Some sketches for my upcoming Masters of Fine Arts in Illustration thesis. It’s a retelling of Little Red Riding as an illuminated manuscript/activity book. Yep.
wolf tattoo/map of the forest
“I’m in love with a girl!” –Woodsman
Ideas for the red hood, some woodsman’s plaid, an anti-wolf charm, etc
Paperdoll of the woodsman. Throughout the book will be paperdolls, paper-constructions, maps and mazes that let you ‘do’ the story as you read it.
Some more sketches and working drawings. Am working on getting sets of nice drawings for each character, but also dong some quick brushy things to figure out stuff works (esp. the problematic anatomy of two-headed things) and get an idea of movement, etc.
two-headed fox sketches
Here are some sketches and workups for a story I have been building slowly over the past few months. It started with this drawing of a firefox from last June
and draws on Asian (mostly) mythology, Watership Down by Richard Adams, Miyazaki’s film Princess Mononoke, computer games like Starcraft and DungeonSeige, the Alien trilogy, Chinese landscape paintings and the art of Katsushika Hokusai, battle-epics, and the poem My True Love Has My Heart by the Elizabethan poet Philip Sydney.
Human form sporting same ornamentation and tattoos
sketches: swallows, rabbit saint, little fox, insect queen with a diadem of stolen pearls, black swan princes, some crappy cats and a little rabbit
fox saint with gems and medals
The main challenge apart from working on the storyline, which will coalesce in time, is omcing up with a drawing style that I can maintain consistently for a long time. I love the line quality of the foxes above, but have concerns about weight once combined with value (ie. in a crowded scene areas of value would be valuable in order to distinguish levels of the plicture plane, etc. – but will such fine lines hold up against areas of darkness, and might too many fine lines become tangled anyway? (But, see this Hokusai print for potential refutation…)
[I know, what a terrible picture - why even bother including it?]
Anyway – did some sketching of frames, which I kind of hated until I worked it up in Photoshop a little:
blank bug hive
Bug hive colored
Now it looks ok, but upon re-examining the work of Hokusai and Chinese landscape painters, am reminded that one of my initial inspirations is the supreme clarity of line evinced by Hokusai, usually with no shading at all – must play to strengths and follow drinking gourd! No doubt recent aquisition of new drawings tools will help. :)
Okkotonushi from Mononoke Hime
Dungeon Siege inventory panel
Clear Spring by Hong Ren
I drew this on the plane to Thailand back in December (Dulles-L.A. leg ;) )Inspired by Einstein On The Beach, by Philip Glass.
Beverly, MA, present day:
Sketch for Snared In Its Glory, last projected major work in the White Rabbits series. I had been working on an (unintentionally) similar image for the tondo from Silver Worlds a few month ago, but eventually abandoned it because it hadn’t been planned superwell, but the other night Susie and I were looking at the underdrawing for From Battles! and she asked if it was going to get tangled in its horns, which of course is the obvious logical conclusion if you look at these images from a purely biological/practical point. Plus I love the stimmüng of this; goes back to Thorn in the flesh/at the height of his powers. (no image available :( )
This is a thing I’ve been side-burnering; using a transfer technique that Steve told me about (Kellogg might use it too -but her ways are a mystery…). (Steve, you need a blog so I can link to you at opportune moments!) As you can see, I’ve transferred the Day At The Races drawing from a few posts ago onto this panel; starting to build up an interesting collage effect. Not sure what I’ll use this for in the future but it has all kinds of imaginable applications in the fields of Exactitude and Perfection.
Sometime In The Past
Hmm, this is an interesting one. Digging through The Vault, I found this from last October. It’s after Murakami after Francis Bacon. Not finished – can’t find the .psd I was working from – but interesting. I like it.
Bacon’s (BBC News)^
on Arches Cover Buff
on Arches Cover Buff. Sometime in August 06.
monotype from printmaking I.
artist’s proof from the telamon plate that I used in The Sheep and The Goats.
A recent 7 hour Photoshop training seminar turned out to be a ripe time for all sorts of ideation:
Got some great new ideas for Brood Nurse, a piece I’ve been thinking about for a long time but have not been able to finalize in my head, and came up with a concept for utilizing some nice Japanese-style clouds and my new gold and silver powders.
