Tagged: Platinum Carbon Ink

 

In the cold grey of winter it’s appealing to work from nudes modeling the warm glow of the flesh.

  

Drawn with fountain pen, Platinum Carbon Ink, F-C Pitt Artist Pens on Tomoe River Paper. The last 2 were drawn with graphite. » Continue Reading…

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Flew to Italy on Xmas to join my beloved Giamila and her family on the Ligurian Coast at the beautiful town of Sestri Levante for eight days and then travel together by train back to spend 5 days in her hometown of Milano.

Giamila, her mother, father, brother and sister-in-law had already taken a train to Sestri Levante, so when I flew  in to Milano, I had to hop on a train that took me into the main train station, Milano Centrale where I then boarded another train for a two hour plus ride to join up with them. As I speak no Italian, Giamila taught me a couple phrases to aid me in finding the right train. “Scuzi, dov’é il treno per La Spezi”?

Being that I hadn’t switched to a European SIM card in my cell phone, if I headed off in the wrong direction, it would have required some serious focus on the part of a traveler who didn’t sleep on the 12 hour trip from Chicago to Italy to get back on track.

All worked according to plan and Giamila met me with huge smile and warm embrace at the train station of a glorious seaside town whose views, baked goods, and seafood were off the charts.

The above drawing is an imaginary landscape drawn during the train ride,  the very smooth train ride I might add, back to Milano.

    

Drawn with Faber-Castell Pitt Artist Pens, fountain pens, Platinum Carbon Ink, in Hanemühle, Tomoe River Paper, and Stillman & Birn Nova Series sketchbooks.

 

It’s been awhile since I posted some of my life drawings, January was the last installment so, without further ado, bring on the butt nekkid parade.

      

The above drawing is probably a 3 minute sketch. It ‘s not a slap dash piece, it may happen fairly quickly but is also methodical. I lay in a few contours and tonal shapes with a flesh tone Pitt Big Brush, restate contour lines in a darker brown, and then drop a bit more flesh tone to bring out the light/shade contrast. A few quick strokes to denote ribs and the model changes posture, but not before I’ve established the posture’s key structural features (minus one leg) and an indication of light source with an emphasis on the implied contour of light-shadow transition, and a couple nods to specific detail, I.e. the face, the elbow, the left hand and wrist band.

            

 

 

I’ve had an unusual and superb vantage point of a demolition and construction site which is directly across the street from my apartment. Never having watched a site from start to finish before I have been surprised by some of the developments. Upon demolishing the existing structure seen above in a snowstorm and just below that at night, the rubble was separated into different materials, i.e. bricks, the reusable ones were stacked on pallets and wrapped, banded and carted away for reuse. Metal materials were hauled away then general rubble was removed. But one of the biggest eye openers was the digging of roughly twenty 25-30’ cylindrical holes that had rebar cages inserted before being filled with concrete. Then, these concrete columns were covered up with the heavy equipment moving to dig the next holes.

 

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drawings executed with Faber-Castell Pitt Artist Pens and graphite on Stillman & Birn Nova Series Toned sketchbook, Tomoe River Paper.

 

 

For such an unstructured lad as myself, annual events and the observing of rituals play an important role in accomplishments. Three times a year for the past decade, I have gone to The Palette & Chisel to draw from live models for as close to 12 hours as I can push. I’ve had sessions where I took awhile to get started, some days where I never quite put it together. There were days however where I walked in relaxed but fired up, able to see clearly, having clear objectives yet attentive enough to change course should alternative solutions hold more promise. My ability to hit contours and proportions were prime indicators that things were going well and that the day may be fruitful. Fruitful in so much that I might have learned something if not come away with a satisfying sketch.

      

  

  

  

  

  

 

 

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