I’m just trying to warm up, right now, to writing my Artist Bio for Creative Process. It’s the last piece — before oral practice — of my presentation that I haven’t done.
Sometimes, my mind just doesn’t think in words, and so it can be difficult going from being observational and receptive, to trying to encode something for someone else to digest (especially when I haven’t touched my material for a week). I have a feeling that oral practice may help, here, as a preliminary to writing the Bio. Basically, what I want to put into my Bio is stuff that I don’t have time to talk about, and which is not in my Artist Statement.
I did, however…when thinking about my main question to the panel (“how can I use my skills without compromising my ethics”), realize that if I am doing this for myself, I can go in a few directions. It’s just that not all of them are ones I see myself wanting to go in:
- Write and/or illustrate books for kids. Not the best option, as I’m probably a bit too “adult” in my existence to get away with that, without controversy.
- Write and/or illustrate at least one graphic novel for adults. A better option, but color printing is still expensive, and this would likely be a labor-of-love type thing. Plus, I am quickly losing focus on monochrome, if I have not yet declared myself in the camp of color. I may not have the funds to print things nicely (in addition to having the time and funding to write the story and create the art).
- Write and/or illustrate a website which can integrate text, image, sound, motion. This is probably the cleanest option, the most convenient, least costly for a self-publisher, and the most potentially expansive; but here we are also dealing with the possibility of security vulnerabilities/exploits and limitations of technology. (Yes, I still hate Flash.) This means that I will need some technological expertise, either learned (as is possible in my program) or hired.
- Ah, almost forgot this one: become a showing Fine Artist. I’ve not given much thought to this, because it is easily…not anything which I can see offering much to me, except creative freedom. This is basically my fall-back position, where I keep making art to keep myself grounded, but have lots of material collecting which I don’t have space to show (as is becoming the case). I would basically start selling things because I might have too much, and use the funds to continue to make art.
I also have one thing I can show which …well, maybe I should consider a gift to the cosmos (lol)…I started out this post thinking of this:
This is the rose I posted earlier, only now it has watercolor on top of it, and has been run through Photoshop. I did it on (Canson) Wet Media paper because I anticipated a workflow where I would be working back in with colored pencil, after the watercolor.
This is the first of my four Series images I’ve painted…if we don’t count the very first one, which now seems to fit.
What I can say is that I really want to do this one, at least, larger and on better paper. (Or, a series of these, on larger and better paper.) The Wet Media paper now seems thin, compared to Watercolor paper. The work itself is also small (7″x10″) because of time limitations; smaller still when that taped border is subtracted. I can say that Semi-B5 paper is probably…not the greatest for finished work, as versus practice or preliminary sketching (not to mention the possibility of paper degradation with a non-cotton surface).
I want to try this without hard, heavy lines, also. I’ve thought of doing the outlining in a thin, colored, waterproof fineliner (like a Copic) so that it fades back after coloring, plus next time not doing so much hatching. The hatching was, in effect, to give the drawing dimension if it wasn’t going to have color on top of it — which it originally (at time of submission) didn’t.
Now that I see it smaller, it does look more dimensional. I can actually tell that I took my time, with this one. Levels adjustments in Photoshop also make this appear more vibrant, which is part of what got me thinking about web publishing. There are two classes which would help with this: one, Contemporary Color. The other, now I am thinking, may not be so much help with a web publication; but I was thinking of InDesign.
I am not entirely sure if the faded look of the original is because of the quality of my paints (I’m using almost entirely Winsor & Newton Professional range right now, as it’s what I needed for Watercolor class — even that seemed expensive at the time [well…yes, I was buying somewhere around 8-9 tubes]), or glare off of the surface of the paper into my camera. It’s noticeable on black paper; I assume it also happens on white paper, and I just can’t see it as well. I’ve found that photographing an image on a slanted surface (slanting in the direction of the light source) helps this, though.
I did replace that one old Cotman Cadmium Orange Hue (from 2009) with a new tube of Cotman Cadmium Orange Hue. I used the latter, in the above. The two paints have entirely different pigment formulations, and the newer formulation is more lightfast, meaning no ruining a good drawing with known fugitive pigments.
Okay, I think I’m up to working on that Bio, now…