Graphite for Scientific Illustrations - Supplement to the free Guidebook

[@patriciajessop2248]

Rogerio Lupo, After watching this YT. I am so ready for your upcoming video of Self Teaching with Julia T. on 17 February 2023. I also totally understand what you mean about treating your work with kindness and respect. It's like an extension of yourself that you would like to share with the world. WOW & AWESOME AS..!!

[@RogerioLupoArteCientifica]

hi Patricia, I appreciate your kind words, thank you. Great to know you signed up for my class on Julia's program. I love the way you interpreted my words in the video, maybe you transcended what I meant, but indeed ultimately that's what I was trying to convey - "respect your artwork for it's an extention of yourself". Thank you! See you in February!

[@silviatroyo7093]

Great lesson on philosophy of fusing individuality (with all its pros and cons), and work ethics (discipline). The part on techniques is very clarifying. I remembered something I learnt years ago. Work with the grain of the paper, to get a smoother result. It will make easier to use a *very* sharp pencil to fill all the grooves and pores of the paper. I am afraid that with using darker graphite pencils over lighter ones, I get a shiny effect. Have you ever tried Lumograph Black (Staedtler) or Pitt Matt (Faber Castell) pencils?

[@RogerioLupoArteCientifica]

Hi Silvia, thank you for your comment. Actually we talked about all of that during the colored pencils class this week, maybe you can recollect it when you watch the recording. I mentioned the use of sharp pencils to fill in the grains, I cited both Staedtler Lumograph and Faber Mat Pitt, and explained for a long time that you don't get shiny effect with graphite if you maintain a light hand. What causes the mirror effect is not the use of hard pencils first. What causes it is hard pressure. Hard pencils first will help tame the textured finishing. Keep it light and there won't be shiny effect. And what if you want to darken further? Just switch to softer pencils, and continue to keep a light hand.

[@chrissmith8873]

Thank you kindly ! I'm excited to start working with my inner sloth :) and will be sharing both resources with my Botanical Illustration classmates in Melbourne Australia, very grateful to you Rogèrio

[@RogerioLupoArteCientifica]

Thank you Chris, I'm glad to know you like it and will share it! Hope it's helpful for them.

[@coastalphriends4913]

I feel as if this video is directed towards me! The Path of the Lazy discipline!!" Why do layers, when I can use one pencil harder or softer pressure? Now, I am learning!

[@patriciajessop497]

WOW...!! Now I understand why you are such a great artist. You use all your senses.! Love all your 'FREEDOM' tips and AWESOME Art Philosophy too.. Thank you kindly Rogerio

[@RogerioLupoArteCientifica]

You're very welcome, I thank you for watching and appreciating Patricia!

[@silvialcordeiro]

Adoro teus vídeos, tua generosidade me inspira assim como tuas aulas! Uso a simplicidade das tuas aulas com os meus alunos, sempre aprendo muito! Obrigada pela disposição! Muito sucesso!!!!

[@RogerioLupoArteCientifica]

obrigado pelo comentário, Silvia, é muito gratificante saber disso! Muito sucesso pra ti também!

[@sara_diaz]

De vez em quando o coração do poeta recebe um presente,neste domingo Achei teu canal coisa rara desenho floreal botânico em português. Bellos trabalhos e obrigada pelas dicas 🌞

[@RogerioLupoArteCientifica]

Muito agradecido Sara, que bom que curtiu! Mas esse é um vídeo onde as legendas integradas na filmagem também são em inglês, se quiser ver integralmente em português, acesse esse link: kzbin.info/www/bejne/foGXnXZ-oKmcrrc

[@noemipaganelli2307]

I can't thank you enough for this video, not only because you shared so kindly your knowledge with us, but also because we can appreciate the Man beyond the Artist. Thank you! 🙏 I have only one question: do you use any fixative for your final piece?

