Art Tools Ofholmes

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Art Tools of Marc Holmes

Submitted by T e o h Yi C hie on December 8, 2013 - 1:01am
( http://www.parkablogs.com/content/art-toolsof-marc-holmes)
of-marc-holmes )
Q n: H i M ar c , t hank s f o r he lp ing o ut w it h t he int e r vie w . Do
y o u mind g iving o ur re ad e rs a b rie f int ro d uc t io n ab o ut
w ho y o u are ? I he ar d t hat y o u c re at e d art f o r v id e o
g ame s, b ut I c an't q uit e asso c iat e yo ur d raw ing se t up w it h
v id e o g ame art .
Good question! Lets see.
I went to art school for design/illustration (Alb
Alb e rt a C o lle g e o f
Art and De sig n
( http://www.acad.ca/)
http://www.acad.ca/ )
), and I do
indeed work in video games. I was an art director for many

years, most notably on RPG projects such as Neverwinter Nights
and Lord of the Rings online. Eventually I got promoted to
concept artist, (technically speaking a step back, but forward for
my personal happiness!).
Most recently Ive been working on the Dragon Age series for Bioware/EA. I also did a short stint as a concept artist in feature animation at Imagemovers/Disney.
Now I freelance from my home in Montreal.
I have to admit a kind of artistic schizophrenia. All of the entertainment media art is digital. Usually drawn or painted in photoshop with a graphics tablet. Most
of that work is meant to be very illustrative, using a lot of photographic reference and approaching reality, even when its fantastic subjects.
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In my personal work Im the complete opposite. I have a drawing based approach, very aggressive and gestural, very open to mistakes, weird line work,
whatever happens in the moment. I prefer to draw from life, putting myself in front of interesting subjects. You can do your best work in the studio, but I also
like to experience the world first hand, even if the results are somewhat sketchy.
( http://citizensketcher.wordpress.com)
http://citizensketcher.wordpress.com )
( http://tarosan.wordpress.com)
http://tarosan.wordpress.com ) (Occasionally NSFW).
Ive been blogging my On Location work at c it iz e nske t c he r . w o rd p r e ss. c o m

digital work and figure drawing at t ar o san. w o rd p re ss. c o m
and a mixed array of
Q n: C an yo u g ive us a rund o w n o f t he b rushe s y o u use ?

T ho se lo o k re ally w e ll use d . W hat 's w it h t ap ing f o r so me
o f t he b rushe s?
Youll see a mix of nice sable brushes and the cheapest of
synthetics in there. I often like a sharp, calligraphic kind of
stroke, so I can draw shapes and have crisp edges. The cheap
synthetics are actually best for that. But they suck for drybrush,
or very expressive thick-to-thin line variation. So thats why both.
The taping thing is
A: really old brushes with a cracked paint on the shaft can get
wet and swell, loosening the ferrule. Newer brushes dont seem
to do this they probably all have plastic shafts now.
B: I thicken the belly of the brush so they seat into the wire
handles of bulldog clips (see shot below, brushes attached to the
easel). Otherwise they just fall through.
Q n: W hic h are yo ur mo st f re q ue nt ly use d b r ushe s? W hy d o
y o u lik e t he m ?
There is a rust-red barreled one in there (not the bright red
one). Its a #14 E sc o d a Re se r va K o linsk y S ab le
( http://www.amazon.com/Escoda-ReservaWatercolor-Acrylic-Kolinsky-Tajmyr
/dp/B00169EDV6?tag=parblo-20 ) made in
Barcelona. Its a moderately large brush if youre working
9x12ish, but the perfect size to do the workhorse drawing at
12x16ish. Its got a great point, but can be laid o n the side for a
fat stroke. So If I could have only one brush ever, that would be
the one.
Every brush has a role though. That bright red one is a cheap ass
thing that I like to use for grinding or stabbing the paper.
Drybrushing foliage. Theres a long hair rigger second from the
spine on the left just for small tree branches, long hair on a
model, things that need long slender strokes. I have an even
longer haired one I should actually switch it out for. The big mop on the left is for skies and big areas of ground. Always use the biggest brush that fits in the
shape you are doing.
Q n: In o ne o f yo ur b lo g p o st
( http://citizensketcher.wordpress.com/class-notes/)
http://citizensketcher.wordpress.com/class-notes/)
, y o u me nt io ne d t hat " S y nt he t ic is f ine . Nat ural
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sab le is g r e at . " W hy is t hat so ?