Some sketches for the rabbit triptych – three pieces which connect but will be separate entities, from a commercial standpoint (as seen in the purple section.)
above: Break At Dawn
below it: Brood Nurse
Sketch for Berries (very much a working title :P), a small piece to help fill in the low price points. A nice chance to get some delicate foliage going on that would be prohibitively time-consuming in a larger format.
Today I sent out a call for an apprentice/studio assistant this summer. I can’t really offer any money, so I tried to play up what I honestly beleive would be a valuable learning experience.
The current list for the show looks like it will be about 23 pieces, now that I have abetter idea of how long it is taking to do pieces in the Silver Worlds series, and also know how big the potential venue is. (My initial goals for the amount I would produce this year would be feasible, I think , if I didn’t have another full time job, but in any case, so many would not fint into the space I’ll probably be in.)
Working sketch for Persian Megature.
Photos of the drawing for those with good eyesight:
Really, really excited about the snakes and birds, and can’t wait to see what they look like when they’re done!!
So here’s a Photoshopped mockup of Action Rabbit as it might look when complete, with a stylish gallery-goer pasted in for scale.
Here’s a scan of my plan and overall organizatinal scheme for the show (drawn over a botched
attempt at Hints/Accusations. (Sorry, I wanted to make it bigger, but apparently if it’s too big, Blogger makes it a thumbnail only?)
From The Vault
Earliest extant rendering of the rubric, circa 10th grade (2000).
Ok, I hope everyone had a restful easter because I’m Back with a big B!! I haven’t done a real, straight-from-the-studio entry for a while, so there’s kind of a lot to cover.
1. Heavenly Creatures, which I submitted to Montserrat’s Artrageous! fundraiser, was selected by the jury to be part of the live auction (other pieces will be silently auctioned throughout the show).
The jurors for this year are Michele Lamuniere, Charles C. Cunningham Sr. Assistant Curator of Photography at the Fogg Museum down at Harvard, and Dina Dietch, Curatorial Fellow of the deCordova Museum in Lincoln. 180 pieces were reviewed and 25 were selected for the live auction.
2. Art scans!
Sketch for Scylla and Charybdis, from the series Luminous Seascapes Real and Imaginary (based on this painting). Text is from the Odyssey:
Circe(to Odysseus after he asks if Scylla can be fought):
Must you have battle in your heart forever?
That nightmare cannot die, being eternal evil itself,
There is no fighting her, no power can fight her,
All that avails is flight!
When we were little my father read us this book called Ulysses Found, about a guy who had traced Odysseus’ voyage in the Odyssey and thought that, just as Schleimann had discovered a historical Troy, most of the Odyssey was in fact grounded in fact (you know, geographically speaking :P ). There was a really cool chapter on the strait of Scylla and Charybdis and I guess that always stuck out to me.
Scylla and Charybdis, in progress, diptych with each panel 5″ square, to be embossed, gilded and painted. I’m going to emboss the rocks all the way down (as if they were sticking into the air like mountains) and then paint the waves over the top so that that you get a tactile/visual sense of the rocky structures under the breaking surf.
A small White Rabbit piece to be embossed, gilded and painted. 6×8″ This one is on hardboard not clayboard (a dark brown base vs. a more expensive white base), so I experimented a little and gave this one a fairly intensive ground treatment involving a lot of coats of translucent yellow, sanding, then some thin washes of red and more sanding for a lustrous reddish-orange that will be 99% covered by gold in the final product. I like the pieces to have a slavish, lavish, devotional, meditative element to them, even if the viewer won’t be consciously conscious of that in the final product.
sister fox in demure ascendance, from Coronation series. Mostly done, seal and crown need to be embossed and gilded. Ditto for this one, salamander princess (beneficent. very calm.)
I’m not such a big fan of sister fox who is looking a little clumsy and unaccessorized, so I might scrap that one and redo it.
That’s not even all of them! But the other ones are too big for my little scanner, so I’ll have to put them from the scanner at work tomorrow.