New Online Course - Pen Nib and Ink

– FIVE SATURDAYS, STARTING ON SEPTEMBER 10, 2022 –

DOWNLOAD THE FREE GUIDEBOOK

Basic summarized information

(detailed information is further below)

— What is this course about?

The course addresses the most appropriate way to use a dip pen nib in order to get the best from it. Even experienced artists that are familiar with this tool may eventually face issues with its functioning and mannerisms, having hard times trying to figure out how to keep the work flowing smoothly. 

I teach simple procedures to help obtain the finest lines, preserve, clean, and even restore the nibs. I also transmit my simple method for maintaining the best flow of the ink, keeping its good quality, and avoiding dehydration. Last but not least, I propose a series of exercises that embody the essentials of the visual language of hatching for light and shade. 

In the video below, you can watch an example of my rendition of scientific illustrations with the technique of pen nib and ink. 

 

A guidebook with a huge amount of information on the technique and all necessary tools is already available and can be downloaded right now for free! (access it here)


— Where and when will this course happen?

This is an online course in English with live Zoom meetings to take place on Saturdays. 

Five 3-hour classes (plus 15 minutes for a coffee break), on September 10, 17, and 24, and on October 1 and 8

The classes will run from 3 pm to 6:15 pm UTC. Consult what that time means in your time zone by clicking here.  In short, it will be morning in North America, afternoon in Africa and Europe, and evening in the Indian Ocean region.


— What's the price?

USD 288,00 (two hundred and eithy-eight American Dollars) - or two installments of USD 144,00.  All done via PayPal.

You can split the payment into two installments, the first to be paid when you enroll, and the deadline for the second one is September 8.


— What if I miss classes, entirely or partially? What if my connection is unstable?

The classes are ALL fully recorded (regardless of whether students are missing or not) and shared on the next day as private videos on my channel on YouTube. Hence anyone enrolled can watch or rewatch the whole content afterward as many times as necessary. 


— Is critique offered?

Yes, an in-depth critique is provided on the student's practice. The tutor’s individual advice is mostly provided via extra video classes to be recorded and uploaded on YouTube, hence our live meetings can be thoroughly focused on teachings, demos, and answering questions. These videos with individual advice will be available to all students so that everyone can learn from the tips offered to all the others.


— Are there any prerequisites?

It is recommendable that students have some good practical notions of observational drawing and of the fundamentals for perceiving and representing light and shade. Should you have no experience in that, it is possible to benefit even so. However, in such a case it's recommendable that you don't demand too much from yourself nor bear highly ambitious goals for this course. In such a case, you should then keep focused on the comprehension of the fundamentals of the use of nibs and on the production of different tonal values using the language of the parallel lines (hatching).

Another prerequisite is the reading, prior to the class, of the guidebook provided for free by the tutor (click here to download it). 


— What technological apparatus do I need?

You must have the application Zoom installed (on any device with internet access) and optionally also WhatsApp (on your mobile phone). In case you prefer not to use WhatsApp, you can use your email to send me photos or scanned images of your exercises.


— How can I enroll?

Please read through all the complete information below, where you find also the supplies list. If no question remains and you decide to enroll, send me an email at the address below with the data requested, and I will reply and send you a payment request via PayPal. WARNING: I always reply in one day at maximum and always check my spam box, so if you do not receive any feedback from me, please resend the message or try reaching out to me through social media.

— The email message for registration must contain the following data:

1. Your full name

2. The country where you live

3. Your mobile phone number (remember to include the country's code)

4. Your option of payment (full payment versus split into two installments)

5. The email address you use to log in on YouTube (this is to provide you with access to the private videos with the recording of classes)

6. Can you tell me how have you come to know about this course?

 As you receive my PayPal payment request and the process is completed, I will reply confirming your registration and sending your invoice.

Detailed information

A brief introduction to the course: 

The best use of pen nibs requires deep knowledge of how they work and the variables that influence their functioning. Only then will we be able to investigate how to better hold the nib and move it on the paper, how to keep it clean, preserve, store and even repair it. This course brings clarity to all these aspects to help you obtain the best from this marvelous tool and the techniques involved in its use, addressing specifically the visual language of hatching to produce the effect of light and shade.


Topics Addressed in this Course

The traditional pen nib is quite a delicate tool that demands discipline from the artist and requires a variety of cautions to avoid its damage and preserve its good qualities. Not only does the nib need care but also the ink whose vial should not ever be left uncapped — otherwise it loses fluidity by dehydration. Also, the paper should not risk being stained by ink drops or spills and should remain protected from our hand’s skin oils, for this can cause the ink to be repelled. While most artists intuitively know all of that or learn it from their own experience, just a few of them do take concrete measures to prevent accidents. 

This course begins by addressing those measures, offering hints and very simple solutions on how to preserve nibs with a method of constant and perfect cleaning, and even how to restore or improve nibs through sanding and polishing them in specific ways. There are also simple – but necessary - methods for avoiding the ink to dehydrate in the tube or be spilled and also for enhancing its viscosity, thus improving the quality and consistency of lines during the drawing. 

As for the classes’ content, there will be explanations and demonstrations on the mechanisms of how the nib works; how to investigate the source of eventual issues and take measures to fix them; how to keep the nib perfectly clean and always functioning like a brand new one; how to hold and move the nib on the paper correctly so as to get the best of its resources – including obtaining the finest lines possible.  Also, there will be demonstrations on how to proceed to make corrections, erase the ink and remake the drawings, how to recognize the qualities of a good paper, and much more. 

Furthermore, most specific practices proposed in the guidebook will be demonstrated live for a better understanding of their mechanisms. All these practices are related to many particular needs that we face while representing light and shade using the visual language of hatching. Afterward, some biological subjects can be examined and explained regarding their form, light and shade, and especially further details such as texture, indument, ornaments etc. Demonstrations provide methods for rendering all these aspects with the language of hatching while describing how to make the best use of the pen nib technique. The students are encouraged to practice online, ask questions, optionally film their own hands while working and show their results to receive advice. 


