Looking back--Looking forward.

Yesterday, I found out that my website is down; I'm going to call the hosting company tomorrow, and get the site back online.

I can't believe it's 18 November, already--only six weeks (or so) of 2012 remain.

I'm always torn, as a year draws to a close, whether to speed things up and try to finish as much of the not-yet-completed projects from the year before the year ends, or keep steadily working (with the attitude that whatever does or doesn't get finished now, can be completed next year)--

--or whether it's best to start work on some new projects, and worry about finishing the older stuff after the first of the year.


I actually began a new piece today, with the smallest beginning of a sketch. I have a 48 x 48 inch panel built, and I've been wondering what image might be best suited for a large, square panel, and this afternoon, I thought of something that I think will be amazing!

I still have three other paintings in various stages of completion: a small piece that's nearly done, Presentation which still has a long way to go, and a third piece that's about one-third complete.

Lastly--believe it or not--I've actually started working on the drawing for the next painting in the "Invented Faces" series!

So, what I've been feeling as a sort of "slow-down" during the third quarter of 2012 has ended, and I'm feeling really good about picking up the pace, once again.

There will be some new stuff posted here, soon.

Life Drawing from 2010

This is an "older" life drawing I found the other day. (I've been reorganizing my studio. I have the "large" 37 x 72 inch drafting table in place now, and I've moved lots of stuff into other rooms throughout the house, and have many of the things I need in more accessible places throughout the studio. And, I've found a few things I'd forgotten about.)

This is about 11 x 14 inches, charcoal pencil on paper. I don't remember the model's name. This was probably done in a bit less than 2 hours.

Now that I have it photographed, I think it should be dry-mounted, to get rid of the creases. Then, I'll probably frame it.

Hope you like it.

A new life drawing...

Last Thursday night, I attended a local life drawing session, and made a pretty decent drawing (if I may say so, myself!) The group meets weekly, but I haven't been in several months.

I would like to get in the habit of attending at least once a month; it's great practice, and I think it's important to support groups like this. There are at least two other life drawing groups in Kansas City, and most major cities probably have at least one group like this.

So, you can probably find one near you...or, start one, if there isn't one nearby already!

CD Review: Emily Autunn: "Opheliac"

Most people are familiar with the list of topics that shouldn't be discussed in polite company: politics, religion, and money. To that list, I would probably add one more, "music".

During tonight's Presidential debate (and that's as close to politics as this blog gets, I promise!) I was driving home from a local art organization's monthly meeting (where I had just given a presentation on airbrushing), and instead of the debate, I was listening to Opheliac, a 2006 CD by Emily Autumn.

From time to time, I have purchased music based on a review in a magazine, without hearing any of the music prior to buying the CD. From King Crimson's Discipline, Kazumi Watanabe's Mobo Club, and Danielle Dax' Blast the Human Flower, to Lustmord's Heresy, Faith and the Muse's ankoku butoh and Amy X Neuberg's Utechma, I haven't chosen poorly, yet. (Honestly!

This CD is no excaption.

Now, Emily is probably an acquired taste (though, as a long-time Tori Amos, Bjork, Laurie Anderson, Kate Bush, and Amy X fan, it wasn't hard for me to acquire it) but anyone who enjoys Lady Gaga, shouldn't have too much trouble enjoying several of the tracks on Opheliac. And the CD as a whole is worth repeated listening.

The opening (and title) track begins with harpsichord (which doesn't sound sequenced), and quickly transitions to a combination of orchestral chords, distorted vocals, and a driving industrial beat.

Autumn's vocals often channel early Kate Bush and Toyah, but much of the album reminds me of no one more than early Amy X Neuberg--especially the second track, Swallow, with its lilting sequenced trills, and upper-register vocals.

Liar ventures into full industrial territory, ala NIN and KMFDM, and shows off the lower register of Autumn's versatile voice. The track does suffer from the repetition of one lyric line--which reminded me of the too-many-times-repeated "I love him" from Bjork's otherwise sublime and beautiful Pagan Poetry.

The Art of Suicide is another harpichord piece, this time with subtle drum-machine clicks and whirs providing the 3/4 signature, and laced with (given Autumn's violin chops) what are probably (mostly) real strings.

I Want My Innocence Back takes us back to hard-edged NIN territory, while Misery Loves Company combines strings, drum machines, and the full range of Autumn's voice, for a song that Laga Gaga might have written for Pat Benator (or vice versa).

God Help Me starts out with a driving beat, similar to much of the rest of the album, but ends with another harsh repetion, this time of the title phrase. Shallot is an upbeat anthem to eagerly-awaited death (!), and until Loreena McKennitt and The Crystal Method actually collaborate, this is as close as we're likely to hear. Gothic Lolita, Dead is the New Alive, and Let the Record Show finish the album nicely.

Although this album isn't as lush as Hounds of Love or quite as polished as Utechma, these are thirteen mostly strong tracks, and I think Emilie Autumn is interesting enough to watch.

The Deluxe Edition of Opheliac includes a second disc with eight additional tracks.

Her new album, Fight Like A Girl, has just been released.

A word (or two) about donations...

I considered not writing this, but I think it needs to be said.

Artists are often solicited to donate their art to fundraisers by various organizations, and although there is a reward in the simple act of giving alone, there may be reasons why it's not always a good idea.