I am on the cusp of ordering a whole new set of brushes. I
might go all-sable soon. I just have to get over the mental block
of spending $500 replacing all of them at once.
Sable has a few advantages. They hold more water, so the
strokes are juicy and can go further. They can splay out and hold
their shape, being better for drybrushing, and yet, (with a good
one) they can have a very sharp point.
I have to admit, I have found sometimes the point is inconsistent
in my old favorite Series 7 Windsor and Newton sables. This is
one thing that sucks about the new reality of online shopping.
You really should inspect every brush you buy. Most art stores
will give you a cup of water to test the points. No t every brush
of the same fiber comes out to the same final quality. Its just
the way of natural products.
On the other hand, you can do great work with synthetics, mostly
you cant tell the difference in the finished work. I would say
synthetic will get you through your first 2000 paintings just fine.
Q n: Is t hat a d e d ic at e d p o uc h f o r st o ring b rushe s?
Yes, thats a brush case no idea the brand, they are quite
discreet no markings on them. But Ive seen them at lots of art
stores. This is really an important bit of kit. You have to treat
the points of your brushes carefully. If youre going to throw
them into a shoulder bag its the only way. I have a bigger case
for oil brushes with the longer handles.
Q n: W hat b r and s o f w at e rc o lo ur are y o u using ? W hy d o
y o u hav e a p re f e re nc e o v e r t his p ar t ic ular b r and ? W hat d o
y o u t hink ab o ut t he ir c harac t e rist ic s?
I choose them for the pigment, not so much the brand so I
have a mix of W inso r and Ne w t o n
( http://www.amazon.com
/s/ref=nb_sb_noss?url=search-alias%3Daps&
fieldkeywords=Winsor+and+Newton+watercolor&
tag=parblo-20 ) , H o lb e in ( http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&fieldkeywords=Holbein+watercolor&tag=parblo-20 ) right now. Its just a matter of what color I need and whats in stock.
Im not savvy enough to say the difference in granularity or dispersion I feel like I go for the color I need and adapt to the situation. The effect of humidity,
temperature and paper is much more significant than any minor variation in manufactures paint quality anyway.
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So Id just say you get to know which brand is the shade of a

