Someone just marked this as a favorite online, so I thought I’d share it with you all. I had completely forgotten about this print from 2004. It’s oil on paper and about 11×14″. I made it by painting a plexiglas sheet, then wetting it with turpentine and sticking it on the paper.
Here’s a sketch I made of the interior of a cafe a while back. This is OCF Cafe in Fairmount (Philadelphia). I did it in purple ballpoint pen, but this scan is black and white. It was a challenge to draw the people because they kept moving, or getting up and leaving. Overall the perspective is off, but I still like the atmosphere of the drawing.
I thought I’d share this work in progress, since I haven’t done anything in colored pencil in years. I started with the figure on the left and worked very tightly, but as you can see, I returned more to my “own” style with the face on the right. In the end I’m happier with the right-hand side. I hope to finish this up with colored pencil, ink, and watercolor.
This is a fairly large piece (like 14″x17″) and I haven’t taken a proper photo of it, so here’s a screenshot of the Instagram pic I posted. Jeez. Can I get my act together?
The piece is in conte crayon, graphite, and brush pen; it is copied from a photo in a catalog, where I get most of my art references from, much to some people’s amusement. This didn’t come out exactly as I’d hoped, but the guy certainly looks even more brooding in my drawing than he did for H&M, even if his face is a little lopsided. A quick practice, overall.
This started out looking like someone I know, so I decided to start throwing in elements of other people I know as well. I did this thematically and not just visually, so that explains (right.) the bones.
I had fun making this. There’s a lot written about the meaning and pleasure of “mark-making” which can be hard to get used to — it means you’re not interested in the product, just with the act of making. It’s harder than you think to separate yourself from the “quality” or beauty of your end-product and just live in the process.
This is the “latest” (many years old) out of a series of 50 faces I was trying to make. Perhaps I’ll explain it fully one day, but although it’s rather morbid, it has a lot of personal meaning for me. My goal was 50 but I only got to 8. I made many of these when I last lived in Japan, in the northern part of Tokyo. Here’s one of my favorites that despite trying to make look dead, looks frighteningly alive.