How this course works:

There will be live online meetings via the application Zoom with all the students and the tutor. All classes are recorded – regardless of whether students are missing or not – and uploaded as private videos on the tutor’s channel on YouTube to be watched afterward (they remain permanently available).  

At the end of each meeting, tasks are assigned so that students can continue to practice on the patterns proposed in the guidebook, or else draw appropriate objects of their own choice – or only parts of these objects. Then students must send their results via WhatsApp or email so all works can be assessed by the tutor. 

In order to take the best advantage of the live meetings, the assessment of exercises and the individual advice from the tutor are mostly provided through extra video classes that are recorded and posted on YouTube as nonlisted videos (only people with the link can access). Thus, every participant can also learn from the guidance offered to all the other students. Our main focus during live meetings then is the teaching of lessons and concepts, as well as the demonstrations, questions & answers. But of course, there may be some comments on the students' exercises even during these meetings, especially when the tutor recognizes some pattern of mistakes or the need for teachings that will help everyone at once.


Required Materials

— Supplies list:

This list is a revised and expanded version from the list found in the tutor’s free guidebook on pen nib and ink – download it for free here – which provides a valuable amount of information to help you begin to understand many important aspects of the tool and the technique even before the course, thus you can take better advantage of all teachings. Actually, reading this guidebook prior to the course is a requisite for all the students enrolled. It is also advisable – though not mandatory – to try using the nib to reproduce some of the patterns proposed in the last pages of the guide.

1. The nibs

1a – Pen nibs recommended – better to have three or more individual nibs from some of the brands and models listed below. Hints and tips about the selection at the time of purchase are in the main text of the guidebook. If you cannot be in person at the store to individually select the best nibs, I recommend buying a  higher number of nibs to increase your chance of obtaining some great ones. Remember to acquire also the correct holder(s), since some styles of nibs require different holders: 

Speedball Hunt #100 - this should be the first preference; it provides thin lines and has the flexibility that allows good line thickening. It allows for some of the finest lines of all pen nibs currently available. However, it needs to go through rigorous selection at the moment of purchase, according to the recommendations in the guidebook.

Speedball Hunt #104 - thin lines, but blades are short, hence there is less flexibility and quite a limited capacity of line thickening. Nevertheless, it is suitable when one wants to avoid unintentional thickening and it is also excellent for micro stippling. Although too little flexible, this nib is more likely to provide a fine line and help you get familiar with the standard of thin lines aimed in this course. So it's worth it to purchase some 5 or 10 of them, as a good percentage is likely to provide a good fine line. 

Speedball Hunt #102 - crow quill style, it makes thicker lines compared to the models above and is steadier; however, it can provide relatively good fine lines and it also allows for some good thickening, being suitable for outlining. Eventually, some of the best nibs of this model will be able to provide the finest lines possible, just like the Hunt #100 can do, particularly after being correctly sanded and polished.

1b – Alternative choices (in order of preference)

Gillott #290 VINTAGE – hard to find and more expensive, but worth it, depending on its conditions. Some rarely found brand-new-like preserved nibs, with good manufacturing conditions such as those the guidebook suggests, can be used for quite a long time, provided that they are well conserved and cared for.

Deleter Maru-pen [find it here (10 pieces) and here (2 pieces)] – this is quite a well-manufactured and refined nib. Crow quill style, it provides awesome fine lines, but as it's not very flexible, the capacity of line thickening is a bit limited. This is the only reason why it is not ahead of Speedball in this ordination.

Tachikawa #77 Maru Pen Nib – just like the one above, this is quite a well manufactured and refined nib, but not so flexible as Speedball Hunt #100 or Vintage Gillott #290. Even so, it can provide a relatively good variety of thickness to lines. It is worth it to purchase several of them to find the best ones among all, which will provide the finest lines. 

Gillot #290 (currently made) – this is the last and least resort, not a great option because the quality of manufacturing of current nibs is extremely low and the rate of usable nibs comes down to something close to just 10 or 20%. Therefore, in order to have a few useful nibs, one has to buy at least 30 nibs and be lucky. But if you can find a vintage bronze model as suggested above, please go for it.

Refillable/disposable pens – for outlining, one can use a good refillable pen – or even a disposable one, provided that its ink is quite dark, since some of them have a somewhat diluted tone. Note that thickness variations during scribing are not possible with such pens. Recommended brands and models are Micron (disposable), Koh-I-Noor Rapidograph and Rotring Isograph (both refillable).

Besides the options suggested above, feel free to choose and bring to the course any material of your preference. Nibs I mentioned earlier are Nikko G, Zebra G, Principal EF Leonardt, Presbitero 505 EF and Brause and Co. 76. Most of these are not able to provide too delicate lines as the other suggested models do, but it is worth trying, as these nibs have lots of other great qualities. 

1c – Nibs to be avoided:

– Speedball Hunt #103 - design really quite similar to #100, a bit more flexible, but usually does not work well at all, for some unknown reason;

Do NOT be attracted towards HIRO Leonardt #700. Just do not buy it!!

2. India Ink - suggested brands are (in order of preference): 1. Talens 2. Staedtler Mars – ‘paper’ (give preference to the model labeled for “paper”, since the model for “film + paper” has a secant that can cause fluidity issues), 3. Cretacolor. Feel free to bring to course inks from any brand of your preference instead, or any material you had already acquired.

3. Paper - (order of preference): Lana Bristol, Canson Bristol, Fabriano 4L, Strathmore 500 Bristol Plate Finish. Winsor & Newton Bristol may appear excellent at face value and indeed provides a marvelous surface, but as the work develops the paper reveals its abrasive tendency to literally wear down the pen nib’s tip. Feel free to bring to class any paper of your preference or any brand that you had already acquired and want to discuss about, or give it a try. 

Hog bristle brush

4. Small brush with stiff hairs (stiff nylon, plastic, hog bristle) – it will be used to clean the pen nib with alcohol, so its size must be compatible with the nib’s size. The width of 5mm for the hair’s base is enough, be it rounded or flat. Prefer a non-expensive brush, as hairs will have their tips trimmed to increase stiffness. 


5. Alcohol 99% (or at least a minimum of 70%) - to wipe the pen nib. It can dilute and remove even the dry inlaid ink from old pens.

