Birthday portrait

 Today's was an impulse when I saw that one of my new friends from Deb Weiers's Wonky class was having a birthday. (I wish Facebook would give me the heads up a day or two before, instead of on the day!) I'm a big fan of Denise Malm's work, and decided to do a portrait of her as an homage.

In case anyone wonders, yes, she has freckles! Short of putting them in individually, which would take more time than I had today, I did random spatter to convey the general idea. I'm not very GOOD at spatter, so they don't look exactly like hers, but hopefully she won't mind.

I ended up putting the quote and greeting in afterwards, using Photoshop, because I thought if the portrait were to be framed later, having the birthday stuff on it would make it too specific/dated.

Pencil, Uniball, Signo white gel pen, white gesso, Daler Rowney inks, watercolor, on Fluid coldpress 140-lb. watercolor paper, 7x12 inches.

Amanda redux

I liked my portrait of Amanda Gorman that I did for the inauguration, but although it was a good portrait, it wasn't the best likeness. Her eyes have a particular almond shape and slant that I didn't quite capture; and I thought I could do better. Also, although I picked the colors on purpose (red and blue for the big day), they are not Amanda Gorman's true colors, nor are they apparently her preferred colors—too cool! So here is my second attempt.

I also used this opportunity to do approximately the lesson for Week 3 of Let's Face It 2021. We were supposed to do the assignment inside a book; I instead chose to use a page from a book over my watercolor paper. (It's a page from my old, falling-apart copy of The Oxford Dictionary of Quotations.) The assignment was also painted in acrylics and clear gesso, but since the only thing I have is inks and watercolors, I used those instead. But I think it fulfills the spirit of the assignment, which was to use print as a background, to add some interesting detail, and to be painterly! I added the "caged bird singing" to acknowledge Amanda's ring from Oprah, a memento of Maya Angelou.

After I was all done, I wished that I had handwritten the text of her poem in the background, but at this point I was afraid to mess up several hours' work, so I'll have to try that another time. I instead added some stencilled leaves in watercolor pencil, which I somewhat regret, but...it's done.

Pencil, Uniball pen, Signo white gel pen, watercolor pencil, stencil, Daler Rowney inks, watercolor, on gesso'd book page and Fluid 140-lb. coldpress watercolor paper, 9x12 inches.

The inclusive inauguration

If you don't know who Amanda Gorman is tonight, you certainly will tomorrow. She is an American poet and activist from Los Angeles, California, whose work focuses on issues of oppression, feminism, race, and marginalization, as well as the African diaspora.

In 2014, she was named the Youth Poet Laureate for Los Angeles. In 2015, she published a book of poetry, The One For Whom Food Is Not Enough, at the age of 17. Gorman, now 22, is the first person ever to be named National Youth Poet Laureate. Her children's book, Change Sings, releases in 2021.

Tomorrow, she will also be the youngest poet ever to read a poem at a presidential inauguration. Recommended to the Biden inaugural committee by Dr. Jill Biden, in late December she was asked to write an original poem for the occasion. Gorman will perform "The Hill We Climb," which she says she completed after the events of January 6th.

Another interesting detail about her that gives her something in common with the incoming President is that she has had to overcome a speech impediment. She had difficulty saying certain letters of the alphabet—the letter R was especially tough—which caused her to have to constantly "self-edit and self-police."

"I'd want to say 'girls can change the world,' but I cannot say so many letters in that statement, so I'd say things like 'young women can shape the globe.' instead."

Here is my poor attempt to capture her likeness. The quote is from a speech she gave, and begins: "A girl who dreams to be the first in her line to go to school is the most vivid of things—like the one red spark that stands up to the sky in a chorus of wet logs." Tomorrow, Amanda will be that one red spark.

Daler Rowney inks, pencil, Uniball pen, Signo white gel pen, watercolor, on 140-lb. cold-press Fluid watercolor paper, 7x10 inches.

Back to basics

Someone new to the Wonky Critters and Friends page today asked for pointers on how exactly to get started. People had various suggestions (besides "watch Deb's three lessons, naturally!"): Scribble on the page and see what shapes emerge; slap on some color and see what it inspires; do a blind contour drawing; do a regular contour drawing; and so on.

It made me realize that it's been a long time since I painted a "straight" portrait (i.e., no exaggerated features, no weird colors in the background, no extra textures), and it's also been a while since I did a contour portrait straight to ink. Ironically, while Deb Weiers's thing is blind contour, when I do her style of portrait I like to plan it first with pencil and then go back over it with pen after I apply colors and shading. So I decided I would do a continuous-line contour (not blind), and paint a portrait in watercolor on white paper. It seemed kind of foreign after almost six months of doing everything differently!

This portrait of a little older and softer Joyce Carol Oates is done with a continuous line, but I didn't want too much distortion, so I did pick up my pen in about four places to move it to a new starting place. So it has more of a straightforward portrait feel to it, and I painted it with only watercolors. After I finished, though, it felt like it was a disembodied head floating on an excessively bare ground of white, so I added a quote, and also a background in turquoise ink. The background is a bit splodgier than I would have liked, but still probably better than if I'd tried to do a smooth wash in watercolor, being way out of practice for that.

Her face came out a little larger/longer than it is in life, but I think it's pretty accurate as a likeness. Not as much fun as wonky stuff, but it's good to keep your eye and hand accustomed to looking for the real colors and proportions.

