At First Glance #6

5" x 7" ink and watercolor on Fabriano Artistico rough paper
(Click to view a larger image.)

It's got to be said.  You can be strolling along, the warmth of the sun on your face, a soft breeze blowing - everything right with the world.  Then you can step into a hole and break your ankle.

We lack control in this world.  We cannot control our environment.  We cannot control others.  Sometimes we cannot even control ourselves.

So what's a person to do?

Here's what I think: 

First you experience the pain.  Fully.  Good or bad, it is part of your story. 

Next, you wander, and you wonder.  Allow yourself to drift to the next place, and wonder at what you will see along the way. 

And don't look back.

*  *  *

This is the sixth in my At First Glance series of ink and watercolor drawings of folks I spot in Miami.  The others in the series are here, here, here, here, and  here.

And here's what they look like as a group:

(Click to enlarge.)

At First Glance #5

5" x 7" ink and watercolor on Fabriano Artistico rough paper
(Click to view a larger image)

I love bus stops and cross walks because of the variety of people you find there.  But it's rare that I am lucky enough to have the traffic light stop my car just to the side of a person to paint.  So when I saw the woman above I just kinda casually stared straight ahead while waiting at the light, held my cell phone sideways, and -snap- I had the picture.  I never looked that way once and when the light turned green I drove on.  When I checked the photo later I was delighted!

This is my fifth "At First Glance" picture, a series where I try to capture the essence of folks I find in Miami. 

But I've been thinking, maybe what I'm portraying is something more.

The other day I met a friend for lunch that I hadn't seen in maybe ten years.  (This is a different friend, by the way, than the one recounted in the last post.)  I had no idea it had been so long.  I'd spoken to him every year in the interim - he's my accountant.  We'd have lively telephone conversations, catching up, and he'd sounded exactly the same.  But I'd mail him the papers for my return and wouldn't see him. 

So when we saw one another there was this surreal minute or two as we conversed when we were reconciling our memories of one another to the persons before us. Time had given us both more .. character.

So I realize that what I'm capturing in this series is not only the essence, but the moment.

The "At First Glance"figures are in a field of white.  I could ground the figures in the white field, say with a shadow.  But I do not.  This is appropriate, I think.  This is their essence suspended in the moment; then the moment is gone.


***

If you'd like descriptions of the series and to see prior "At First Glance" folks, you can go here, here, here and here.  [What will I do when there are 100?  Leave 99 links at the end of the post?!  I think not!]

At First Glance #4

5" x 7" ink and watercolor on Fabriano Artistico rough paper
(Click to view a larger image)

This is the fourth At First Glance picture.  In this series I try to capture the essence of people that I see in Miami.  A more comprehensive description of the series is here.

It's funny about an image like this one.  I feel like I can tell you nine or ten things about this gentleman, without actually knowing a thing about him.

Part of the constraints I set for myself in the series is to draw in pen, with no advance pencil sketch.  The idea is to keep the "sketchiness", just as though I am out and about sketching from life.

Is that crazy, or what?   The first time I draw any of these folks, it is in variably too big.  Then I overcompensate and draw too small.  I am finding it takes four or five drawings to get it right.  And then comes the watercolor, which, thus far - knock on wood - I have had no problem with.

Conclusion:  This series is a form a self-torture that is just about better than anything.   When I am done with the series, I will just cut off my ear and be done with it.  

**

Note:  I have made a subtle revision to the original watercolor and have replaced the image in this post.  I apologize if any offense was caused by the earlier version.  Please know that I had not noticed the feature in the earlier version, and that it was unintentional.  If, like me, you didn't notice and have no clue what I am talking about then I am relieved.  Ah, the vagaries of watercolor..

At First Glance #3

5" x 7" ink and watercolor on Fabriano Artistico rough paper
(Click to view a larger image)

Everywhere I go, there are people.  Who are they?  What do they do with their lives?  Where are they going?  Where have they been?

Most importantly, what is their essence?  Who is underneath what we see?

I can never have these questions answered.  I can only see people enter and leave my path of vision like props on a set.

But I can try.