Penicillin vial
6. Penicillin vial WITH CAP (as seen in the figure) - as explained in the guidebook, this vial is useful for the maintenance of good conditions of the principal body of ink, which remains preserved inside the closed original bottle. Its use is simple and indispensable to our goals in this course. In case of difficulty in obtaining one, you can try using any similar container that may be helpful, preferably with a snap-on cap rather than a screw top.

7. Lint-free cloth or paper towel – to wipe the pen nibs. Paper towel is also used to protect the drawing from the hand’s touch.

8. A little piece of cardboard or any rigid paper plus adhesive tape – it serves as a base to steady the ink vial over it, thus avoiding spilling.

9. A dropper, a straw, or a pipette – to transfer ink from the original bottle to the penicillin vial.

10. A cup, a glass, or a pencil holder - to support the pen nibs with their holders so that they stand firm, preventing scrolling, falls, and disasters. 

11. A magnifying lens of jeweler’s type, with a magnifying index of at least 5x, to check the conditions of cleaning and help while sanding.

12. Double edge razor blades and eraser-pencil or ink eraser – for corrections.

13. Sandpaper for metal, minimum 600-grit, but also 1000-grit or higher, to polish the nibs' tip.





Online Course - Rendering Textures in Graphite

 

- April 2022 -

(if you are interested in future editions of this course or any other, send me an email to be included on the mailing list)

Basic summarized information 

(detailed information is further below)

_________________________________

The course addresses the representation, by means of graphite techniques, of textures found in nature. This course is in its third edition entirely taught in English (with the peculiar Brazilian accent).

Scheduled to happen twice a week for 3 weeks in live meetings online via Zoom, on Mondays and Thursdays, 3 hours a day plus 15 minutes for a coffee break.

Edition #3 (open for registrations) – evening in North America, may be appropriate for some time zones of the East Hemisphere: from 9:30 pm to 12:45 am GMT–3:00 (time zone of São Paulo - Brazil) on Mondays and Thursdays, April 11, 14, 18, 21, 25, and 28, 2022. 

Heads up: double-check your local time zone. If you live in North America, the classes will take place in the evenings of Mondays and Thursdays. But if you live to the East of the UK – e.g. India, Singapore, New Zealand, China, Australia etc. – the classes will happen in the mornings or afternoons of Tuesday and Friday (if it's morning or afternoon, it depends on the country you live in), and in the East of the UK, the course will actually begin on April 12. Furthermore – taking the Daylight Saving Time into account in the USA, the time when classes start means 5:30 pm in California, 6:30 pm in Denver, and 8:30 pm in New York.

Price: USD 288,00 - or two installments of USD 144,00.  All done via PayPal.

You can split the payment into two installments, the first one to be paid when you enroll, and the deadline for the second one is April 5.

The classes are ALL entirely recorded (regardless of students missing or not) and shared as private videos on YouTube so anyone enrolled can watch them afterward. The tutor’s individual advice on each student’s practice is mostly provided via extra video classes recorded and uploaded on YouTube, thus live meetings can be entirely focused on teachings, demos, and answering questions. The videos with individual advice will be available to all the other students.


Pre-requisite – Students should be experienced in observational drawing and skilled in perceiving and representing light and shade in graphite. However, beginners can benefit immensely from this course too, but then it is suggested that they previously study my free guidebook on graphite and watch my video class (enable English subtitles).


Technological apparatus: you will need to install Zoom (on any device with internet access) and WhatsApp (on your mobile phone). In case you prefer not to use WhatsApp, you can send me photos or scanning of your exercises by email. 

Registration: 

please read through all the complete information further below, where you will find the supplies list too (last item). If no question remains and you decide to enroll, send me an email at the address further below and I will reply and send you a payment request via PayPal. WARNING: I always reply in one day at maximum and always check my spam box, so if you do not receive any feedback from me, please resend the message or try reaching out to me through social media.

The message for registration must contain:

1. Your full name

2. The country where you live

3. Your mobile phone number (remember to include the country's code)

4. Your option of payment (full payment versus split into two installments)

5. The email address you use to log in on YouTube (this is to provide you with access to the private videos with the recording of classes)

6. May I ask you how have you come to know about this course?

 As you receive the PayPal request and the payment is registered, I will reply confirming your registration and sending you the receipt.

Detailed information

Click or tap here to read the teacher's biography

Brief introduction to the course

A drawing done purely in graphite can by its very nature provide a spectacular result. But besides that, mastering the graphite technique yields us the tools for a detailed investigation of the subject by doing previous studies, so we can grasp the essentials of light and shade before working with other media such as colored pencils, pen and ink, or even watercolors. This course offers the fundamentals for that as well, but focuses specifically on the richness of textures found in nature with all their diversity, and how to represent them artistically either using only graphite on white paper or else graphite plus a light-colored pencil on toned paper.  

— Course aims:

- understand the behavior of light which generates the effect of textures when reflected by the objects, and to correctly represent it

-  examine how the quality of reflectivity of an object is intrinsically linked to our presumed tactile sensation 

- work from the general to the particular view, thus avoiding waste of time

- investigate, understand, and correctly represent the surfaces’ microstructure in order to achieve the accurate overall effect

- comprehend the universal systems of shading that work for rendering most textures

- achieve the synthesis and balanced simplicity when representing complex patterns

- learn and use accessory tools that allow for handy and easy ways to render certain patterns 

- accurately observe and represent conspicuous and subtle aspects of the patterns of feathers, fur, thorns, hairs, scales, ridges, knobs, grooves, cavities, striations, clumps, grasses, trees, groves etc.  

 How this course works:

There will be meetings online live via the application Zoom with all the students and the tutor. The classes are all recorded and uploaded as private videos on my channel on YouTube to be watched afterward. They remain permanently available for all enrolled students to rewatch them as many times as they want.

As for the classes’ content, biological subjects are examined and explained regarding their form, light and shade, and especially further details such as texture, indument, ornaments etc. Demonstrations provide methods for rendering all these aspects in graphite while describing how to make the best use of this technique. The students are encouraged to practice online, ask questions, optionally film their own hands while working and show their results afterward to receive advice. 