[@RogerioLupoArteCientifica]

Hi Noemi, thank you for your kindness and your question. I'm happy to know you're enjoying. Good question indeed, many people ask me about that in courses, I ended up forgetting to address that in the video. In fact, I prefer not using fixatives. I used them a couple of times at the beginning of my career, a long time ago, but I found it changes contrast a lot, increasing it. Besides that, I'm always reluctant because we can never be sure whether varnishes and fixatives will age well or not. Some of them may get yellow, some others may crack and so on. I tend to trust good brands, but I've had terrible experiences even with the best ones. Even so, I did use a varnish of an excellent brand lately to protect an acrylic painting. In short, since long ago I got used to simply keep my graphite drawings preserved within a plastic envelope and a folder, and I avoid leaving room for the paper to keep "dancing" inside the envelope, which could carry the graphite and cause those undesirable stains. I've been successful on that! Now this answer will keep registered here for anyone who has the same question. Thank you again!

[@noemipaganelli2307]

@@RogerioLupoArteCientifica thank you so much! Your explanation is clear as always.

[@RogerioLupoArteCientifica]

hi, @@noemipaganelli2307. I'm supposing it's you who asked me about my online course in English on Instagram, is that right? The username is "its-me-mi". I wanted to let you know that I'm creating a mailing list, so if you'd like to receive information when the course is released, do you want to participate? Send me a DM on Instagram with your email address, please. Thank you!

[@larryglatt2548]

I love this and the having fun at the end.

[@gloriatepper5962]

Such generosity , thank you. Can you explain how you transfer your drawing from tracing paper to drawing paper..to avoid graphite smudges ...and what drawing paper do you recommend that is archival? Gloria Tepper

[@RogerioLupoArteCientifica]

Hi Gloria thank you for your question and for watching! To transfer the drawing you can use several strategies. One of them is through transparency, using a tracing light pad or light table. Or you can do it using a window. Another strategy is by simply stamping the drawing on the definitive paper. After you trace it, you use a soft pencil (3B) to trace it again on the back face of the tracing paper, and then you gently stamp it on the drawing paper using a hard graphite (maybe better using a mechanical pencil 0,5 mm, with an H or HB graphite) and running the graphite over the drawing again (yes, you trace it 3 times...). You have to be careful not to groove your drawing paper. Whatever solution you use, you have to fix the tracing paper quite well on the drawing paper using adhesive tape (that's how you avoid smudges - stick the tape on the edges of the paper to avoid damaging the area on which you will draw). Fix it in such a way that you can keep lifting the tracing paper from time to time to ensure the stamp is working. Regarding my recommendations for drawing papers, there is a discussion about that in the guidebook, have you downloaded it yet? You can find the link to that in the video description above. I don't quite understand what you mean by "paper that is archival". I comprehend the meaning of the word 'archival', but not in this context. Can you elaborate on that, please? If you live in the USA or Europe, you'll find Strathmore paper, the model 300 bristol vellum is excellent for graphite. But you can test all their models and see which one you like better. Try also Canson bristol, Canson Dessin, Hahnemuhle dessin, Clairefontaine.... the secret is sampling a lot and then choose the one you prefer.

[@gloriatepper5962]

You will say when you look at my work, Where are the Middle Values? That is what I thought immediately after watching your U Tube. I have a tendency to go too dark.. I take my work seriously but am not disciplined to do accurate technical drawings. I will take your excellent suggestion on transferring my drawings to the paper. Have been making my own carbon paper and it really dirtys up the background paper.. About Archival paper, Your work is museum quality you do not want it to yellow with age. It is my understanding that the mfr represents 100 Cotton Acid Free, Archival. Some suggested to me that D'Arches Cold Press watercolor paper, has watermark on it and both sides can be used for graphite on either side depending on the surface you prefer. Tried to attach 4 drawings,and failed.They are good ,strong, energetic statements but room for improvement. See you are in Brazil, I am in NYC.. Hope you are taking care of yourself in this Covid situation. I have read about the tole it has taken in your country.Best, Gloria Tepper@@RogerioLupoArteCientifica

[@thiagosantos8674]

Oi amigo. Vi você pontuando em um vídeo do Copini. Achei bacana sua colocação e me interesso por desenho tb. Vc deveria fazer mais vídeos , seu canal tem potencial.

