Monthly Archives: September 2010

Portrait: Frank Reynolds

Starting next Thursday, October 7th, I will be participating in a group show at the Pony Club Gallery entitled “Monsterbation”.  The gallery is run by local artists, one of whom I contacted and asked if I could join any upcoming group shows.

I’d be down for any kind of theme, but this “Monster Sex” show is right up my alley.

After simmering on it a few days, I began brainstorming.  I knew I didn’t want to do a sexy female figure, but I did want to do a sort of pin-up spread.  Something for the ladies, perhaps?

As soon as I finished the initial, vague sketch and began to put pencil to paper again, this image suddenly hit me:

OMG!  This iconic spread of Burt Reynolds was done for an issue of 1972 Cosmopolitan.

And so

What other great monster could step into Burt’s shoes besides Frankenstein?  Oh, a match made in heaven.

(On a side note -

This isn’t the first time Burt has crossed my mind.  Here’s an oil painting from a few years ago:

This painting was turned in for a painting class at PNCA, then later given to a friend.)

Anyway, here is the progression of the piece.

The set-up.

Pencil work.

Ink outline.

Ink wash.

Beginning the charcoal stage.

The first layer of charcoal.

For this piece, I used all sorts of charcoal, from the light, more airy vine charcoal, to extra soft charcoal pencils, to a heavy, extremely black charcoal stick.

And, finally:

I had a blast making this.  There’s something about combining the soft seriousness of a charcoal portrait with a ludicrous subject that wins me over every time, and I was periodically giggling during the making of this drawing.

The Pony Club is located in the Everett Street Lofts in downtown Portland. Go check out the real thing!  Perhaps Frankenburt needs to be part of your daily visual vocabulary?


Sketch: Observation

I realized, along with Jake, that I haven’t been doing much observational drawing.  Actually, none at all.  Like figure drawing, drawing observationally is a vital skill strengthener for any artist.  There is a reason they make you draw so many freaking still lifes and twigs and buildings and naked humans in art school: hand-eye coordination.

So

and

Scribbles, but, you know, useful scribbles.

And now for a segment I like to call

As you can see, my little terrarium cactus is growing up.  While I’m happy about it sprouting weird cactus arms, I wasn’t expecting it to get so big.  What to do?  Smash the jar and transport it?  Let it go?  Stunt the growth?  Sigh.  I really can’t stand all this drama.


Studio Life

Lately it seems when I’m not working my job, I’m working in the studio.  Yesterday was no exception.

I spent a great deal of time vamping up my portfolio site, adding new content and polishing it up a bit.

The great thing about living with another artist is that when I’m in the studio, chances are, Jake is too.  As we work we can bounce ideas off each other, and I don’t have to feel guilty about sitting at my desk drawing for hours on end.

Yesterday evening I spent an hour on a quick and really fun drawing.

I wanted to experiment with perspective, color, and my new acrylics.  I stuck with my old stand-bys of charcoal, watercolor, and ink by blending it all together.

A step away from the dark and slightly morose drawings I usually make, this bright drawing was a nice venture into new territory.


Catholics & Cheeseburgers

Local paper Willamette Week once again contacted me for a news illustration, but this time on a smaller scale.

The article is about women of the Catholic church skipping mass this Sunday over the comment a Vatican spokesperson made comparing the inclusion of women in the priesthood to pedophelia.

The actual illustration was to fit into a 4″ square.

I only did a few initial sketches; the composition was pretty clear in my head already.

With a minor adjustment to the height of the steeple, my rough draft was approved, and I set to work on the final piece.

My illustration will be in today’s weekly issue of Willamette Week.

++++++

I’ve been experimenting with various illustration styles before I start the pursuit of commercial work.  I want to add a healthy dose of strong, simple images to my portfolio that could easily translate to print.  Here are a few results from fooling around in the studio.

Using watercolor, acrylics, ink & brush, this technique is fast, simple, and most importantly, still true to my style.  I rather enjoy working this way.  More experiments to come soon.



Eagle & Wolf: A Birthday Gift

Over the weekend we helped celebrate Jake’s grandmother’s 85th birthday.  Certainly one of the advantages of being an artist is the ability to give a piece of art as a gift (granted, of course, it isn’t terrible!).  I always welcome the challenge of finding something meaningful to draw for that person, and most of the time it’s better than anything you can buy.

Jake’s initial sketch for a hummingbird.  Jake took the helm of this project, and since his grandmother is a bird-lover, it was only natural that we did a small wildlife scene.

Shockingly, Jake put me in charge of the flowers.

We framed up the piece and presented it at the party; it was a big hit.  Happy Birthday, Georgia!

++++++

Summer may be over, but here’s an old drawing from my Illustration class at PNCA.  Beachy and vibrant, it makes me excited about my island vacation coming up next month!


Soaked.

Saturday saw non-stop rain in Portland.  I think the rain may have paused for 2 seconds, possibly 3.  Jake staunchly refused to share my umbrella, until the drizzle turned torrential at points.  Despite the rain, we ventured over to Utrecht to pick up some paint supplies.