At the end of each meeting, some tasks are assigned, students may continue to practice, drawing appropriate objects of their own choice – or only parts of these objects –, and post their results on a group organized via WhatsApp, so that all works can be assessed by the tutor. 

In order to take the best advantage of the live meetings, the assessment of exercises and the individual advice is mostly furnished through extra video classes that are recorded and posted on YouTube as unlisted videos. Thus, every participant can also learn from the guidance offered to all the other students. Our main focus during live meetings then is the teaching of lessons and concepts, as well as the demonstrations, questions & answers. But of course, there may be some comments on the students' exercises even during these meetings, especially when the tutor recognizes the need for teachings that will help everyone at once.

Program and dates

The course consists of a series of 3-hours meetings plus 15 minutes for a coffee break (18 hours total) to occur during six non-consecutive days, on Mondays and Thursdays for 3 weeks. 

Edition #3 (open for registrations) – evening in North America, may be appropriate for some time zones of the East Hemisphere: from 9:30 pm to 12:45 am GMT–3:00 (time zone of São Paulo - Brazil) on Mondays and Thursdays, April 11, 14, 18, 21, 25, and 28, 2022. 

This third edition happens when it is evening in North America and could be appropriate for other different time zones in the world like Japan, Australia, Korea, Philippines, and even India, Singapore, and Thailand. 

Heads up: double-check your local time zone. If you live in North America, the classes will take place in the evenings of Mondays and Thursdays. But if you live to the East of the UK – e.g. India, Singapore, New Zealand, China, Australia etc. – the classes will happen in the mornings or afternoons of Tuesday and Friday (if it's morning or afternoon, it depends on the country you live in), and in the East of the UK, the course will actually begin on April 12. Furthermore – taking the Daylight Saving Time into account in the USA, the time when classes start means 5:30 pm in California, 6:30 pm in Denver, and 8:30 pm in New York.

— Price: 

USD 288,00 - via PayPal, can be split into two installments of USD 144,00.

You can split the payment into two installments, the first one to be paid when you enroll, and the deadline for the second one is April 5.

Pre-requisites:

It is very recommendable that students have a good practical understanding of observational drawing and of the fundamentals for perceiving and representing light and shade. Should one have no experience on that, it will be possible to benefit even so, but then I recommend the previous study of the basic concepts provided by my guidebook on graphite, as well as the practice of the exercises proposed there. This guide is further explained by a public video class (download the guide here and watch the video here).

Technological apparatus you will need:

The application Zoom must be installed either on your PC, notebook, or mobile phone, and that is enough for you to participate in the classes. If you use your PC, you will need a webcam. The application WhatsApp must be installed on your mobile phone too so that you can share the result of your exercises and have them assessed by the tutor. In case you prefer not to use WhatsApp, you can send me your exercises by email.

The following procedure is not indispensable for your participation, but you may appreciate the idea: you can opt for turning your Smartphone into a camera and connecting it with your computer by using the software iVCam, available here. This program is offered for free in a low-resolution version (enough for the course), but for a very fair price you can purchase its best version. This will be enough for you to be able to film your own hands while working during the course, so that I can assess how you work and give you advice. 

Supplies list:

Below you find a list of some materials necessary for your practice as well as suggestions of specific brands and editions. All suggestions are based on my personal experiences, so keep yourself open to subverting the list. If you already have a good set of supplies, it is not necessary that you search for further variety only because of my recommendations. 

 1. Use a piece of parchment paper or paper towel under your hand to protect your drawing from your skin oils and humidity that can cockle the paper. Also, I recommend you avoid speaking over the paper before, during and after drawing, as invisible saliva sprouts can cause yellow spots of contamination in the long run.

2. Pencils: 

2.1. Graphite – (2H if possible) H, HB, 2B, 3B, 4B and 6B (7B if possible). Lately, my personal preference has become the Staedtler’s edition named Lumograph Mars Black, which I highly recommend. Unlike traditional graphite, these pencils feel a little waxy like chalk. The lead is thick and has a high proportion of carbon. They provide an intense shading with a mat finishing, tending not to produce the undesired effect of glare, even after overlapping many layers. The range of gradations is limited though, being HB the hardest, but the traditional H and/or 2H graphite can complement the set. Also, there is now the new edition from Faber-Castell named Pitt Graphite Matt Pencils, pencils that allegedly avoid the effect of glare in a very efficient way. Though I have never tested those, I think it is worth it to try them.

Regarding traditional graphite, keep in mind that different brands may present different standards, thus be alert not to purchase, without testing, an HB and a 2B pencils from different companies (or from different product lines of the same company) which might possibly present the same grade of shade. Good brands in order of my personal preference are Staedtler, Lyra, Mitsubishi, Bruynzeel, Faber Castell, Caran D’Ache, Cretacolor, Koh-I-Noor. Derwent is a good and soft pencil, but the ones I have tested may have their lead’s tip crumbling down while we work, thus leaving small pieces of graphite on the paper (that was long ago, this may have been improved lately). Do not take that into account, though, if you own and appreciate the Derwent pencils and want to use them, in which case you do not need to purchase new pencils.

I remark that rare has been the pencil, even among the best brands, which does not eventually present crystals that grit the paper while stopping to scribe. Some brands get better from time to time, some worse, and even the most expensive pencils may disappoint us. We should then swatch constantly, rarely breaking relationships definitely with any brand. 

2.2. One light-colored Faber Castell Polychromos pencil (like ivory or white), or any similar pencil from the same brand or others. 

2.3. A mechanical pencil 0,2 or 0,3 mm with a B or 2B graphite to be used for contours and details is not indispensable but is welcome.

3. Soft white eraser: Sakura high-quality FOAM or Pentel hi-polymer SOFT. Avoid Staedtler Mars plastic, for it causes excessive friction, harms the paper and usually crumbles off in pieces.

4. Kneaded eraser: Milan, Sanford Design, Cretacolor, Faber Castell, in order of my personal preference among the ones I know. The video lesson mentioned above provides the demonstration of the use of a kneaded eraser. The precise moment of the video is on this link. Remember to enable English subtitles.

