Spineless Stanley Hazard (And Other Adventures)

There may come a time when I can look Jonathan Frakes in the eye and have a conversation without turning tomato red and losing track of basic language skills. This past week wasn’t that time.

But we’re getting closer!

drawing5We have to start way back in 1987 when the Civil War led me to the Final Frontier. I watched the second part of a huge miniseries called North and South that actually began in 1985, but I don’t remember seeing it then. I was pretty young and going through some rough things in my family. The important thing is North & South had a character called Stanley Hazard played by (drum roll, please) Jonathan Frakes, seen here in Book III in 1994. At the same time that he was making Book I and II of North & South, he was also starting to work on Star Trek: The Next Generation. Presto! I followed “the guy with the blue eyes and the chin dimple” (quickly covered by a Civil War-appropriate beard) from the 19th century to the 24th century when I wasn’t interested in sci-fi at the time.

That’s love, folks.

Most of you know me enough by now to understand that I was born with a desperate need for connection to 19th century American history, so me as a child watching a giant Civil War miniseries, despite its major historical costuming flaws, isn’t that unusual. When Jonathan Frakes narrated a documentary called Lee & Grant a few years ago, I lost my mind when I heard his voice and had to pause the TV long enough to tell everybody in my house. I’m just like that. It’s part of my charm.

Last year, I met Jonathan Frakes when my friend invited me on the Star Trek cruise. Let’s revisit that glorious moment.

Jessica Jewett, Jonathan Frakes

He did a Q&A that week and walked right by me because I was too chicken to ask a non-Star Trek question. What I really wanted to know was whether he did any preparation to play a villainous puppet like Stanley Hazard, whether he has interest in the Civil War period in real life, etc. Stuff that matters to me, not that Commander Riker isn’t a fantastic character. Trust me – I wouldn’t kick Riker out for eating cookies in bed. But I’m so invested in American history that I went to college for it before I got too sick to continue. Rooting out other people interested in American history is my stock and trade. So after the Q&A where I remained silent last year, I silently resolved to have North & South art autographed this year just for myself.

That brings us to last week. I boarded the cruise ship armed with unfinished Stanley Hazard art and sequestered myself in a corner of the pool deck to work on it before our ship even left port. They don’t tell you when autographs are right away and I was afraid there wouldn’t be time to finish it. Portraiture is my business, you see. I was swamped with orders well beyond Christmas and I barely had time to sketch out Stanley’s bewildered, resentful face before I left for the cruise. So I had to work on the ship in between activities.

Here’s how the progress went.

At home:


drawing4

On the cruise:

How did it turn out? In my opinion … meh. My problem with it was the rolling, rocking ship and the unfamiliar surroundings. I need my little artist habitat to do my best work, although I did enjoy people coming by on the pool deck to tell me they liked it.

One of the crew people on the ship in particular spent quite a while talking to me about my art. I told her all about Jonathan Frakes and showed her what he looked like in the present so she could spot him when she met him. Every time I saw her after that, she had intel for me like, “Oh hi! Mr. Frakes up in VIP lounge now,” (she was Asian, I think, so English was a little tough) or, “Ah, it’s you, Miss Frakes Girl. You see him yet? You finish your art?” She even showed me the photo she took with him one night in that VIP lounge. I never asked for the intel but she was fun. Like, really, what was I going to do? Sneak into a place I wasn’t allowed to go? That’s not cool.

20190107_102430Yet I did see Jonathan every day on the ship. Most of the time he saw me too, but there were a few times when he was engrossed in talking to other people or headed somewhere fast (someone with legs that long moves much faster than I do) and I just didn’t want to be a bother. I ran into him immediately on my way to breakfast on the first day at sea. A big smile came over him and he rubbed my arm and spoke familiar greetings. I hadn’t had my coffee yet but that was a better wake up than caffeine. If you’ve ever been the target of his real smile, you know what I mean. I couldn’t believe it seemed like he remembered me.

The oddest thing was that we ended up on the same tender boat headed out to Grand Cayman. A zillion boats going back and forth all day and we ended up on the same one just a few rows apart. I don’t think he ever saw me since he was with his friends and I kept to myself out of equal parts politeness and shyness. You will have seen a photo of him snorkeling that day on Twitter. He went out there to see stingrays. As soon as I got off the tender, I went the opposite direction as him. Again, I didn’t want to be a bother.

It got better from there. He always had a big smile for me when we saw each other and said things like, “There she is,” or used kind endearments like “my dear” and the like.

20190106_211012Apparently one night while I was trying to find Jonathan’s photo op line, Jason Isaacs very nearly bumped into me and said hello but I never noticed him. So naturally my brother, who loves Jason Isaacs, made fun of me for the rest of the night and swore he was going to tell Jonathan that I was so laser focused on him that I completely missed Jason right in front of me. He never ratted me out. I think he values his life too much. But he might have had a point. Let’s be real. I spent a lot of time looking for a dress that made me feel like a lady to wear in my photo op. I didn’t say that, of course, but I was hoping Jonathan would notice it. He has to be a mind reader or he sincerely meant it because he said, “Beautiful dress,” without being prompted. The photo here is me strolling the pool deck after seeing him. I look drunk. I swear I wasn’t. I rarely get compliments from men that aren’t followed up by unsolicited photos of nude genitalia or being propositioned to send my own nude photos, so it was a moment.

