Today’s work record (no pics)

All right, one more:

No new evidence of what I’ve been working on, tonight; I’ve been intensely involved with seeing all day, and I think it’s getting to me (my sight isn’t the greatest to begin with, and I dislike wearing glasses:  so I have a bit of eye strain).  The inking through erasing is done for the Tibetan singing bowl piece (which did not exist this morning).  I’ve redrawn the piece with the small bird in graphite, though I’m thinking I may want to rework that one entirely to focus more on the bird.  (I have some irrelevant/repeated information in there.)  The inking is done on the library piece, and it’s ready for watercolor, along with the rose and the bowl.

I’ve also figured out the composition for the final piece (aside from the piece focusing on the bird), and am in the process of inking it, though it took a bit of work to get there (I had to do word-association to see what I was getting at in my thumbnail).  I’ve also realized, though, that maybe I should keep it offline, as it could be misused.  It is easily the most provocative of the six.

So right now I’m working on six pieces…in various stages of process.  I should have a little time to work, tomorrow; more, if I work into the night.  And, coming up, I will also have a museum trip…which I can see the use of, now.  Drawing from reference and/or life is really different for me, than drawing from imagination.

Comparing my first piece with my latter ones, though…it’s really apparent that it was my first, because it is relatively naive compared to the ones that came later, and is missing certain unifying elements (like a sense of space, shadows, and hatching/cross-hatching).  I’m either going to have to go over it with ink again (and I’m not sure my fineliner will be alright with working over watercolor — I’ll have to see if I can find a throwaway Micron 005), or I may keep it out of the series.

And I may take the six I’ve got, and only utilize the four strongest pieces at Critique (rose, bowl, sword, library).  Depending, that is, on whether and how I might be able to get either of the two pieces referencing avians done to satisfaction, at all.

It would have been nice if we were warned to do a trial piece first to get our process straight, and then make more pieces than we had to:  so that we could toss the weakest ones.  The imaginative ones I did without physical reference are easily much weaker than the ones drawn from observation and/or photographs; though I had no idea it would turn out this way, before I did them.

I feel like the requirement that everything had to be the same size and same media was something that was intimidating and made it harder for me to get started.  I should have just jumped in and followed the working method for the first successful piece.  Instead, I waited and fretted over what approach would fit all 4-6 pieces, thinking that I’d work each stage all at once with all pieces, then move to the next stage with all pieces.  Thinking about it didn’t help me, here, at all.

Weird thing, though; too:  I can tell that my motor skills are improving.  It was extremely easy to keep my liner to a very precise pencil line when I was inking the Tibetan singing bowl piece; and last night when I was working on the rose, it was very easy to keep regular intervals between my hatch marks.

In addition, something in my brain has started to be able to tell intervals of time; though this, I think, is in relation to Figure Drawing.  Something about having intense brain activity going on for a set interval with a set period of rest…has made it so that I check the clock, say, a minute before the alarm goes off.

I dunno.

 

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paintedstone

Haru ("Codey") is a second-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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