Wednesday, July 23, 2014

#175 The Panda

Animalia: Day 123 
The Panda
A friend / fellow resident let me use her scanner!
So there should be a steady stream of drawings for the next few days.

I didn't want to make a cutesy cute panda, but had a hard time
making him look vicious, so I put him on a pile of skulls.

Tomorrow: the Pangolin.

Tuesday, July 15, 2014

#174 Godzilla Mugs

Don't have ready access to a scanner 
so no Animalia drawing today, but here is this instead:

A series of mugs that I made last Summer while back in Kentucky.
I apparently forgot to post them to the blog.

Godzilla was first, and thus, the least refined in technique.
Also, the only one made without reference images.

Of course, Hedorah was next, seeing as he is my favorite Godzilla monster.

Gigan was next, another favorite. 
I chipped the tip of his left claw when glazing him though...
And the colors are a bit off.

Then Megalon. A fav as well, I think perhaps my fav during my childhood.
The two vinyl Godzilla figures I cherished the most growing up were
probably Megalon and Hedorah, though also maybe the original Mechagodzilla.

I debated making a Jet Jaguar to complete the Godzilla Vs. Megalon cast.

I ended up using some of my leftover clay to make 
a little Mothra tray, but I don't have an image.

In any case, pretty proud of how these turned out, 
even if some of the colors are a bit off.

Monday, July 14, 2014

#173 The Pachycephalosaurus

Animalia: Day 122 
The Pachycephalosaurus

Finished the one of the left, then experimented with 
ink textures and patterns, didn't turn out great.
So just kept the one on the left.

I need to work on backgrounds, I suppose...

Tomorrow (probably not, it's Bastille day!): the Panda.

Friday, July 11, 2014

#172 The Oviraptor

Animalia: Day 121 
The Oviraptor

Here is the black and white unedited:
I did the big one in brush pen, and after it was finished,
I realized I had neglected the ovi- in oviraptor.
So, I drew the little sketch at the bottom right in homage of Birdo.

Color update will be added later, perhaps tomorrow.

EDIT:
Colors!


I wanted to add some yellows and lime greens,
but wasn't able to make it look good. Wompadoooo.

Tomorrow (maybe? might fall behind): the Pachycephalosaurus.

Thursday, July 10, 2014

#171 The Otter

Animalia: Day 120
The Otter

Silverpoint on terraskin, again. 
(I tried to capture some Tracy Morgan-ness in the otter at top left.)

And then traced and colored digitally.

Tomorrow (probably actually!): the Oviraptor.

Wednesday, July 9, 2014

#170 The Ostrich

Animalia: Day 119
The Ostrich

Preliminary doodle.

I did the sketches on the left first, then wanted to exaggerate the
small head, so I did the thumbnail sketch at the bottom.
Then I tried to blow that up, which was not entirely successful.

So then I photoshopped it to be roughly the proportions I wanted.
I tried coloring too, but it was a mess, so you get the grayscale (er, silver).

I am in Paris right now in residency at the Cité Internationale Des Arts,
making drawings and what not, but more on that in another post.

I did these animal drawings a few months ago, but they are silverpoints,
which are apparently difficult to document. 
My scanner blew out the images, and photographing them yielded 
mixed results, but that is what I ended up using.

Anyways, silverpoint on Terraskin, which is paper made from stone.

Tomorrow (maybe actually?!): the Otter.

Friday, February 28, 2014

#169 First Engraving

Hey all! I made my first engraving!
 
I have wanted to do engraving for a while. It is one of the 
most basic intaglio processes and was ubiquitous in the early modern 
world, but is now one of the least practiced of those print processes.
It is also purty freakin hard, thus the lack of contemporary practice.
I chose to use zinc for my first engraving because it is softer 
and more forgiving than copper, and because it's my party etc.

The engraving is of a wild man by a pollard willow, and I took inspiration 
engravings of wild men (note my borrowed monogram form), Dürer's
subject, and Dürer and Schongauer's engravings of the Flight into Egypt.

I am overall very happy with the print, 
but the experience was not without problems.

Here is the plate. I ended up using the back of the zinc plate because I
messed up the front. The back has this industrial varnish on it, which I
planned to remove later, but it turns out it is pretty insoluble. Removing
the varnish might damage the plate, so I plan on editioning with said varnish
still on. You can also see  where the burin slipped on one of the clouds,
and I tried to burnish it and the varnish lifted a bit.

I was able to print it at Georgetown, with the help of Prof. Scip 
Barnhart, who was super nice, super knowledgeable (especially re: stone 
lithography), super generous, and an all around super guy.

Scip suggested we print the plate relief as well, which I would not 
have thought to do had he not suggested it. It prints surprisingly clear.
I am surprised I have not seen any early modern examples of 
printing intaglio plates in relief. Surely it must have been attempted?

Thursday, February 27, 2014

#168 The Truth is Out There

I did a drawing for an X-Files themed Zine.

Here is the original drawing:

The end product can be seen (and purchased) at
Caroline Tompkins's page; she organized this rad thing.

Wednesday, January 15, 2014

#167 From Me to You

I forgot to post this when it was completed.



Did a lil linocut for a project on first memories,
printed by the folks at MITCH collective.

Did it in 2012, and it was printed in 2013.

Anyways, the project is online here:

Monday, September 23, 2013

#166 Silverpoint / Copperpoint

For a while now, I have been meaning to 
undertake some metalpoint drawings.
To this end I procured some copper wire from 
Home Depot, and some silver soldering wire from William Binnie.

Today, I visited the paper conservator at the National Gallery of Art
to talk about silverpoint, and she showed me a number of supports.
She then offered a few sheets of different prepared grounds to try out.
With these in hand, I then fashioned some electrical-taped tools
of which any prison-shank-aficionado would be proud.

The result:
Godzilla VS King Ghidorah (after Frans Post)

Here is Frans Post's original painting.
Vertical and Horizontal lines delineate different ground preparation.
The ground is bone ash and rabbit skin glue.
The right side of the page was dampened and rubbed with cheese cloth.
The middle horizontal third was burnished, and the
bottom third was sanded with pumice stone.
The dampening didn't seem to affect the surface too much,
but I found the burnished was easiest to work with.

The sky, background, and Godzilla are silverpoint.
The foreground and King Ghidorah are copperpoint.
When I was working, there was no visible difference in color
between the two, so I am interested to see how they age.

And here are the tools: