Thursday, December 17, 2009
Wednesday, November 18, 2009
Thursday, November 12, 2009
Okay, I'm very, very excited about these two!
I'm getting ready for a show with Mikell Stringham, and Mondo Fine Art. These are two of the pieces I've just finished for that show.
I think that the face of lady #2 is so pretty. I was excited to have it come out on paper. I was a little leery about keeping her topless, but I'm comfortable with her the way she is. She's quite reminiscent of my older work, which I've really been trying to reincorporate into my work. Lady #1, in my opinion, is also pretty. I'm completely content with her, and with how she's turned out. I'm trying to play around with increasing contrasts; more pure black, and bright white. I'm removing outlines from my work, meaning that I'm not defining white spaces with lines. I'm defining it, rather, with black space around...like on lady #1's face. I've not outlined her jaw or forehead. I've defined them using her hair and her collar. I'd eventually like to completely remove outline. It make for a stronger piece, I feel. It makes a piece look more like legitimate artwork, and not just drawings or sketches.
Monday, October 12, 2009
Okay, I've been busting my brain, trying to get some work done. I've really been feeling the "flow" lately, and have wanted to take advantage of it. I've got a couple of potential shows coming up soon, and want to submit new, fresh work for the two of them. Here are some preliminary pieces that I've got to finish by the end of this week. I'll be experimenting a little with gold leafing, new colors, etc. I'll most definitely post the finished pieces.
Tuesday, September 29, 2009
I've a problem illustrating men. They aren't as fun as women. If I do illustrate a man, however, I tend toward some sort of ceremonial man. They're more ornate, flashy, and mobile. Here's my latest. I'm rather fond of this one. I love the fringe on his leggings. I love native American, actually. Everything about them intrigues me. I've a dear friend who's part native, and I'm amused and fascinated by him. This one reminds me of him, actually.
My next work will be a commissioned piece for my friend Ashley. I'm excited to see what comes out. She's given me full license to do whatever I want on this one. I'll keep you posted!
Wednesday, September 16, 2009
I haven't produced in weeks. I've meant to, but have been feeling slightly frustrated with my work. I feel differently now. I'm not sure what it is, but I feel unsatisfied by my artwork. Okay, that's not entirely true. I still love so many of the pieces I've done; I just feel that I've thoroughly explored my current style and method. At first, I was satisfied with an image that "snapped" and/or "popped". The line of the figure was enough. Now, though, I feel a need to delve deeper into my brain, pushing the envelope beyond it's current capacity. The image of my piece needs to be so much more than my current ability can produce.
Here is one such example. I started this piece a couple of weeks ago. I love the lines, the contrast, I LOVE the hands, but there is so much that is missing....and the most frustrating part about it is, I don't know what it's missing.
This has happened before. I've been able to push through it. I'm confident that I'll explore enough, until I find what it is that I'm looking for. Here's a basic idea of some of the attributes I'm looking for: I'll continue with black, white, and red, but I will begin to incorporate colors. Heavy patterns are a must. More motion and flow to the figures and clothing will definitely develop. Detailed backgrounds, I feel, will be the next step.
Sunday, August 16, 2009
I've been told, by someone very close to me, that my older work is preferred. He said: "Your older work is quirkier, and more 'you'." I think, for a time, I'll look back into my early years, to see if I can recreate a thing or two. Who knows, it could be something fantastic! Here's a picture of an older piece. I always loved the placement of her hands, and the curvature of her figure.
Saturday, August 15, 2009
Here she is. I finally completed my commission. It was quite an effort. The actual artwork came easily, but it was a great expenditure of mentality that brought this particular piece to fruition. I think that one of the main reasons was because I virtually had to create four pieces in one. Typically, I just come up with a figure, and build the work around him/her. In this case, I had to form a figure, build another completely different figure next to her, and then another, and another. Like I said, it was like four in one. I feel that it was worth the effort, and definitely plan to produce again....soon.
Tuesday, August 11, 2009
I know, I know...Halloween, right? I also admit it...there's such a strong Burton influence, that there's probably more him in this piece than there is me. I can't help it, I think that Tim Burton is genius.