I don’t fit in this century if we’re honest about it.

The autograph session for Jonathan was close to the end of the cruise, so I had plenty of time to finish my North and South art. I never could get it the way I wanted because of poor lighting and total exhaustion on my part. If you’ve never traveled with me, then you won’t know how much pain I go through every day. I don’t like to dwell on it in the moment, which means someone like Jonathan won’t ever see me suffer. The more I smile, the more my body hurts. Traveling causes more pain and more pain causes my artistic skills to decline. You guys probably can’t see it in Stanley’s finished art, but I can see exactly where my physical struggles overrode my creative drive.

However, Jonathan sincerely seemed to like what I did. I was terrified standing in line because people say he can be indifferent or cold sometimes. They say that about Michael Dorn too. My worst fear was him mumbling hi, how are you, scribbling his name, and moving on to the next person. The reward for an artist isn’t money at all but the fulfillment we get from seeing our work touch another person, especially if they are the muse. I really wasn’t expecting back flips, mind you. I just dreaded feeling passed over.

So Jonathan’s handler took the art first and got very excited over it. She asked to take a photo and she said he was going to love it. I have no idea what she did with the photo but I hope she liked it. When my turn came, he gave me that smile and said, “There she is!” as if he’d been expecting me. He took the art from his handler and he didn’t say anything for a second while I chewed a hole in my lip in abject terror. Then looked over the paper at me and said with a grin, “Spineless Stanley Hazard!” Relief flooded my body and I burst into laughter. He spent time studying my art and saying, “This is so great.” I wanted to say that North and South brought me over to Star Trek TNG through him but I was starting to fall into the dumb, speechless, tomato red thing I do around him. Luckily he was busy trying to plan how and where he was going to sign the art to notice that I was starting to freeze.

When he asked for my name and started to write the J, his eyes slid over to mine and he said, “Don’t you have three names?” It took me a second to realize he probably meant my name on Twitter. I’m listed as Jessica Jewett Jones @JJ9828 on Twitter so people who read my books or buy my art as well as people who know me in real life can find me (Jones is my legal name, Jewett is my name for books and art). I don’t know if he saw the panic alarms going off in my head. He never replies to people, so I figured he didn’t read his tweets. I have a have a habit of live tweeting Riker-centric Star Trek episodes. I express Beardo love on @swear_trek too. Twitter has to be the only place he’d see me with “three names” unless he has a secret Instagram account.

Who knows what kinds of embarrassing tweets he’s seen when I thought he wasn’t looking? Oh well. I never truly say anything online that I wouldn’t want the rest of the world to see. You just never know who’s watching. It’s fine for him to know that the Riker Maneuver in the movie (or generally Riker in combat command) turns me into one of those Victorian women in need of smelling salts. You know what? I own it. Still, I was teased the rest of the night for being busted.

I don’t know if photos in the autograph line were exactly kosher but my brother was behind me and he knew how important that night was to me. He discreetly took a few photos while Jonathan and I were talking. Hopefully we won’t get in trouble for this since it wasn’t done obnoxiously.

All joking aside, after Jonathan signed my art and handed it back to my brother (bonus points to him for knowing I can’t hold objects in my hands without being told), he caught my eye and got serious to say something to the effect of, “It’s always a pleasure to see you. Always.” It was a crowded atrium and I was honestly overwhelmed. But he made a point to make me feel valued and wanted. That meant everything to me.

Here’s the finished art with his autograph.

drawing6

The next time we bumped into each other was unexpectedly at Brent Spiner’s theater show. My brother saw him sitting in my row on the other side of the theater, which was cool, but I wasn’t going to approach him. I never approach him, in fact. I just wait to see if he notices me and he usually does. He spotted me as he was walking by and he called out, “Hey, baby!” and blew a kiss at me with his whole hand. Nope, I can’t tell you what songs Spiner sang for a big part of the show after that. And for most of the second half of the show, while Spiner sang love songs, Jonathan sat right across the aisle from me and it took all of my internal fortitude to stay focused on the show.

I had hoped to catch him one more time on the last day to thank him for being so lovely to me all week. That never happened. I slept in late and then I spent the afternoon with my brother at the bar above the pool deck, ironically not drinking any alcohol. It was just a nice place to sit and watch the world go by.

There were so many other great things that happened on my trip, like Gates McFadden accidentally shoving my chair into Wil Wheaton, but it’s all too much to write in one blog. I mainly composed this one for myself so I could remember the things that were most important to me. If you found it interesting and made it to the end, you’re the kind of person I want to know and I thank you for hanging out here. I think I might do more North and South art once I’m not so buried in commissions too. We’ll see.

