I seek the elusive when I draw or write for that matter.
is what I'm going to call my muse.
. . . sharp as a crack of thunder, angry as a woman scorned, passionate as a breathless lover, blinding as the glint on the edge of a sharp blade.
I am posting in links to my pieces as some are larger than would be allowed here.
College Art Class
This is an old sketch (note creased fold down the center) of a cross-legged model, done in charcoal.
Hair Swept Up
This is an ink piece of a model in a relaxed setting playing with her hair. It was drawn with a tree branch and ink.
This was done using only two paint colors, red and white mixed to create a softer almost "clay-red" paint mix.
Curvature of the Model’s Back
The sensual curvature of the neck, back, buttocks and legs can be seen here in this quick charcoal study.
This piece was one of several that were done in ink. We were assigned to come to class with something other than a traditional brush or quill or established tool to work with the ink. These ink pieces were done with a small tree branch dipped in the ink.
Here the model was laid out with a pillow facing away from us, relaxing, as if before a fire or some other safe setting.
This was done the same day as the other work from mixing red and white paint to come up with a clay-colored paint for an earthy feel.
This torso study was done in charcoal.
Model on mats With hat
This was a pencil study done of our model sitting on cushioned mats under a bright spotlight (somewhat washing her out) while wearing a cap with a feather in it. I'm very pleased with the strength that shows through from her jawline and turned face and neck. This particular model was VERY skinny.
This is a 24x36 experiment in Tempera paints. This piece is one I had envisioned turning out differently, and was a venture into the paint medium. I would like to revisit this one day in a pencil or pen and ink sketch from a different perspective.
24x36. Pencils. I tried other mediums but always seemed to come back to pencils. They afforded me the most control of the lighting and final impact of the image, and they were cheaper to work with.
24x36. Pencils. I had a book from the film by the conceptual artist, Brian Froud. He was a genius with this type of work, such detail and layers. The film itself was rich in detail and a very "earthy" feel, which I like very much. Besides being a classic story of the good and bad found in us all, it was so incredibly saturated in amazing art, I couldn't resist drawing from it.
A FUTURE GLANCING TOMB
This is another 24x36 sketch. Pencils. I wanted the viewer to see many things. Each time you looked at it, you would discover something new you didn't notice the first time . . . like the fact that the mummy is wearing a walkman and headphones, or that the Led Zeppelin symbols appear among the other symbols in the circular wall decoration around the elephant head.
Mr T Vader
This was a pencil sketch made for a friend from an 80's MAD MAGAZINE cover that came out around the time of The Empire Strikes Back.
This 24”x36” piece was created for a friend of mine back in High School. It was created from a cropped fan picture of Pat Benatar that measured 3”x3”.
THE MAN IN THE HAT IS BACK
I was influenced by Summer movie posters. This is a 24x36 color done entirely with colored pencils. The lighting in the digital picture unfortunately reflects a lot of light, and does not appear as dark as the image truly is. This one fared the worst of all in trying to reproduce it with a digital picture. The pencils and the protective spray coating applied over them reflect so much of even the ambient light (no flash was used) that it is hard to see the depth of the colors and shadows as you can in person.
I had fun with it though. I worked on the face on a separate sheet of paper for about two weeks until I had the Harrison Ford look to the point I wanted, and then transferred it to the poster.
It was my first attempt at drawing by adding light to black paper instead of shadow to white paper, and it was a fun experiment. The rough texture of the white areas is due to the mottled surface texture of the black matte board I used...it was not black drawing paper, and I like the effect it created. It was freehand, probably circa 1992-93. I had an old photo clipping from a Rolling Stone magazine of Elvis which was NOT taken this way, but I used the image (which was actually well lit with him in a white suit) for the image reference and imagined him in the dark, under a spotlight in a small venue, and drew completely with the light I knew would be caught by the objects . . . where it would lick across their surfaces.
I always found that the most dramatic effects came when I spent the most time on the shading, grades between white and black and made sure they were a DEEP black where necessary. It helps to make the images pop out from the page and create depth. This was drawn on a 8.5x11 sheet of paper during the middle of the night when I was working as a long distance operator. It was a REALLY slow night, and I used to keep my sketchbook and pencils with me for just such times.
A pencil sketch I completed while visiting my brother in LA back in 1989. As I was working I was visualizing wind-carved ice or stone, very similar to the effect you would see on a worn piece of driftwood, which I collect and is a favorite of mine. I used a mechanical pencil and sharpened regular pencils along with a deep ebony pencil. I began work on it for about an hour, then rotated the paper one turn clockwise and worked for an hour, then again and again until I was back to my starting orientation where I finished it.
Another abstract sketch.
Look carefully . . . there are MANY hidden faces in this one. Rotate it. There are faces almost any way you view it, as I rotated the paper as I was drawing.
This was modeled after a DaVinci sketch.
This was a pencil study of figures and the space they occupy.
I actually took several smaller sketches I had made over the year and recreated them in a composite picture. Again, 24x36 pencil. This was completed about a year ago.
This image was taken staring down the neck of a near-empty beer bottle with extreme lighting outside.
This is a Warhol-esque trooper picture in the Marilyn Monroe vein.