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

Click Here

A friend of Dahlia’s got our attention earlier this year and told us it is our markers that make Dahlia’s art possible, and the artist’s creativity that makes the work magnificent. We checked out her work were intrigued by Dahlia’s use of markers with Acrylics to add intricate detail and thought you might be too. To view more of her work, visit Lazuli Studios.

Tell us a bit about your training and how or when you first knew you loved to create and express through images like you do today?

I have been participating in the creative process for as long as I can remember.  My style and influences have changed significantly throughout the years, although there are definitely some themes that have remained constant over time. I had the opportunity to study traditional Chinese painting in Taipei, Taiwan and took private art lessons for a number of years prior to that. In terms of my formal education, I studied at Rocky Mountain College of Art and Design in Denver, Colorado.

At that time, my focus was primarily on figure painting, working in oils with a largely monochromatic, earth-toned pallet. Burnt sienna was a staple for many, many years. It’s actually just been within the last 2-3 years that I have begun to incorporate color as I do now. The patterns/design elements are also relatively new, at least in the sense of my putting them down on canvas as ‘art’. They have, however, always been present and can even be seen in drawings from my childhood.

You’ve said a lot of your work is spontaneous. What kinds of things inspire you? And what do you do when an idea or image comes to you, and you’re not in your studio, or wherever it is you usually create?

Is it fair to answer ‘everything’ to that first question…? Probably my greatest influences are Bob Dylan, the love of my life, Russian literature, plants in general, orchids specifically, Kurt Vonnegut, batik, philosophy, evolution- all things biological really, Infinite Jest, art nouveau, pop culture to be sure, and as strange as it may sound, physics has had a huge influence on my work.

Making art for me is more or less spontaneous. Instead of having an end goal in mind that I’m working towards, I’m really just working. It’s more like a meditative experience. This grants me the free mental space necessary to process whatever has been on my mind.

A great example of this can be seen in the ghost. At that time I was investigating the pollination mechanisms of deceptive vs. rewarding orchids. As the patterns in that piece emerged, they began to look very much like what one would see in a cross-sectional view of orchid ovaries. Eventually I began to see a woman’s face, then the orchid in her hair… It had become the artistic manifestation of my research project. That’s basically how it goes for me. If I’m not in my studio, the idea will likely find a dusty shelf and wait patiently.

Tell us about your process for creating work such as the ones we have featured here.

I typically start with a small, very simple design and build line work that radiates out from there. I work on flat, unstretched canvas and rotate it as I go. As a given piece progresses, the lines begin to grow toward each other. This allows me to reconcile and blend together forms that may otherwise seem incongruent. While the patterns appear to be somewhat self-directing, I do put more thought and planning into the color choices.

You’ve also said you “LOVE” Copic markers and that they are your marker of choice, absolutely 100% of the time. Why such confidence? What works so well for you with Copics that other markers or mediums aren’t able to compare with?

It’s true! Copic markers have revolutionized my artistic life. Period. It’s like using brushes that never fringe or fray. It’s incredible what Copic markers have made possible, especially with how tight I want my lines to be. They make it SO much easier for me to work at my preferred level of detail. Aside from that, they actually blend really well, which is sort of surprising for a marker. This is great for me because in order to create the perception of volume or lines bending I need to be able to gradually transition between colors and/or shades.

You’ve also said you “LOVE” Copic markers and that they are your marker of choice, absolutely 100% of the time. Why such confidence? What works so well for you with Copics that other markers or mediums aren’t able to compare with?

It’s true! Copic markers have revolutionized my artistic life. Period. It’s like using brushes that never fringe or fray. It’s incredible what Copic markers have made possible, especially with how tight I want my lines to be. They make it SO much easier for me to work at my preferred level of detail. Aside from that, they actually blend really well, which is sort of surprising for a marker. This is great for me because in order to create the perception of volume or lines bending I need to be able to gradually transition between colors and/or shades.

Which style of our markers to you use and how often, if ever, do you find your self refilling your markers?

I tend to use the Sketch markers the most, although on occasion I will also use the line of original Copics. One of the huge benefits of Copic markers is that they are refillable, but unfortunately I’ve found it difficult to locate retailers who sell the ink. As it is not yet possible to place an order online, I’m honestly not able to refill them as often as I’d prefer.

What kind of problems have you run into with using acrylics and markers?
And do you have any tips for other artists who are interested in combining acrylics and Copic marker like you do?