color you like. One trick is, you can read the tiny numbers on the
tube to see what it really is made of. W&N Cerulean Blue for
instance is PB35. The ingredient names for pigments are
standardized, so any brand with the same code is the same color.
I bought a tube of Da Vinci Cerulean blue that is based on PB36,
thinking it would be fine, and its actually a completely different
color. Very acidic and greenish tinged. I hate it. Its a big 2
ounce tube Ill never use up. Unfortunately, its just a matter of
experimenting and seeing what you like. I guess my advice is
dont buy the big tubes till you know you like a color.
Q n: H o w d o yo u c ho o se t he c o lo ur s? W hat are t he
must -have c o lo urs f o r y o u?
My basic colors are: Alizarin Crimson, Cadmium Red Light, Yellow
Ocher, Cadmium Yellow Light Ultramarine Blue, Cerulean Blue.
This is a very basic setup based on a warm and cool of each
primary.
I have some optional colors I love Sap Green as a basis for
foliage. One warm or cool it as required, almost never using it
straight up.
I use Burnt Sienna and Prussian Blue as mixes to make darks.
Combined with anything really, but often with the Alizarin
Crimson.
I have this weird special effect colors Winsor Lilac (an opaque-ish
light pink), that I use sometimes just for fun. Its almost like
white gouache and Alizarin Crimson. Something I cant mix on the
fly. I use it in skies for variety and flesh tones.
If I need some super dark darks I use Holbein Shado w Green (a
powerful cool dark), Van Dyke Brown (a deep warm dark) and
Lamp Black. I dont use these much, but sometimes you need
super dark darks.
It is very useful to have Opaque White Gouache and perhaps an
Ivory Black Gouache. You can mix these with watercolor to make
body colors opaque mixes that can be used bring back details
on top. This is not traditional for watercolor, but can be useful at
times.
Q n: Is t he r e a p ar t ic ular w ay t hat yo u use t o arr ang e t he
w at e rc o lo urs o n y o ur p ale t t e ?
Basically, Primaries on the bottom, Earths and Darks on the side.
Youll see my two reds, two yellows, two blues along the bottom,
with the special effect colors next to them. Lilac next to reds, Sap Green next to yellows. Prussian Blue next to the blues.
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No particular reason, just habit so you can add new colors and
know whats in the wells. There is a blob of Cad Yellow Medium
on there, taking up a slot. I havent used that blo b in about a
year, so I should take it out I guess.
Q n: W hat 's y o ur ad vic e f o r b e g inne rs lo o k ing t o b uy
w at e rc o lo urs? W hat sho uld t he y lo o k o ut f o r?
I guess everyone knows dont buy Student Grade paint. Its
basically all filler and not enough pigment, so your images will be
weak and anaemic. Artist grade costs more, but its the only
option really.
My other main peccadillo I dont much like pans. Not the dry
ones for sure, they are the worst. You cant get the right amount
of pigment when youre scrubbing them like a bar of soap. Its
either too much, or nowhere near enough. To get a nice rich
color, sometimes you want to pick up an almost pure dollop of
pigment. The pans are just too miserly.
The semi-moist are not really much better. Bottom line: if you
use pans, you wont be able to mix complex colors. Youll have a
hard time making large washes, and/or getting enough pigment
strength released from the pan. In general your paintings are
likely to end up pale and cartoon-like. Pans are only useful for
working in a small sketchbook by the side of the road in the
south of France.
Sure, I have used them in the past its how I got started
(tinting over ink drawings), but these days Id rather just draw in
ink if I cant have tube paint for space/portability reasons.
I know Charles Reid uses pans, but hes super experienced. I
think its the hard road going that way. So feel free to ignore
me, but also add 5 years to your learning curve! Ha!
Q n W hat are t ho se me t al c lip s f o r?
Look down to shot of the fully set up easel see how I use
them to hold brushes? (as well as hold the taped paperand-board on the tray). It makes a real difference having all
your tools at hand.
Watercolor is a very speedy medium. There are things you just
have to do while a wash is wet. Once dried, the paint is inert. So
anything that saves you groping for tools is important. You get a
better piece if you can have the right brush instantly.
Q n: H o w ab o ut w at e rc o lo ur p ap e r ? W hat d o y o u use ?
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The correct answer is 300lb Arc he s C o ld p re ss
field-keywords=Arches+cold+press&
tag=parblo-20 ) . This is really the best paper. Its got a
great texture, great for drybrush effects. And in 300lb weight
you dont have to stretch paper (wont wrinkle).
BUT, Ive been known to use a lot of cheaper machine made
field-keywords=Canson+Montval&
tag=parblo-20 ) pads and blocks are a standby for field
papers C anso n M o nt v al
sketching. I sometimes like a smooth, sized paper like the

