my little gaga

Some fun for your day.

My Little Ponies as Celebrity Icons  (MSNBC slideshow.)

The Damien Hirst one made me laugh a lot.  Which proves I'm a giant nerd.

First things first

It's hard to put the last week into words.  It was a complete whirlwind for sure, over far too quickly (though my liver might disagree).  Before I even left for New York, I had a tooth pulled and did two days of chalk-painting on Allen Parkway for Via Colori. 

I didn't have a plan for Via Colori which is not the best way to go into an art festival where you'll be creating the art on site.  I had a few sheets of paper with ideas and such but no real plan.  Amy went with me and told me to do a lava lamp, as it was one of my printed ideas and the shape is easy and recognisable.  If I had a quarter for every time I heard someone say "lava lamp" over those two days, I could move to New York immediately and drink for a week.  It became a joke with my next-square-neighbour, Anna.  I had a good spot this year, close to where my square was my first year.  I was right across from Jaime, my first year next-square-neighbour, so we got to banter back and forth as well.  As usual, I brought more stuff than I needed, but it worked out well, as both Jaime and Anna made use of various doodads I'd packed with me.  That festival is a pretty good-natured place for artists.  Everyone shares and helps one another out.  It's really nice to see.

My square turned out better than I could have hoped for, especially since I went in without a plan.  The lamp wasn't entirely wonkity, which often happens when I draw them.  Symmetry isn't my strong suit.  I didn't have enough sticks of the colour I was going to do the lava "oil" in so I wound up mixing several, which gave a pretty cool effect in the end, totally by accident.  The background was a good morphing of red and purple on the bottom, yellow and orange around the base of the lamp, green and blue around the top.  I don't know how I managed to get them all blended so well.  Perhaps years of make-up blending....  Blend blend blend is your friend friend friend.  The lava was bright blue with highlights and shadows.  I finished the square itself on Saturday.  On Sunday, I came back to put a boarder on the square.  I was initially going to just do a small one, not very intricate.  I wound up doing my doodle-style in bright blue and black outline.  It was my favourite part.  Next year, I think I might do the entire thing in my abstracty doodle style.  It was popular.

I've got photos forthcoming of the festival and of New York but I just got back on Saturday and I'm still in a bit of a funk.  I have uploaded several phone shots to my flickr account, but more are coming, promise.

sketchy

A handful of people at work (aka: The Baconry, as that’s where I earn my bacon) knew my plans for my birthday weekend, that I was taking an art workshop. Most of them have asked how it went, if it helped, if I learned good stuff. Since returning, I’ve kept my sketchbook with me so I can draw on my lunches, so all it takes is one little flip of the cover of that to show that the weekend was absolutely invaluable to me. While I’m still going to chronicle the workshop here (with photos to boot!), I thought I’d also post a little bit of my progression beforehand.

When I started really trying to sketch things, rather than my usual abstractions and shapes, I mainly went for what I referred to as the shaky-hand method. Instead of drawing a line in one continuous motion, I’d do lots of little lines and hatch marks as I went along. (I’ve since learned that this is actually called “noodling.”) The results were messy, as to be expected. Example:

I got the pose relatively okay in that sketch, but I didn’t really do the hands because hands are intimidating to me. I believe this may have been the sketch I sent Mark with the comment that hands scare me; the catalyst that prompted him change our workshop from painting to drawing. (Thank the stars I did that!!) This is an example of “gestural” drawing--starting with a shape and kinda fleshing out from there. It’s not precise but I suppose once you get used to it, there are ways to become more precise. I had no idea what I was doing so that was never really a factor for me.

When I found photos I liked, with people in poses I wanted to recreate, I often times would print out the photo and trace it so that my hand could get the feel for the shapes. I have no issue with this and I don’t find it cheating. I didn’t use my tracings as final drawings; I did them so I could have an idea of what it felt like physically to draw the shapes necessary to compile the poses. It’s hard to explain without sounding a little batty but there’s something to a familiar feeling when drawing. For example:

That particular sketch isn’t from tracing but it’s one that I have traced and drawn in many incarnations before. Because my hand is so familiar with the shapes, I can draw it without looking at anything as a base--it’s just a learned response. This is handy when I know I need to reproduce something on grand scale, like my Via Colori squares. I don’t always get everything tip-top perfect, but they’re close enough that I can look at them and not snort.

Eyes have always fascinated me, so I decided I wanted to learn how to draw them. I knew that tracing wouldn’t really work--eyes are too intricate for that. I decided to start focusing on the shapes within the eye itself and draw those out. I also tried to get into shading and highlighting a bit to make them more realistic. My first attempt at this came out far better than I’d hoped, both because it was my first attempt and because I drew it at a bar on a busy Friday night.

I also sent this one to Mark and he said this sketch is where he saw that I was starting to “get it” in terms of drawing realistically. I agree, as this is the first one I drew that actually came out somewhat realistically, but to have a bona fide artist tell me that was a huge relief.

The method of drawing that Mark taught me is more the classical style over the gestural. It involves a lot of lines and points and such. It’s somewhat like an artistic take on geometry and physics--point plotting and connecting vectors. But more importantly, it makes sense. I don’t understand why it isn’t taught universally; it would have made my life so much easier had I learned this way of drawing as a child. Hell, I’d have done better in geometry and physics and not spent years and years convinced I had no drawing talent whatsoever. I think there are people out there who have a natural gift for drawing, but I also now believe that anyone can draw well if only the effort is put into the process. I think I’m proof of this. Look up at that gestural drawing again. And then check this out:

It’s not finished and I already know it’s not precise and dead on, but for my first attempt at this image plate, I’m still proud of it. (I’ve decided to finish it, to spite its imperfections, as I can use the shading practice.) This is the first thing I’ve drawn without Mark at my side, telling me specifically what to do. It’s the first thing I’ve drawn using his methods. I think the results speak for themselves.