Too many options, + stressing out over this project.

I think there are a bit too many variables open for my Series project, and right now that isn’t a good thing.

I haven’t worked on any art since Friday afternoon, and I can feel the inertia slowing me down.  Today has been mostly a day of rest, since I worked all of yesterday; and the day before, I had work and class, then was out on the field trip until after 10 PM.  That was before “dinner,” which was mostly effin’ bread.  (My parents love bread.  They were the ones who obtained my dinner.  I don’t see the draw.)

I guess that kind of explains it.  Not the bread thing, but the doing-too-much thing.

I’m thinking of trying to get up to go to the art store tomorrow, just to get me to get up and do something with some kind of enthusiasm.  I need to work out some system as regards color placement for these drawings I’m working on…but even the media which I may use to do so is up for grabs.  Markers?  Neocolor IIs?  Colored pencils?  (I only have a wide enough spectrum in colored pencil, but even that is not ideal, as it’s difficult to achieve the same level of saturation with pencil as will come out with paint.)

Generally speaking, I’ve been able to grok a number of variables which are useful for pointing to an image’s message…I’m not sure I’m up to really explaining all of them, but the point is that within each of these variables, it’s possible to focus in on one thing.  Like lighting.  If one is working realistically in daylight, there is generally (but not always) one light source which all of the shadows reference.  This tends to unify the composition.

Same thing with using the same color palette through a series or within one painting.  Suddenly adding a color which is nowhere else in the composition (or the series) can be jarring if everything else is working off of the same set of colors in varying proportions.  So then some decision has to be made about the basic palette.

Perspective is a third thing.  Generally, aside from approaches like Cubism, we’re looking at something from one vantage point, and that vantage point is implied across the entire image — again, unifying it.

And…if we’re working within one or another aesthetic…how to unify that across the varying compositions within a series comes up as another problem.  Do I draw loosely?  Tightly?  Do I color loosely or tightly?  What colors do I use?  Vivid or muted?  What width of line do I use?  Do I want to color with Microns or try something with waterproof ink and toothpicks?  Or do I use a steel-nib dip pen?  And why can’t I find small reed dip pens?

And what about concept?  Is it all right to include an image which may fall into a different category than the one I’m thinking of?  Or are they actually in the same category and I just haven’t thought it out well enough (though thinking it out well enough may take another decade)?

As regards realism or departures from such:  what kind of imaginative approach do I take which will work with all of this?

This is all of the stuff that’s going through my mind while I’m in bed, not drawing or painting, but busy trying to think of all the different ways I could draw or paint, and which are most worth trying.

It’s probably more useful just to screw around with materials until I find ones I like.  I know what I don’t like:  charcoal and pastel.  As for what I do, though:  liquid media, definitely; but then I find it difficult to wed dry and wet media, or drawing and painting, as no one has ever really taught me how to do so.

I’m not sure, though, if ink pens/fineliners count as wet or dry media…or if colored pencil is something I want to depend on, at this point.  I know I probably will, for purposes of texture and possible hue adjustments and other minor detail things (and what about layering colors which do not match); it’s just that the plethora of materials before me that I could use, is somewhat bewildering.

And…I’m really tired.  I did get paid recently, so I should have a little bit of money to spend on art supplies.  My problem is that my own preferred working speed is about 1/3 of this.

I suppose if I look at all the work I’ve been doing, I did work on this on both Thursday and Friday.  If I’d taken my papers yesterday, I could have done something at work instead of picking up color-mixing books…which I haven’t looked at, yet.  There’s just too much information to absorb, too many options, and I have about 8-9 days to work this out.

I should probably try and get all of the drawing done first, and then worry about the colors.


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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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