Montval. You can draw a nice sharp detailed image, and washes
go on smoothly. So, Ive done things on cheap paper I quite
liked. But I know the Arches 300 is the best way to go, and now
that Im more confident with my drawing, thats what Im
switching to as my mainstay.
Q n: And t he se t w o ar e ?
Nalgene water bottle totally leak proof, carry it around
everywhere, never had a spill. Use one like it for oil painting
solvent as well. 100% reliable. Plus a wide mouth you can swizzle your brushes in.
The mist bottle (I think its an old hair spray container, must be 20 years old) this is to wake up your old paint in the palette. I mist them befo re starting,
so the paint blobs get juicy and ready to spew color.
Q n: T he se lo o k lik e y o ur d r aw ing t o o ls. I c an re c o g niz e t he Lamy f o unt ain p e n. T he b o t t o m o ne 's a p e nc il? C an yo u t alk ab o ut t he m?
The top is a L amy Saf ari f o unt ain p e n ( http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&fieldkeywords=Lamy+Safari+fountain+pen&tag=parblo-20 ) . Thats an EF (Extra fine), but I have Fine and a 0.9 calligraphy tip thats
a real
bruiser. I use the Lamy house brand cartridges. Lots of people like the suction refill-gadgets to hand-fill with bottle ink, but honestly I cant be bothered. If I
want liquid ink, Ill just use dip pens or a brush (see below for more on that).
The other reason I like the cartridges is they are NOT waterproof. (Ill explain why I like that a bit further down.)
Below that is just a Staedtler mechanical pencil. I like a 0.7mm, as its a bit thicker line, useful if youre drawing bigger. And the Kneaded rubber eraser I think
everyone knows these? These rubbery erasers are good for lifting graphite off the paper without damaging the surface. The white art erasers can be too rough
on the paper tooth.
The deal with mechanical pencil - some people have been taught to use wooden pencils for expressive line but thats really not the issue in a waterco lor.
You dont want too much graphite under you paint. You can dirty the paper with too much drawing. I like a clean, spidery, drawing that shows through with nice
sharp line work. Plus I hate sharpening on the go either you make a huge mess with shavings, or you have a reservoir sharpener that gets full in 2 seconds
and then opens in your bag making a huge disaster.
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The brush pen in the shot is the old standby the P e nt e l P o c ke t
( http://www.amazon.com/Pentel-PocketBrush-Refills-GFKP3BPA
/dp/B002LJRKN8&tag=parblo-20 ) . Also known as
B rush
the GFKP. Sometimes you have to search that name to find the
refills online. Its really a great brush pen, and Ive used it for
years. This is probably my fourth of these, eventually the cap
breaks if you actually use the pocket clip. A very nice responsive
tip, very fine lines but can also drybrush or lay down big blacks.
BUT I will say Ive switched to the K ur e t ak e #13 b r ush p e n
field-keywords=Kuretake%20brush%20pen&
tag=parblo-20 ) . The tip is a little finer, a little more
precise and the ink cartridge is also NOT waterproof. The
Pentel PB is fully water safe. So, again, Im using the watersolubility as an effect these days.
Heres a few ballpoint pen sketches with the Kuretake for accent.
Q n: Lo o k s like d ip p e ns and nib s y o u hav e ab o v e . W hat
are t he y ? H o w ar e t he y d if f e re nt c o m p are d t o t he L amy
f o unt ain p e n? I d o n't sup p o se y o u use t he se f o r o ut d o o r
urb an ske t c hing ?
That is a T ac hikaw a nib ho ld e r
/s/ref=nb_sb_noss_1?url=search-alias%3Daps&
field-keywords=Tachikawa%20nib%20holder&
tag=parblo-20 ) and some Ze b ra M o d e l G nib s
( http://www.amazon.com/Zebra-ComicPen-Nib-Chrome
/dp/B006CQW428&tag=parblo-20 ) , and a stray
hunt crow quill I think. Both ordered from J e t P e ns
( http://www.jetpens.com/)
http://www.jetpens.com/ )
I do use them outdoors! thats why the tiny bottle of ink, and
the even tiny-er bottle for carrying the nibs.
The dip pen is just so much better than any pen-pen. The line is
much more expressive, much greater range of thick to thin. Plus
you can change ink colors instantly. They are super easy to clean
and you just toss them if they get worn out. Cheaper AND
Better!
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Im using them for almost everything now. I can hold a sketchpad

