Notes to me

I was thinking about illustration--hand-drawn, computer generated pros and cons...where they bump up next to each other, where they don't and ways to make the hand-drawn maintain it's integrity once the rigors of the computer bumps up next to it. Arnold Bank's words of advice to keep one's illustration in the same hand and tool as the letterform still holds true--but against the idea that if you draw on paper with a brush, use those same brushes to amend the image in the computer (or at least where it is visible). It's okay to erase, clean up and fiddle with the contast in the computer, but if adding highlights, or adding detail, try and draw them, scan them in and sock them in where you need them because they just won't look or seem natural. The same idea holds when rendering (in my case) in illustrator--you can not comfortably (though with work I think this could be achieved) add a pencil drawing or some inky squiggle and have it work harmoniously in the image. Though for effect, this is a whole different thing. Case in point: I spent some time yesterday creating a track shoe in illustrator. Reduction illustration ( one color, plenty of tiger teeth, plenty of detail left out). Looks fine. However, the wings I want to attach look wierd as they are hand drawn--so the intent will be to bring the sketch into illustrator, render them in the same mode, add tiger teeth for highlight and see what happens. I am sure this is the solution. Another wing approach might be a calligraphic inspired set drawn on tissue, scanned in and then redrawn with the same illustrator tools. We'll see. Tuesday (the deadline) approaches.

I was also thinking about the Memento Mori work. I seem to be getting 3-4 images a day to add to the book. I have since last Monday, been adding them sequentially to the piece as it shows a train of thinking that may be only understood by me, but that works as the end purpose of this sketch process is to create 2-3 volumes that become the platform from which the HAS (Hartford Art School) thesis will be based. I've got 60 pps in the can and figure that we will be closer to 84 or so for the first blush of the first volume. It is strictly images right now...but I am thinking that since I have been writing stream of conscious stuff about my understanding about the topic, the images, technique, conversations with friends, I might cull aspects of the dated writing and cut them into the book as notes etc. Again, more part of the self-discussion--and there might be more there that I cannot see right now that either another reader or me with more time will see. Along with the images and copy, any patterns, shapes, bookplates, dingbats etc that are generated from the sketchbooks will be shoehorned in to add to the dimension. Right now, the process is draw all day, scan at five, sock it into the publicaton at 5:30 and if there is any time, work with the illustrations as scrap to create more images in the formerly "slash" style. So the work begets more work. The spinning prayer wheel of time. The willow sending out more shoots. Ad infinitum. Or at least until I get bored.

I particularly like the willow head of two days ago. I think I may translate it to a piece of crewel work at the same size as the picture. I think the whole texture that the shiny embroidery silks would do something interesting...and we could see if it takes the idea anywhere. Worth the try.

Another idea I need to put down is the lock of hair, hair jewelry and hair art that the victorians created as a way to memorializing those that had gone on. For me, the texture of hair and braids woven(urg) into the work is another element that could evolve with this work. I have been musing about frames and strands either as linear work or in the tigerteeth, lady and skull mode only more formalized. We'll see. I am just putting this down for the minute the well seems to run dry. Also, the brass rubbings have not been fully investigated.

The sketches are also a wonderful wealth of scrap for me. I used two of the illustrations (changed a bit) for wine label proposals for a client. Looks cool...and kind of new for me. I wonder where this illustrator came from?