#lumograph

[missanthropicprinciple]

keeping me going in March '25

[brprvdi]

HI PEOPLE

i wanna start posting my drawings somewhere so why not start here

anyways hi come be friends with me im nice :3

[dreampencil]

Waiting for paint to dry...so here is Dean silenced by the Empty.

Mars lumograph black + watercolour.

Cas version here

To be added or removed from tag list, please let me know :)

@naughtystiel

@malicmalic

@fivefeetfangirl

@letmeblued

@castielsprostate

@dean-you-assbutt-cas-loves-you

@casdeans-pie

@pattywinchester

@bogwitchatrois

@bloodydeanwinchester

@beregond35

@horrorcas

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@ididit-allofit-foryou

[effinbirds]

Your pal Effin' Birds did a cover for issue #5 of Sweet Paprika: Open For Business, out June 4th from Image. Tell your local comic book shop that you want Cover D, aka the Dog In Heaven cover, order code 0425IM410. https://imagecomics.com/comics/releases/mirka-andolfos-sweet-paprika-open-for-business-5-of-5

Huge thanks to Steve Orlando for wanting me on this project, and to Mostafa Moussa for his inks that pulled the whole thing together.

Here's me 'n Mos at Dragon Con last year, when he delivered the finished inks. Feel free to identify my excellent cosplay.

Here's the lucky Effin' Birds fan (whose name I do not remember and I feel really bad about it) who snagged the original just hours hours after I saw it for the first time.

And here's a photo from last summer at Freddy Beach Fan Fest in New Brunswick, Canada, where, if you look closely, you can see me figuring out the dog.

computer, enhance

TECH NERD SHIT: Someone is gonna ask, so that's a ReMarkable 2 with a Staedtler Mars Lumograph Digital stylus. This was my go-to combo for both writing and drawing until recently when I upgraded to a ReMarkable Paper Pro. It's an upgrade in almost every way: colour, storage, speed, battery life. I'm a little bummed that the Paper Pro uses a proprietary stylus, though, because one of the joys of the 2 was this wide world of input devices that have different feels in the hand and different tactile feedback (harder and softer tips, different barrels, etc). The combo of the Staedtler barrel, a hard Mitsubishi / WACOM tip (stolen from the Mitsubishi Hi-Uni Digital stylus, my second-favourite, just a little too short for my big hands), and the pebbled glass of the ReMarkable 2 convinced my body that I was working with a pencil on paper and made me instantly comfortable.

[fromarttofinish]

Iron Man / Tony Stark split portrait drawing.

Pencils used: Faber Castell Polychromos & Staedtler Mars Lumograph

Process/Timelapse video on Tiktok: https://vm.tiktok.com/ZGdF2Bd3E/ (More Marvel drawings there too!!)

[ramius-xiv]

Fig. 4: Early tintype lumography, wet emulsion plate, Eorzea, recovered in 135 7AE. Subject and lumographer may be Ramius Raske, inventor, Eorzea 1554 6AE - ? 7AE (Cat. 4391J)

[From museum archive c. 194 Seventh Astral Era]

[the-do-that-girl]

Lucifer - Tom Ellis from Episode 10 Season 5 ' Bloody Celestial Karaoke Jam'

Mars Lumograph Pencils and white pastel pencil on Strathmore Grey Toned Mixed Media Paper - by me Aug 2024

[petportraitsbyheatherlovelace]

A portrait I just did for fun of a fancy rat. Staedtler Mars Lumograph pencils used on 9"X12" Strathmore paper.

[tomdayaqna]

I love zendaya but I'll never support her mechanical pencil propaganda 😭😭. Wooden pencils,lumograph pencils etc are the way to go.

When I started reading this I was nervous about where it was going 💀

Wooden pencils are superior though, I agree

[its3oe]

Thinking about social media and how it still has me feeling like i must stretch myself thin to appeal to the arcane forces of The Algorithm and Trends is making me want to die a little bit so i'll continue being a recluse until i can find a suitable fluid to cradle my brain in that lets me not feel that pressure anymore. I'm still working on thinking of myself as a person and not a performing toy object sort of thing! I'd like my approach and presentation of myself on-line to be maybe not wildly different, but more enthused, "personal," and real. Not a re-invention of myself so much as letting me be ME in the first place! my favorite pencil to draw with on paper is the staedtler mars lumograph 8b and you should give one a try if you feel so inclined

[anamiguelmendes]

A bit of progress on the hair. 💇🏼‍♀️

Using my Mono Zero eraser from Tombow, my Posca white marker and my Staedtler Mars Lumograph Black pencils.