Uniball pen and watercolor (and yes, some white gel pen for her gray hair and the lights in her eyes—I have gotten used to this "cheat") on 140-lb. coldpress Fluid watercolor paper, 9x12 inches, with a Daler Rowney ink wash in the background.

Fiddling

I had insomnia last night and woke up grumpy and out of sorts. Coffee helped a little, but basically it was one of those aimless days where you do a little of this and that and can't settle to something. It didn't help that I got hooked into watching the impeachment proceedings for a while and lost my "composure" every time a Republican got up to lie. Finally, I decided to do some painting. Sometimes that relieves the funk, but sometimes it just makes it worse, and today was one of the latter days.

I began by making another attempt at the first lesson of Let's Face It, since the majority of my art supplies arrived and I could now include charcoal, pastels, pens, and so on. But I was totally at a loss for an idea or a model, so when my friend Sassa's portrait popped up in my feed, I decided to use it and put my own spin on it. I was pretty happy with the early stages, but I didn't like what I did to the shirt and there was no undoing it; and then I put the big circle behind her head, which I shouldn't have done, because in Sassa's original portrait she has the moon behind her and I didn't want it to be a total copycat piece. At that point I decided I'd just keep adding little circles or "planets" until it seemed like the right number, and I think I exceeded that by several.

I took a break after that for a late lunch and some recreational reading; and when I finished, I had the urge to make some art that was more original, and possibly save the day for myself. I clicked through all the photos I have saved of people reading, and chose a cute one of a vaguely Eurasian girl with a neat bob haircut, sitting on some stairs holding up a book. I purposely prepped a cheerful background. I did my drawing and started to paint, then realized that her head was far too large for her shoulders, hands, and book, and made her look squashed onto the paper. But I didn't want it to be a totally wasted effort, so I followed through and finished it. It's not in my top 10, but...it's mine.

Mixed media on Fluid 140-lb. coldpress paper. 8x12 inches each.

I think I'm going to go read something facile and frivolous for the rest of the evening and hope tomorrow is better.

Lesson #2

I really didn't think I would enjoy this lesson when I watched it. I haven't drawn with charcoal since art school, which was about 18 years ago, and I wasn't ever a huge fan. You can get great effects, but it's also so easy to mess up, and speaking of messy.... But I decided when I signed up for the class that I would give each lesson at least one good-faith try.

I dislike when all the students use the same reference photo and you're staring at a variation on a theme for every single post. But I did like the vintage photo with the cool hairstyle chosen by the teacher. This second lesson, too, was supposed to be based on "story," but the teacher came right out and said at the beginning of the segment that she doesn't like to read (why would they pick her for this segment!), so she took her model from a photography coffee table book she likes. So I thought about "vintage" authors I like, and a few came to mind. First I searched for pix of Rumer Godden, but there weren't any in which I liked her hair. So then I tried Daphne du Maurier, and hit the jackpot.

The basic technique was to draw the entire picture in charcoal (not vine, but a charcoal pencil), then put transparent colored inks over the top, going for some runny effects, then salt it to get some texture, then go back in with a white conté crayon to pick up highlights that got lost with all the technique, and possibly also reinforce some darks with India ink. I skipped the salt, because I have never particularly cared for the effect and didn't feel like dealing with the mess, but I faithfully carried out the rest. So...here's Daphne! I like the feeling of submersion in water that the runny turquoise ink gives, because of the Cornish origins of her stories.

I note here that although I finally received a partial shipment from Dick Blick today that let me do this, the Fluid hotpress paper is on backorder, and using that would definitely have given this drawing a tighter, more precise look. (Coldpress is textured, while hotpress is smooth.) The texture messed with my ability to get a few of the exact details I wanted. But...I'm always complaining about not being looser!

In retrospect, I wish I hadn't gone back in "hard" with those stripes or with the pupils of her eyes, they're distracting from the softness of the rest of the picture. Art and learn!

Peel & Sketch charcoal pencil, turquoise and burnt umber Daler Rowney inks, India ink, white conté crayon, on 140-lb. Fluid coldpress watercolor paper, 8x12 inches.

Amalgamation

Well, still no charcoal or pastels or pencils for the week's assignment, but I decided to do another, just for fun, and substitute some other techniques.

I did the same thing with the white gesso and stencils, to better effect this time, I think, because of the way the patterns invade the figure. I went around the image with a smudgy outline of India ink (instead of charcoal) before I painted the rest of it, just to give it some sort of particularity—a reverse glow? That wasn't so effective, because I don't have the skill at it yet, but practice makes perfect. As for the rest, I did the runny ink background as in the new assignment but retreated to some of the techniques I learned from Deb Weiers (notably the outline in pen) for the rest of it.

I'm actually fairly pleased with it, although I wish I had gone with a different lace pattern than the kind of lame flower thing I ended up choosing, so it would have looked a little more classy and a little less schoolgirlish.

The model is actually author Joyce Carol Oates, although I made her look a few decades younger in this. I wasn't really going for a portrait—but she has those deep eyelids that always give a face some distinction, plus I liked her hat, so I used her as a reference.

Stencils, white gesso, Daler Rowney inks, pencil, India ink, Uniball Vision pen, white gel pen, on 140-lb. coldpress Fluid watercolor paper, 8x12.