Afterwards, I created the following scrawls in my sketchbook:

If, at first, I am at a public location and cannot think of something to draw, I often victimize whatever poor soul crosses my field of vision.  This isn’t an exact portrait – I’m not one for intently staring at strangers – but this drawing was certainly inspired by one particular woman.

I like flowers.  And skulls.  Why not combine the two?

++++++


Last week I received a back ordered issue of Communication Arts magazine.  This issue features the 2010 Illustration Annual.  Inside there is informative commentary on the current state of publishing and illustration, and the pages are replete with artists that both inspire me and make me want to cry.

Just a few examples:

These are only a few snippets from just one publication.  It all can be so overwhelming, but my task is to simply soak up a bit of the inspiration, then head to the drawing board and create works that are truly my own style.



Breaking Away

Something is happening to me.  In addition to the quiet evenings spent at home, listening to jazz and sipping on wine, OOHING and AHHING over Martha Stewart cookbooks, I now find myself crafting.  I must be getting old.

But look what I made!

That wreath took me far too long to make.

++++++

In addition to my dorky wreath-making, Jake and I have been feverishly working on launching our freelance careers.  Jake is already very prepared, and has just finished re-branding himself.  He is well-versed in his profession and will have no problem delving back into the market on his own.

I, on the other hand, am still emerging.  Part of the reason I have this blog is to share the process of breaking into commercial illustration.  There is nothing instant about this process, and I am fortunate enough to have a part-time job that pays the bills and still allows me to spend a great deal of time on the work I love.

I have already established two very important elements of any Illustrator or Designer:

Now it’s time that I turn to my resources and review what’s going on in the market.


Communication Arts magazine is an excellent resource, as they publish a review of the top Illustrators – ze cream of ze crop – annually. While I patiently await the 2010 edition to arrive in the mail, here’s a look at the 2007 issue.

Three years ago successful artist Sam Weber graced the cover.  Inside reveals many artists who are still relevant today.

In addition to absorbing current trends in the market, I’ve picked up a copy of 2010′s Artist’s & Graphic Designer’s Market.

This book has already proven to be an invaluable resource.  Inside are listings of current magazines, art galleries, book publishers – and more – to which you can submit your work.  Each listing includes contact information, what kind of work they are looking for, and even how much they pay.  Rates are anywhere from $15 to $4,000.

From this book, I can compile a list of publishers I will submit to.  Over the next few months, I will be further developing my portfolio to include works that can translate into the commercial market, and, hopefully, establish myself as a viable artist with potential to hire.

Sketch: Then It turned into a Pumpkin

I reluctantly opened my sketchbook last evening.

I began with:

“Meh,” I said to myself.

Then:

“Weird, but I really like that pastel face-head thing,” I admitted.

“Yes!  I adore these pastel splotchy blobs!”

And then, quite naturally:

Gasp. Swoon.  Faint!

On the surface, these doodles may not seem like much, but in my mind’s eye I am empowered by an audible click! that signifies something new in my little drawing career.

Those little splotchy pastel blobs may very well have opened the door to a vast landscape of blobby experimentation.



….And All I Got Were These Old-Timey Photographs

After experiencing several Fails in the hunt for a vintage chair, I ended up in an antique shop called Really Good Stuff.

Like most antique shops, this store is packed to the gills with treasures and junk alike.

It has stuff like this:

Blinking Halloween Skulls

And this:

Slumbering Fat Cats

And then I stumbled upon a line of filing cabinets labeled as such:


I must have spent half an hour rifling through the photos contained inside each metal drawer. I was not disappointed.

Take a look at these gems:

(click on any image to enlarge)

Year Unknown.

A large photograph, this scene is clearly staged, yet candid at the same time.  I’m guessing it’s from the 60′s.

“4th July, ’60″


“July 1948″


“Out in oilfields of OKLA -

Summer 1918 or 19″


“August 1959″


Year Unknown.


“Fairy Kitzmiller, Virginia Gilmore, Albert A. Reck.

Union Station, Portland, OR. June 13, 1965″

Why does  no one dress like this anymore?


“Dressed to Go – Ricky.”

Why does no one dress like this anymore?

++++++

Oh yeah, I drew today, too.



Portrait: Baby Greta

Prepare yourself – this post involves babies and fuzzy animals.

A few months ago some friends of mine welcomed their first baby girl to their family.  It was the kind of miraculous event that had been years in the making, orchestrated by two outstanding humans, and finally delivered in their very own home.

I decided to commemorate the occasion with a lovely baby portrait.

This piece was a surprise, so I worked entirely from a photograph.

Black & white, ink & charcoal.  To be honest, at this point I was calling the piece finished.  Then I showed it to Jake and he gently mentioned that it was a bit gloomy and, well…….lifeless.

I caught his drift and immediately set to coloring the piece.

Initial color.

I had to spray fix the piece after the black & white stage, so that when I applied wet medium it would not turn into mud.  I had to be especially gentle with color application.

The scan’s a bit lumpy, I know, but so was the paper.

I bought framing from I’ve Been Framed, here in Portland.  After setting the finished piece on a chair to photograph, my cat Theo immediately wanted in on the action.

This is why cats are awesome.

The piece was delivered today and I’m happy to say that they loved it.