I realize I’m talking mostly about my Art class and have wandered away from the main point of this blog — !!

Today I initiated the switch away from a Business AA and to an Art AA.  I’m feeling hyper-stoked about it, though I haven’t checked to see if they’ve officially changed it yet.  I mean, all right!  I won’t have to deal with the “you aren’t progressing in your major,” messages anymore!  😛

It just feels more “right” to me.  Art is difficult, but it can also be really, really rewarding.

I also made a composition today which used a lot looser and freer line than that which I’m used to, and I’m also hyper-stoked that it came out well and that it didn’t take me three hours to draw (I’d say more like 20-30 minutes).  I’d post a picture of it, but it’s after nightfall where I’m at, and I’d need to use the digital camera.  Plus, I have no decent imaging software yet, so I can’t tweak the lighting.  I’ll see if I can get a good photo tomorrow.

I’m pretty sure the paper it’s on is 11″x14″; meaning it’s too big for my scanner.  In any case, I’m thinking of trying out watercolor on this one, but I should take a photo beforehand, just in case I mess it up.  🙂  It originally started out as a portrayal of rajas and tamas, or the energy of new life and the energy of decay.  I’ve got a tree which is losing its leaves, and new shoots underneath it.

I’m just really happy that it turned out mostly-good, even though I was experimenting!


I also noticed when I started not to pay attention…it’s apparent (roof tiles on a shed).  It happened when I really didn’t want to draw a shed.

What I’m really liking is that I’m beginning to be able to envision what I’m drawing in 3-D, rather than as flat shapes.  So like with my Art+Fear drawing yesterday, I was able to imagine and draw a gryphon as existing in three dimensions, and alter my drawing through the uses of perspective and foreshortening to make it look more realistic and tied-together.  (That one is also on 11″x14″; I’m supposing it would be OK to show it, because what teacher is going to accept a printout for homework?)

Okay, and:  I decided to work in larger format for my final project.  I had my 8.5″x11″ printouts and started re-drafting images on them, and realized that my hand wanted to make the drawings over a half-page, not over 5″x7″.  I went to try and see if I could find 5.5″x8.5″ watercolor paper today; no dice (unless I cut my own).  What I have is Jack Richeson paper, but I only have a few sheets of that.  I’m not even sure that company is in business, anymore.

The good thing is that now I know where the Watercolor paper is stashed at my normal art store (it’s with the Watercolor paints, not in the general pads-of-paper section).  I also ended up getting a spiral-bound pad of AquaBee paper which should work for what I’m doing.  I’ll just cut the pages out when it comes critique time, and try and shield the under-pages from paint, by using a larger sheet of paper under the one I’m working on.

I’ve also realized that there’s no real reason for me to stick with the same materials and same paper throughout the project, or to use non-transferable media (like inks — not like charcoal or pastel) unless I really want it bound; and I may not, after critique.  It could just be a series of explorations.  My teacher really doesn’t want the life to flow out of our work, and so I’m thinking that easily, she would probably support experimentation and exploration.  She wants me to work on two compositions for each idea I’m working with; one planned, and one spontaneous, and get back to the group about it within 5 days (I’d say “a week,” but one week from today is the museum trip).

I also entirely forgot to do the OilBar drawing, but got some extra time on it.  I’m told that it’s kind of fumey and that it needs about two days to cure; plus, to use gloves while using it, because it doesn’t come easily off of one’s hands.  I’m thinking of doing a monoprint-type thing, or something; cover one paper with the OilBar, then put another paper on top of it and use it as a negative, so I can draw through the paper with firm pressure and get a reverse image when I peel them apart.  This is majorly what I’ve wanted to do; I’m thinking it could look pretty cool.  But I’m one who really got into linoleum prints in high school, so… yes.  🙂

So all that’s left to do now — besides the OilBar drawing — is the final work.  I just have to be brave enough to get started on it and continue with it.  🙂  But there is no requirement that it be successful — that’s what I’ve got to remember.  And experimentation and life is better than tried-and-true and flat.  Plus, I’ve got 60 tries open to me, on wonderful paper!  Something good should come out of this, once I’m able to overcome the initial fear of things not turning out as planned…maybe they will turn out unplanned and better than I planned them, yes?  😉


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Haru ("Codey") is a third-year Master's student in Library and Information Science, hoping to find a way to fuse their desire to make the world a better place and to finance their art.

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