This is the third in my "At First Glance" series.  I have self-imposed constraints in the series.  I use pen and watercolor on a white background - focusing entirely on the image.  Most, if not all of the images will be a frontal or near frontal view.  The figures must be derived from people I have seen in Miami.  I am using a sketchy style, reminiscent of my actual sketches in the field, but slightly more formal.  All of the drawings are very small, on a 5" x 7" sheet.  I work from photos.  I do not care as much that I obtain an exact likeness - in fact, I attempt to avoid exact likenesses, in respect for their privacy (and for legal concerns).

I attempt to capture their essence, an impossible task I know, but what the heck.  It is a "soul" painting, not a "body" painting, although the body is the device for this.  It is as much of their soul as I can capture in a glance.  I leave the rest for them.

How accurate is this?  I don't know.  But in her TED talk, "Your Body Language Shapes Who You Are", here, Amy Cuddy says that a researcher at Tufts University showed that when people watched 30 second soundless clips of physician-patient interactions, their judgment of that physician's "niceness"  predicted whether or not that physician would be sued for malpractice.  She says that another study at Princeton showed that judgments from glances of only one second of politician's faces predicted 70% of the outcome of senate and gubernatorial races in the United States.


The first two in the series are here and here.

There has been quite a time gap between #2 and #3.  Part of the reason was my search for an indelible, waterproof, lightfast pen that would work for this size, this style, and the paper.  Thank you to  Sue Pownall of Art of a Nomad.  Thanks to her recommendation, I now use the Staedtler pigment liner .05 for these pictures.  It is a wonderful pen.

I also questioned every aspect of the series, the size and lack of a background, for example.  But the size is right.  When I have fifteen or twenty of them done, there will be a crowd, at this size.  To see an individual, you would have to walk right up to one of them.  It is very much like real life.  A background would distract from the person, and I want all attention on who that person is.

I had more trouble with this figure than either of the previous two - with the face, surprisingly, consider that is what I draw all of the time.  I am hoping the next few will be more straightforward, but maybe they shouldn't be.

There.  How much more can a guy say about a small figure not even seven inches tall?  Don't get me started.

*****

Hey everyone, art philosophy guru Katharine Cartwright's blog is back!  It is here.  Besides being a great professional artist, she always raises interesting questions in her posts.  When her blog was active before we used to have wonderful discussions in the comments section.  So if you want an exhilarating, thought-provoking experience, start checking out her posts and participate!

At First Glance #2

5" x 7" ink and watercolor on Fabriano Artistico rough paper

Your momma was right.  You are special.

In one nicely written web article that you can see here, a Mr. O. Hooge (how I love that name), of British Columbia, Canada, said that if you go back 10 generations, following the father's line only without even taking momma or all sorts of various deaths of potential ancestors into account, the chance that you exist at all is at most 1 in 6 x 10¹⁰⁰.

He then shows you the zeros, which is a nice touch:

1 in 6000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000.

Wow.


In a Huffington Post blog post which you can see here:
Dr. Ali Binazir says..
that Mel Robbins, a self-help author, states..
that scientists say..
that your chance of being born is about 1 in 400 trillion!!
Maybe those scientists are taking all those factors into account that Mr. Hooge set aside.  I don't know.

But according to the scientists, you, dearie, are 1 in 400 trillion!!

No room for the zeros here.  Sorry.

You can look at this another way. If you were a rabbit, you'd probably only be 1 in 1000.  If you were an ant, you'd probably only be 1 in 100.  If you were a grain of sand, you'd probably just be 1 in 2. Well, thinking about it, a grain of sand isn't born.  My numbers.  Sorry, Mr. Hooge.

So you are lucky to be here!

And that is the reason for my "At First Glance" series.  It's my attraction to the uniqueness of each and every individual out there (and that, of course, includes you).


When I was at one of the attractions here in South Florida, I pretended to snap a picture of a building, but I was really taking it of the crowd.  Sneaky.  And the girl at the top of this post was among them.  This is my second drawing for the "At First Glance" series.  Each are on a white field and drawn freehand in pen in a kind of  "sketchy" style, as though on site, then colored in watercolor.  The first in the series is here.

