I’ve been imagining a simplified design of lotus and lily pads. The ultimate goal is to create a feminine, timeless, and classic illustration- which is tough because it’s a popular subject matter and I’m trying to create something distinct. I’ll be focusing on the stalks instead of the flower petals, and I need to find a technique that translates well into a tattoo.
Our whole family went to the park. Lucy tried to eat bumblebees, husband called friends, Lou tanned, and I spied on people to draw. I almost drew the frat boys on the hammocks, but I knew that would result in some sort of conversation I wasn’t really prepared to have. Next time!
My sister and I packed a picnic and found a sunny patch to eat/ read/ draw. Since we were visiting historic Oakland Cemetery I figured I should use sepia ink, because sepia is a historical color.
I’m named after my dad Christopher, so I chose the Christiphine tombstone to draw. Perspective is probably something I should no longer fudge.
“Braille Blues Daddy Bryan Lee” came to our neck of the woods this weekend, and would you believe that we got such great seats? Intimate venue hosted by the Atlanta Blues Society, where everyone knew everyone else. It was incredible.
The band performed three amazing sets and because our seats were front and center, they could see me drawing them and would come and visit for progress. So, I got everyone’s autograph at the end.
More location drawings this spring and summer I think.
Just because it’s so nice outside:
Swans show up in my visual journal, possibly because of all the English and Irish fairytales my parents read to me as a girl. Most stories deal with a human to swan transformations. I’m interested in wild animals making their way back to their homes, and reacquainting themselves with a domestic life. I imagine it would be like purgatory, and a bit unsettling to witness animals as sentient as humans.
I’ve thumbnailed these daydreams, and I’m in the process of developing some as illustrations.
Sometimes you start out drawing mountains, but then you wind up drawing the fog that obstructs the mountain instead. I picked up a pound of transparent base, so I’m interested to see how layers of transparencies behave. Previous to this I’ve been relying on burnt plate oil #2 and turpentine washes, and of course some reductive techniques.