I could tell instantly starting today that it was going to be a challenge to gather enough energy needed to produce sketches that were satisfactory. I like the small leg drawing and that is about it. I invested a bunch of energy in the last drawing, but it was difficult to sustain this. Perhaps if I invested more time, I may find a place of peace with it.
I felt uninspired by many of the poses, which left me feeling a tad disappointed. That said, I did create some sketches which I like. I even took an old drawing that I disliked and attempted to make it better.
Tonight I met with an artist friend Loretta to spend some creative time together. I've mentioned in the past that I want to do a Vanitas painting, so using watercolors, I created a study of a baby's skull. I will definitely use it as one of my props when it comes to completing the oil version.
This sketch (above) was really frustrating to draw and afterwards I was convinced it was horrible. Now, I really like it.
This sketch (above) was frustrating to draw and I hate the end result.
We got together and my one goal for the evening was to create a large quantity of flesh-color that matches my general skin tone. I then painted my hand, which still turned out too saturated and red. I also tried two experiments painting watercolors on black paper. You can see the collected sediment in the paints, but I then used a very pale flesh color to create moments of brightness.
My artist friend Loretta and I met again tonight to work on art projects. I made two watercolor paintings, while she worked on the logistics of creating a book for a 5 year old.
I am still getting the hang of using watercolors. It's difficult to foresee how dark and rich the colors will end up. Both paintings ended up overly-saturated and underwhelming in the contrast. Using Photoshop, I adjusted lowering the saturation and increasing the contrast and really wish this is how my final paintings would have turned out.
One of the model's name was Alita–a tall transwoman–was delightful to draw. Her poses were unusual and full of energy.
The proportions are drastically off in this drawing, especially the size and length of the forearm and hands, but there are passages that I really like, for example, the upper shoulder.
Started by drawing with charcoal and oil sticks and then switched to watercolors. I could tell my artist friend was frustrated, but I really had a good time.
I finally got around to working on these sketches more. They're not perfect, but much better than before.
Many of the drawings did not turn out great, but it was still a great experience.
The other night I worked on a leg painting and did not like the results. I worked on it more tonight.
I decided to try using my Rapidograph ink pens to make the drawing and then fill in with watercolor. I really hate the results, so I'll work on it more another night.
Today's session was really challenging in that the actual drawing experience did not feel engaged and also I did not like the final results. Regardless, it's still good practice.
First I worked on a second test painting for the dissected legs.
Then I added more latex tubing to my ongoing sculpture/installation.
On the other leg painting that is a lot more transparent, I made a decision that I liked the edges painted white rather than black. So I repainted.
I also drew a pattern for a color checker on some basswood.
Finally, I sorted my paints again to make a limited palette. This is suggested by the Austin, Texas teacher, Mark Calder. I really like his free instructional videos.
Finally, I carved a torch, which can be really physical using the drawknife. After I made it, realized that the handle was way too long, so I cut it to the right length and reattached the end.
My artist friend Tobiah and I met at Monument's monthly drawing session.
Today was curious in that I had some amazing experiences drawing, but ended up with little on the paper that I like.
After my last attempt, which ended in an over-blended painting (see earlier blogpost), I attempted to restrain my desire to get rid of hard edges. I'm pretty happy with this.
Terrance Graven is a San Francisco artist whose installations incorporate sculptural elements, performance art, costumes, sound pieces, and theatrical lighting.