed a cache of techniques and elements that gave me a good basis to start creating my own ideas incorporating my style characteristics. In grade school I created a small revenue selling sketches of Mega-Man and Tiny Toons characters, and it was then I realized there was a chance to make a living in art if I could learn how to do it well enough. I’ve been actively trying to acquire a better grasp ever since.

How has your work changed over time?

I think my work has become more refined and technically complex compared to my earlier work. I create with the intention to provoke thought. My art used to have a more cartoonish look and lately I have been using my knowledge of realism to twist my creations into a more tangible entity. It also adds to my style of graffiti work since the realism aspect in that genre is only applied by few.

What makes you want to draw?

My drive stems from my desire to learn and to constantly acquire new techniques to apply to my art, to achieve the caliber of work I’ve been seeking ever since I began this worm-hole journey through the world of art. I feel that if I never reach that point, then I will still be consistently learning new things in hopes of arriving there. That is what ultimately drives me.

Copic is sponsoring a Black Book event you’ll be showing work at. For those of us who aren’t graffiti artists, what is a Black Book, and why does a graff artist have one?

A black book is a way to develop one’s style and way of working out the look before actually bringing it out into the open public for all to see and ultimately judge.

Some use their black books to complete and fully render pieces of art and fill them to the margin with everything they’ve learned of hope to learn. I use mine mostly for brainstorming and concepts. Although I have been known to rock a mean full-page or two-pager, nowadays it seems more archival and useful for me to spend the time completing the works on canvas or illustration board. I will never lose the desire to throw something  in a black book thought. It will continue to be a staple in the arsenal of the seasoned graffiti artist and all other alike.

Who would enjoy a Black Book event like the one you participated in on May 21st?

I think this [kind of] event is for anyone with an open mind and desire to see some truly amazing work by some of the most prolific and talented artist’s around. It’s a great chance for anyone that has never had the opportunity to see first hand how graffiti mural is done from start to finish. And a great way to see how the difference in sketchbook techniques used by many artists with the same goal; to achieve a great looking piece of art! People can enjoy all this with the ambient sounds of some of the “freshest” D.Js out.

What’s the farthest you have traveled to be in a black book event?

Unfortunately, I haven’t been much farther than within California since the good black book events are few and far between. However, I am willing to travel far and wide to spread my art, wherever it’s needed, and not needed for that matter.

Joanne Sharpe has a layout from pages 66 through 70 entitled Making Magic with Markers that breaks down the Copic color coding system, explains blending trios and provides an exclusive black and white illustration for trying out the techniques yourself.

Joanne will be at the Create Retreat in Costa Mesa, CA May18-22 teaching the following classes:
“Color Blast Buffet” Art Journals
Color Me Creative Copics
Oh My Word! Artful Lettering Inspirational Journals.

Not signed up for Create Retreat?

There is still availability in Copic’s mixed media workshop called Ink & Art, this June in Indianapolis. The experimenting will go from 9am to 5:30pm and attendees are encouraged to bring their own collage materials to incorporate, such as favorite photos, magazine or newspaper clippings and copies of inspiring art. Some techniques to be covered include:

Copic & Bleach Bath
Found Object Resist
Layered Backgrounds
Hot Photos
Colorizing Transfers
Faux Batik
French Ribbon Dying
Tinting Acrylic