5. Paper: Paper: section 2.4 of my free Graphite Guidebook (download it here) offers some quite detailed discussion addressing various aspects to be taken into account before making decisions regarding papers. There are many different companies producing several sorts of paper and each one has its own traits, advantages and disadvantages. My personal preference is the middle ground between textured and smooth papers. Good possibilities are the Strathmore Bristol 300, 400 or 500 series (vellum or smooth surface – you would have to test them all to check which you prefer), Canson (Graduate Bristol or Fine Face), Hahnemühle Dessin Lana. But again, it is worth it researching whatever you have available in your country, swatching them, and learning other artists’ experiences. Remember to test both sides of each paper for they often present different surfaces.

Toned papers suggested are Canson Graduate Multitechnique or Canson Mi Teintes (the back face of the latter is smoother and more appropriate than the front face). Also Strathmore Toned Tan or Toned Gray, or any other toned paper of your preference. 

In the video lesson mentioned above, you will be able to see how I proceed during swatching. Notice in the video that some textured papers cause spontaneous dark spots to arise and this can become inevitable. The outcome can therefore be out of control in such cases. The test on the front face of each paper is always followed in the video by the test on its back face. Personally, I consider better papers are those which provide a relatively even texture (without unexpected stains) when we apply graphite in a constant and uniform manner, as I do in the video. Click on this link to access the precise moment of the video when these tests take place.

6. Artistic Ball Burnishers: this is a tool that can be very helpful for grooving the paper with minimum damage. It is not essential for this course, as it can be replaced with a dry ballpoint pen or a polished dry metal tip, or even by a mechanical pencil without graphite. But of course, the ball burnisher is quite specific and it is coined precisely for the kind of maneuvers we want to make on the paper.

7.  Desk sharpener: I suggest Derwent, Derwent Super Point or Rapesco. You can also opt for using a snap-off cutter blade, in which case I recommend watching this if you are not familiar with that use (enable English captions). 

8. Natural objects with attractive or intricate texture: a seed, a fruit, a vegetable, a densely nerved leaf or flower, a piece of bark, a piece of a twig, an insect, a shell, a rock, a nest, a bone, an animal skull etc. I recommend obtaining an object that you will be able to handle and draw from life rather than photos, which might often lead to misinterpretations of the object’s form. Besides that, if you were to use photos, you would not be able to look closer at it, turn it or move the light to investigate its details. The texture may be anyone you prefer, from thorny, hairy or woolly objects to ridged, grooved, bulged surfaces… or else objects presenting knobs, cavities, protrusions etc. 

Observation: We have plenty of stores selling good material, either via the internet or locally, and many artists share their experiences on websites and videos. Be careful though, because the experience of an artist with any given material can be thoroughly different from yours. Use their tips and advice, but trust only your own tests (that is, do question my own tips too). I have seen many artists definitely disappointed with excellent materials, myself included. Sometimes they have tested defective stuff or it is just that they do not find affinity with the results that some specific material provides. Different artists may either worship or curse the same exact material, thus do not be afraid of experimenting. 

Some further helpful information on papers can be found here.


Grafite e as Texturas da Natureza - curso online e ao vivo

Segunda Edição
Início: Março de 2022

Encontros via aplicativo Zoom.

Datas: 

Quartas e Sextas durante 3 semanas, dias 23, 25, 30 de março, 01, 06 e 08 de abril, das 15:00 às 18:15h (3 horas de aula, com 15 minutos de intervalo por aula – carga horária total: 18 horas). Aulas serão todas gravadas e ficarão permanentemente disponíveis aos inscritos. 

R$ 444,00 – à vista ou em duas parcelas de R$ 222,00 (a primeira no ato da inscrição e a segunda até dia 20 de março).

Por favor, leia todas as informações abaixo com atenção. Caso não restem dúvidas e deseje se inscrever, basta realizar o pagamento e enviar-me um email ao endereço mais abaixo com o formulário abaixo preenchido: 

FORMULÁRIO:

Informe o nome do curso em que está se inscrevendo (Grafite e as Texturas)

1- Nome completo

2- Cidade e estado onde reside (e país, caso não seja no Brasil)

3- CPF (Brasil) ou número de cédula de identidade para inscritos de fora do Brasil
(caso o depósito seja feito por outra pessoa, envie o nome completo e CPF do pagador, se brasileiro)

4- Número WhatsApp com DDD (ou, se for de outro país, código de cidade e do país).

5- E-mail usado para login no YouTube (isso será usado para prover acesso aos vídeos privados da gravação de aulas).

6 - Como soube a respeito desse curso?

____________________________________

Dados para depósito: 
(para depósitos de fora do Brasil, pode ser feito via PAYPAL, envie-me um email antes)

Banco Santander

agência 0216
Conta corrente 13005135 – 7

CNPJ: 26.275.442/0001-34
Em nome de "Rogerio Lupo 15207033840" (esta é a razão social de minha MEI - microempresa individual)


Para Pix, use chave CNPJ, e insira o número abaixo:

26275442000134

____________________________________________________________________________

INFORMAÇÕES DETALHADAS:

Pré-requisitos:

É muito desejável o estudante ter bom conhecimento básico de desenho de observação e boa noção prática de sombreamento. Caso não haja experiência alguma, poderá haver bom aproveitamento do curso ainda assim, mas então sugiro estudar os exercícios de minha apostila gratuita de grafite (baixe aqui ou solicite por email), complementados pela vídeo aula gratuita (assista aqui).

Aparato tecnológico:

O aplicativo Zoom (baixe aqui) pode ser usado no seu celular ou notebook, usando a câmera embutida. 

Objetivos do curso:

- compreender o comportamento da luz ao gerar o efeito das texturas quando refletida pelos objetos, e representá-la corretamente

- compreender como a qualidade reflexiva de um objeto está intrinsecamente ligada à nossa imaginada sensação tátil deste objeto

- trabalhar do nível global para o particular, evitando assim a perda de tempo de entrar em detalhes desde o início.

