Saturday, February 28, 2015
Tuesday, February 24, 2015
Sunday, February 22, 2015
I like the open-ness of this, and the juxtaposition of fluid and more controlled values.
There was just enough time that there is a little bit of urgency to the image-making, as opposed to more leisurely overworking.
But time is relative - after 5's, 10's and 15's, 40 minutes seems epic. But within an extended 3-hour pose, 40 minutes is only 1/4 of the way.
The top two sheets are Canson Recycled Sketch paper, and the ones below are Strathmore drawing paper. All are 18 x 24", and all these have medium Pitt pen with a range of greys in Pentel brushpens.
Saturday, February 21, 2015
These are two 15-minute studies above, and a couple of 30-minute studies below. The upper ones are on 18 x 18" sheets of Strathmore Drawing paper, and the longer studies are on 14 x 17" sheets of Strathmore Bristol paper.
These are all done with a mix of gray washes and a medium point Pitt pen.
Thursday, February 19, 2015
Burlesque performer and sometime Toons on Tap model El Toro was working that day. these are a sheet of 1-minute studies up top, and then 5-minute ones below. All are Pitt pen and gray brushpen washes on 18 x 18" sheets of Canson Recycled Sketch paper.
Tuesday, February 17, 2015
All are done with a range of gray washes applied with Pentel brushpens.
These are all Pitt pen and Pentel brushpens with gray washes.
All of these are on 18 x 18" sheets of Canson Recycled Sketch paper.
Sunday, February 15, 2015
The image is a little stiff. Polyna's head seems a fraction big and edges into cartoon territory, and her foreshortened body sinking into the chair looks awkward. ( I don't know why people seem to be using black cloths on chairs and stools these days - it sort of undermines any adjacent shadow possibilities.)
I kept the background lighter, and I'm happy with the range of marks and values in this one, which includes a fair bit of applying dark ink on the tip of a pen filled with lighter ink, and exploiting the gradients that makes.
This is on an 11 x 22" sheet of the same 200 lb rag cold-pressed paper as the Tuesday. No sanding this time, and it was playing nicer, which I was liking. I feel the inks I are sitting better on this paper. Some of the background washes were applied with regular watercolour brushes, not brushpens, which led to broader strokes and some richer textural effects.
The top one is black and grey brushpens on 18 x 24" Canson Recycled Sketch paper. The second one is also ink washes on a 15 x 22 sheet of Stonehenge paper. It was a bit more bleed-y than I would have liked.
The next one is water-soluble graphite on an 18 x 24" sheet of Canson watercolour paper. The last two are on 18 x 24" sheets of some Curry's brand cold-pressed 200 lb. rag watercolour paper.
I had picked up a 5-pack of the 200 lb paper, but found it too rough on first try, especially with dry media. This evening I tried sanding it lightly before working. That led to a smoother surface, loads of cotton dust, and uneven absorption, so that is an experiment that has not been repeated.
There just wasn't chemistry for me that night. Some nights are like that, but it's always worth trying, if only to rule out unproductive hypotheses.
The standing back study was okay, but the rest of the night was something of a wash. The images did resemble Paris, but were lacking focus and confidence. Even Paris himself, who is dependably flattering to people about their work, wasn't saying much when he peeked at these during breaks...
All of these are on 18 x 18" sheets of paper.
It was my first time at the White House Project space. They are a couple of blocks south of College St. on Augusta, on a second floor. Their drawing session is 2 hours, most Monday nights, from 7 - 9 p.m. The emphasis is on short poses, and the space is quite spare in terms of furniture and props, and lighting is quite simple. They play a mix of indie and post-punk music, not too loud. Personally, I liked the bare-bones ambience of it.