Yes, I am going on the Star Trek cruise next year as long as Jonathan Frakes will be there. I’d probably go even if he wasn’t there since it’s my friend Wendy who buys my passage, but he makes it so much more fun for me. And maybe I’ll figure out how to stop blushing like a virgin and say something more intelligent than hi and thank you. That’s really irritating me. I’m a 36-year-old woman who has had almost two dozen surgeries, a dozen broken bones, I’m a domestic abuse survivor, I’m more than a decade sober, and I can’t stand women that get all shy and silent around men. I’m a goddamn warrior! I can handle a 6’4 man like a queen! Next year, I’m going to blow his socks off with my charm and intelligence. He’ll go home and tell Genie Francis how awesome I am (ha!)

Next year’s autograph art? Will Riker vs Thomas Riker. So mote it be.

rikers

Oh, PS, it’s Wendy who has the photo ops and she’s in the middle of moving house during a snow storm. I’ll update this blog when she sends me the photo ops. In the meantime, go ahead and follow my social media at the bottom of this blog for more photos and my latest art projects.

Star Trek the Cruise 2019, signing off. Back to real life.

20190107_112303

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

That Was A Plot Twist

Crete Spirit by Jessica JewettYeah, it’s been a minute since I last posted a blog. A lot has been going on, though!

This piece of art on the left completely changed everything for me a few months ago (see more art at the bottom of this blog). A new client approached me and asked for a spirit guide reading, and then, after seeing that I’m an artist too, she asked if I could do a portrait of her guide. Now, I should say that I’ve done a couple of these in the distant past but I never had adequate help to keep up with it. A quality personal attendant matters a lot when you’re a quadriplegic artist. That’s an entirely different discussion, however. Needless to say, producing a continuous stream of new art has become infinitely easier in the last couple of years since I’ve gotten better quality help and longer attendant hours.

Back to this spirit guide order. I wasn’t sure how it was going to go initially because doing it in the past was really tough on me. But when I agreed to try it, I found out that it was just as rewarding for me as it was for my client. I didn’t tell my attendant exactly what the art commission was for right away even though she knows I communicate with the dead and she has a history of root workers in her own family. For some reason, it’s a lot easier to tell strangers in a blog what I’m doing than a person sitting at my desk with me.

Art by Jessica JewettThe process is more involved than ordinary art, as one might guess. I have to see the client through a photo (or in person, but that hasn’t happened yet) in order to make the connection with their guide. And guides don’t communicate verbally at all, whereas most spirits still going through the reincarnation cycle are at least willing to verbally communicate once in a while. The natural method of communication for all spirits, human or not, is mostly sensation through emotion or visual images. They can also cause smells, tastes, etc. Most mediums like me develop a visual language. For example, if a spirit is directing me to the Civil War, I’ll see my Gettysburg DVD cover, or if a spirit is trying to convey romantic love, it’ll be a flower bouquet, or the sensation of an old quilt for family love.

Spirit guides are a little more different than those still going through the reincarnation cycle in that they’re more advanced and their frequency is higher. Frequencies are like tuning in a radio. The bad entities (for me) are metaphorically on the low end of the dial, ordinary souls going through life like you and me are in the middle, and the advanced spirits who no longer reincarnate like guides and healers are on the high end. I used to have trouble establishing a useful link with spirit guides because high frequency spirits are hard to hear, so to speak.

This Crete woman was like learning how to do this work with training wheels. I was taught to use reference photos and how to feel out which ones are right for that spirit because doing art completely from scratch would be too stressful. Now that I’m working on my fifth commission, I see she was right. Reference photos give me a base that I can change as the spirit requires. So far, they’re all okay with my working method. This Crete woman came from a model I found online, except her clothes and hairstyle weren’t right. She wasn’t like what the guide was showing me. I began doing research on historical art from Crete and I found the correct way to do things. Still, most of the women had exposed breasts in this period. My client’s guide indicated that naked breasts hanging on a wall wasn’t going to work in this period, so I was told to cover them.

Art by Jessica JewettAs I began posting drawing progress on Instagram, I noticed my likes and viewership started climbing. So I told people what I was doing. It wasn’t just an art commission. It was spirit communication channeled through art. My viewership went way up again when I finally came clean about it. Before I even finished the Crete portrait and mailed it to my client, I had arranged four more art commissions privately. I was stunned. Over a year of toiling away at my art to try and make some money, and then suddenly working with spirits opened so many more doors for me.

The funny thing is people have been asking for art based on their past lives as well. It’s fairly simple to alter the working process I use to do spirit guide portraits. Instead of connecting to an outside entity, I’m connecting to the client’s subconscious memories just like I’ve been doing in written readings for years.

Here are some of the other spirit art commissions I’ve done since then. Click on them to see them in detail.

Right now I’m all out of room in my schedule to make Christmas as a deadline. To be honest, I probably have enough work to reach March at this point. Isn’t that insane? I went from a fair amount of print sales to being very overwhelmed by my workload.

This is such satisfying work for me even if my family and friends are starting to say the “ghost stuff” in the house is getting out of hand. A few weeks ago, while I was doing past life work connected to John Wilkes Booth, one of my kitchen drawers completely flew out of the slot and skidded across the floor. Now the drawer is broken and won’t fit in the slot right. People are hearing voices and footsteps in my house too. It’s par for the course in my life to attract the dead but it’s getting crowded enough that people without a breath of extrasensory ability are feeling them in and around my house. Nothing is dangerous, though. I just need to re-establish spiritual boundaries around my property.

