Works-in-progress. Shrimps. I wasn’t exactly overjoyed with the octopus so I did some shrimp from reference. The B&W one has a lot more stuff to get put on it. And neither is sketch card size, hopefully that won’t be too big a deal. Just started drawing and ran with it.
This week’s IF goes to Kelly Light’s Ripple project – $10 for the card, with 100% of the proceeds going to gulf oil spill charities. In this case you’d wind up with two – the original (brush pen, watercolor) and a print of the digital version. They’re pretty different; I darkened & colored the water a great deal in the digital version. So I figure I should send the sketch itself along with a printout of the digital version. The original is on the left and the digital is on the right.
I’m working on a couple of shrimp for the same theme/cause, too. WIPs are here.
I just read about these in Bert Dodson’s Keys to Drawing with Imagination last night, and I think they’re crazy nuts and incredible. From Wikipedia:
“The war rug tradition of Afghanistan has its origins in the decade of Soviet occupation of Afghanistan from 1979, and has continued through subsequent military, political and social conflicts. Afghan rug-makers began incorporating the apparatus of war into their designs almost immediately after the Soviet Union invaded their country. They continue to do so today in the wake of the United States’ 2001 invasion of Afghanistan which ousted the Taliban government of Mullah Omar but has failed to bring an end to violence in the country. The rugs produced in response to these events are among the world’s richest traditions of war art of the late twentieth and early twenty-first centuries.”
From Warrug.com (I’m not linking to the rug pages because the site is in a frameset. Just go there and browse around.) –
an old love of mine, william morris. probably one of the first things to make me think about illustration at all.
While I was in Philly this weekend visiting family the new kitten appears to have done something with my wacom pen. This is not so good.
In unrelated news, Julie Blackmon is a remarkable photographer.
going away for the weekend. been working on the supercool pikaland illustration bootcamp thinger-ma-bob. Here’s a reject that I wish I’d started on earlier so maybe it wouldn’t be a reject (the cherries) and my all-too-mechanical take on a jack-in-the-pulpit (which you can click for a bigger version, or here for a very large version.) Ah well.
Well, this time I thought, briefly, that this would be the week I didn’t revise/edit/whatever till the cows came home, but I was as usual wrong. I’ll post up the final first, so those of you uninterested in the trials and tribulations are spared.
Click the image for medium-sized, click here for very large.
Part of the reason I have to work to find a style is that my actual style is batshit crazy. Not in terms of content or theme but in terms of time required and visual acuity necessary in the viewer. I have resorted to Harrison-Bergeron-style restrictions on myself when I am working: I work in light that is too low for me to see the amount of detail I would otherwise see/produce and I often limit the materials I’ll allow myself to work with to fat points and large brushes. I am experimenting (read as: forcing myself to use) things like charcoal and big graphite pencils in my offline work. Somehow it’s easier for me to manage digital painting without going crazy detailed, maybe because it’s a new enough medium for me (that and the Wacom is just not as supportive a tool for it.)
Anyway, I started doodling the other night and wound up back in crazyland. And then last night I allowed myself the .005 Micron again. Here’s the work in progress. I like it, but my arm and back don’t. Ah well.
My brain’s excuse for this is that I’m trying out working with tracing paper for the first time, so I can work in literal layers of paper. I like this new way a lot. I’ve failed to finish I don’t know how many things simply because I’m afraid to wreck what I’ve already gotten done. I am aware that this is a paradoxical reaction, but it seems common enough in other artists that I routinely see exhortations to let go of that attachment to work produced. As much as I’ve told myself this, it hasn’t worked, so maybe the tracing paper route will.
Do click to see the big version, if only to make me feel better about myself.