Wednesday, September 22, 2010
It's already noon and I'm just having my second cup of coffee after a check-up trip to oncologist, (who still thinks everything about me looks fantastic), and taking a quick drawing tour of the summer home to be rendered in the commissioned painting challenge I'm thinking of taking on.
From this first impression drawing done with markers and a little water to wash them down, I'm thinking I really should do a seriously detailed graphite drawing to nail down the details. Then, when I get to the painting,if I get to the painting, I'll be crystal clear on where the suggestive smears go.
Personally, I like a fast sketch look in drawings and paintings. There's a casualness to them, a feeling of a fleeting moment, that beats the static look of photographic renderings. I have no idea what the client likes?
I jotted the question down on my growing list.
I didn't do anything more to the boat drawing I started. I think I'm afraid of it. Hard shiny things with chrome and reflexions make me think I need an airbrush, masking materials, projector and maybe a guy who's taking automotive design at Center of Creative Studies? I mean, Rubens didn't paint an entire painting--he worked with a team of painters in his art factory. And if you look at his work, there's not one speed boat in anywhere. You can read about Peter Paul's business practices in Art & Money, an excellent book by Aubrey Menen that gives you the scoop on what really went on in the masters' studios. (I noticed it's only fifty seven cents and I think that was in hard cover)?