The left sketch is made with copic markers on paper. The other two sketches are made on the i-pad with Tayasui Sketches, where I was trying to replicate the immediacy of the first sketch. I’m getting more comfortable with sketching on the iPad, but I think there is still something more intuitive and natural about sketching on paper. Does anyone else have the same feeling?
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I hadn’t heard of Tayasui Sketches before but yes, I feel there’s a learning process which significantly detracts from doing iPad drawings when I already know all about pencil and paper. With practice, I suppose it’s possible to have the same feel but then the finished piece may always look better on paper.
Hey, I like this app. 👍
Yeh i love it too. Also because there are not tooo many options, its simple to work with.
I like the blending stick, I don’t think any of the others I’ve tried has that. It’s a pity there isn’t a record option though, at least not on the free version.
Yes its on the pay version..
… yes, there is definitely a learning curve to working digitally too, although its easier to “cheat” 🙂 I guess in the end its just another medium that we can now use, depending on what you want. Thanks so much for stopping by Bladud…!
I was interested to see iPads being used on the celebrity painting challenge on tv recently. Amber Le Bon loved using one for her artwork, & really had the handle of it, but others had their reservations. I guess it’s a bit like a kindle versus books. Some people like to try new innovations, but they doesn’t necessarily stick, even though both have their merits. Im no artist, but I’d say you’ve achieved some excellent, comparable results there 😊
Thanks Debbie. Yes, at first i was sceptical. But now i just think of it as another medium to work in. You can achieve a lot working digitally. However it is also much easier to hide mistakes or cover up inadequacies. Paper and canvas are much less forgiving! 🙂
Yes, that’s very true. I do find it fascinating watching programmes showing old artworks being scanned, & them finding alterations, or even whole paintings beneath the top layers, that were completely unknown.