I've been considering a branch out of fashion illustration, and whatever else it is that i've got going on in my work. Don't get me wrong...I'll never abandon my elongated, curvy figures. I thought it was time I explored something else at the same time.
One of the important aspects of work, to me, is exaggeration of prominent attributes. Architecture, for example, is typically a construct of lines...usually horizontal and vertical. I like to pull those out of the images, and cause them to do something that they can't do in real life. When I was young (heck, whatever...I still do this daily) I used to imagine myself in possession of the ability to break the laws of gravity and reality. I used to fly, stretch, teleport, change colors, etc. My mind made possible what my body could not. I guess the same rule applies in artwork. I can make happen, on paper, what I wish could happen in life.
I always wished to live in such a town.
Saturday, August 1, 2009
Well, I've started my first commissioned piece. It's taken a little longer than I'd first anticipated. As I create, you see, I form the image in the process. I'm not one of those who already has the image in mind, and then is moved to put it on canvas. No, I'm one of those who sees a blank, white piece of canvas or paper, and feels the need to decorate it. With that frame of mind, I begin with a single line, and build from there...until it looks "right". That process can take a few hours, or it can take weeks. And, in that sense, my works never appear to be done, to me. I always see something, down the road, that needs a little modification. I have to force myself to leave a piece of work alone, once it's been officially "finished", or I'll continue to change it.
This particular piece is far from complete. I began with the figure at the left, and went building to the right. The figure in the middle still feels "wrong" to me. I've still got much work to do with her before I can call it good. The one on the right is only just in its beginnings. I've still got work to do on the face, the clothing seems wrong, and the broach needs isn't finished at all. I'm thinking of making her some sort of head-dress as well. There is still a blank spot on the right, which will house one or two more figures. I'll begin their construction soon enough. Until then, here is a picture of the unfinished work.
Tuesday, July 21, 2009
Here's a new concept I've been throwing around in my mind; I give my self a time limit with a piece of art...a limit that really pushes me to just let go of my stringent perfectionism, and let the art flow. It's a little something I dappled with during the arts festival, and it seemed to work quite well.
I call them 10 minute cards. Basically, I limit the time spent on them to 10 minutes. Here are two of them. It should keep the artistic juices flowing until I can get to some larger, more substantial pieces in the near future.
Wednesday, July 15, 2009
The 1920's and 30's had it all. Great fashion, fantastic music, and truly groundbreaking artwork. Art Nouveau and Deco, in my opinion, are some of the most important and expressive eras in fine art. The works were obsessively clean, lines were prominent, and figures were exaggerated, accentuating delicacy and form. I'd really love to adopt those attributes, implementing them into my own, personal style. This piece is slightly reminiscent of those previous works.
I demand control over my medium, that's why I've use ink on paper. I know ink. I also feel like I understand paper. Up until now I spent most of my time with those two forms. I'm excited now, though, to have successfully made the cross-over to canvas. I've been dabbling in with the fabric for a couple of years now. I feel like I've finally nailed it! I've managed to transfer the feel and effect of my paper works over onto a cloth host. It'll be interesting to see where it takes me. This piece was very close to me. I managed to sell her at the Arts Festival, which was very bittersweet. I loved this piece, and wanted to keep her forever. *SHRUG*
There's something about fashion illustration that really calls my name. I can't quite put my finger on it. I think, more than anything...more than the clothes, more than the hair, etc...it's the figures themselves. I love the way they are accentuated, even exaggerated and disjointed. The most important portion of a fashion illustration, to me, is the placement of the feet. Foot placement says a lot about the character in view. I particularly enjoyed the feet, ankle, and general leg placement in this figure, who I created specifically for the Utah Arts Festival. This piece was one of the first to sell.