This work is good. This work is right. I’m making the greater universe tangible for people and that matters a lot to me.

Art by Jessica JewettIf you’d like to get your own art commission, here’s the link: Custom Portrait of Your Spirit Guide or Past Life (8 1/2 x 11) on Etsy.

They are $85.00 US plus shipping and handling. Please be advised that I’m definitely booked through the end of January 2019 right now. Since I do the art on a first come, first serve basis, there is no better time to buy one than another. Just go ahead and get your spot in line.

I love this work so much! I can’t even describe how fulfilling it is to keep this link open to different people who have walked so many different places on this earth. It’s really opening my eyes as much as it is the people who ask me to do this for them.

Who knew this was where my work would lead? It certainly was a plot twist.

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

Traveling and Adapting for the Disabled Artist

Me193Last week I bought a few things to get ready for a camping trip in August. I’m going to spend some time with my father’s side of the family in Wyoming again.

The last time I went wasn’t ideal for sketching in the field because I didn’t have the right supplies with me and I didn’t have the right way to pack those supplies. I needed something a little bit larger than my regular pencil bag that I use here at home and I also needed something with a little more security to keep my things from breaking. Airlines can be really rough on luggage. Wood pencils in particular will come out of a flight with the leads shattered all the way up the barrel if they’re not secure, so you won’t have anything to use at your destination.

I looked around Jerry’s Artarama first but I didn’t see anything that was going to work for me. Most pencil bags still look like the one pouch things we had when we were little kids in school, which is not going to help when we’re traveling. When I went to Amazon, I found something with pencil slots, pockets, sturdy construction, etc. It’s listed as the BTSKY High Capacity Zipper Pens Pencil Case-Multi-functional Stationary Pencil Pouch 72 Slots (it’s linked to the direct item). It comes in black, blue, pink, and purple, and it costs $12.99 USD.

Let’s see what it looks like (photos belong to Amazon).

So many things about this pencil bag appealed to me. Primarily it was the compact size while still holding 72 pencils plus other pockets that drew my attention but I also liked the fact that it had a fabric handle and two zippers that meet on the ends or in the middle depending on your needs. You can remove two of the pencil slots if you don’t need all 72 spaces and they’re held in the bag by really strong Velcro.

Things like this really matter when it comes to my disability. I have trouble with zippers but it helps to have two instead of wrestling all the way around those corners with one. I can open one side, turn it around, and open the other side. The fabric handle allows me to attach it to my wheelchair if I’m taking my things out somewhere too. A hard handle wouldn’t work because if it doesn’t fit, it doesn’t fit. There’s at least some flexibility with a fabric handle (also hard handles always hurt my hand). And if I want to remove pencil slots, I won’t need help because they’re in there with Velcro instead of snaps or zippers.

The most important thing that made me choose this pencil bag was the fact that I won’t have to dig for my pencils anymore. They’re all lined up and I know exactly what I have now, which means I won’t waste them and I won’t use the wrong ones. Also, I can pull them out and put them back in without help.

Here’s a video of me flipping through my new bag after I loaded it with my most-used drawing stuff. It’s just a quick iPhone video – nothing professional to go on my YouTube channel or anything. Yup, that’s Madonna in the background.

So what you’re seeing there is me flipping through the pencil bag with a regular Paper Mate pen. I buy those things by the huge box because I use them as pointers for typing, moving things, turning pages in books or magazines, etc. These plain old plastic pens are a great length for helping me do things that I would ordinarily need fingers to do.

One thing I noticed when I saved this video was that people are going to see odd looking tools in the back portion of my new pencil bag. It occurred to me that I ought to tell everybody about the tools because I made them out of necessity. There are plenty of blending methods involving paper stumps, q-tips, toilet paper, etc., but I learned very early on that I can’t put soft things in my mouth. They tend to melt and fall apart due to the combination of my body heat and saliva no matter how well I control it.

Here are some of my most used tools.

IMG_9100

From left to right, there is a retractable eraser, a homemade blending stump, and a homemade toilet paper blender. Since the biggest problem with most art tools when you draw with your mouth is soft things falling apart, it goes without saying that rigging new tools is most importantly about keeping those soft things out of my mouth. Stability is the second most important factor in designing adaptable tools because a lot of art techniques will eventually require heavy pressure applied to the paper. The third factor is the bonding agent remaining resistant to moisture and body heat for a long time. I’ve learned these three factors after years of trial and error.

The first item is straightforward. It’s a Pentel Clic Retractable Eraser with Grip sold for $3.97 USD on Amazon. There are a few other kinds out there too. These are great for people with limited fine motor skills because there is more to grab onto than a tiny square piece of rubber. The plastic outer casing also prevents artists who draw with their mouths from biting through the eraser itself. I find the slider very ease to push when I need more eraser too.

