#1k9 Poirot study 2

Carbon on paper. 

I was trying to exhaust whatever I could do on this study. I tried straight drawings and caricatures and so far this is the best thumbnail I could come with for now.

I am realizing that Conte carbon pencils are not that bad. They're darker and strokes are more distinct that I like it to appear it more raw. They're less smudgy.

#1k8 JT

Charcoal on 18x20 inches of newsprint.

 

When I was growing up I was catching up the last leg of the folk scare era and James Taylor was one of the musicians who influenced me. It made me pick up a guitar and learn how to play his songs. 

Anyway, I tried to get a little crazy with exaggerating features of JT to spice it up a little bit. I tried to do some thumbnails first to serve as a draft and to explore ideas. Then I came up with this.

 

I think thumbnails are valuable tools when you have to explore and find out how you want your artwork to appear. It's like working on a rough draft of your letter. Thumbnails are meant to be small in sizes, no details yet, just trying to get an overall look on how you would like your artwork to appear. For a portrait or caricature, a 4x3 inches from the top of the head down to the bust works perfect for me. 

#1k7 Experimenting light with charcoal

Charcoal on 19x24 newsprint.

This time I was experimenting on making it appear like there was a little more light reflecting the face.  Which means lesser dark areas, lesser use of contrast, except  when I have to use it for background to pop the figure more forward. 

At this point I am thinking of artist Nathan Fowks' work on charcoal, and just wish that I could attend one of his classes. There's so much to learn from this great talent, and so much to marvel how he does it. If you haven't heard of him you should check his works- it's all over the Internet.

1k7 Poirot

Caricature in charcoal. 18x24 inches newsprint.

#1k6 Mr. Moustache

Charcoal on 18x24 newsprint. 

No other man can rightfully wear a big brush under his nose than Tom Selleck - and still look sexy. 

I'm just trying to see how I fair using compressed charcoal compare to using pencil. I did a lot hit and miss on this one. Holding that stick and swiping it against the paper to make an even tone is truly challenging. I'm planning to do more of this exercise.

#1004 Rocket man

Sanguine on 18x20 paper.

I'm not quite happy with this one. I don't know exactly why. Is it the facial expression? The exaggeration of face? Rendition of hair? Whatever it is it doesn't have a "kick" to it. When I put the pencil down I wasn't that excited, in fact, I was discontented. Could it be that I was just tired? Maybe. I did have a cat nap right after it was done, and I'm looking at it again- just no feeling for it. 

My works usually excite me that I would not stop staring at it. Thinking all the time spent was all worth it. Completes my day and makes me want to do the next project. 

I guess I have to stop whining at this point.

#1003 Bono caricature

Sanguine. 18x20 inches.

He tried to be known to do things other than being a musician and a U2 band vocalist. In his speech recently at Georgetown University, he declared, "America is not only a great country, it is an idea. A lot of countries that are great in one way or the other, but in America you inherit an awesome idea of being free and having individual rights. Of becoming who you want to be as long as you work for it." 

#1002

Sanguine study of Sting on 18x20 inches.

He's the one of the musicians I respect and adore of his unique sound and talent, and his passion through the years. I think his music matured and got more rave when he went solo. When one has talent he or she can't help but express oneself through art.

#1001 Lightning Bruce

Sanguine caricature on 18x20 inches. 

I enjoy people of passion and who has done great achievements. It is a blessing to have them as inspirations. In a way it has been set, they play the role of somebody who has placed the bar on high standards, and it is our role, or at least I chose the role, to try to reach for that bar. For now I focus on that level of energy. Time will take care of it to where it will lead me.

#1k Lee in watercolor

Early morning exercise of Bruce Lee in watercolor. 

It's easy to get caught up with working the details and forget the most important aspect. Keep it fresh by looking your work as a whole. 

#999 watercolor

Watercolor on cold press paper. 6x9 inches. 

It's not always about the end result of your work, but rather the process and the habit of doing it. One has to be a slave of repetition, almost like a drone until eureka hits you in the head and you realize it all makes sense. Work small sizes to maintain yourself fresh and not get bored. Don't worry if your art didn't look good. It's not gonna get that better anyway. Just keep on like a drone in an assembly line.

#998 sketch

Graphite on paper. 

I was trying to explore possibilities of exploiting features of the face. I spent like approximately twenty to thirty minutes on each one of these two.  

#997 watercolor

Watercolor. 6x9 inches on cold press paper.

At this stage I'm more concern of articulating the values by using the brush. I'd like to keep a small project to keep myself fresh, not bored, through out the process. Caricatures are easy way not to worry about the likeness and all the accuracies that a straight portraits requires. It's like playing, fun, and adventurous in a way that the end result remains a mystery until it's revealed. But again, at this stage nothing is more important to me than discovering watercolor as a new medium of my focus.

#996 sketch

Red and white pastel on toned paper. 9x12 inches. Something new on using the soft white Sennelier stick pastel instead of the compressed one. It's much easier to use it because of its softness and bright color.