I remember trying to illustrate one of my friends. I suppose that, by telling you that he wasn't at all amused or impressed with the likeness I'd created, you could surmise the depth of my failure in my attempt to draw from life. For some reason, my hands just refuse to allow me to draw true likenesses of people, objects, etc. Believe me, I've tried time and time again. It sounds completely presumptuous, but I have to create according to my interpretation of that individual. For this reason, I've avoided portraiture until now. I simply have to look into the individual, and try to reproduce what I, as an individual mind, see coming from the person. I can't draw them as they look. I only draw them as I feel them. I don't know...it sounds so new-age. Take it for what it is, I guess.
This is portrait #1.....not life-like, anatomically accurate, or 3-dimensional. It's a portrait, nonetheless. This is how I see Tan, my subject.
Thursday, July 2, 2009
Well, two noteworthy events: I participated in my first arts exhibition....and I started a blog.
The Utah Arts Festival, from June 25th through the 28th, is one of the biggest arts competitions in the state. I've always enjoyed the show as a spectator, but had never dreamt of actually entering the running. Determined to get my art underway, this year I decided to give it a shot. I applied months and months ago. Initially, I had been placed on the waiting list. Two or three weeks before the event, however, someone dropped out, opening up a position for me.
I remember getting the call from Stacy, one of the show directors. In an excited voice, she explained the situation, and asked me to join them. For a split second, I thought I'd decline the offer. It was a lot of money for the entrance fee, I didn't have enough artwork done, I wouldn't be ready in time, I just didn't want to bother, etc. I realized, though, that if I was going to give my artwork any sort of a shot, I'd have to jump on every opportunity...and this was the opportunity of opportunities. I accepted the invitation, worked feverishly to finish some pieces that had been sitting in my portfolio, and managed to pull it all together in time.
Now...all of that's just background. It's the crust of the sandwich (you know, the part of every sandwich that you have to get through in order to make it to the good stuff). What I really wanted to tell you about was the actual show...and some of my plans from here. Here we go:
T minus one day, and counting: I arrived on the festival grounds with some of my gear. It was already a virtual madhouse. Trucks and trailers were parked all over the place, people were running back and forth, etc. I was ushered to my booth. Now, by "booth" I mean 10 X 10 orange square on the ground. All this time I had assumed that the actual booth was provided. All of the tents, in years past, were matching. I guess I thought the booth fee included the actual tent. Nope. As I pulled up to the square of asphalt, I remember asking, with a confused look on my face, I'm sure, "Where's the booth?" Mike, another of the directors, said "Here", looking at me strangely, as he pointed to the orange painted shape on the ground. I repeated the question. He repeated the answer, giving me an even stranger expression. Apparently, the fee did not include a tent. According to the handiwork of divinity, I'm sure, I managed to locate, obtain, and set up a tent within 60 minutes. My tent, however, was a nice shade of green. It was, without doubt, the only non-white tent in the lot. Perfect.
Day 1: I decided that Mother nature has a personal grudge against outdoor festivals. The weather was unbearably hot. In heat that must have been skirting 100 degrees, I sat in my leather chair and explained my work to passers-by. There was a fantastic response. Everyone who entered the booth verbalized their approval. It was welcome news. I managed to sell a few sets of work. I made some great contacts, met some fantastic people, and sold some of my prized pieces....which was bittersweet.
Day 2: The weather was cooler, and business was better. I managed to sell more, and the response from the crowds was even more encouraging.
Day 3: I worked at the hospital. Tan manned the booth. He managed to sell significant amounts, actually. It didn't surprise me at all, however. Good looking British guy, sitting in a beautiful leather chair, showcasing art....who could resist?
Day 4: Several odd things happened. First, a middle-aged woman walked into the booth, and the first words to escape her lips were "These would look good in my bathroom. Don't you guys think this would look great in my bathroom?" She must have seen my jaw on the ground, which would be why she tried to recover the comment. Another woman came in with her kids, saying to her 8 year-old son, "I'll bet you could draw that." She didn't think about her statement, though, and just kept walking. So....some mildly odd criticism today...but great all-around responses.
I"m so glad the show is over. I was spent by the end. I'll hold off from art for a couple of weeks, then we'll see if I can open it up and pound out some more work.
I'll keep you updated!