The second item builds upon the first. My main problem with blenders is they’re so short. If I used it on it’s own, aside from the problem of being soft material, I’ll end up going cross-eyed and rubbing my nose all over the paper. Not fun. So what we do is get a retractable eraser that I don’t use anymore and I attach the blender to it with electrical tape. The type of tape is really important because it needs to be as strong as possible and as waterproof as possible. I do not recommend masking, Scotch, or pretty planner tape because will fall apart within the first hour. When you need clean blender, just rub it on sandpaper or change it out with a new one by cutting open the tape and rigging a whole new piece. I only have to change my blender once every three months or so.

The third tool is a very similar concept. I used an old mechanical pencil instead because that was what I had available at the time. It could just as easily have been another retractable eraser. For toilet paper blending, it’s a little more difficult. The best way is to wad up a tight ball about the size of a marble and then wrap a few smooth layers around it, leaving enough to wrap around the pencil or eraser. Use the electrical tape to secure it tightly. You will have to change the toilet paper ball more often than the blending stump but it is great for blending skin and sky.

I hope this gives you a glimpse into how and why I choose my art supplies. If there are any other artists with mobility limitations, maybe these ideas will help you too.

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

Learning Landscapes

Jessica Jewett, artI have been a portrait artist for so long that I almost got to a point of never imagining myself doing anything else. That’s not necessarily a good thing, however. Artists, in my opinion, should definitely develop a style but not at the expense of challenging themselves. There comes a point when you’re doing the same thing again and again that your creativity goes flat, so it’s incredibly important to find ways to stretch your style into new subjects.

A few years ago, I did this colored pencil piece when I was visiting family in Wyoming. This was where we were camping on the North Platte River a bit upriver from the Alcova Reservoir. I sketched it out in person, took a photo, and then added the color when I got home. It’s fairly obvious to me that I was hesitant and uncertain about how to work with earthy colors as opposed to flesh tones. It’s not terrible but I wanted it to be better. This piece now belongs to my father.

Wyoming Mountains Landscape

I’ve attempted painting landscapes with water elements before. This one turned out very well, much better than I expected at the time. It wasn’t any place in particular but more like a reflection of my thoughts on death and crossing into the afterlife. All in all, not a bad effort but I took it as a fluke because I did this under the guidance of a more experienced painter.

Night scene with a boat dock and the moon.

A trend has been developing, it seems, of me doing better with pencil scenes. It’s not that much of a surprise considering I’ve always done stronger work in charcoal or graphite. But I don’t think landscapes are meant for black and white unless you’re trying to create a darker mood with cemeteries or dilapidated houses. Nature is filled with beautiful colors that express every kind of mood or emotion in the universe and that is the real challenge for an artist to master.

But then I decided to at least work in black and white for a while to master (or at least get better) the technical parts of creating nature-based art. It’s totally different than portraits of people. I cannot approach those things the same way, otherwise I’ll fail at what I’m trying to accomplish. It could be said that people and nature have completely different souls that can’t be interchangeable on paper or canvas.

Recently I attempted doing a drawing of the coast of Scotland in color after such a long time of trying to understand things in black and white. My Scotland drawing was done in Copic markers, which has the benefit of mixing and blending the way I want to do with oil paint but I’m not quite ready to be that advanced yet. Oils are my ultimate goal but it’s been so long since I used them that I think I’m back down to the beginner stage again. That’s fine, though. I can play with color using Copic markers until I’m used to deciphering nature’s palettes and then I can go back to paint.

I’m definitely more energized and ready to try doing more landscapes and seascapes again. Seeing my marked improvement from the Wyoming piece to the Scotland piece tells me that practice really does make perfect, as much as I hate those little sayings. I wanted you all to see the improvement too because some of you might be struggling to master something in your artistic goals. Keep your old stuff because you will see your development over time. And seeing your skills grow will do a lot for your self-confidence as an artist. I certainly haven’t mastered landscapes or seascapes but I can see the evidence that I’m getting better. That’s enough for me.

Take a look at Scotland.

Scotland, Jessica Jewett

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

My Love Affair With Arteza Fineliner Pens

Arteza Fineliners, Jessica JewettIt was a total impulse buy a few months ago and here we are now. My honest confession is that I can’t stop using these pens. They live on my desk on a permanent basis. I’m regretting the fact that I only got the 24 set considering there is the glorious bounty of a 72 set too.

Essentially what you’re getting is a metal tin filled with a variety of colors in the 0.4 mm tip size. To compare with the Sakura Pigma Micron fine liner sizing system, these pens are the same as their 04 size. That means you won’t get the super fine line you can get with the smallest Micron pens but I think Arteza isn’t going for the smallest line. They’re going for something in between that appeals to some professional illustrators right down to people filling in coloring books to relax.

Arteza Fineliners, Jessica Jewett Arteza Fineliners, Jessica Jewett

Now let’s look at the claims Arteza makes about the 24-pen tin that I purchased. The inks in these pens are water-based, which means they are nor permanent like other fine liners. However, they are advertised as being made with non-smudging, odor-free, and acid-free ink. The nibs are long-lasting metal-clad encased tips for precise detailing with rulers and stencils. The triangular-shaped barrel is designed for a perfect grip with the added benefit that they won’t roll off desks or tables. Another claim states that they are ideal for left-handed use.