[Links & Social Media]

[kat-desade]

Im not dead... lol just been to hot in the land of Aus to do much work lately....

I did mange to attend All Hell Breaks Loose 12 (aussie supernatural con) over the weekend and got my art signed 🥰🥰

A portrait of the Supernatural guests attending All Hell Breaks Loose 12 in Melbourne.

Such an amazing time was had, each guest was truely lovely and excited to see the sketch in real life with Jared even commenting that 'This is fucking amazing!' 😻

I meet some wonderful people down there - there truely isn't anything like the SPN Family 🥰

Left to right, top to bottom:

▪️Dean Winchester

▪️Sam Winchester

▪️Adam Winchester / Michael

▪️Trickster / Loki / Gabriel

▪️Arron Bass

▪️Young John Winchester

▪️Lady Toni Bevell

▪️Chuck / God

This is my most detailed compilation portrait to date, Im so happy with how it turned out for juat 2.5 days of work 😻

Paris A Conte and STAEDTLER Mars Lumograph penciels on Strathmore paper

[a-s-levynn]

Okay there is no new art or anything today (the how i do stuff is w.i.p.) but i got a few new pencils and a pen last week and i wanted to do a new comparison.

I'm putting it under a cut because it is really not scientific nor professional, simply a random observation from someone who draws as a hobby and i know there is a limited amount of people who would be interested in that.

The pencils in question:

Faber-Castell (triangle) 2B Faber-Castell 9000 2B Faber-Castell Pitt Matt 2B Faber-Castell Pitt-Matt 4B Koh-i-Noor Hardtmuth 1500 4B Koh-i-Noor Hardtmuth 1500 2B Koh-i-Noor 1770 2B Staedtler Noris 2B Staedtler Mars Lumograph black 2B Deli 2B Tombow Mono100 2B

The pens in question:

uni-ball Signo white Sakura Gelly Roll 0.5 white

The comparison

The upper white line is the GellyRoll, the lower white line is the uni-ball. The blended column was blended with one of those woodless white pencils, not a paper blender stump or anything. Also please just ignore how bad i am with the layout

I mainly kept to the 2B hardness, i'll explain why there is two 4B-s included when i get to them. So let's go over them one-by one.

Faber-Castell (triangle) 2B Trusted friend. Slightly lighter than the usual 2B pencils but it is reliable, looses sharpness somewhat slower than most. Smudges less then most. Mid range price.

Faber-Castell 9000 2B Cool stuff. It is very smooth, blends very nicely, the smudgeing isn't too bad. Upper mid range price.

Faber-Castell Pitt Matt 2B Novelty but for what. I first bought this because i was excited about the supposedly less shine this has over other graphite pencils. Which is exciting, needing less editing after scanning. What i did not know at the time, that for the same saturation you have to purches 2 up to get the same result. So initially i was utterly disappointed with the 2B because i just wasn't able to get the level of depth and darkness that i like. Upper mid range price, not sure i would recommend, but it is fun to try once. Upper range price.

Faber-Castell Pitt-Matt 4B Enter 4B version. This is what a 2B pencil is. This one redeemed the 2B one. It actually is about the same result as the F-C 9000. They are fun but.. not really that special. Yes there is somewhat less shine to them but i don't think they worth the price just for that. Upper range price.

Koh-i-Noor Hardtmuth 1500 4B Only included to serve as comparison to the Pitt Matt 4B. Low price range.

Koh-i-Noor Hardtmuth 1500 2B Reliable. Reasonably smooth, nothing special but in a good way. Low price range. Holds sharpness relatively well. Low price range.

Koh-i-Noor 1770 2B My oldest friend. Bit scratchier than the K-i-N 1500 but nothing too abrasive. Holds sharpness relatively well. Worst blendability. Cheap.

Staedtler Noris 2B An oldie but a goodie. I know this is many people's favourite, and not without reason. It's nice, reasonably smooth. For my tastes it looses sharpness a bit faster than i'd like. Cheap.

