Maintaining momentum, and keeping the creative juices flowing, is always one of the challenges one has to overcome when engaging in an artistic pursuit which has to fit in around the everyday goings on of ones life. It’s easy to loose the flow, and returning to an unfinished image rarely results in picking up the thread exactly where you left it. I suppose that one of the key disciplines of any artist is to develop techniques which enable you to do this as seamlessly as possible. I don’t have any hard and fast routines that I follow in order to make this easier but one thing I do do is always try and have a number of little projects on the go at any one time, all at different stages. This means that when I’m deep in thought about how to solve a problem on one picture, there is always another close by which I can engage with, one where the work is at a stage where I don’t have to overcome any issues in the execution. So dipping in and out of things keeps the creative ball rolling rather than running to a dead stop as endless time is wasted staring at a problem until the answer comes. In fact this act of “dotting about” helps me to uncover the answers that I’m looking for.
So whilst pondering what to do about the background for the picture featured in the last post, I had a good look through the “pending ideas you should really finish” pile and pulled one out to serve as the “other” project. I had a dabble last year with some sketches following a visit to a drag race meeting, made a couple of drawings, and then promptly left it there. I’m not sure why. This drawing above was all ready for some treatment having been carefully pencilled out onto a nice bit of drawing paper, I just hadn’t thought much about how to take it further. I’m not sure what inspired my choice of technique, it could have been my recent visit to Tate Modern to see the Roy Lichtenstein show or something else entirely. Doing something different really appealed though and so out came the trusty old technical pens and I set to work.
Although the dot shading is a madly labour intensive way to do things, this drawing proved to be very enjoyable to do and a pleasant alternative to the paint and ink technique I’ve been doing a lot of recently. You have to take a break every now and then though as all the little specks of black make your eyes go a bit funny after a while. It’s a lovely way to gradually build up tone though and really plays to the cartoon nature of the drawing. I’ve called it “The Slugger” after a certain baseball bat, a blunt though effective instrument that gets the job done. I hope you like it.
Ok, so I air-brushed it. Some may construe this as giving up, caving in and taking the easy way out, but I don’t see it that way. The concentric rings of colour idea was something I wanted to try, but knowing that it might not go according to plan, it was only common sense to have a solution tucked in the back pocket. Try as I might, I could not get it to work manually. The twin evils of watery paint and a shaky hand conspired to create a cringe making collection of patchy coverage and hopelessly imprecise curving lines. If it was a report card it would have had “Messy, must try harder” written large over it in red ink. I thanked myself for at least taking the trouble to try it out on a separate sheet of paper.
I’m sure it might have been less traumatic if I’d tried it in acrylic paint, or mixed up house paints, as a good friend has since suggested. But I really didn’t want to make another trip to the art store to purchase even more stuff that I would have to find a home for in the now bulging shelves of the studio.
The air brushing was not without its moments either. Purchased many years ago to apply even coats to a rather expensive model I was making, the airbrush has spent most of its life in its box, venturing out occasionally to be fiddled with but never wealded as a precision instrument. As far as using it to create a picture, the last time I tried that was at art school thirty years ago, and the results were pretty poor even viewed through rose tinted specs. I’ve never bought a compressor, resorting to cans of air such is the infrequency of its use. Anyway, armed with some low tac Frisk film I set about carving the concentric lines with a scalpel to create pieces of removable mask. I had completely forgotten how difficult it is to replace a curving piece of film accurately onto the page and that any overspray on the surrounding mask adheres immediately to your finger tips and goes everywhere you don’t want it. Result: another shocking mess. Finally, realising that the KISS principal (Keep It Simple Stupid) was my only option I recovered the piece in another piece of film, cut around the drawing to reveal the background space, and sprayed the whole thing in one go with blue emanating from one corner and the yellow from another. All the film was then lifted off when it was all totally dry. Et voila, finished, and despite being the result of expediency as much as desire it looks pretty good considering. The compromise may not be ideal but it saves me from looking at a finished piece with the perpetual frustration of knowing that a simpler solution would have yielded a better result.
Two posts ago I talked about the many distractions hanging in the air these days, they are all mostly still there though my mind is slowly learning to ignore them. After all, one can only do one thing at a time and besides there are quite a few things to finish before immersing myself in a new medium, material, technique etc. Best get those done then.
Here is a more completed scan of the picture featured in that very post. The bike and rider are now done and it’s background time, again. I wanted something impactful but simple, colour but not complicated. I’d settled on a sun and sky combination and wondered about treating it as a series of concentric arcs of colour across the page. Sounds simple enough I thought, though knowing also how easy it can be to make a complete mess of a decent picture through the application of an ill considered final detail, I resolved to “sketch” it out in Photoshop first. So now we get the image shown below.
It is not looking too shabby at this stage, but I’m already wondering whether this is achievable in ink and paint given that the paper is Bristol Board, not the best thing for getting large areas of really flat colour. This is one aspect that Photoshop and other similar softwares can’t mimic. The digital space is a nigh on perfect canvas, free of the foibles of papers, boards and other physical media. Ones brushes are consistent in their behaviour, even when using a tablet as I do, and their “feel” is experienced through your gliding across the uniform surface of the tablet and the application of tiny variations in pressure. All lovely, but nothing like the real thing. So whilst I’ve got myself a scheme that seems to tick all of the boxes for me, the real challenge now will be rendering it in the mucky, unpredictable and unforgiving analogue space, where water manages to help and hinder all at the same time.