[@RogerioLupoArteCientifica]

opa, valeu meu caro, respondi lá. Eu vou fazendo aos poucos aqui, tá corrida a vida.... Tenho um outro canal também em que vou tratar de uns assuntos mais na linha do que fala o Copini (mas discordo muito de algumas visões dele). Aqui vou ficar na parte dos desenhos.

[@thiagosantos8674]

@@RogerioLupoArteCientifica Qual é o canal?

[@luzesdoventosolar]

@@thiagosantos8674 opa, o canal é esse aqui, por onde estou respondendo, chama-se Vento Solar, por enquanto só tem um vídeo, quem sabe quando vou começar a mandar ver ali.

[@TheTelmacavalieri]

Excelente, faço o curso aqui no Kew e a professora indicou seu artigo com os links. Obrigada!!!

[@RogerioLupoArteCientifica]

Eu que agradeço, Telma. Fiquei curioso em saber qual o curso e quem é a professora. Muito bom saber disso!! Obrigado por prestigiar.

[@sara_diaz]

Espero que vc tenha vídeos aonde mostra o trabalho também

[@RogerioLupoArteCientifica]

Obrigado pela dica, excelente ideia. Nesse vídeo mesmo mostro alguns trabalhos, mas não em muito zoom. Tenho apenas um outro vídeo em que foquei especificamente em mostrar trabalhos, veja aqui -> kzbin.info/www/bejne/a2XTap1tp8l-gJI. Tenho alguns vídeos em que faço demonstrações, outros de time lapse, e em muitos deles você pode apreciar o trabalho em muito detalhe. Veja por exemplo as indicações abaixo. E dê também uma passeada pelo meu canal. kzbin.info/www/bejne/gXamqWqVpKuKi9k kzbin.info/www/bejne/g4OvgJykp76mibc

[@sara_diaz]

@@RogerioLupoArteCientifica obrigada,vou pasar a ver e bom trabalho ☘️

[@sara_diaz]

@@RogerioLupoArteCientifica que bom!,muito obrigada 🌹,eu fico feliz em ver um canal de um artista brasileiro de Bellas obras e ainda por cima no meu estilo de trabalho,que nunca fez cursos e Vae se desenvolvendo autodidatticamente,precisamos aprender sempre algo mesmo sendo pouco ,pouco as veces é muito.

[@neelpata4423]

I came here because of a comment you left on the 369 manifestation video. I thought that comment very profound. Do you live that way ? How does one reach that “ appreciation for the “ self “ such that the desire for manifestation disappears ? And when they manifest they don’t affect you regardless?

[@RogerioLupoArteCientifica]