I suppose it is the uniqueness of folks that attracts me when I am out and about, sketching, too.  My small moleskine is always in my back pocket; my pens, always in the front.


Here are a few of my sketches from life.. 

Here's a couple I sketched at a restaurant at breakfast.  There is something about the whole feel of this that I like - I wonder if it would make a good painting?  I did something different this time.  I painted everything in the same color underneath, quinadrone gold.  Each color - not yellow - that you see is a result of glazes on top.

ink and watercolor in a small moleskine

Below is a girl I saw a few booths over.  Each time I sketch is a challenge - I am always wondering if it will come out all right.  Sometimes it makes it hard to make the first mark, the concern of it.  But I must always make the first mark.

Sketches are always interesting, because I learn something each time.  This time I gave her a shnoz.  I would probably do it differently next time I draw someone at that angle.  And that is the key to progress.

ink and watercolor in a small moleskine

Here is the local pharmacist, drawn while standing in line to pick up a prescription.

I showed my family this one, and they all said it was a perfect likeness!  I like that!

ink and watercolor in a small moleskine

So look in a mirror today.  No matter whether you straighten your hair, polish your bald head, smile at what you see, or recoil in horror, remember your uniqueness.

Then do something with it!

***

PS - The experiment with the SKB SB-1000 pen bore fruit.  The pen marks faded by half in the sun.

Captain Elaine, whose blog is here, said in her comment to my post, that there are always two issues - not only do you have to worry about the sun (UV resistence), but the ink, if it's not archival, may fade on it's own in the dark! 

I once spoke to an aging artist who, with a sad wistfulness, said that all his old sketches were fading.  I enjoy the line, the feel, of the SKB pen.  I'm not sure I'm done with this pen, but that's probably enough.  When I use it, I'm beginning to feel like I do when I eat something that's bad for me.  I've gotten rid of two fugitive paints from my palette, so it seems reasonable to abandon this pen as well.

So I've picked up the Pigma Micron again.  And I'm getting used to it..

At First Glance #1

5" x 7" ink and watercolor on Fabriano Artistico rough paper

Well, I had the idea for a series of small drawings of people - perhaps grouped together in a larger square and single frame.

I am intrigued by how much is shown (or assumed) about an individual at first glance.   
 
The challenge to myself would be to draw freehand in pen without doing it in pencil first, just as I would a sketch in the field.  Then it might have the raw quality that I value in field sketching.  I would have no background, letting each figure show the character of the person.  At the same time, I would try to give the drawing a more formal quality than a sketch might offer.

My reference photo is from random shots I took at a public event a year to two ago.  I snapped pictures with my phone in various directions.  People were everywhere.  The magic of digital shots is that I can enlarge and crop the image I want, put it on the computer screen, and then sketch at my desk as though I were there.  I have more time, but I try not to use too much.  I don't worry at all about a likeness - it is the effect I am after.

This was my first attempt, and it was successful.  I have done two.  The second took two tries.  It was a bit harder, because I had to match the size and the style of the first.  The third became too lose, so I added a background and it became something else altogether - not suitable for the series, but interesting.

But my new series faces cancellation.

For these first two drawings I used the fabled SKB SB-1000 pen, my favorite sketching pen.  I have extolled its virtues before.  It has a fine line that I love and it is waterproof so does not smear with watercolor.  It is essentially a ball point pen.  But there is no information on the pen - anywhere.  Is the ink archival?  Is that question something I should concern myself with anyway if the watercolor would be under UV protected glass?  I don't know.  What do you think?

So I have taken a failed drawing on the same paper, and stuck it in the Florida sun.  Let's see what that does.

Well, I've done two drawings - doing maybe seven more for a grouping of nine would be great fun, a personal challenge, and I've already ripped the paper to size, so why not?  We will see.  And then maybe I can follow up with 6 foot acrylic paintings of the same subjects.  Alert the museums.

OK, that was my formal and snooty side.

"Ta."

("Ta," is what formal and snooty people say.)

And this is the comic I did for Pamo's zine: