Many mobile artists prefer using a stylus over the finger when painting, and there are ready-made options like the Pogo Stylus or the mi-stylus.
They do work fine, still they don’t feel very much like a painting tool in your hand.
Wouldn’t it be cooler to have a tool shaped like, let’s say, a real brush? Easy! All you need is sponge like this one:
You simply use the softer part (not the dark scratchy stuff). In this case, I cut off a part of it, rolled it tightly and put it into a Koh-I-Noor lead holder. That’s it, works great, you just need to keep in mind: in order to register the touch, the tip needs to have a minimum size, approx. 0.5cm in a square.
We just discussed ways in which we might add or enhance the textural quality of our own fingerpaintings. Now let’s have a look at someone who puts those methods to good use.
Mike Ryon is a fingerpainter fairly new to the scene, but who’s work certainly reveals the experience (and results) of a very well seasoned painter. Ryon’s work is most known for its expressive textural qualities and his impressionistic, lively display of subject matter.
Mia Robinson gives us an overview of textures in Fingerpaintings, and shows us how you need to set your painting apps to yield them.
Most of us have found our way with this new art form. No one sat any of us down and gave us rules — we don’t necessarily have some historic book we can use as reference, “Modern Digital Art — The Fingerpainters’ Movement”. In other words, most of us creative people are left to our own tools and devices — our own internal expertise — creative interests and whatever else that motivates us to do art. Experimentalists, at best–you see, we do what we do because we’re at a phase where we are trying to understand the medium — trying to feel it out, test it — PUSH the limits and see just how far we can take it.
Great video by Michael Ives showing all the way from first sketch to the final fingerpainting.
Many of us are still trying to discover that perfect way to print our fingerpaintings. For those who find ourselves with limited finances, technical knowledge, equipment, and/or patience, I offer this a really simple and cost effective alternative to printing on a large scale and/or canvas:
As an experiment, I took 4 of my older abstract pieces that were not at all ready for printing. The images had not been retouched or resized. I simply uploaded them from my phone to email, saved the images to a flashdrive, and lazily walked it over to my local Kinko’s. I requested that each print be resized to 6” x 8” and printed on 8.5” x 11” poster paper (in this case, glossy). The quality of the print was quite nice. We played around for a bit with other sizes and paper, but I found that the 6×8 on glossy created the best quality print of my images. There was a bit of pixellation, but not too noticeable as the works were abstract and “unclear” in effect.
This process only costed me $22.00. The prints, by themselves, were only $1.29 a piece with an additional fee for resizing (and the billions of hoops I had my very helpful rep jump through as a result of me changing my mind and wanted to test everything). Note: To save even more, you could resize the images yourself.
Once I had my prints, I stopped by my local art supplier and purchased four 9”x12” frames with 6”x8” matboards. It took me all of 5 minutes to find them once I walked into the store. The frames were thin metal in black with white matboards. Very inexpensive (you will probably find many on sale this season.)
The result? See above. Quite nice. Looks beautiful mounted as a series on a wall; or even better: ready gifts for the upcoming holidays. Enjoy!