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The Spring Edition of Verbal Seduction came out recently. Having not heard anything from them other than getting a "work received" email, I assumed none of the submissions had been selected. But I was surprised to see I'd gotten photos, art, and prose in it. It was a really exciting discovery. My first attempt to get literary or poetic work published was a success. (Alex's piece made it as the cover and Casey's was the inside cover). We were all complimented in a pizza shop the next night.
One down...many more to go...
A few weeks ago, there was a large poster of the Mona Lisa tacked to one of the studio walls. I needed a break from what I was doing, so I grabbed charcoal and did a sketch of her right next to the poster. The poster was removed, but the drawing stayed. My friend added the lines and circle, and now she watches me work on this new project..."what is Mona Lisa's expression?" Criticalness.
Steve Cerio...
I found this in a notebook I only write in. I forgot I had done it right after being given the notebook. My sketchbooks usually end up turning into notebooks, in the end. Perhaps they're all the same thing. But, it was a pleasant surprise, none-the-less, to run into this.
My friend, who's portrait I'm drawing here, took this photo (notice the shark arm doing the drawing...it was a sunny day outside and we had markers) as I was in the first stages of this new project. I'm drawing 6' X 4' drawings of the faces and hands (with a few exceptions) of people I know. I'd been thinking about doing large-scale drawings for a project, and I thought about how much of a person you would have to see (say, if they were walking towards you in a fog) in order for you to get a decent sense of that person's energy, or personality. I've tied in a little palmistry and body language and put together about a dozen of these in my head. Now I have to get them done. Usually, a grid works against me if I'm doing a portrait, so I leave out that step and jump straight to interpreting a face, but I want this to be less about my characterizations of people and more about their body language and the power of suggestion in the way that their hands and faces are being presented. So accuracy is important to me. I want these to really look like the people in a more photo-real sense than what I'd normally shoot for. I have high hopes for these.
A few weeks ago, there was a large poster of the Mona Lisa tacked to one of the studio walls. I needed a break from what I was doing, so I grabbed charcoal and did a sketch of her right next to the poster. The poster was removed, but the drawing stayed. My friend added the lines and circle, and now she watches me work on this new project..."what is Mona Lisa's expression?" Criticalness.
I found this in a notebook I only write in. I forgot I had done it right after being given the notebook. My sketchbooks usually end up turning into notebooks, in the end. Perhaps they're all the same thing. But, it was a pleasant surprise, none-the-less, to run into this.
My friend, who's portrait I'm drawing here, took this photo (notice the shark arm doing the drawing...it was a sunny day outside and we had markers) as I was in the first stages of this new project. I'm drawing 6' X 4' drawings of the faces and hands (with a few exceptions) of people I know. I'd been thinking about doing large-scale drawings for a project, and I thought about how much of a person you would have to see (say, if they were walking towards you in a fog) in order for you to get a decent sense of that person's energy, or personality. I've tied in a little palmistry and body language and put together about a dozen of these in my head. Now I have to get them done. Usually, a grid works against me if I'm doing a portrait, so I leave out that step and jump straight to interpreting a face, but I want this to be less about my characterizations of people and more about their body language and the power of suggestion in the way that their hands and faces are being presented. So accuracy is important to me. I want these to really look like the people in a more photo-real sense than what I'd normally shoot for. I have high hopes for these.