I can’t say whether these pens are good for right- or left-handed people because I draw with the tools in my mouth due to my disability. I can, however, say the barrel is one of the big reasons why I favor this pen. If you have a mobility impairment, it’s difficult to catch or grab rolling pens, so the triangle shape is easier to hold. The plastic is sturdy as well. I’ve been using these pens regularly for a few months and I haven’t managed to crack any of them yet. So the barrel design is a major pro on the decision whether to try these pens or not.

On the other hand, water-based ink can be a con in the decision-making process because a lot of illustrators out there who use ink often prefer alcohol-based ink. Personally, though, I haven’t found the ink problematic so far. I have found the ink mostly smudge-resistant, bright, strong, and smooth. Only one green pen has minor drag issues but I think that’s a fluke in my pack as opposed to anything reflective of the whole set. That one nib is a little stiff compared to the others. The difference is so minor that I only notice a little drag when I have to fill in a block of color. It is true that the inks are odor-free. I’ve never smelled anything when I use them. When I draw thin lines or fill in color, the ink does not bleed or move around my paper (so far I have used three kinds of paper – two white and one gray). Generally, the ink in these pens is fantastic quality.

Art By Jessica Jewett cropped-artbyjjlogo5.jpg
Forget-Me-Not Pentacle, Jessica Jewett Here are some of my experiments with the Arteza Fineliners.

I’m working on mock ups and ideas for logos, headers, etc., for my art shop, website, business cards, and general publicity. Since they’re just mock ups, they’re not final products. I still have a lot of ideas to sketch out, but that’s the great thing about these pens. You can do a lot of different art styles with them. If I had the bigger sets with more color choices, I could do a lot more too.

The pentacle is something I did for fun, for myself. Pentacles are symbols mostly used by Pagan people today, although they have been used in ancient Christianity and other religious paths as well. It’s important to know that the upright pentacle seen here is a symbol of spirituality, positivity, power, and harmony in  the universe. The inverted pentacle, meaning one turned upside down, is a symbol of the darker arts. They’re not the same.

And forget-me-nots are an important flower to me and I’ve been wanting to practice drawing them. Drawing flowers wreathing different objects has been an exercise of mine lately. I’ve been working on mastering nature, greenery, flowers, rocks, trees, and so on, so I thought the Arteza Fineliners would keep my practice sessions interesting. I respond to color. I’m very stimulated by it. These colors make practice work and experimentation fun for me.

I highly recommend these pens.

You can buy the Arteza Fineliners on their website in different sets ranging from 24 to 72 in number. Prices range from $7.99 to $16.57 on their website at the moment. Those are sale prices and are subject to change at any time.

This was not a sponsored blog. I bought these pens with my own money and I wanted to review them for those who have disabilities and are looking for good products.

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

Struggling With the Witch Cottage Series

I had the bright idea in the autumn to start a series of highly detailed, realistic pencil drawings of domestic scenes based around my concept of how a witch lived during colonial America. It’s sort of fantasy, sort of ancestral reality, and altogether original. My goal was to complete one in time for each of the four seasons. Loosely, they would be themed around Samhain, the winter solstice (Yule to some), Imbolc into Ostara, and Beltane into Lughnasadh.

I have completed Samhain and Yule so far. I think Samhain was fairly easy because I hadn’t yet decided to make it a full series, so I wasn’t feeling any pressure. Samhain is my favorite period of the year too. I can whip out art along the themes in that season with my eyes closed. Take a look at the one that started my bright idea.

The Witch's Cottage, Jessica Jewett

Witch Cottage No. 1:

5×7 print on Etsy for $10.00
11×17 print on Etsy for $20.00
ORIGINAL PIECE SOLD

I’m really proud of that one. People often send me messages asking if I intentionally hid images in the fire or in the shelf. I didn’t, of course, but I adore the idea of people seeing things in my art that speak to them. It means I somehow tapped into some amazing creative energy.

Then I decided I would do it again. A story began to form in my mind because I spent so much time with the first piece and everybody loved it so much. I had to restock it three times, which has never happened in my little shop with another piece of art. The story took shape for a more formal room designed around the winter solstice, which doesn’t look very different from Christmas. The trouble was I tried to finish a major piece of art during the real holidays. I ran out of time! It was tough to balance home life with my artistic ambitions and I had to learn a tough lesson about best laid plans. Witch Cottage No. 2 wasn’t finished until after the solstice.

Witch Cottage No. 2, Jessica Jewett

Witch Cottage No. 2:

5×7 print on Etsy for $10.00
11×17 print on Etsy for $20.00
ORIGINAL PIECE on Etsy for $180.00

But I finished it and I think the challenge was good for me. I changed up my usual way of setting up a composition for domestic scenes. Everything was done to historical specifications regarding colonial America while adding subtle hints that a witch lives in that home. I had trouble though. It was tough to keep my perspective points straight and I still think I couldn’t get those points exactly right. One point perspective I’ve mastered pretty well but two point perspective or more still wreaks havoc on my dyslexia.

