Ink and Watercolor sketch of octopus. Normally I start with a pencil outline, then go over it with micron pens. But I'm learning to skip the pencil step and just sketch with ink. I helps you not to overthink things. Once you lay the ink line down on the paper it's there to stay. You can't erase and there isn't an undo like you have when working digitally. You just have to work around any "mistakes" you make. I'm also working on sketching faster because I just don't have that much free time these days. Trying to produce a new sketch every day is a real challenge.
Close to a month ago, I had found out my design was selected for the Art Stop Program, and, yes, this is mainly what I've been working on since. I've never worked on a piece this large before, 72in x 24in, and I rarely make sketches of pieces before creating the final work. It's definitely a cool feeling to look at the finished board and see how the drawing actually came to life. (The Art Stop Program selects a handful of entered designs for the artists to create on a larger board, and these boards will then be inserted into bus stop benches around Niles, IL.) I can't wait to see the bench this will be in, and I'm so lucky I got to be part of the program.
Some LGBTQ+ members of the community can’t openly love who they want to love, so the bars represent that barrier. The fabric, with all its complex folds and creases represents sensuality, desire and love. Love, in all its forms is a complex thing of beauty.-------------
The companion piece to my previous post ‘Ecstasy.’ Agony and Ecstasy were always meant to be a diptych. The issue for me is that there is a two-year gap between the completion of the two - there is a noticeable difference in the the way both were drawn.
Faber Castell pastel pencils, Black and White Generals charcoal pencils on 9” x 12” Strathmore Toned Grey sketchbook paper.