Neelkamal Patalay welcome, thank you for coming and for your question. Yes, I do live that way. I’m glad to see that you caught the basic concept, because you’re mentioning “appreciation for the self”, which are terms that I didn’t use there but you got it perfectly. That’s exactly what it is. So how does one get to that point? It’s simple, in a way: the appreciation for the self, and not the manifestation, must be the main focus, the main goal. In fact, desires and the need to see them manifesting are exactly what can drive our life to misery, depending on the strength with which we become devote to those desires. “First the kingdom of heaven, and all these things will be added to you”, said the sage. He said also: “Do not store up for yourselves treasures on earth, where moths and vermin destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven, where moths and vermin do not destroy, and where thieves do not break in and steal. For where your treasure is, there your heart will be also.” So you see he was referring to the self. First the self, then all things will come. Collect the treasures of heaven, and then your heart (your focus, your center, your core, your concentration) will be there, in those treasures, and not in the Earthly treasures. We need to develop this habit of focusing on the “beyond existence”, and then our heart is naturally driven towards these “qualities”. Once we “have” ourselves back (actually we never lost anything), and once we recognize the ineffable and unequalled aspects of our simple being, we must feed our drive towards these aspects, and then there’ll be nothing capable of competing with it. No desire will be stronger than the desire of remaining in the divine. To be there is to have more than anything that can be desired. And again, as the master said: “for everyone who has, will be given more”. He was addressing the FEELING of having. If you’re feeling complete and fulfilled, life cannot escape but corresponding to that feeling. And when you desire, the very desire is what “steals” from you the natural fulfillment that comes from the self, the source. So manifestation is indeed pointless. When it is recognized as pointless, it comes easily. The life in the flow is a life in which manifestation practically doesn’t matter, all the time. And when it is like that, it’s always happening, so it becomes increasingly unimportant and increasingly easier. Of course when manifestations come, they cause some change, and that can be a challenge when you’re beginning this journey, because eventually you become again attached to Earthly events and things and forget to focus on the self. But as you get experienced, it’s easier to just flow with it, become even happier to confirm again the process, and continue the path forward. Because what manifestations confirm is that you don’t need to mind your life and so you are free to surrender your spirit to life, to what excites you, to the flow. I believe that, in my case, what provided me the capacity to keep focused on the self was meditation. I just sit every day and forget that I have a life. And the state of forgetfulness influences my whole days. But of course anything can be a meditation, like sports, art, dancing, working etc. What really matters regarding that is that we FEEL deeply satisfied. You can spend a day at work feeling like that, or hanging up with friends, or making art, or playing music, and all these activities are doing good to the process. But the key is to surrender yourself to some activities which make you actually forget your desire. As long as your desire is there in the background bothering you, as something that steals your enjoyment, it’s counterproductive. That’s why, again, the master talked about “faith as a mustard seed”: you trust and you don’t need to reinforce your faith, your focus, your desire. A tiny desire, a tiny faith, a huge oblivion, and that’s all you “need”. And all you actually need is nothing and “nothingness”.

[@neelpata4423]

Rogério Lupo How beautifully you write. I know , for a fact , that you’ve summed it all up in this paragraph. I understand it perfectly at an intellectual level. I am nowhere near being this way, living this way. I strive to be - knowing that it shouldn’t feel like strife even. But I am trying to just be. This way. One day I wish to be able to write the above paragraph knowing that that’s my truth. Thank you.

[@RogerioLupoArteCientifica]

@@neelpata4423 Thank you for your careful reading. In almost two decades of interaction with lots of people via web, I realized that each person inspires me to say something different, in some different way, then what I write is all about us. You inspired me and the clarity that emerged on that is also inspired by your being. And what you write confirms my sensation: you say you "strive, knowing that it shouldn't feel like strife even". Moreover you aspire to be able to write something like that "knowing that that's your truth". That's an immense and rare clarity, your wisdom that facades, superficial appearances, mean nothing. It may seem obvious for you (it's always obvious when we live it), but rare are the ones who need to live a truth and not only advertise it. So I'm sure you'll get "here" (not "there" because that's nothing out there and nothing that isn't right here and now). It's a long way to undress yourself of your conditioning and hypnosis. You already have the wisdom of intelectually knowing something but being aware that this knowledge must be lived. All you have to do is aim for it, and you'll find it. We gotta be like Jacob A. Riis wrote: “When nothing seems to help, I go and look at a stonecutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow it will split in two, and I know it was not that last blow that did it, but all that had gone before.”

[@audreycollins9841]

Thank you so much. This is very generous!

[@RogerioLupoArteCientifica]

Thank you Audrey, you're welcome! I share not because I'm generous. It's a kind of compulsive behavior :D

[@gidelmasmith4276]

Amazing

[@RogerioLupoArteCientifica]

Thanks, Gidelma!