- investigar, compreender e representar corretamente a microestrutura das superfícies, a fim de alcançar o efeito geral necessário

- compreender os sistemas universais de padrões de sombreamento que funcionam para representar a maioria das texturas

- alcançar a síntese e a simplicidade bem balanceada ao representar sistemas visualmente complexos

- aprender a usar ferramentas acessórias que permitem maneiras mais práticas e fáceis de representar certos aspectos visuais complexos e minuciosos

- observar e representar com precisão tanto os aspectos óbvios como os sutis dos padrões encontrados em penas, pelos, espinhos, escamas, cristas, saliências, sulcos, cavidades, estrias, touceiras, gramas, matagais, árvores, bosques, etc.

Veja a biografia do professor

Descrição do funcionamento: 

Haverá encontros ao vivo nos dias e horários marcados, com o orientador e toda a turma presente. Todas as aulas serão gravadas e estarão disponíveis permanentemente como vídeos privados no YouTube para que sejam assistidas posteriormente quantas vezes os estudantes quiserem (acesso apenas aos inscritos). Durante a aula, serão explicados conceitos e formas de representação visual das texturas encontradas na natureza, com auxílio de demonstrações e exemplos. Serão propostos exercícios e práticas como trabalhos para casa, com base em motivos e objetos didáticos e/ou materiais escolhidos pelos próprios estudantes. 

As práticas dos estudantes poderão ser feitas durante as aulas, concomitantemente com as explicações e demonstrações, mas isso não é obrigatório e depende apenas da vontade do estudante. Entretanto, para o melhor aproveitamento dos encontros ao vivo, durante as aulas online procuraremos focar mais em explicações e demonstrações e não em avfaliações de trabalhos de casa. Assim, a avaliação sobre as práticas dos estudantes será feita sim, mas apenas de modo breve durante os encontros, caso algum padrão coletivo de mal-entendido seja detectado e precise ser corrigido. A avaliação então será feita em mais profundidade apenas fora das aulas ao vivo, por meio de explicações e orientações individuais extra-classe que serão gravadas em vídeo e enviadas a todos. Desse modo, cada estudante poderá receber uma análise mais detida e sem pressa de seus exercícios, e aprenderá também com as práticas e as orientações dadas a todos os outros. 

Para ter seus exercícios avaliados, os estudantes participarão de um grupo de WhatsApp por onde enviarão fotos ou escaneamentos de seus resultados. Por ali mesmo já poderá haver explicações e avaliações breves de um ou outro trabalho, mas também será enviado um link para aqueles vídeos mais completos onde todos os inscritos terão individualmente seus trabalhos comentados em profundidade.

Lista de materiais

Nas lojas virtuais Casa da Arte, Cia. do Papel, Casa do Artista, Fruto de Arte, Grafitti etc. é possível encontrar materiais com remessa por correio. Os materiais sugeridos abaixo trazem marcas específicas porque faz muita diferença no resultado o material que se usa, mesmo para uma técnica aparentemente simples como o grafite.

Apenas os materiais com * abaixo são estritamente necessários. Os outros podem eventualmente ser desconsiderados de acordo com sua preferência.

1. Papel toalha* ou manteiga para proteger o desenho abaixo da mão (essencial que a mão escorregue sobre o papel, e nunca o papel escorregue sobre o desenho).

2. Lápis* (se possível 2H), H, HB, 2B, 4B, 6B. Lápis de marcas diferentes podem apresentar diferenças na gradação, ou seja, o que uma marca chama de HB é o 2B da outra, por isso é bom usar apenas uma marca ou pesquisar, testando para obter as variações necessárias. Do contrário, pode acontecer de termos um HB de uma marca e um 2B de outra, mas ambos serem praticamente iguais. 

Sugiro Cretacolor (Áustria), Koo-I-Noor, Faber Castell 9000 ou ainda os de linha melhor: Staedtler, Caran D’Ache, Bruynzeel, Mitsubishi (Uni-Ball).  

A linha "Mars Lumograph Black" da Staedtler é um excelente grafite com características dos mais refinados crayons e lápis carvão, e tende a não deixar o indesejável brilho de grafite. Mas a "pegada" é outra, o tato é diferente e há quem não se adapte bem. Vale a pena testar antes de comprar. Essa linha possui apenas a gama do HB ao 8B (apesar de que o HB é praticamente igual ao 2B). 

Derwent também é bom e macio, mas esfarela muito, soltando resíduos de grafite durante o desenho. Sugiro a leitura desse artigo sobre grafite, para obter informações úteis ao curso. 

3. Lapiseira 0,3 – não é indispensável, mas é bem-vinda, com grafite HB ou B para contorno e detalhamento. 

4. Borracha branca macia* Sakura high quality FOAM ou Pentel hi-polymer SOFT

5. Limpa-tipos*: Milan, Sanford Design ou Cretacolor (ordem de preferência)

6. Papel*:  Sugestões de melhor qualidade – Canson Fine Face, Arches Dessin, Hahnemühle Skizze (Nostalgie ou Dessin), Strathmore Bristol 300, 400 ou 500 vellum ou smooth surface (especialmente o 300 vellum, pois os outros não testei o suficiente), ou qualquer papel que se queira testar, liso mas não excessivamente (saiba como testar papéis aqui). Também sugiro papéis levemente texturados, como é o caso do verso do Canson Mi-Teintes por exemplo. Aliás, caso deseje trabalhar com grafite e lápis de cor branco em papel de meio tom, adquira Canson Mi Teintes em cores de sua preferência (sugerido: gris flanelle, gris trianon ou tons similares), ou então Strathmore Toned Tan ou Toned Gray. Outra opção excelente é o Canson Graduate Dessin Gris. 

Papel Lay Out Canson 180 ou 220 g/m2 pode se prestar muito bem ao uso, mas sua lisura pode atrapalhar a prática de iniciantes  em grafite. Evitar papéis lisos demais como Bristol da Winsor & Newton ou da Canson, pois grafite precisa de alguma textura e papéis muito lisos tendem a saturar logo e começar a marcar. Nesse sentido, todos os destinados a nanquim como Fabriano 4L ou 6L, Canson Lavis Technique, ou mesmo todos os Satiné de aquarela não são muito apropriados por sua tendência a saturar, mas os Satiné podem ser testados e eventualmente ser bons.

