Old dogs really can learn new tricks. I have always kept a sketchbook since the 1970′s, but I’ve never made it a daily practice. When I came across artists who did in fact draw every day – I was in awe. Their sketchbooks were loaded with everyday scenes, doodles, designs, patterns, notes, and quotes. I sporadically used the sketchbook for doodles and quotes from books I read, and ideas for future prints.
One day I decided to start practicing drawing characters for a graphic novel, and began filling up all my sketchbooks. I was getting a little burned out so I pulled out a Gustave Klimt book, took a cup of coffee and my tobacco pipe out to the balcony and began to copy Klimt. Next morning I copied Frank Stella, Next morning Max Earnst, then Max Beckmann, Aubrey Beardsley, Giorgio di Chirico, Oskar Kokoschka, Modigliani, Marianne von Werefkin, Fred Stonehouse, Tony Fitzpatrick, Enrique Chagoya, Alfred Kubin, Danny Lyon, Franz Marc, Dali, Daumier, and several obscure Russian Futurists.
I was on a roll and needed more sketchbooks, I was hooked and the Summer weather beckoned me to my tree surrounded balcony. I started to actually compose my tiny moleskine sketchbook pages as little finished works. My original drawings were getting better and I started to use color and more complex crosshatching. Now I can honestly say daily drawing in the sketchbook has become my habit, I wonder if I can do same thing with exercise? I have scanned these pages and created a new category in Gallery called Sketchbooks, see the complete works HERE.
| More: art, Kokoschka, Sketchbook
If you have ever been to Burningman in the Nevada Black Rock Desert, you will remember that the very best and most impressive art works were burned with fire to the ground at the end of the event. I often relish the courage it takes to part ways and destroy works of art. The idea of a “clean slate” is very appealing; a fresh start; drawing a line in the sand. For me it means trying to forget every creative impulse that seemed forced, or lazy, or without concern for the viewer for whom I am making the art. C. S. Lewis quoted Horace in his essay “Good Work and Good Works” roughly paraphrased, “Art is to delight and inform the public.” As a Post-Evangelical Left wing Christian Sympathizer, I still feel the duty to serve the public as an artist – to delight and inform.
| Tags: contemporary, feminism, icon, labor, new, painting, women, work | More: art, Christianity, Collage, Gouache, painting, watercolor
If I were a painter I’d blow up famous paintings from art books, crop them, and paint them using a halftone screen in cyan, magenta, yellow, and black.
| Tags: acrylic, art, ben day dot, cmyk, contemporary, durer, hare, horse, jacques-louis david, lichtenstein, napoleon, painting, process | More: art, Comics, painting
If I were a Pop Artist I would take a magnifying glass to the color Sunday Comics, crop my favorite characters, and make acrylic paintings using an ellipse halftone screen using just four process colors. L to R: Powerhouse Pepper by Basil Wolverton, Popeye, Batman, Little Nemo, Lois Lane, Olive Oyl, Superman, Flip, and Krazy Kat. And a healthy nod to the late Roy Lichtenstein.
| Tags: acrylic, art, basil wolverton, batman, cmyk, contemporary, e. c. segar, flip, herriman, krazy kat, lichtenstein, little nemo, lois lane, new, olive oyl, painting, pop, popeye, powerhouse pepper, process, superman, winsor mckay | More: art, cartoon, Comics, painting
This is a study for a new series of paintings concerning pivotal comic strips that have influenced my work. I am one of many Pop-based artists trying to deal with Warhol and Lichtenstein. If I was a painter in NY around 1963 (instead of a 4 year old child playing with matchbox cars in Wisconsin) I think I would have taken a magnifying glass to the Sunday funnies. I attempt to find a slightly abstracted beauty in the ephemeral quality of the disposable newspaper. The characters are abstracted and cropped yet still recognizable. The commercial printing process is a CMYK system which I would bring to painting. I lay down yellow, then magenta, cyan and black on a wood panel using projected color separations. The Ben Day dots are simply individual brushstrokes. This is a turn from bringing painterliness to printmaking, instead I bring printmaking to painting. The images refer directly to the iconic comics masters: Herriman, McKay, Segar, etc. as well as the styles of Lichtenstein and Sigmar Polke.
Gearing up for the Membership Exchange Portfolio at the upcoming Southern Graphics Conference in Portland OR. This lithograph will be my entry for the required 13 piece edition. Superman gets advice about love from two knuckleheads.
| Tags: art, comics, contemporary, dick tracy, lichtenstein, printmaking, sgci flux, snake oil, superman, zippy | More: art, cartoon, Collage, Comics, contemporary, new, printmaking, Uncategorized
The collage on the left just needed something more. It might be a self-portrait after all and I thought it needed a few curls.
| Tags: art, collage, contemporary, new, printmaking | More: art, Collage, new, printmaking
Sometimes failure can bring about a new direction. For this print I was carving linocuts for the individual faces when I realized I never flipped the drawing on the block! This is a newbie mistake. So I salvaged what I could: Superman, Zippy the Pinhead and Dick Tracy – and gave them the pink floral background they deserved. Then, looking through a box of antique paper ephemera I found four languages of book text to chine colle. Read All About it.
| Tags: art, collage, comics, contemporary, printmaking, superman | More: art, cartoon, Collage, Comics, contemporary, new, printmaking
This print is based on the collage by the same name. You might ask “Why make an editioned print?” The answer is to have more than one. Perhaps as much as I ween off printmaking it still rages through my blood; plus I am a bit greedy.