Still I’m pressing onward to new challenges. At the moment, I’m working on the third piece in my Witch Cottage series centered around the rebirth and renewed light during the period of Imbolc into Ostara. I had the fabulous idea of a greenhouse scene to show where the witch in this artistic story grows her plants, flowers, and herbs.

Again, I’ve run into delays and the sacred days have already come and gone. This time it was my health. Chronic pain is a companion to my disability and I had to have an invasive procedure this spring. I might even be looking at surgery this year too. So I’m doing my best to be kinder to myself about missing my self-imposed deadline because this is not something that could have been avoided.

Let’s take a look at my work-in-progress of Witch Cottage No. 3, shall we?

Witch Cottage No. 3, WIP, Jessica Jewett

I’m not sure how much you can decipher about what’s going on in this piece but you’re looking at the interior of a greenhouse. There are drying herbs strung across the top. A table and chairs are in the middle with a bench on the right. Through the open door will be a glimpse of the outside as well. I’m planning to set up an Imbolc altar on the table and maybe hide an ewe outside somewhere. We’ll see where things take me as I go. This one has been daunting because I rarely draw plants, but I’ve been practicing in other sketchbooks.

Of course, since I’ve made it this far, I can’t stop now. I don’t really want to stop either. I did not, however, believe I was going to be so challenged by this project. Once I’m done with Witch Cottage No. 4 in a few months (I haven’t yet decided how to depict summertime), I’ll be able to sit back and enjoy the fact that I succeeded at a challenge I set before myself almost six months ago.

Don’t get stagnate in your art. If you’re not feeling challenged, or you’re not slightly nervous about your work, then you’re not developing your skills. An artist needs constant growth in order to experience life at its fullest. Sometimes being nervous is a good thing because it makes your accomplishments all the more potent and special.

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

My #CopicColors Challenge So Far

Last month, I came across an awesome art challenge on Instagram. I immediately wanted to get involved even though I was unaware of it until the second month, so I caught up quickly.

The challenge came about from the Copic brand of art supplies famous for their alcohol-based markers and fine liner pens among other things. On the first of each month, Copic announces three colors that we are to use to create art that month. It can be any kind of art we please but it has to be done only with the three colors they select (plus optional black or white pens for emphasis).

Copic Sea Ocean Markers

I used to be hesitant about using Copic markers. Okay, that’s not entirely accurate. I was afraid of using alcohol-based markers in general because I have to draw with my mouth. As most of you know, I have a disability that makes it impossible for me to draw or write or do anything else with my hands, which means I do those things with the tools in my mouth. If pens crack open or paintbrushes aren’t clean, I can ingest the ink or the paint or whatever, and I can get sick. But I was gifted a pack of ocean-toned Copic markers last summer, so I tried them out. Long story short, they are very well made and I’ve barely left teeth marks on the barrels whereas most markers or pens crack in the first use.

And when this drawing challenge came around, I got excited. I thought it would be fun to do an art project that a lot of other people were doing, like being part of a community.

I wanted to make sure, however, that being part of an art community didn’t compromise my artistic style. The truth is I’m not a typical artist. My subjects are almost always historical, inspired by feminine power in history, or reflective of my religious upbringing (I’m a witch raised by a witch). I knew whatever I did for the color challenge wasn’t going to be like the popular illustration style I’ve seen with Copic artists, nor did I want my art to fit into any mold.

Godey's Lady's Book, February 1856

In thinking about what I wanted to do for my year-long challenge, I only had to look to my antique book collection. I have a full year of Godey’s Lady’s Book from 1856. Godey’s was like a combination of Vogue and Martha Stewart Living for women of the nineteenth century. There are hand-colored fashion plates (like illustrating Vogue models, let’s say) that are stunning works of art to me. Just look at this one on the left from my book.

I love historical fashion plates and I wish we still used them. That was when it hit me. I can create fashion plates progressing from 1800 through the next twelve decades, but instead of copying the old style, I could use the Copic challenge to modernize it with color. I think there’s something interesting in exploring fashion history while layering it with modern color ideas.

Presto! My theme for this year-long project was born. I wrote it down to go like this:

January: 1800-1809
February: 1810-1819
March: 1820-1829
April: 1830-1839
May: 1840-1849
June: 1850-1859
July: 1860-1869
August: 1870-1879
September: 1880-1889
October: 1890-1899
November: 1900-1909
December: 1910-1919

It’s too bad we aren’t on a thirteen-month calendar because then I could have gone into flappers of the Jazz Age as my finale piece! Maybe I’ll do that for myself anyway after the rest of them are done.

Let’s look at the #CopicColor challenge pieces I’ve done so far. The paper I have been using with Copic markers is listed as the “Hammermill Paper, Color Copy Digital Cover, 100lb, 8.5 x 11” on Amazon. I was recommended that paper by Baylee Jae in one of her YouTube videos and I think it’s great for alcohol-based markers but not pencil art. It’s definitely best for ink. You get plenty for your money too.

Miss January – The Purple Lady of 1803

#CopicColors Miss January, Jessica JewettI found the inspiration for Miss January in a portrait from 1803 of a woman who actually lived at that time. I made her into a fashion plate instead of a painting, which created a new and different woman altogether. This was my first fashion plate illustration and I feel like I made some mistakes since I had no real experience before with this style. I’m honestly making it up as I go, which means I ought to be more forgiving of myself, but I’m very critical. I see lots of things that should have been done differently. Still, people seem to like it!

