Additional Egon Schiele lesson work!

As part of the module on Egon Schiele that I posted about yesterday, I took the second painting of my facial bones to work on. As you can tell from this photo compared to yesterday's post, I've changed the background, reduced the width of the face at the jaw line, neck and shoulders, done some additional painting of the face, and added a hand (in an attempt at a Schiele-like hand though mine is not as boney as he would have done) plus a stem. I don't have any plan for what to put on top of the stem--that's still a mystery--so I'm going to leave it without anything for now.

What you can see in the face is additional depth and more clarification of facial elements that weren't there before. The striped background provides contrast with the face as well as the hand. Its not a pretty image, but I learned a lot by doing the exercise in the first place and then working with it further to form something else.

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Introducing 'Kaleidoclown'

For fun, I've drawn one of my own photos (yes, I was dressed in a clown outfit) and added a wild and crazy background to accompany it for today's practice effort. As part of sketching the piece, it was split into four sections with two opposing diagonal lines. In terms of color choices, I've worked with color gradations for some shape sections. Can you believe, there are five major shapes in this effort? There really are -- circles, squares, trapezoids, triangles and spirals. I think the substrate is Biengfang Watercolor Paper (140 lb.). The materials used were Ohuhu markers, Micron 01 pigment ink pen, some red Stickles glitter glue for the nose, and a white Posca pen (for white dots on the face and to highlight eyes) and a yellow one (for yellow dots in the center of the flowers on the hat). There was no intention in working on this piece other than to have fun...and based on how it looks, I'd say well done!. One thing I learned is that blending with the Ohuhus i

The Creative Act by Rick Rubin

'The Creative Act', published just this year (2023), is filled with pearls of wisdom! I've done one read-through without marking up the book. But I will be re-reading it to digest it much more fully. With so much in the book, I sometimes felt like I was hearing familiar voices communicating similar thoughts. That includes art course instructors, Ardith Goodwin and Louise Fletcher; words spoken by Goenka-Ji when leading Vipassana meditation retreats; and books by others. Some of those authors include Brene Brown, John Cleese, Lynda Barry, David Bayles & Ted Orland, Cat Bennett, Austin Kleon, etc. Without a bibliography or reading recommendations list, I'm really curious about the breadth of reading done by the author. What/who were his favorite books/authors? How did he develop his insights into the creative process? The book is well-suited for marginalia. If you're wondering what that is, it is writing in the margins to restate what you've read,

New Project in Progress

I'm working on a new project with multiple layers and shapes of different colored organzas. It is an interpretation of lighting on an ice rink...from a show I recently saw. There is a lot more stitching to do, but I like how its coming along. I'm learning organzas are not easy to work with especially when you layer them and have overlaid edges. The fabric also tends to ravel easily. This post also linked to http://ninamariesayre.blogspot.com .

Cay Denise

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