Staedtler Mars Lumograph black 2B Now this one is a new one for me and i am not that floored by it. It is a nice and smooth feeling pencil but i don't feel the step up in price is bigger than the step up in how it feels to use. Upper range price.

Deli 2B This feels very close to the Lumograph actually. I would not be surprised if the goal was a more accessable alternative. It is nice and smooth, very nice blendability. Cheap.

Tombow Mono100 2B Now this. To be honest this is the one where i actually felt like a significant difference. This one is nice to hold, feels so good on paper, it is smooth, blends nicely. I'm loving everything about it. I'd consider this an expensive one, but i'm not mad about it. This one actually has ther shits to cost more than the rest.

For the two white pens, you can see how well they work on graphite. Both is pretty nice, they don't really differ in price either. I am more partial towards the GellyRoll, because it has a bit more opacity to it, but honestly the uni-ball is almost as good and the application of that is much much smoother. So they are about on equal grounds. It all comes down to preference really.

So yeah, that's me for today i guess. ✌🏻

[bodhranwriting]

Tocktick - Our Introduction to Our Villain

Norris sat seething in the corner of the Branded Crow, his third pint untouched and a stolen newspaper spread across the table.

The headline was, of course, sensationalist and mildly confusing – DEVITT DOMINATES with a byline admitting, NEW ENGINE CATAPULTS CREW TO NEXT ROUND – while the article penned underneath was a more restrained summary of that day’s leg of the Throgmorton race and the author’s tentative predictions on this new piece of technology. He glared at the third lumograph down, ignoring the image of a triumphant Devitt lifting the flag and the one showing the Elmstone siblings fixing their sails, seeing a shot of Talas, Maia, and Emmett standing by the engine. Emmett looked uncomfortable, his face-half turned away and blurred.

No need for that, Norris thought scornfully. I don’t have any proof.

He knocked back his pint, slamming it on the table with enough force that a few of the drunks slumped against the bar looked around. Dark hells, twenty years wasn’t enough to forget the face which had gotten him fired – Emmett Askren was Juan St Ciel, he was sure of it.

It was odd. He hadn’t thought of the youth beyond occasional night-time self-pitying sessions for nigh on a decade and a half now. But one look at his face and it had all come rushing back. The glow of triumph at getting to kill two birds with one stone was enough to excite him into action – stop Katsaros from putting a dent in Gorge’s considerable profits and bring down an elusive past ghost.

Then he remembered that he had no papers, no people who still recalled the man in question. His old bosses were long-dead, the institution in question abandoned and across two oceans. No one cared.

Except him, of course.

His hands were itching. He wanted to hit something, someone for just looking at him funny. He scowled at the other patrons, wondering who would last longest in a fight. None of them looked promising; slug-like middle-aged dockworkers, a few chirpy and withered grandmothers, youths with brittle limbs and prematurely lined faces.

By the Sunlight God’s arse, he hated this place. All the fight had been beaten out of it years ago. A kind of grey inevitability reigned over the inhabitants. The crime consisted of drug-addicts and smugglers rather than any firebrand riots. Barfights here and there, attacks on native and Empire-imported inhabitants by the opposing sides, but there was no real spark to it. It was like the islands permanently had developed low-grade tension headaches. It wasn’t fun.

The tavern door swung open. The entire room’s – including Norris’ – attention flickered towards it. They all stayed there. Norris frowned slightly.

The man who strode inside was tall, about seventy or so years of age, with a neatly trimmed white moustache, beard and swept-back hair. He carried a black cane, but he moved like a dancer, perfectly aware of where he was in the space. The smoke and dirt had settled deeply into his jacket – it had probably been an ivory sort of colour once, but it was now an unpleasant shade of brown. His boots were high-quality and foreign; Eastern by Norris’ guess.

He was also maddeningly familiar.

Either ignoring or oblivious to the stares, the man strode straight up to the bar and flashed a smile at the barkeep. Dipping a hand into his pocket, he spoke in a voice too low for Norris to hear and then produced a rectangular lumograph card. He slid it across the bar – paying no attention to the man next to him peering over his shoulder.

The barkeep made a show of looking it over, but Norris knew that he would disavow all knowledge of the image’s subject. There was a reason that the Helionites’ luminary of protection was also the guardian of those behind the bar.

Not that it was religiously motivated here, he thought scornfully, self-preservation was the saying of the day.