7. Boleador ou ponta seca de metal (este item é opcional– boleadores são metais com ponta esférica polida (há esferas de diversos tamanhos e todas são bem-vindas) que servem para sulcar o papel e criar texturas, pois assim o grafite não penetra os sulcos. A ponta seca de metal pode ser qualquer peça metálica fina, que tenha a  ponta lixada com uma lixa bem fina ou polida, para evitar rasurar o papel. ATENÇÃO: não compre boleadores em lojas de arte. Ao invés disso, faça uma pesquisa na internet por "boleadores de unhas". Você encontrará o mesmíssimo exato produto por um valor 5 a 6 vezes mais barato. 

8. Lápis de cor branco ou marfim, preferencialmente Polyhcromos Ivory. Não é indispensável, mas você pode querer trabalhar com grafite em papel de meio tom e usar este lápis claro usado para realces de luz  (conforme sugerido para o uso de Canson Mi Teintes acima na seção "papel"). 

9. Apontador de mesa (manivela) – sugiro Derwent, Derwent Super Point ou Easy Office. O apontador de mesa de boa qualidade poupa tempo incrivelmente e deixa a ponta ideal, sem desperdício e com acidentes muito mais raros do que quando apontamos manualmente com estilete ou apontador comum. 

10. Apontador comum ou estilete: caso prefira isso ao item 9 acima, veja aqui como apontar o lápis com estilete de forma correta.



Graphite Online Course / Curso Grafite Online

Guidebook and first video class for free! 
Guia de curso e primeira videoaula gratuitos!





Mora no Brasil?
Clique aqui para ler as informações sobre o curso.


Curso em Floripa - março de 2020


Curso de ilustração naturalista para introdução ou aperfeiçoamento à técnica do lápis de cor.

TURMA ADIADA 
(e lotação esgotada - nova data a ser planejada) 

Siga-me nas redes e fique alerta para novas turmas e vagas.

Voltado a praticantes iniciantes ou avançados das áreas de desenho, artes visuais, ilustração em geral, design, a biólogos, tatuadores, artistas têxteis/bordadores ou estudiosos da ilustração naturalista.

Serão discutidos, ensinados e demonstrados aspectos específicos da técnica do lápis de cor, seguidos de prática orientada com uso de material natural levado pelos alunos ou disponível no espaço do curso.

Pré-requisito: noções de desenho e observação de luz e sombra.

Local:
Nacasa Coletivo Artístico: R. José Francisco Dias Areias, 359 - Trindade, Florianópolis - SC.

Ministrante: Rogério Lupo, biólogo e ilustrador científico

Data: 21 a 23 de março de 2020 (sáb/dom/seg), das 9 às 17h (intervalo de 1h para almoço). Carga horária total 21h.

Valor: R$ 150 (inscrição – garante a vaga) + R$ 430 (até 15 dias antes do curso) = total R$ 580

Pagamento à vista: 10% de DESCONTO sobre o total = R$ 522
Vagas limitadas.

Primeiros 3 inscritos recebem uma reprodução de ilustração por cortesia

Mais detalhes e INSCRIÇÕES por email, escreva no endereço que consta no cartaz.

Programa de curso:

- Apresentação dos materiais e discussão sobre suas características, usos, vantagens e desvantagens
- Propostas para alcançar os resultados técnicos desejados e respostas a dúvidas gerais
- Breve abordagem da teoria de cores, suas interações e sua obtenção com lápis de cor
- Demonstrações de aplicação do método proposto
- Prática orientada de ilustração de objetos naturais trazidos pelos estudantes

Materiais (lista mais detalhada e com discussões é fornecida posteriormente):

1. Papéis
São sugeridos: Acervo Debret, Canson Mi Teintes, Canson bloco comum 200 g/m², Canson Fine Face, papéis tipo Bristol, papéis de aquarela HP. Evitar papéis opalina e sulfite, por serem muito lisos, ou Canson C à grain e similares, por serem excessivamente texturados (a não ser que prefira a textura).

2. Lápis:
São sugeridos lápis permanentes (à base de óleo), como Faber Castell Polychromos e Caran D’Ache Pablo. Outras marcas de sua preferência podem ser usadas, como Derwent, Prismacolor, Bruynzeel. Linha estudantil de marcas boas pode ser um bom início para os que ainda não sabem se continuarão com a técnica. Podem ser usados lápis aquareláveis também caso o inscrito já possua, apesar da preferência no curso ser pelos permanentes. De qualquer modo, o método ensinado no curso é a seco, sem uso de água ou solventes, mas o inscrito fica à vontade para utilizar isso se desejar.

3. Estilete ou apontador de mesa com manivela:
O apontador de mesa faz com que muitos minutos de trabalho (que perdemos usando estilete) sejam transformados em alguns segundos, e por isso é altamente recomendado. Não é qualquer apontador de mesa que se prestará bem, por isso posso sugerir apenas os da Derwent que trazem excelente custo benefício, especialmente o modelo Super Point. Mas também o modelo Mini, mais simples e mais barato, é muito bom. Ambos têm vídeos no YouTube que demonstram a qualidade da ponta feita e a desmontagem para limpeza.

4. Blender
Trata-se de um lápis sem pigmento que serve para espalhar e mesclar as cores sobre o papel e suavizar a textura. Essencial para nosso método. Sugiro apenas os das marcas Derwent e Koh I Noor Hardtmuth Polycolor. Mesmo marcas boas como Caran D’Ache podem apresentar um péssimo e ineficaz blender, por isso evite comprar sem conhecer.

5. Borracha branca plástica macia. Sugestão: Sakurafoam ou Pentel Hi-Polymer Soft. Evite Staedtler ou similar, pois são borrachas que com o tempo se despedaçam, além de serem danosas ao papel.

6. Caneta borracha (não é absolutamente indispensável, mas muito bem-vinda para apagar pontos e/ou faixas bem estreitas e precisas, evitando ter que “apontar” borrachas). Sugestão: Tombow Mono zero Elastomer Eraser 2,3mm.

