3rd of 4 in the Harvest series – avocados, cut open to show off the green insides and shiny pits. Same approach as the others: start at the bottom and slowly develop a pattern along the way.
These are made with Prismacolor colored pencils, and on this one I used seven colors total: green and yellow for the insides (blended with ivory), grape purple and grass green for the pebbly skins, and brown, dark brown, and yellow (blended with ivory) for the pits. It took a try or two to figure out the right appearance for the pitted halves.
Another fruit in the Harvest series – this time, a little pile of blueberries. This one’s more of an experiment in subtle patterns within a dense texture. I varied the amounts of blues and purples, and tucked in the stem area here and there to aim for something random-looking but balanced. I also made the front/bottom area a higher contrast and slightly bigger so it would give a proper sense of perspective.
Like the persimmons, I started on the bottom and gradually worked my way up. It got a little tricky to avoid a pattern that was too regular. Some areas started to get that fishscale-like regularity, and I found the best way to avoid that was to jump to different parts of the image while laying out the initial blueberry outlines. I think the hand (and eye) tend towards patterns that are both (1) regular in frequency and (2) trailing off in whatever direction you write. It’s the same issue with writing sentences on whiteboards, though (annoyingly) it can happen even on a tiny scale like this. Sometimes the best thing to do is to keep interrupting and switch to something different frequently to insert the randomness yourself.
Here’s a bright little drawing of persimmons from memory. I drew this with Prismacolor pencils to experiment with blending techniques to replicate the muted sheen on the fruit. To get this look, I lightly filled in layer of orange and red and/or brown around the edges, and then pressed hard to blend a peach color for the sheen and orange for the rest. The leaves are a mix of two shades of green, ivory, and a pinkish brown.
I started with the fruits at the bottom and completed each one before moving to the next because I wasn’t sure whether I wanted to add something else in here (a pixie in hiding? a knit fruit? a glass ball? make one float up?). I briefly contemplated an Escher-like transformation of the leaves into birds. I ultimately opted to fill it in as you see because I liked the visual rhythm.
I’d started this illustration a while back during a Two Buck Tuesday event at Kaleid Gallery, and felt compelled to finish it now that we’re well into fall. I’ll be taking it full circle and bringing it back to Kaleid for the annual HARK! Holiday Show and Sale in about a month.
These are linocut prints of the San José Electric Light Tower, a tower that spanned an intersection and provided the first electric lighting west of the Rockies. I carved this into a flexible linoleum block, which I inked by hand and “printed” by pressing it onto paper. Since they/re done one at a time there can be a lot of variation, as shown. Merry Christmas, Happy Hanukkah, and enjoy a little illumination for this winter.
I’ve been meaning to do more with watercolor pencils to get a better grasp of how to work with them. I recently used them for the Creepy Ancestors series, and decided to give them another try for this ocean illustration.
Water is very challenging! Some art locks onto the heart of the subject right away, but this stayed pretty elusive. There are sharp contrasts and defined edges, but they’re fleeting. The spray can be settled like a light wash or frothing along the tops of waves. I broke out my masking fluid to preserve the white parts, but it just didn’t give the depth I wanted so I resorted to a few spots of white acrylic at the end. I used three shades of blue, a green, and a touch of Payne’s Gray (watercolor from tubes, not the pencils) too.
I noticed that the watercolor pencils are a little finicky about how to set the color. If I draw with them first and then add water, it lifts up the pigments and dilutes it pretty thoroughly. If I draw on top of wet paper, sometimes it seems to make no mark and other times it drops a strong piece of color. I found the most consistent results in dipping the pencil itself into water and then drawing/painting with that, using extra water to dilute or soften as needed. Sometimes I’d let it all dry and then use the watercolor pencils more like colored pencils so I could get some hard lines. They’re great for traveling – much more convenient than watercolor tubes – so they will definitely get more use.
These frames reminded me of the soot around a fireplace so I created these three illustrations of shadow puppets. I mostly picked these animals because I thought the hand shapes were interesting. Now that I see them together, I realized they’re all animals in the American wilderness. I imagine them as part of a tale told at a remote cabin in the woods.
A little creative reuse led to these spooky holiday decorations. Earlier this year, I bought a half-dozen frames that I intended to use for wall art. Often frames will come with both a wall hook and a fold-out arm so they can be used on the wall or standalone on a surface. These particular frames are mostly wire so the fold-out arm was plainly visible and looked wrong. I carefully wrenched them off of the back of the frames and the metal hinges holding them. I like to reuse materials whenever possible so I stared at these for a little while to figure out if I could do anything with them. I noticed the shape looked a bit like a stylized coffin, and they’re covered in black velvet. Perfect opportunity to try out velvet painting!
Since the coffin shape was a bit off-kilter, I thought the skeletons should be too. I decided they should all be striking poses a la Vogue. I used white acrylic paint on a very dry brush – any amount of water, including water leftover on a freshly-washed brush, kills the effect. To further spiff it up I added a sparkly silver border with washable Crayola sparkle glue. There was a small amount of black ribbon attached to the back (formerly to provide tension to the fold-up arm) that I folded back on itself and sewed into a small hanging loop. Styling!
It’s the first day of summer, an excellent time to debut more work in the Bathers series. There are now six! Here are all of them.
I found these little frames with comic-strip-like sections and thought it would work well with a three-part phrase. I immediately thought of Elvis Costello singing “what’s so funny about peace, love, and understanding?” I thought about tattoos as a way to show these words, and a few small sketches later came up with this.
I didn’t use any photo references on this one so it’s a little more cartoony than my recent work. I wanted to use realistic-looking tattoo styles and locations, with each piece seen as tattoos are often seen: as the decorative pieces peeking out from clothes.
The arm tattoo I imagined as “Rest In Peace” with a calavera, a decorated skull just barely visible. The ankle tattoo: “Love Kills”, with the V as a dagger into a heart. The back tattoo I never fully figured out beyond “Understanding is the only way” but I imagined it has another few words there.
I used this to test out some new watercolor pencils and quickly realized I should have used thicker paper if I wanted to treat it like a true watercolor. After I added the ink outlines, I filled in more texture, color, and contrast with regular Prismacolor pencils instead.
This is based on a photo from an exhibition at the World’s Fair in Paris in 1900. It was assembled by W.E.B. DuBois “with the goal of demonstrating the progress and commemorating the lives of African Americans at the turn of the century.” I found this while browsing the collection at the Library of Congress. Her expression and outfit really stood out to me. Unfortunately there’s no name attached to it, so I don’t know who she is. I named this so it could either be interpreted as her being in the exhibition, or attending the exhibition. Maybe she did both!
I have some lovely mid-toned paper made with coffee, which is an excellent base for two-toned charcoal drawings. I start with the light colors first so they’ll stay crisp and are less likely to get muddied by black charcoal smears. It’s easy to add black charcoal; it’s nearly impossible to add white charcoal after the fact.