The barkeep shook his head and silently gestured to the taps. The hand held up in response was white and too fine-boned for his frame; if this man had ever done manual labour it had been a lifetime ago.

Then he lifted his cane and rapped it carefully but firmly on the wood of the bar.

It was completely unnecessary. He was the most fascinating thing in the building. The gazes only became open.

Norris sat back in his chair, fingers flat on the table, waiting.

“Good evening, ladies and gentlemen,” the voice was velvet and ridiculously affable, “I request merely a few minutes of your time to assist me with a most important matter.”

A speech like that should have gotten a bottle smashed over his head immediately, but the situation was so unusual, so odd that the tavern was held back in their chairs and captivated. It probably helped that his accent was Eddorian – another small country swallowed by the Empire years before – and therefore not the voice of their brutish overlords, but the sound of another subjugated ally seeking assistance. In the hierarchy of the oppressed, Eddor was not high on the list having surrendered quickly and been permitted to keep much of their culture due to it being so similar to the Empire. But it was still a colony and that meant a form of trust among the Islanders.

Norris was rather proud of himself for the observation, but not so much that he didn’t listen intently to the man’s next words.

“I am buying the next round,” the proclamation was met with owlish silence, “And as you collect your drinks, I will show you a lumograph. I request that you look it over most carefully. And if you know anything about the man – anything at all from having glimpsed him in the street to him being your missus’ lodger – I bid that you tell me. I will pay a sixpence for each truthful piece of information you give.”

The edge to truthful was the flash of a hound’s fang before it growled.

No one moved. A sixpence to Norris was a measly sum – to an Islander it was a good week’s labour, but their pride would not allow them to take payment for informing on someone who (for all they knew) was an enemy of the Empire.

The man regarded the crowd carefully, hand curling tightly about the cane. For a heartbeat, his expression was of frustrated bemusement before the warm smile crept back.

He laid his free hand on his heart and said, “I have come upon my own accord and no one else’s. This a matter of personal import. I am not – and never have been – affiliated with this nation’s government.”

There was some half-hearted shuffling of the patrons once they had figured out the word affiliated. They formed a dense queue, each person staring down at the lumograph before indicating an answer to the man’s question. Once the brief conversations were done, a mug was pressed into their hands, generously filled with beer.  

Norris didn’t move from his seat, attention locked on the stranger’s face. He kept his friendly mask fixed firmly in place, but his stance became tenser as the line grew shorter.

He was evidently not getting the answers he was seeking.

As the last patron turned away to enjoy their reward, the man’s gaze fell on Norris. He pushed off the bar and strode over, made invisible by his gift of alcohol.

Norris made a show of studying the newspaper as the man sat down at his table. He heard the whisper of card as it was pushed across the wood.

“Take a look, please.”

Norris did not look up. “Are you going to increase the price?” he asked, “How much is this man worth to you?”

“A lot.” The voice was low, and he heard a discordant note in it. It wasn’t anger, but he had the man’s attention; whether he was willing to play Norris’ surly game was a different matter altogether.

“Hm.” He stared unseeingly down at the paper, waiting to see what the man would do.

“But I wouldn’t insult you by offering more money,” the man continued quietly, “However, I would ask that you look.”

Sighing heavily, Norris did. The image showed a male – maybe in his late sixties, early seventies – sat easily in a chair half-smirking at the lumeretta. He had a compact build, not-quite round face with wide-set eyes, and a mane of hair too long for a fashion-conscious Empire man. The lumograph had the usual muddy shade to it, so he couldn’t make out what kind or colour the shirt was save that it was not dark.

He was ready to turn away and disavow all knowledge when he realised that he did recognise the man in question. There was something about the mouth, the insolent smile struck a shard into his memory.

But he couldn’t grasp it from the mire. Norris sucked his teeth and then stopped, realising that the stranger was reading him like a book.

“You know him.” It wasn’t a question. The fangs were extending again.

Norris drummed his fingers on the table and decided to be truthful. “There’s something I recognise,” he began, “But I cannot recall what it is. But I have seen him. And recently.”

The swirl of emotions in the man’s eyes was gone too quickly for him to read. Norris leant back in his chair, interlocking his hands. He gazed coolly upwards.

“Do I get a sixpence?” he asked.