7. Limpa-tipos. Sugestão Milan, Cretacolor, Design ou marca de sua preferência.

8. Papel vegetal ou manteiga para esboço ou transferência de esboços ao papel definitivo.

Biografia breve do orientador:

Rogério Lupo é biólogo formado em 1998 pela Universidade de São Paulo. Estudou Desenho Clássico e técnicas pictóricas diversas na Escola Clássica de Arte de São Paulo na década de 1990, sob orientação de Ángel Martínez. Desde então realiza ilustrações para o meio acadêmico científico e também editorial, bem como para projetos pessoais de investigações técnicas e representação de natureza.
Também leciona desde que se formou, tendo ministrado dezenas de cursos de técnicas variadas em diversas universidades e instituições de pesquisa, bem como em centros de arte e associações de ilustradores em muitas cidades por todo o Brasil e Estados Unidos. É autor de abundante material didático, na forma de apostilas fornecidas gratuitamente para download e também videoaulas disponíveis no YouTube.
Recebeu alguns prêmios importantes, estando entre os mais dignos de nota o primeiro lugar no Margaret Flockton Award (Austrália) em 2010 e 2013. Em 2016 participou da prestigiada 15a Exposição Internacional de Arte e Ilustração Botânicas do Hunt Institute (EUA), tendo sua obra adquirida para o acervo da instituição.

USA Workshop tour 2019


This is to announce a series of Scientific Illustration Workshops that will take place in some cities all over USA on March and April, 2019. Guidance: Rogério Lupo - Ilustração Científica. Save the dates, download your free guidebooks (see more info below) and get to practice.

The first venue will be Orinda - CA, hosted by Susan Mark-Raymond and Liz Stroh-Coughlin. Hybrid course* of graphite and pen nib and ink, on March 22-24. Supported by the Northern California Society of Botanical Artists and taking place at Woodhall, Orinda Woods.

The second venue will be Pasadena, CA, hosted by Teri Kuwahara. Hybrid course* of graphite and pen nib and ink, on March 27-29. Supported by the Botanical Artists Guild of Southern California and taking place at The Huntington Library, Art Collections, and Botanical Gardens.

Third venue is Denver, CO, hosted by Mervi Hjelmroos-Koski. Graphite on April 5-7 and two classes for pen nib and ink, one on April 8-10 and another on 12-14. Supported by and taking place at School of Botanical Art and Illustration at The Gardens.

Fourth and final venue is Richmond, VA, hosted by Phyllis Laslett. Graphite on April 18-20 and Pen Nib and Ink on April 26-28, plus a public lecture/demonstration on pen nib and ink happening on April 25. Supported by and taking place at Lewis Ginter Botanical Garden.

*In this hybrid course, both techniques - graphite and pen nib and ink - will be taught in the same class, but each attendee chooses only one of them for developing their projects.

Download your Guidebooks for free on the links
Graphite for Scientific Illustrations: https://pt.slideshare.net/…/graphite-for-scientific-illustr…

Pen Nib and Ink Guidebook: https://pt.slideshare.net/…/pen-nib-and-ink-guide-to-the-te…

The video lesson on Youtube indicated in the Graphite Guidebook is available here: https://youtu.be/C4L2oxuCEqI

Nova ilustração finalizada

Ambiente Amazônico em vista "ararérea" com Igarapé. Julho de 2018: Acrílico sobre papel tela Hahnemühle Acrylmalkarton, 35x24cm.
 Em breve reproduções em alta qualidade disponíveis na minha página Rogério Lupo - Ilustração Científica.
























As Araras são Ara macao (Araracanga), os Tucanos são Ramphastos tucanus (Tucano de papo branco) e os macacos Sapajus apella (Macaco-prego). Ambiente: Amazônia, região de Manaus - AM. As águas do Igarapé, cristalinas, assumem a cor avermelhada por serem tingidas pela matéria orgânica da decomposição vegetal.


Cópias de alta qualidade

Reproduções de ilustrações estão disponíveis em tamanhos A3 ou pouco maior, e A4 ou pouco maior ou menor (dependendo da obra).

Para ver as disponíveis visite os álbuns de fotos chamados "Originais e reproduções à venda" (separados em A3 e A4) da página do Facebook nesse link.

Pedidos por email (veja endereços no topo do blog à direita)




Apostila Gratuita - Método em Grafite

Está disponível para download uma apostila de minha autoria para compreensão e prática do grafite. É totalmente gratuita para baixar e compartilhar para fins não-comerciais. Bons estudos e aproveite!
BAIXE A APOSTILA AQUI

Veja também o vídeo que dá suporte ao estudo da apostila e tira dúvidas e mal entendidos mais comuns detectados em meus cursos:



ATENÇÃO: Há no site do Slideshare, onde a apostila está disponível, uma forma de visualizar em tela cheia, mas a qualidade dessa visualização é só uma amostra em baixa resolução e não permite ver como é a apostila em termos de qualidade. Para poder ver em excelente qualidade de imagem e texto, é realmente preciso baixar. Caso o site (Slideshare) solicite seu cadastro, faça-o, é rápido e fácil e eles não vão perturbá-lo com spam nem exigir nada. Será até bom que tenha conta e possa baixar outras coisas e eventualmente carregar arquivos para distribuir.

A apostila foi feita em uma única página de 4 metros de comprimento e está bloqueada para ser impressa. É feita mesmo para ser visualizada em tela.

Veja também a versão traduzida para Inglês e divulgue para seus contatos interessados. Esse versão está dividida em páginas, e pode ser impressa. No futuro a versão em Português será revista e publicada nas mesmas condições:

BAIXE A VERSÃO DA APOSTILA EM INGLÊS AQUI
Ignore o artista, admire a obra

Esqueça a obra, admire a Arte

Conheça a Arte, admire a tinta

Esqueça a tinta, admire a Luz e a Cor

Conheça a Luz e a Cor, admire os Seres

Reconheça o Ser, admire a Vida

Ambiente Aquático no Sudeste Brasileiro


Acrílico sobre papel tela - Acrylic on canvas paper


















Capa do livro "Laguinhos - miniecossistemas para escolas e jardins" de Maria do Carmo E. do Amaral e Volker Bittrich