Monthly Archives: October 2013
CHOOSE AN ISSUE OR EVENT THAT YOU ARE MOST PASSIONATE ABOUT. LOOK IN MAGAZINES AND NEWSPAPERS TO FIND IMAGES AND WORDS THAT REFLECT YOUR FEELINGS. CUT OR TEAR THEM OUT AND GLUE THEM DOWN ON A TONED PIECE OF POSTER BOARD OR MAT BOARD, OVERLAPPING ITEMS SO THAT THE VIEWER’S EYE WILL MOVE THROUGHOUT. THEN DRAW/PAINT A CENTRAL FIGURE TO SYMBOLIZE THE ISSUE. CUT THIS IMAGE OUT AND PLACE IT STRATEGICALLY OVER THE OTHER IMAGES IN YOUR COLLAGE. BE SURE TO COAT THE FINAL PRODUCT WITH POLYMER MATTE OR GLOSS.
I CREATED THIS COLLAGE AT THE HEIGHT OF THE IRAQ AND AFGHANISTAN CONFLICTS. THE FIGURE OF THE GRIM REAPER IS STANDING ON THE GLOBE, WHICH MEANT THAT TERRORISM HAS TAKEN OVER THE ENTIRE WORLD! I STILL FEEL THAT WAY, ONLY MORESO.
I have lots more suggestions for sketchbook drawings, but alas, I never drew them. Hopefully, you will take some of these suggestions and try them yourself in your sketchbooks. If you do, and want to send me some images, I will be happy to post these on my blog.
Idea No. 1: Make a list of five objects. Make a list of five locations or environments. Combine one from each list into a drawing, such as: a fish in a forest, an alligator on the kitchen table, a lamp in a cloudy sky. Make it outrageous!
Idea No. 2: Draw a still life of reflective and transparent objects — use three different surface qualities. Use a viewfinder to isolate an area of the still life with a wide range of values and elements. Turn this area into a larger drawing either abstract or representational.
Idea No. 3: Tell a story in 4-5 consecutive views on separate sheets of your sketchbook. Use the medium of your choice.
Idea No. 4: Make a drawing depicting an emotion without a figure. How can you do this through space, life, and perspective? For example: space = bedroom, elevator; light = a single bare bulb or candle; perspective = looking upward or downward.
Idea No. 5: An alphabetical landscape: use a short but profound word like WAR and draw a wide, horizontal rectangle on a sketchbook page. Put capital letters in this field. Break up the space in a dynamic way and use negative space to provide the environment. Use perspective and color on the letters.
More to come later…
FIND A SCARY HALLOWEEN MASK AND DRAW IT IN YOUR MOST GHOULISH MANNER. MAKE SURE THERE ARE LOTS OF SHADOWS AND DARKNESS IN YOUR DESIGN. MANIPULATE AND DISTORT THE IMAGES TO MAKE THEM EVEN SCARIER. THESE MEXICAN MASKS I PHOTOGRAPHED IN MEXICO, BUT THE GHOST MASK I FOUND ON MY SOFTWARE. I HAVEN’T DRAWN ANY OF THESE AS YET, BUT I CAN HARDLY WAIT TO DO IT!
LOOK OUT A WINDOW IN YOUR HOUSE/APARTMENT. USING THE WINDOW FRAME AS YOUR FORMAT, MAKE ANOTHER FORMAT IN YOUR SKETCHBOOK CORRESPONDING TO THE SHAPE OF THE WINDOW. THINK OF THE PANE OF GLASS AS THE PICTURE PLANE AND DRAW WHAT YOU SEE FROM THAT VIEWPOINT. THIS DRAWING WAS DONE FROM ONE OF THE WINDOWS IN MY UPSTAIRS STUDIO.
The next time you visit an art museum, be sure to take your sketchbook and a pencil/pen with you. Look for exotic, foreign subjects: African, Hindu, Asian – any artifacts that are not part of your culture. Be observant of line, space, rhythm, and exterior decoration and examine the object from as many angles as you can. Then draw the object showing value and detail – spend at least 15 minutes on this drawing.
Always carry your sketchbook and pencil with you when you have to wait for a while – whether at the airport, the doctor’s office, and for some other appointment. Look around you and pick a person to sketch quickly — preferably so that the person you’re sketching doesn’t realize he/she is your model. See if you can get a good likeness in just 5 minutes or less using gesture drawing. If you have more time, embellish the figure with details of clothing, facial features, hands, etc. This is great practice for drawing figures from life. This young man was so occupied with his IPad game, he never noticed that I was drawing him while waiting for my flight to be called.
Find a photograph or newspaper/magazine picture with strong contrasts. Tape a piece of tracing paper over the photo and trace only the shapes you see. Merge all the dark areas into one shape, and all the light areas into another. Fill in the shapes so that you have only two values: black and white. Use line if you want to delineate features. This type of design becomes more unified and connected. You also introduce ambiguity. How many shapes do you see in the result? Count connected shapes as one.