The man smiled. He fished inside his jacket and brought out a small, embossed card. “Better,” he replied, “Here. If you do recall anything of note, please either come or write to this address. You’ll receive more than just a sixpence.”

“A whole crown, perhaps?” He did not keep the sarcasm from his tone.

The man inclined his head, acknowledging him. “Perhaps.”

[artistahab]

J. Robert Oppenheimer (Cillian Murphy)

Medium- staedtler mars lumograph graphite on strathmore bristol vellum

- Comission Open

[delulluart]

do you have paper recommendations (for both drawings and watercolor paintings)? i want to get back into traditional art and don't really know were to start. also what pencils do you use? and watercolors? or do you use guache? what brushes should i get? sorry i know this is a lot of questions but it is a bit overhwhelming and i really liked you're ghost paintings 😊 and i don't want to buy bad things

oh dear, first of all: thank you, I'm very happy to hear you enjoy my silly stuff! And it is always great to hear people getting back to traditional art, since it seems like almost everyone is doing digital art exclusively these days (this is NOT me shitting on DA, i love you digital art people).

Anyway, yes, there's *a lot* of options out there and it is so, so important to get at least okay-ish quality equipment.

Paper

Paper is, in my opinion the most important factor, especially for watercolour works. switching to good quality paper was an absolute game changer - 0 exaggeration!

Watercolour paper:

I use mostly Hahnemühle Britannia 300g/m² cold pressed with matte surface. it comes with different surface options, depending on the effect you want (rougher surface etc., but i don't vibe with that). it is still relatively affordable, but still, hurts the bank account quite a bit.

If i want to go for some more silly stuff, i use Hahnemühle Burgund 250g/m². because it's thinner it is cheaper (you just can't put as much water and as many layers on it, which, for my use case is usually perfectly fine).

If i want to go full fancy I use the Hahnemühle mould made 300g/m². It's handmade paper, not from trees but with fabric, it is incredible how well the colours work on this stuff. Many people use Arches paper, but that is way too expensive for me. and I'm very happy with the Hahnemühle.

The difference between cheap as shit no-name watercolour paper and some good quality brand paper is, and I cannot express this enough, incredibly big. those ugly rims and splotches and uneven colour fades? that's the cheap paper's fault, not yours. It made me really desperate thinking I'm just too stupid for art, when it wasn't my fault.

For drawings I also use Hahnemühle:

my favourite is Skizze 190: very smooth surface, very white and very affordable!

another is Nostalgie: It feels even smoother in a different way, is less white. at first touch they seem identical, but handle very differently. this one is just as affordable as the Skizze 190 one.

Cheaping out on paper means you'll pay with happiness, really. save your nerves and motivation and spend the money on nice paper. trust me.

I'm not sure, Hahnemühle is available wherever you live, but go to an art supply store (a good one) and ask for help there!

Pencils

I exclusively use Staedtler Mars Lumograph pencils these days. They are very consistent in their...abrasion? there's no hard chunks in the lead, and they cost very little. They also have the Lumograph Black pencils which have a high charcoal level, which is super cool when you have very dark areas, because it won't get super shiny!

Watercolours

I got myself a set of Lukas Studio Watercolours and added a few more that i use often/ needed more than the ones already included in the set. They're not very expensive (compared to other big brands that everyone seems to use) and i like them. I never tried the expensive Windsor etc. paints, though. The price is very attractive and I never had any problems with them.

I also have a Gouache set that I got second hand from my sister by Caran d'Ache. I don't know whether it's good or not, because I rarely use it, mostly for accents on my watercolour paintings.

Brushes

until very recently I used rather cheap but good synthetic brushes for ethical reasons. I accidentally bought a natural hair one and it was....extremely good. With a heavy heart I now switched full time to much more expensive Kolinskis. Ethically this is an absolute nightmare and I will try to buy as few as possible and use them forever before buying new ones. But they are, unfortunately, much better. I wouldn't necessary recommend the brand I used because they're bad at keeping a tip, though.

But if you're just starting: go to an art supply store and get 3 synthetic ones in small, medium and slightly bigger with a nice tip and you'll be very happy for quite a while, i promise!

I also highly recommend getting a Pentel Aquash as a starting tool and for painting outside (don't buy a cheap fake, they're terrible)

alright, I hope i could answer your questions and if you (or anyone else) wants to know more, just ask :)