and the small bottle of ink in one hand, draw and dip with the
other. Never had a spill in the three or four months Ive been
using them. Eventually Ill pour ink in my lap or something, but
hey. Live dangerously!
I have to admit I have not shown any of the recent drawings
done with the nib pen. A lot of them are for an un-announced
book project. Im going to have to do some just for the purpose
of demonstrating the value of the nibs. Itll be a year before I
can talk about the book Im hinting at.
Just a ballpoint. I do a lot of my speed gestures with ballpoint
and brush marker. The 3 min or less drawings.
Youll note all the little tin cases for erasers, cartridges and pens.
These were from a Japanese stationary in San Francisco, and I
wish Id bought more sizes. They satisfy my deep-seated Asian
need for containers to put inside containers.
Q n: W he n I f irst saw yo ur e ase l in yo ur b lo g p o st , I w as
imp r e sse d . T hat t hing is lik e a p ie c e o f ar t b y it se lf . Do e s
no t lo o k any t hing lik e a t r ad it io nal w o o d e n e ase l. W he re
d id yo u b uy it ? Or ho w d id yo u mak e it ? T he re 's e v e n a
t r ay b e lo w . T he se t up lo o k s amaz ing .
My wife is a photographer, so I could see from her gear that
camera equipment is much better made than most artist oriented
stuff. People love asking about these rigs, but its really nothing
special. Its all available at camera shops and online stores.
This was my first setup:
I dont mind hauling around a tripod, but most people are not
going to want to bother with this. Its really overkill.
Ultimately I decided this tripod-and-arm combo was too heavy,
too slow to set up. And the side arm (which is meant for an accessory microphone or a small camera) was too shaky.
So I upgraded to a new (more expensive) lighter weight setup:
M anf r o t t o 055XP RO B
This bigger black tripod (M
/dp/B000UMX7FI?tag=parblo-20 )
( http://www.amazon.com/Manfrotto-055XPROB-Tripod-Legs-Black
) is much more stable, goes taller, and has the horizontal mode. A really great system. But honestly I could not
recommend to anyone they buy this setup, so I wasnt going to mention it this time. Its just too expensive, and frankly too big for most people to bother
carrying around. But, if you are curious, all the parts are identified in that blog post you saw: P e o p le alw ays ask ab o ut t he e ase l
( http://citizensketcher.wordpress.com/201 3/08/18/people-always-ask-about-the-easel/)
3/08/18/people-always-ask-about-the-easel/)
So this latest setup (the red one) is my compromise between portability and function. Its a Sir ui T - 005
( http://www.amazon.com/5-Section-
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Aluminum-Tripod-5 1-inch-Supports
/dp/B0051TVQ BM?tag=parblo-20 ) . I
once said Id
only have black camera gear, but apparently the world is moving
on without me. Next thing you know well have white phones.
( http://munchmeister.wordpress.com/2013/08
/19/t-nut-jpg/)
/19/t-nut-jpg/)
The plastic trays are a product called the E ric M ic hae ls E n P le in
( http://www.enpleinairpro.com
/traveler_watercolor_easel.html ) . If you were
Air T r av e le r
a wood
worker it would be simple to make your own trays. The

