Sunday, March 31, 2013
Saturday, March 30, 2013
Giclee prints of my drawing 'Forgiveness' are available at Bluecanvas. Postcards and greeting cards are available at Redbubble. The original drawing is also available. If you're interested, email for price and particulars: firstname.lastname@example.org.
Thursday, March 28, 2013
Session 6. I'm continuing to explore, choose shapes that seem to complement their immediate context as well as the whole. I like the overall, but I likely need to let my hands go, get a little looser at bottom left. The tones are inching toward consistency. The white line at bottom right (drawn with one of my favorite tools, a sharp Sanford Tuff Stuff Eraser Stick, and a straightedge) marks what will be a waterline. Here's a closer look at the beginnings of the reflections there.
Tuesday, March 26, 2013
Session 5. Changes to the area at top left of this detail are subtle, but they solidify, add detail, smooth gradation. More could happen here. More can always happen. Always more after that. But at this point, I don't think anything needs to.
I sketch in-drawing by pulling shapes from the charcoal and graphite midtones with a sharp kneaded or stick eraser. Shapes are quick this way, and I don't get pencil marks/scorings that may be problematic later. The roughed-in bits at bottom center aren't there yet. Their shape and flow seem to work well with those at bottom right. But I expect they'll change.
Sunday, March 24, 2013
Session 4. More detailwork. Areas of greatest contrast become focal points. The composition will continue to evolve, but at this stage, my eye's drawn here:
The shadow's fall may change again. I like the underside of this element, the layered charcoal darks deepening this recess, but at this magnification it's apparent the top isn't quite there yet. Maybe that's why the shadow's edge seems off. Those edges are always a focal point as well, an opportunity to lead the eye. I'll start here next time.
Saturday, March 23, 2013
Session 3. I didn't have a lot of time or energy tonight, but you work when you can. Best, nights like this, to avoid big compositional or conceptual decisions, look for the next small thing that seems to need doing, go from there. Here's an enlarged detail of one area I worked on.
This is how I see the work through my magnifier. The darkened recess is HB charcoal pencil, sharpened with an emery board. Stipple, blend with a Q-Tip, repeat.
Wednesday, March 20, 2013
For me, most of the joy of drawing is in exploration and discovery, and my approach indulges this. I love detail, and I dive right in, developing small passages immediately, usually without any idea what their context will become. I really don't want to know yet- What fun would that be. But those first passages offer possibilities, directions, and I choose one, and see where that leads, and so on.
Admittedly, it's an utterly inefficient process. Sometimes No Planning doesn't work out so well. But so far, so good.
Tuesday, March 19, 2013
On the drawing table, begun tonight, four hours in. A productive session. I've good intentions of documenting progress and posting updates. Should they fail to ensue, one or more of these possibilities may offer explanation:
1. I'm working on something else.
2. It's Healthy Snacktime.
3. Okay I'm not working. I'm watching House of Cards.
4. That was fun. What time is it. I need a nap.
5. Well, I've fucked this one up irredeemably. If so, no explanation will follow.
Hopefully, of course, this last will not happen. Stay tuned.
Tuesday, March 05, 2013
Mark Reep is that stepbrother you had a thing for, the one who turned you onto Steve Vai, Stoli. You plotted how to kill his girlfriends and cried and threw up at his going-away party. When he came home on leave you still wanted to hurt him so you said he was somebody else. He said you too. You wanna get high? Last you heard he was driving an icecreamtruck somewhere in Texas. You can't make that shit up. He still calls sometimes. He's always drunk. He thinks it's your birthday. Don't let him talk to the kids.