My art is a process. For as much emotion, social commentary and passion it contains, the actually creation is rather calculated. A repetitive formula I apply to each piece. I would like to share the essential steps to the manifestation of a piece from my wilderness series, specifically one on the moleskin journals you can find in my etsy shop.
Step 1: Sketch: Thumbnails, thumbnails, thumbnails. Back in school we were often made to do 20+ thumbnails for one piece. I admit I no longer typically adhere to that quantity. Instead I do semi vague geometric layout of what I'd like to do. Everything can break down into shapes. I do this to find the image and scene that looks best, work out angles, edit potential added scenery, cropping etc.
Step 2:Decide & Refine: Of the plethora of sketches I do I pick one, (sometimes several if I'm still a little undecided) and I refine the details. I work it from geometric to fluid. Any questionable or problem areas I troubleshoot. I want to figure out exactly how things work and look in this stage as simple line drawings. Here I also lay the line work for the linear geometric smears of color found in my work.
Step 3: Color: In the stage decisions are made in terms of coloring. In this case since it's a fox and I am taking a natural approach Mother Earth has made some critical, preliminary decisions for me. However the first time around I chose the shade, tone, vibrancy, etc. It is also at this time I contemplate the colors of the linear geometric smears. It's important to think of the way they balance with the character and the paper of which they are upon. I can then see the "final" piece and make tweaks and notes to be transferred for the final work.
Step 4: Transfer: Here is the cover of the moleskin. The determined sketch is lightly drawn on in pencil. I still use the geometric framework as guidance. The beauty about using the geometric framework, though it may be basic is that it allows you to produce identical images by hand piece after piece. They disintegrate as whole characters and reduce to where the circle meets the square. Such dry, cold facts are simply easier to reproduce than whole dimensional forms.
Step 5:The Character; Here I separate the character. I focus solely on him. Color, pen, everything. For me it's completing a small segmented task that shows measurable progress.
Step 6:Wash: The colors of the linear geometric smears must be filled in.Typically most are varying degrees of transparency where as 1, or an odd number are vibrantly opaque. I will not dive into the depth of it now but when you look at my work you may notice that numbers and balance play a large role. I repeat and prefer certain formulated and theorized set ups. Anyways, the colors are washes using pigments, water and multiple layers to create the preferred tone, opaqueness and flow. Undoubtedly I will need to redefine some lines post step 6.
Set 7: FIN: The finishing step. Here the lines of the character are refined to desired look and perfection. I lay down thin lines for the linear geometric smears because as whimsical as they may be they still require some guided containment. Sometime the width is varying to create a sense of depth. This brings into light my line work which I emphasize so heavily upon and attend with great care. Finishing touches include stylized linear shadows, leaflets of strategically placed grass and a signature upon the back .
Thing can be dissected, separated, formulated, compartmentalized and systematically executed. In the end it does not deem them any less natural, organic or beautiful. As is my out look upon many things. As in my artistic process.
A shoppe must create an atmosphere for its customers as must a booth for a show. It is my hopes to create a mobile version of my studio space. Facilitate a scene of dessert, dilapidated beauty including everything from dusty accents and vintage furniture. This the home of my work in life an in my heart. They deserve such a stage. It is their setting.