connection you need between the tray and the tripod is called a
( http://munchmeister.wordpress.com
/2013/08/19/t-nut-jpg/)
/2013/08/19/t-nut-jpg/) . I didnt need to get
T -Nut
crafty
as Ive had the E.M. Traveller for ages. Id still be using the
off-the-shelf Traveler, but I wore out the cheap tripod it ships
with.
Q n: Is it he av y? T he t rip o d lo o ks b ig . Is it e asy t o se t up ?
The black Manfrotto 055XPROB is a bit heavy, 5.3lbs (~2.4kg) and
25 (63cm) folded (so carried over the shoulder).
The red Sirui is a slender 2.2lbs (~1kg) and folds down to 12
(30cm) and fits in a bag.
Both are fast to set up and take down and both can go plenty
tall for standing to paint. Im average height and I dont use
them at full extension. The Sirui has a hook under the centre
column, from which you can hang your bag giving it added
weight if you need to counterbalance a big painting.
Q n: T his is an int e re st ing p ie c e o f w o rk I saw o n y o ur
b lo g . Se e ms like so me w at e r so lub le ink, b ut t he re are also
so me line s t hat d id n't q uit e d isso lve . W hat d id yo u use ?
This is that thing I was talking about! The water soluble inks.
Thats the Lamy Safari and Kuretake #13 brush pen, both using
their native cartridges.
You can simply wash it with clear water (being careful what you
touch and what you dont) and get instant grey values or you
can paint in with watercolor, and you colors get an automatic
unifying, greying effect as the pen line melts into them. Its great
for an unfinished look where the drawing shows through.
If your readers dont mind some pin-up level near-nudity (Pasties
31-Oct-14 12:06 PM
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Alert!) heres some drawings from Dr. S ke t c hy s w it h t ho se
( http://tarosan.wordpress.com
/2013/10/20/dr-sketchy-does-labyrinth/)) .
/2013/10/20/dr-sketchy-does-labyrinth/
p e ns and w at e rc o lo r
I first discovered this whole deal on sketching trip to

Newfoundland in 2012. I was using the Lamy 0.9 calligraphy nib,
and discovered how awesome it is to use water soluble ink line
with watercolor. I have a v id e o f lip t hro ug h (Insp ire d b y
p ar ka b lo g ! ) o f t hat ske t c hb o o k
( http://citizensketcher.wordpress.com/2012/09
/05/newfoundland-mission-complete/)
/05/newfoundland-mission-complete/ ) .
Q n: I saw y o u sk e t c hing o n a sk e t c hb o o k d uring t he Urb an
S ke t c hing B ar c e lo na S ym p o sium . W hat sk e t c hb o o k s d o yo u
use ?
Thats a S t illman and B irn B e t a
field-keywords=Stillman+and+Birn+beta&
tag=parblo-20 ) . Which is a damn nice watercolor book.
180lb/270gsm paper in a sketchbook! Got to be the nicest books
for field work in watercolor.
For other things, I dont mind the ubiquitous M o le sk ine
field-keywords=Moleskine+watercolor&
tag=parblo-20 ) , especially if Im just drawing in pencil.
But I have to be honest, I am wanting to work larger these days, so Im all about my 14x18 C o ro p last
( http://www.coroplast.com/)
http://www.coroplast.com/ )
backing boards
and cut sheets. They are light enough I can carry a stack of 5 boards with paper on both sides, and thats always been enough for a day on location.
Q n: Last q ue st io n t hat 's no t re lat e d t o yo ur t o o ls. I d o n't usually se e vid e o g ame o r mo vie c o nc e p t art b e ing c r e at e d in w at e r c o lo ur. It alw ay s
p uz z le s me . Do yo u kno w w hy ?
Two reasons. Well three.
1: Rapidity of revisions. In game/film design there is a lot of art direction and back and forth discussion. Working digitally allows you to make infinite changes to
the work without ever having to re-do anything completely.
2: Perfection of vision, be it realism or a style o r just hyper detail. Entertainment media is all about pushing graphics. Whatever the style we seem to want to
constantly push for better graphics, bigger effects, more, more more. Traditional media cant do this quickly (oil paints for instance are capable of anything, but
it takes time). Watercolor is too idiosyncratic. Its a media for happy accidents. Water flows into blooms and backwashes. I love the alchemy of water painting.
Forcing it to be realistic is a shame. Whenever I see hyperrealist watercolors I just wonder why bother? Its not natural to the expressive medium. If you want
31-Oct-14 12:06 PM
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to obliterate the fluid dynamics and the brush strokes, to have a