Miss January reminds me of Jane Austen, as does Miss February. You’ll see her in a second. All of Jane Austen’s stories took place in this period. Sometimes I call Miss January and Miss February the Jane Austen Girls.

January’s colors assigned by Copic for this art were B91, V17, and BV02. The only other tool I used was a Micron pen in size 02 for emphasis.

Buy Miss January:

5×7 print on Etsy for $10.00
11×17 print on Etsy for $20.00

Miss February – The Pink Lady of 1815

#CopicColors Miss February, Jessica JewettI’m personally very enamored of this one. I got the inspiration for Miss February from an illustration that was dated 1815, although I don’t know if it was an actual fashion plate or not. Sometimes artists just used the popular style of the period when they were doing pen and ink work. I think the original version was yellow but I might be mistaken.

Naturally I used the colors assigned to me instead and I changed some of the shapes. I’m not adept enough at this illustration style yet to draw it out of my head, hence the inspiration photos from the period. My goal is to be totally historically accurate down to the month if I can.

Miss February was specifically done this way to keep with the Valentine’s Day feeling. I like the way she’s gazing at a double portrait in her hands. I especially like the way she’s sitting incorrectly in her chair (according to etiquette at that time) because it tells me she’s a little bit of a rebel.

February’s colors assigned by Copic for this art were RV32, RV34, and E74. The only other tool I used was a Micron pen in size 02 for emphasis.

Buy Miss February:

5×7 print on Etsy for $10.00
11×17 print on Etsy for $20.00

Miss March – The Green Lady of 1822

#CopicColors Miss March, Jessica JewettI’d say this one has been the hardest for me to do so far. It was probably the plaid fabric that made me struggle as much as I did. I had trouble seeing where the natural skirt folds should be vs where the plaid pattern went. Green is a tough color for me to see for some reason. Multiple shades of green tend to blend into one bright shade if I’m not completely and utterly focused. I think I did fairly well, however.

The inspiration for Miss March did indeed come from a fashion plate dated 1822. I thought all of the foliage in this one made it nice for the green shades assigned to us, although the foliage was not colorized in the original. The first artist intended for the dress and hat (that feather!) to be front and center, so everything else was without color and distraction. I wanted Miss March to feel like a woodland nymph in a way.

March’s colors assigned by Copic for this art were G17, YG17, and YG23. The only other tool I used was a Micron pen in size 02 for emphasis.

Buy Miss March:

5×7 print on Etsy for $10.00
11×17 print on Etsy for $20.00

And there we have it! Those are all of the pieces I’ve done for the #CopicColors challenge up until the present. Sunday is April 1st, so we will most certainly receive our new color assignments that day unless Copic takes a day off for Easter. We’ll see!

I’m also tossing around the possibility of turning this series of illustrations into a calendar or maybe even a book of some kind. It all depends on what I feel after I have all twelve of them in front of me. It also depends on what interests my followers. Who knows? Maybe I’ll do a calendar and a book of short stories based on select illustrations. There are things that interest me about both ideas.

Keep checking back for more in this series!

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube

Goals for 2018

I don’t believe in New Year’s resolutions. I do, however, believe in mapping out goals for the year and checking back every so often to see which ones get accomplished. A lot of these are related to art but some are about my writer life as well. Some combine the two halves of who I am. Still others are about personal growth, which we should all strive for on a daily basis.

In no particular order, here are my goals for 2018.

1. Finish novel Exile to the Water’s Edge.
2. Finish the Witch Cottage art series.
3. Teach online class about American witchcraft.
4. Be a better friend.
5. Begin paintings for art book about decaying plantations.
6. Learn embroidery and crochet.
7. Get better at cooking.
8. Visit more Civil War sites.
9. Work more on my family Grimoire.
10. Be brave and try public transportation.
11. Try acrylic painting again.
12. Continue work on book about my ghost encounters.
13. Remember to stop and breathe.
14. Take better care of my health.
15. Forgive myself more often.
16. Improve figure drawing skills.
17. Spend more time drawing from life.
18. Be braver about artistic subjects that matter to me.

I’ve already begun working on my goals about improving my skills and being braver about my subjects. This is my newest piece of art in my sketchbook completed just a few days ago. She is a reflection of myself in the 18th century using a photo of a living historian for reference but changed at my own discretion. This is brave for me because of the way I drew it and what materials I used. I think it turned out well.

Celine II, Jessica Jewett
Celine II. Graphite pencil, and black and white charcoal pencils on mixed media paper. 2017.

What are your goals for 2018? Tell me about them in the comments.

Donation

Please consider making a donation to help me keep up with the cost of art supplies, living expenses, equipment related to my disability, and so forth. The minimum is set at $10.00. Thank you for your generosity.

$10.00


Follow me on social media!

Jessica Jewett, InstagramJessica Jewett, FacebookJessica Jewett, TwitterJessica Jewett, YouTube