Pattern. Face after face. Follows a pattern, a formula. Actually it is more like a guideline. First to learn then to forget. I didn’t get that when I was learning it. How was I supposed to forget? The eyes to be centered from the top of the head to the chin and so on. I’m taking it into account but it’s not such a conscious decision anymore, more a part of the background conversation. I remember talking to myself while positioning his ears though.
Today, thanks to Ed Terpening, I saw a video demo of Peggi Kroll-Roberts showing her guidelines for these patterns. It refreshed my memory and I realised that I need to allow for more space below the nose upto the chin :D.
You can see more videos, read about this workshop and see Ed’s beautiful paintings on his blog.
Shaky beginnings. Test prints of my first two woodcuts. I still haven’t been able to wrap my head around the fact that what is positive in drawing is negative in relief prints. I’ll get there someday 😛
For the first piece I’ve mostly followed the wood grain and I like the feel and flow. Like a child I was happy to be able to incorporate the face that I could see in the grain. The specs are of course an addition and so is the mouth but the rest of the profile was “found”. I truly enjoy the freedom of doing as I please.
While working on the piece the title that came to mind is “Blind and drowning” I sent it to a friend to get some feedback and she saw something in it that I hadn’t but then it became crystal clear. And then I looked and some more!! The differences in what we saw reminded me of the TAT test that I had taken in business school.
The TAT is popularly known as the picture interpretation technique because it uses a standard series of 30 provocative yet ambiguouspictures about which the subject must tell a story. In the case of adults and adolescents of average intelligence, a subject is asked to tell as dramatic a story as they can for each picture, including:
Everytime I add to a painting I subtract something from what was before. Not being in the stage where i can bring it back keeps me worrying about the next session 😛 I’m hoping it will get easier sometime soon. I found that working digitally has the key advantages of undo levels and layers which allow me to overcome the addition/subtraction problem but other perceived problems prevent me from using it for more than studies.
A piece that I’m currently working on. Red – wip, 12″ X 12″ oil on canvas.
I cant step back to an earlier stage for this oil painting that I recently completed, on canvas. Had I been making it digitally it would have been easy for me rewind to a few days earlier. Digitally it is possible to get back in time.
In less than a month I’ll be completing 5 years since I started drawing and painting again, in earnest. I’m glad that I still want to climb this ladder unlike the corporate one that I gave up on so long ago.
Positions Vacant? Unfortunately, this coming year this is going to be a well thumbed section in the newspapers.
The piece is titled “Shades of Grey” – don’t believe everything that you read in the newspapers. As the first thought that came to mind when I saw the topic for the week was vacancies I couldnt resist using this. : )
36″ X 30″ acrylic on canvas. Photo refs copyright Anil Advani. Used with permission.
This scribble was made earlier in the day as part of a series of exercises based on the book “Mastering Composition” by Ian Roberts. It seems to fit the definition of clutter [ fill a space in a disorderly way ] well.
Some childhood memories are based on experience and others are imagined. Looking at this picture of my mother holding me makes me feel that I remember the moment. An unlikely event as I was less than a year old. Even knowing this rationally does not make it seem any less real.