I heard a presentation by an organization recently, and decided to donate to their annual charity art auction. I chose to donate a "good" piece; a spider painting that had been featured on the postcard advertising one of my recent shows. I figured that folks who saw the piece at the auction, if they later ran across my work at a future show, would recognize the work as mine, even if they didn't remember my name.

I've donated to a few art auctions over the years, and I've usually found them to be a positive experience. First, my work is "out there" in front of the folks attending the auction (who might be a completely different audience than the folks who come to one of my shows); the auction determines what someone is willing to pay for the work, helping me to establish (as much as possible) it's "true value"); and I get another name for my mailing list--someone who already owns one of my paintings!

This particular auction, though, chose not to provide donating artists with the contact information for the folks who bought our work. Although I received the donation form, for tax purposes, showing that I donated a painting, having a way to contact another person who liked my work well enough to pay for it, is really important to me.

One local organization actually provides each donating artist a complete contact list for everyone who makes a purchase at their annual art auction. The name(s) of those who bought work from the artist receiving the specific list, is circled.

Although I don't regret the decision to donate work to this particular auction, I think that--given the fact that there are always more organizations looking for donations than I have work available to donate, I will not be donating to this particular auction, again.

Vacation, and Perspective...

We arrived home around 2330 Sunday, after nine days on the raod. We had driven to Detroit to visit Liora's family for a few days, then to Loraine, Ohio to spend some time with friends, and to visit the Rock and Roll Hall of Fame, in Cleveland.

Detroit was fun, and mostly relaxing. We spent Tuesday at the Henry Ford Museum, seeing (and "riding" in) the bus on which Rosa Parks famously refused to give up her seat, and the chair Abraham Lincoln was occopying, when he was assasinated. (Who knew the Henry Ford could be so dark? And that's not all! We also saw JFK's Presidential Limousine. Yes, the one he was riding in when he was shot.)

We ate dinner at our favourite Indian restaurant, and Linda's favourite BBQ restaurant (my second favourite; my number one BBQ place is in KC.) We did a bit of shopping, and had ice cream at a streetside bakery.

Cleveland was fun, and the Rock and Roll Hall of Fame was awesome. I saw several of Jerry Garcia's custom guitars (including the one he played the only time I saw the Dead, in Kansas City, front row, in '85).

We stayed in a beautiful Bed & Breakfast in Loraine Thursday and Friday nights, enjoying a delicious dinner outdoors on the terrace (also lakeside) Thursday night. Friday afternoon was spent walking along one of Lake Erie's gorgeous beaches. (See photo.)

We had dinner with friends in Akron Saturday evening, before a bit more shopping, then back to our hotel.

It was a wonderful trip, very relaxing and refreshing.

Back home, the woodworking project continues. I delivered the first display shelf the Monday before we headed out of town. I'm nearly finished with the second one, but I was told last night that the client is not pleased about some of the details with the first piece.

I worked out a schedule to address the problems, and fix them, but today I was told to "hold off" on working to finish the second unit. (Yeah, never a good sign, right?)

I've spent a great deal of time on these pieces, working from a basic schematic that the client changed after I'd already started buying the materials, and doing some basic construction. Because the project was for a store where a friend of mine works, I didn't insist on an up-front downpayment, so all the materials that have been paid for with my own money.

Considering all the time I've spent woodworking over the past month, I haven't had as much time to paint as I wanted. I'm not going to have the painting done in time to submit it to the Gamblin contest, by the deadline.

I feel like I should be more discouraged than I am; honestly, I'm feeling all right. The painting is looking good, and I'm focused on getting it done, right. (It's more important to have a good painting, than crank out a mediocre piece on time.) I'm also working on a couple ideas for a other new paintings, and I feel good about them, too. I think they're going to be really exciting.

If the client decides not to buy the displays from me, I'm going to use the wood to build some bookcases I've needed for several years, and perhaps a sewing table for Liora's studio, as well.

And, I will have learned a valuable lesson--again; don't make unfair compromises--not even for friends.

Airbrushing in the "Digital Age"...

I know several illustrators who used airbrushes for the majority of their illustration work two decades ago (or more), who now use only digital tools. Many "former airbrush artists" see little reason for anyone to bother with clunky ol' airbrushes that require constant cleaning, maintenance, and replacement parts.

But, there are reasons--good ones!

Just last week, I was asked to repair an arcylic (mostly airbrushed, with some "traditional" brushwork) painting for a fellow artist. She had a 40 x 40 inch painting that had a small tear in the canvas, and she needed it fixed, so the painting could be exhibited.

My first step was to "patch" the tear. I cut a small piece of unprimed canvas (from a scrap piece I keep on-hand for exactly that purpose) and attached the patch to the back of the tear using acrylic matte gel.

Once the patch was dry, I applied gesso into the "tear" from the front, sanding it smooth once it, too, was dry.

Then, using the airbrush, I touched up the "fixed" area, matching colours to the rest of the painting.

Lastly, a bit of "traditional" brushwork, and the repair work was done, and the painting looked like there had never been any damage to it at all.

When you have a project that can't be easily fed through a printer, or when you want to retain an original photograph, document, or painting (rather than ending up with a PhotoShop corrected copy), airbrushing is one good way to go about "fixing" original pieces.

I'm going to be using airbrushes quite a bit in my next several paintings, probably with both acrylics and oils. I need to figure out a good formula for an airbrush oil-paint medium. (I have a few ideas...)