Hung out with Jennymouse2003 in a department store in downtown Chicago before I had to head off to get my next generation booster shot.
Can you guess which department store in which building this sketch was made? There are 2 clues.
BTW, I think it was John Lenin who said,”The time you enjoy wasting, is not wasted time.”
Drawn with a Pitt Artist Pen Fude nib and a few Grey Pitt Artist Pens on a Clairefontaine Goldline sketchbook.
Went to The Music Box Sunday night with GBabe and two Italian friends to see L’Inferno 1911. The first Italian film three years in the making that was released in March 1911 and directed by Francesco Bertolini, Adolfo Padovan, and Giuseppe de Liguoro. The viewing at glamorous The Music Box Theater was set to a live musical performance with soundtrack by Maestro Stefano Maccagno who also played the keyboards and bassist Furio di Castri as part of the Chicago International Film Festival in collaboration with the Italian Cultural Institute of Chicago. I grabbed a quick sketch of audience members before the lights went down and later ad libbed King Minos and Charon into the sketch. Jaw dropping in it’s visualization of the first canticle of Dante’s Divine Comedy, and so wonderful in the low tech pre CGI effects such as Lake Cocytus, the frozen lake of the ninth circle, where those who committed treachery against God are punished. (The lake itself was formed from the tears of Lucifer, and the flapping of his wings kept it frozen.)
A fantastic cinematic event, it will be performed again in the Chicago area. Don’t miss it!
The dialogue of the two begin,
Man in hat,”Madonna! Italiani dappertutto!”
Her, “Tra il pubblico?”
Him,”No! Tra I dannati!”
Again, catch this influential masterpiece.
fountain pen and Pitt Artist Pens on mulberry paper in handmade sketchbook
I’ll admit some of my pages are quite the train wrecks. To wit: the first scan.
To those of you who’ve borne witness to my sketchbooks and been surprised to see the spectrum run from chicken scratching to clusterf@kkery, allow me to explain.
There are times when describing how I begin or develop a drawing to another artist, or student, the sketchbook is my podium, and I jot down my thought process right there, on the spot, in full view of another’s retinas. Not wanting to be ‘long winded’ as it were, (I realize, THAT runs against expectation), the doodles are pretty much whipped out and at times very much short of grace.
The 2nd and 3rd images are minimal, yet clear enough to get the point with the sketch in blue ink on yellow ledger paper showing the progression of a bent over figure, derived from a modeling friend on the left to the imagined scenario of a fight on the right.
After that we see a very cursory sketch of four people in green about a table with indication of an implied horizon line for POV. Pretty quick and loose in light green with follow up line work in black to give a tad more clarity, as in,”Okay, there you have it. Now y’all get started and let’s see where you take that in 30 minutes”.
Next up….uh oh, it appears Don not only displayed how to do a loose layout in a light Umber color followed up by dropping black marks on top to strengthen form and pull near features out of the background, but perhaps a touch of impatience also, eh?
Two more images show our pedagogue starting to use the same page for multiple lessons. Hang on tight, this could get confusing.
Now we come to a diagrammatic sketch of a bush. That’s more like it. Focused, with sufficient development to explain the incorporation of simplified geometry, developing form by building values, awareness of light source, and enriching surfaces with varied textures.
And after that…oh dear, he’s back at it, certainly demonstrating some of his trickier palm print for leather techniques, but those moire hatching patterns could mean our boy is adrift on one of his tangents again.
Thank goodness he’s returned to a simple linear layout of a house, I guess, and some kind of…like…machine-ishy gizmo whatchamacallit. We’ll like the text says, I guess you had to be there.
Now the blue panorama of the cemetery should be as self evident as the kid can get. Start light and general, work towards the specifics and develop the values. This was actually done, on site, for the benefit of a class. But you’d have to poll the class to get second opinions about the benefits passed along.
So the six sketches that follow demonstrate one thing in particular. That I loathe wasting good paper. The question of the merits of any given drawing here being set aside for the moment, I often go back into my demo pages, especially the minimally developed and sketchier ones and start to reuse, or repurpose, or transform, or crowd ‘em up. Especially if I’m on a bus and I’m frantically flipping thru the book to find the space to drop in a passenger’s head. Like the bearded dude’s noggin.
It can get pretty disjunct.
Occasionally, I’ll drop a drawing on top of some sketches that were minimal or light enuff that any early meanderings got incorporated into the whole with little evidence of pentimento, or prior being. Kinda the way I feel about reincarnation. With all the new input and distractions and constant jazz and extrapolating forays, how are you ever gonna recognize your way back to your old self.
Hunh?????
Mmmm, last up is a page that seemed to have begun one journey, jumped track, and rode away on an obsessive tangent.
Drawn with various medium such as fountain pens using Platinum Carbon Ink, DeAtramentis Document Black and Brown Ink, Faber-Castell Pitt Artist Pens, Polychromos Color Pencils, Gouache, and White Grease Pencils on ledgerbooks, and Clairefontaine notebooks, Goldline Watercolour sketchbooks, Stillman & Birn Nova Series sketchbooks.
It would be so worth it to take a crash course on operating these earth movers. Playing in the mud and dirt on a grand scale. Truth be told, I never learn anything quickly, so a crash would probably mean I crash those behemoths.
In the above sketch, the earth mover on the right has pontoons which help it float.
Drawn with a number of different fountain pens and Pitt Artist Pens.
