When did you begin creating art?
Back in pre-school, sticking coloured macaroni to paper plates and drawing with giant crayons… it’s just something I’ve always had to do.

What are your biggest sources of inspiration?
A lot of my work has been inspired by a yearning to escape to a world of make-believe, a place of nostalgia but also isolation. Recently I’ve been fascinated by traveling menageries, illusion and metamorphosis in Greek mythology.

How do you describe your work?
Bittersweet, subtle and delicately detailed illustrative work.

Has your illustration process changed over time?
There has certainly been an evolution in my process. I started out as a graphic designer, so initially this influenced my illustrative techniques, being quite reliant on layering with Photoshop and Illustrator. However, I became frustrated with the intangibility of computer- based work and started experimenting with the materials I had around me – scraps of water colour paper, pencils, gouache, letraset and even tea. I’ve now developed a more particular process, mostly working with graphite, Copic markers and ink on print making papers.

Why did you choose Copic markers for your illustrations?
I was introduced to Copic markers back when I was studying design at university for neatly rendering technical drawings, but it was just over a year or so ago that I started incorporating them into my illustrations, initially as a replacement for gouache and water colours. I’ve found them to be perfect for soft, muted tones, particularly skin tones and eye colours, and recently I’ve been using brighter tones for detailed colouring in feathers. I work over the top of the Copic marker layer with black ink and graphite to bring in further definition.

What are you working on right now?
I’ve just finished working on some pieces to exhibit, and now I’m back to commissioned work- putting together new prints for Element Eden, EP artwork for Australian musician Packwood and an editorial piece for Yen magazine. I’m also getting started on a collaboration with paper- engineer (and fellow Papered Parlour artist) Helen Friel.

Any exhibitions or shows coming up?
Currently I have a solo exhibition up and running at Retrospect Gallery in Broadbeach (Gold Coast, Australia), and I’m exhibiting along side Vitor Dos Santos at Libby Edwards Galleries in Melbourne (Australia), opening 13^th October. We’re also having an open studio weekend here at The Papered Parlour in London on the 22^nd and 23^rd October.

Any words of advice for new artists?
Just keep doing what you love.

View more of Kareena’s work at http://www.kareenazerefos.com/

Share your illustration work with us on Facebook and Twitter!

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.

To all the artists who submitted artwork to the One World Many Stories contest sponsored by Copic Marker, Epark Eugene, Ethos Magazine, Ninkasi Brewing Company and the City of Eugene, thanks for participating!

Stay tuned for the unveiling of the winning piece on Wednesday, June 8th.

And keep an eye out for the 2012 theme TBA this winter.

 Copic, in collaboration with the City of Eugene, is bringing you an opportunity to publicly display your art as a part of the 2011 “Summer in the City” series.

Create a design inspired by the theme One World, Many Stories and submit to eugeneartcontest@gmail.com.

In addition to a $300 cash prize and Copic Marker products, the winning piece will be displayed in downtown Eugene on a city parking structure. Second and third place winners will receive awesome Copic products as well.  
 
For dimension requirements, deadlines, and other submission details check out
http://eugeneartcontest.wordpress.com

The contest is open internationally, so tell everyone you can think of. We can’t wait to see what you come up with!

More information here.

“What a great giveaway! I would love to see what’s inside this book.”
We had over 233 comments. Thanks to everyone who participated!

Book Giveaway

The Shadows & Shading book is now available at many of your favorite retailers, but we also wanted to offer you a chance to WIN a copy. Thursday the Copic Certification Instructors in the US and Australia are doing a Blog Hop!!!

Marianne Walker’s new book, Shadows & Shading is great for beginners, papercrafters or fine artists – this is the reference book you have been looking for to help you add shadows to give your projects more dimension. The book does not teach you to draw, but rather helps you know where and how to add shadow and shading. This is a wire-bound book that comes with 4 clear printed guides to help you add shadows properly on your own work. So far, people who have read it, love it! There is a lot to digest, so take it slow and read it often to let the concepts sink in.

Now, a Blog Hop wouldn’t be as much fun without FREE GIFT! Today or Tomorrow each of the blogs listed below will be posting an opportunity to win. You have lots of chances to win. Simply leave a comment and your name will be included in the drawing for a chance to win this fabulous book. You have until Sunday to leave a comment on any of the following blogs, including this one. One comment per blog please.

Please note, this contest is only open to North American Residents on the North American blogs, or Australian Residents on the Australian blogs.

North American Residents only:

Copicmarker Blog

Marianne Walker

Lori Craig

Sharon Harnist

Jenn Balcer

Jennie Black

Colleen Schaan

Bianca Mandity

Debbie Olson

Sherrie Siemens
If you live in the land down under, you can win by posting on the following Australian Blogs:

CopicOz (Australia)

Kathy Jones (Australia)

Mandi-Lee Klinger (Australia)

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.

A few things to understand:

Light from the sun hits all objects from the same direction- Your shadows will be consistent if the sun is shining in your composition.

In this diagram of a holiday centerpiece, the light from the sun is casting highlights and shadows in one direction. However, what would happen if it were dark and the light source was a candle?

Light from a single source radiates out and casts shadows in a circle- Objects in a dark space set next to a light source will have highlights in the directions close to the object.

On the centerpiece, the bottles on either side are casting shadows in the opposite directions because the light is between them.

Keep in mind- The contrast will be stronger the closer you get to a single light source. In our diagram above, all of the objects are close to the candle, so everything has a good contrast. If there was another bottle on the other side of the table, it would be more shadowed with softer/darker shading because it is far away.

Here is another way to shade with a single light source:

In this image, the window acts like the candle. Because the light is coming from the window, we know anything close to the window will have highlights, and anything further from window, with have shadows.

The Double Sided Tape (by X-Press It) will hold just about anything together. Seriously. This high-tack tape is easy to apply, has an extremely strong hold, and works seamlessly on a variety of surfaces and applications. It’s also only about the thickness of a single piece of tissue paper, so it won’t show through from behind on paper or mixed media projects. From work with photos and framing, to card making, papercrafting, and even instant hemming (how cool is that?!), this double sided tape is one of the most versatile items to keep on hand in your studio. You’ll reach for it all the time. Available in three widths: 1/8″, 1/4″, & 1/2″. Acid free.