Open the World, tixe eht esolc
Well things are looking up for me today, financially speaking. Citibank increased my credit line by another $1000 (horray for being responsible!), I was able to pay my bills, do grocery shopping, and still have money left over for this past weekend's merrymaking. But the piece de resistance is that Ian's boss asked today if I was still interested in part-timing it. This really couldn't come at a better time. If he likes me and decides that he can use me, this would allow me the time to finish up my portfolio so that I can start applying for freelance work. Because the more I think about it, the more I want to draw semi-professionally. Freelance projects would bring inocme into the house and get my name out there at the same time. Having 'work' in my portfolio will only make me look better when the time comes to got back to school. It's really win-win here.
I only hope it's not too weird working around Ian. Rory said that there's the possibility that he'd send me to Bagel Stop after I've trained, but at this point I know not to take anything at face value. I'm pretty laid back, and I understand how to be professional, so I doubt it would really be an issue. His boss was originally reticent to hire me because he was afraid that any issue he'd have with one would become a problem with the other. At this point I think we're beyond getting upset about that.
I started the charcoal work for that portrait last night. I toned the paper first by using ground charcoal and a paint brush, then once I had created "inconsistencies" in the tone, I went back in and rubbed the paper down with a papertowel. Then using a charcoal pencil I sketched in the general face shapes, and using the proportion guides I had figured out previously, laid in exactly where their features are set. The person I was having such trouble drawing? Face shape is PERFECT. Doing those studies beforehand and taking the time to measure out the face in terms of eye lengths was really key to my success there. Today I get to lay in the deep shadows, leaving a rough image with basic highlite, midtone and shadow from which I can really insert each person's, well, personality. I have roughtly chiseled features on the paper already, so once my shadows are in, I'll be able to start working in eyes and mouths, and refining the noses. I know I make this sound so cut and dry, but half the fun for me is figuring out an approach. Flying by the seat of your pants creates inconsistent results and longer working times. By creating a roadmap of your subjects and figuring out your plan of attack beforehand, you ensure higher quality with less time. And the less time it takes you to create a quality piece is the true indication of your talent.
So now I'm staring at this piece and itching to jump back into it. I'm going to go eat and start listening to music now so that I'm in a good place to ignore the cold and just draw. I wish I could post pictures of my process today, but it would totally give away the suprise.
I only hope it's not too weird working around Ian. Rory said that there's the possibility that he'd send me to Bagel Stop after I've trained, but at this point I know not to take anything at face value. I'm pretty laid back, and I understand how to be professional, so I doubt it would really be an issue. His boss was originally reticent to hire me because he was afraid that any issue he'd have with one would become a problem with the other. At this point I think we're beyond getting upset about that.
I started the charcoal work for that portrait last night. I toned the paper first by using ground charcoal and a paint brush, then once I had created "inconsistencies" in the tone, I went back in and rubbed the paper down with a papertowel. Then using a charcoal pencil I sketched in the general face shapes, and using the proportion guides I had figured out previously, laid in exactly where their features are set. The person I was having such trouble drawing? Face shape is PERFECT. Doing those studies beforehand and taking the time to measure out the face in terms of eye lengths was really key to my success there. Today I get to lay in the deep shadows, leaving a rough image with basic highlite, midtone and shadow from which I can really insert each person's, well, personality. I have roughtly chiseled features on the paper already, so once my shadows are in, I'll be able to start working in eyes and mouths, and refining the noses. I know I make this sound so cut and dry, but half the fun for me is figuring out an approach. Flying by the seat of your pants creates inconsistent results and longer working times. By creating a roadmap of your subjects and figuring out your plan of attack beforehand, you ensure higher quality with less time. And the less time it takes you to create a quality piece is the true indication of your talent.
So now I'm staring at this piece and itching to jump back into it. I'm going to go eat and start listening to music now so that I'm in a good place to ignore the cold and just draw. I wish I could post pictures of my process today, but it would totally give away the suprise.