Sunday, April 27, 2008

I Can't Imagine Anyplace Else I'd Rather Be.

"I Can't Imagine Anyplace Else I'd Rather Be."
8x11, ink on bristol

JAMES - for the second piece, i figured i'd stretch out on some straight-up b&w.


i knew i wanted two panels, comic book style. i originally intended to do it as if it were an excerpt from a larger story, but when i sketched the first panel i went in more of a 'design' direction. very similar to the way i try and compose my pages at figure drawing. i did it super loose with half-dead markers, and i knew it would be a pain in the ass to recapture that looseness in the final, while polishing it up just right.

detail shot

this was the 5th and 5inal attempt. i kept practicing where the areas were that i wanted to hit - so that when i really went in for the kill with a totally loose hand, my hand was ready to go to the right spots and do what got done. by the 5th time, i was money. mostly #6 brush, and some #2, and some half-dead markers.

i've already shown this to tom, and he made some very valid points about the facial features maybe being too suggestive to be recognized properly. and even though i really meant it that way, if i had a little more time, i definitely would have gone in and adjusted some things to clear up his nose and lips - but no white out. i haven't used white out on a single piece in months, i can't believe it. i wanted this to look pure for the show, and i even added some ink-on-ink texture strokes. i am really curious about what anyone thinks of this one. i'm still getting used to it.

more soon....

p.s. - i actually did use white out to sign my name. it's like giving up the no-hitter on a bunt hit.


Edwin Vazkez said...

These are really cool. They have a Raymond Petibon/Robert Weaver feel to them.

I don't think the facial expression of the first panel is too suggestive. It's good to have emotion on paper. It's not too little or too much. A good play against the second panel.

It has a nice open interpretation.

IF I had to be EXTREMELY harsh in critique, (and this is only looking harshly for something) I'd have to say that I would like to see a bit more range of different sizes to the broken glass. They all are relatively the same size. Put one right to my face (without being TOO gaudy). Think of it as foreground, midground, background. What size would define these spaces clearly. Take a look at some movie or comic exploding glass. Pause and you will see clear space divisions. I think in the Matrix (scene Trinity jumps off helicopter) took the art team about a month of researching broken glass before getting to move on to creating the effects.
But the way it is now is fine too.

I love the background, and looseness of the drawing.

james flames said...

point well -taken, and tho i probably wouldn't have made any glass shards bigger than they are (that would be too distracting), i could have made some smaller to give more of a sense of depth and motion.

otherwise, thanks alot for the comments, and i'm glad you feel that the open interpretation and looseness work.