I’ve used some ink that runs easily, which is always a bummer, but I haven’t really had that problem since I started using Copic markers. Also, this may be obvious to some, it wasn’t to me, but it’s much easier to go over paint with marker than the other way around. Aside from that, I can’t say I’ve encountered any other major challenges.

Tell us about the event you have coming up and where people can see or purchase your original work?

I will be doing demonstrations as well as selling prints and original work during the 2011 Art Detour at 509 E. Roosevelt St in Phoenix, Arizona 85004. This is a weekend long event taking place downtown from Friday, March 18^th through Sunday, March 20^th.

What is your earliest memory of making art?

When I was younger, I was always doing something artsy or crafty. I remember going to Ben Franklin with my grandparents and buying latch hook kits and art materials to make art. In elementary school, my dad got me a Badge-a-Minute machine, which I loved. I drew pictures and cut out magazine photos of Duran Duran to make buttons that I sold at the holiday craft fairs. I recall that, one of my favorite things to draw were pictures using repeating words. For instance, I wrote the word “butterfly” over and over to fill in the shape of a butterfly. Maybe, that encouraged my affinity for typography.

Growing up, I designed clothes for my Barbies, loved making fashion designs with Fashion Plates, made hair accessories, doodled on my Peechee folders and decorated my Trapper Keepers with collage. My love for papercrafting started at a young age, I started making handmade cards, scrapbooks & journals in 5th grade.  When I was 9, I taught myself calligraphy using a speedball book/pen set.  In high school, I designed and sewed most of my dresses for school formals by revamping my moms old bridesmaid dresses. I loved anything that had to do with art, fashion and design.

Do you have formal training or are you self-taught?

I am formally trained as a graphic designer. I received my Degree in Graphic Design with a minor marketing from Woodbury University in Burbank,CA.  As a designer, I was trained in color theory and conceptual design. But when it comes to collage, painting and book making that was self taught. In college, I took a watercolor and life drawing classes that were good foundation courses but nothing like the artwork I create today.

Can you briefly describe your creative process?

My creative process differs depending on the project. If I’m doing a theme-based project, I treat it like a graphic design project. I begin by creating an adjective bank, brainstorming and researching ideas relate to my topic. I create idea/inspiration boards to collect swatches of color, photos, magazine pictures, anything related to the project. Then I sketch out thumbnails and/or idea roughs and sometimes alter the artwork on the computer. If I’m designing a garment, I draw 5-10 sketches for the outfit with notations of materials and ideas I’d like to incorporate into the final piece. My mind is always working overtime when it comes to creating art. I like to sketch out my ideas for jewelry, class workshop ideas, lettering and project ideas so I keep a journal/sketch book by my side at all times.

When it comes to painting, I work randomly..free..without a thought of the end result. My paintings are very organic,  I consider myself to be very prolific when it comes to making art or designing journals.  I work fast, intuitively..letting the colors, tools and my imagination to take over. I work on several paintings or pieces at once. I find this helpful to not feel stuck or not know what to do next. It keeps my mind moving.

Here’s a little step-by-step of how my art is created: PAINT.COLLAGE.STITCH.MAKE

Most times I begin by painting abstract backgrounds on paper and fabric pieces ranging from 5×7 to 24×36. Playing with color,

drizzling paint, making marks with stencils, stamping and writing words with various art tools and supplies, pens, markers, oil pastels. Most of my paintings incorporate collage, I use black & white photocopies of my original art on the base layer, then paint and gesso on the top. My journal covers are made of patchwork collage covers using my product Collage Pauge to glue paper to fabric. The collages are randomly pieced together with wild freeform machine stitching to create the journal or art quilts.

Copic Markers are just one part of your art-making toolkit. I would guess you have a tendency to use whatever is accessible in your collage work. Can you describe your approach to art materials? What is the deciding factor on what you’re using?

Nothing is off limit when it comes to materials I use in my artwork. I do have a few favorite product lines I prefer when it comes to paint and markers. I mix a variety of mediums, pens and pencils in my drawings and doodles. As for painting, I use very simple tools when I paint…foam brushes, a few different size cheap paintbrushes and a brayer. I hand cut stencils with an Xacto knife out of discarded postcards and make stamps using self-adhesive fun foam from the craft store.  I have collected so many art materials over the years, now I use whatever is in my studio. I prefer to recycle paper, so I paint on found paper, paper bags, envelopes and paint over unused fabric. One of my favorite substrates are paper towels, I paint and dye them for my collages. I believe that you do not need expensive materials to create great art.