perfect photographic finish, just paint it digitally.
Third reason is just that its much easier to learn to paint
digitally. The computer is a skill-magnification device. Like
bringing a motorcycle to marathon. Digital art amps up your
native ability.
But Im not setting up for a traditional vs. digital fight. The best
artists use whatever they want to get the effect, switching back
and forth seamlessly. Ive seen people paint, scan, do photoshop,
print outputs and paint some more. Ive done it myself in a way,
making digital collages of sketches and printing a final drawing
on Arches for a painting. Youd be surprised how much traditional
art there is behind the scenes sometimes.
I love working both ways, and see some great possibilities for
artists who embrace both sides!
Ok, thanks for having me! See you around the net!
~marc
Comments
If you have questions and comments for Marc, send them here:
ht t p : // c it iz e nske t c he r . w o rd p re ss. c o m/2013/12/07/up o n- p ar k a- b lo g /
( http://citizensketcher.wordpress.com/2013/12
/07/up-on-parka-blog/)
/07/up-on-parka-blog/ )
Check out other artist interviewees at
ht t p : // w w w . p ar kab lo g s. c o m/t ag s/ art - t o o ls-and - g e ar s
( http://www.parkablogs.com/tags/art-toolsand-gears)
and-gears )
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Best Anatomy Books for Artists (Some of my
Book Review: The Art of Blue Sky Studios
Mattesi and Hampton, is one of my top 2

favorites for sure. I have
Review: Pilot Pocket Brush Pen
Thanks.I used to enjoy refilling those

disposable pens, but
This book looks outstanding. Great

year for animation books! :)
Book Review: Substrata: Open World Dark Fantasy
I purchased this book last month and it's

definitely another winner
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Art Tools Ofholmes

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Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes

indeed work in video games. I was an art director for many

Art Tools of Marc Holmes | Parka Blogs

Ive been blogging my On Location work at c it iz e nske t c he r . w o rd p r e ss. c o m

and a mixed array of

Q n: C an yo u g ive us a rund o w n o f t he b rushe s y o u use ?

, y o u me nt io ne d t hat " S y nt he t ic is f ine . Nat ural

Art Tools of Marc Holmes | Parka Blogs

sab le is g r e at . " W hy is t hat so ?

Art Tools of Marc Holmes | Parka Blogs

So Id just say you get to know which brand is the shade of a

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

The correct answer is 300lb Arc he s C o ld p re ss

sketching. I sometimes like a smooth, sized paper like the

Art Tools of Marc Holmes | Parka Blogs

The brush pen in the shot is the old standby the P e nt e l P o c ke t

Art Tools of Marc Holmes | Parka Blogs

Im using them for almost everything now. I can hold a sketchpad

Art Tools of Marc Holmes | Parka Blogs

worker it would be simple to make your own trays. The

Art Tools of Marc Holmes | Parka Blogs

Alert!) heres some drawings from Dr. S ke t c hy s w it h t ho se

I first discovered this whole deal on sketching trip to

Art Tools of Marc Holmes | Parka Blogs

to obliterate the fluid dynamics and the brush strokes, to have a

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Art Tools of Marc Holmes | Parka Blogs

Best Anatomy Books for Artists (Some of my

Book Review: The Art of Blue Sky Studios

Mattesi and Hampton, is one of my top 2

Review: Pilot Pocket Brush Pen

Thanks.I used to enjoy refilling those

This book looks outstanding. Great

Book Review: Substrata: Open World Dark Fantasy

I purchased this book last month and it's

Art Tools of Marc Holmes | Parka Blogs

10,408 people like Parka Blogs.

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