You are a busy entrepreneur and travel a lot. Can you talk a bit about how this came to be and how it facilitates your creativity and art making?

Before I became a full-time artist. I worked in Silicon Valley for eight years and my jobs took me all over the country. I developed a love for travel and told myself that when I had my own business I it would involve a lot of travel. I love to explore new cities, I love hotels, airplanes and meeting people on the road. So I when I started teaching, I set up gigs in cities that I wanted to explore or had family that I could visit. Then in 2006, when my first book Collage Unleashed was published, I set up my own book tour around the country, teaching workshops, offering demos and doing book signings. My book tour took me all over the world including Bali, Australia and Canada. The past few years my hectic travel schedule only allowed being home a few days a month. It’s a fun lifestyle but has many challenges to maintaining a healthy work/life balance. Being on the road, I do find it difficult to find time to be in the studio. I have learned to adapt to my environment and set up a mobile studio in my suitcase, I work in hotel rooms, on the airplane and in coffee shops.

What/who inspires your work?

There are so many things that inspire my artwork…a walk on the beach, flipping through a fashion magazine, making art with kids, a thought, an idea, a word, a photograph. I carry my digital and video camera everywhere. I take inspiration photos of interesting shapes, signs, art, flowers, etc. These photos make their way in my art through doodles, altered backgrounds and sketchbooks. I love old craft books from the 60’s and 70’s, I revamped techniques based on traditional macramé and latch hooking in the bindings of my journals. Fashion and magazines are a great reference for photography, color and images for the faces that I draw.  Typography is another one of my loves. I study letterforms and ad layouts for interesting ways to incorporate type and freestyle lettering in my art. I used to teach K-12 art and found that working with kids inspires creative freedom when creating artwork. Technology plays a big part in my life, I am always exploring new ways to incorporate it into the way I market my art and brand.
What advice or criticism from a teacher or mentor have you received on your work that really helped you develop?
I can’t recall much criticism about my art since I graduated from college a long time ago. But when I first started my career as full time artist and teacher, one of my mentors offered me great advice about staying true to my style {of artwork}. She said, “If you want to be successful in this career, share your art with the world…write articles, write books and teach people.” She taught me a lot about being a giving artist and teacher. In my workshops and in life I strive to inspire others with my art.

What’s the best part about being a full time artist?

There is so much about being a full-time artist that I love. The freedom of creating my own schedule, I have the flexibility to work anytime of the day or night. So I can go to the gym or do yoga in the morning and then work in the afternoon thru evening. I am blessed to be doing what I love daily. I am an entrepreneur at heart, so I am always looking for new business opportunities and exciting ways to further the exposure of my art and develop creative partnerships with manufacturers and other artists.

What is the worst part about being a full time artist?

There is not much I can complain about when it comes to my job. I have a career that most people would dream and love to do. The worst or hardest part about being a full time artist is probably not having a regular paycheck and no benefits like I had when I was working in the corporate world. Also, I find it difficult to balance creative studio time and business time. Now that I have so many other facets to my business, like licensing, online web properties and developing product, I find that it gets harder to spend time in the studio to just create and play for myself. Everything is driven by deadlines for writing, workshops or product, so I am not able to spend as much time creating as I would like.

Any classes or workshops coming up?

Yes, I teach a variety of mixed media painting, collage and art journaling workshops. I will be teaching throughout the US and in Tuscany in 2010.  It’s a much lighter schedule than in years past, I have decided to cut back on my live events to hopefully get back in the studio to paint and develop more porduct! I have also created a series of online workshops, which include downloadable color PDF lessons, videos, discussions and photo galleries. So for those who can’t travel to a live workshop, they can take a class from home. My 2010 schedule is available on my website www.treicdesigns.com.

In 2008 U.K. based artist/designer Daniel Eatock did an interesting experiment with markers and paper. Using upside-down drinking glasses arranged in tight rows he stood individual markers on end allowing the ink to fully drain and soak into the stack of paper. The description from his website:

Over the course of the 39 days of the exhibition (September 18 through October 26, 2008), the paper absorbed the ink from the pens. The sheets at the top of each stack absorbed more ink than the sheets farther away from the tips of the pens. The result is an edition of organically related prints, each unique.

Check his website for images of the project and the unique print editions.