Finding the Spark, Not Just the Bark

I spent much of Sunday creating very quick sketches of animals, using cell phone photos -- yes, still on the phone, on that tiny screen -- for reference. These are 8 x 10" and took an average of 25 minutes each. They all went home with their owners immediately, so I snapped shots of the art on my own cell phone when I had a moment.

If you're guessing that working from photos on a phone is challenging, you're right. It's especially so if you only have 20-ish minutes to capture what's important. 

For me, that means that more than anything else, I've got to get the expression in the eyes. I won't get the absolute accuracy I'd get if I had more time, but I've found that absolute accuracy is not what makes or breaks a piece of art. 

It's the life that has to be there, the sense of energy and character, and weirdly this is as true in a landscape as in a portrait of a Boston Terrier. 

I'll be doing these kinds of drawings again during Saint Paul Art Crawl. If you'd like one, come see me! But do bring prints of your favorite snapshots; prints on plain typing paper from your desktop printer are ideal. Working from a cell phone really is a lot harder. 

Girls (and Goofy Geldings) Just Wanna Have Fun

"Whatchya Got?", 10 x 8" watercolor on Ye Olde French Printmaking Papier. I had this great photo of this horse, one of the smartest horses I've ever met and also one of the funniest characters. I'd grin every time I looked at the photo and finally I couldn't resist taking some time out of Serious Art Making to create this little piece. It was so much fun to do this ... I've already found a second Goofy Gelding to paint.

It's available at $125 for the original, and you can get prints and greeting cards here.

"Who let in the riffraff?"

This is Jasmine, who knows she's upper crust and is quite selective about the company she keeps.

The source photo had her on a cream-colored sofa, which seemed visually not strong enough to hold up against her bright black coat, and in any case not expressive enough of this particular cat's bold character.  So I kept the basic shape, but made it more luxurious and bright, and gave our kitty some jewelry while I was at it.

Robin of Dogwood Forest

Robin of Dogwood Forest, 10 x 8" mixed media on paper, from a photo I took of Marley the Min-Pin

Meet the daring legend who steals from the fat cats and gives to the pups!

I took this photo and could not get over the ears and the jaunty pose. At first I was going to put a vest and tie on him, but then the feathered cap occurred to me and it was off to the races.

This original is available at $225.  Greeting cards and prints are easy to order here.

The Drawing Board

Or in this case, the drawing coffee table. This was yesterday afternoon as I was getting started. Click to enlarge the photo.

And several hours later, I had this:

Wrong Side of the Door, 8 x 10". I've emailed this to the kitty's owners, who will have first choice if they'd like to own it. Either way, it's going to become a greeting card and print.

"I expect you to die, Mister Bond."

"I expect you to die, Mister Bond" is available here, $69.

Everyone posts pictures of their pets on Facebook. Lots of people find it silly. Then there are people like me, who love to draw animals and think it's one of the greatest resources ever.

One of my friends posted a photo of her cat, wearing the most deliciously wicked expression. Immediately I saw him as the elegant, cultured villain; I added the bow tie and ran with that idea. It's delightful to me when I can create not just a new piece of art, but a character.

Result: "I expect you to die, Mister Bond," 10 x 8" mixed media on velvety, expensive imported French printmaking paper. Nothing but the best, you know. This fellow took a considerable amount of care and attention, which you can see better on his Etsy listing (photo quality sadly suffers on this blog). $69 for the original is something of a steal -- so I'm sure our Very Bad Cat would approve.

Prints and greeting cards are here.

Horse Crazy Series #2 and 3

These are both of Darla, an adorable Gypsy Vanner mare. I had two fantastic photos, couldn't choose, and painted them both ... which means my series of seven is expanding a bit. :-D

Louise the Greyhound

Below is the photo I was using for reference. I printed it out, then sketched the changes I'd need to make -- primarily, correcting the way the camera had "shrunk" her rear end. Copying verbatim from photos rarely makes for good art, and camera distortion is one big reason why not. 

 

In the photo, her tail was tucked underneath her so you could barely see it. I pulled it forward to show that adorable little Greyhound tail-curl at the end. And I thought I was done, until Josephine Geiger said, "But what's she looking at? Put an ant in there!"

I groaned, but she was right. We needed to see what had caught Louise's eye. The dog's expression and winglike ears made me think of a butterfly, so that's what I went with. Just a small one -- but enough to emphasize Louise's charming, lively character.

Black Dog

Portrait of Zeke, 8 x 10" mixed media on cotton paper. This is a commissioned birthday gift for his person -- so I finished it a few days ago but couldn't post it yet.

I like black animals; my own horse is black. They're challenging to draw and paint, though!

I lucked out with Zeke: the person who commissioned the portrait had two excellent photos of him for me to work from. That's often not the case -- and there's often nothing to be done about it, because so many of the portraits I do are memorials of animals who are now gone.

I've said this before, but get photos of your creatures now; you'll want them, and wish you had taken them, if you don't. In this age of digital photography, we really no longer have excuses. It's not as though we'll be wasting expensive film.

Tribute to a Sweet Sheltie

Portrait of Lady, 11 x 11" mixed media on cotton paper. This elegant little girl passed away earlier this year, and I had the honor of capturing her from a few photos her owners had.

"Wait, Come Back!" (Portrait of Blue)

 

 

Blue is a mostly-Arabian gelding who's one of the herd where my mare lives. He's a bright, sensible fellow with one of the most endearing quirks I've ever seen: When he wants his person to stick around, play with him or just hang out and pay attention to him, this is how he asks. The turned head and the one front foot picked up daintily.

It's so characteristic that I was asked to use it for a portrait, so we got some snapshots and this is the result.  I couldn't be happier; I love adding something so unusual -- and so charming -- to my portfolio.

Marmalade Cat

Royal Eli Jake, 10 x 8" mixed media on paper

I had such a blast with this kitty. I was working from a black and white snapshot for the pose, with a few color pics so I could see just how red this cat really was. I loved the angle and the graphic striped cushion.

Just don't let him get too close to the goldfish from yesterday.

A Cat named Monkey

Monkey got her name for her habit, as a kitten, of climbing on everything in sight. She grew up to be a soft, kind, patient soul who is now much missed.

Little Taylor

While I was at St. Paul Art Crawl over the weekend, I found the photo below on my iPad and decided to sketch the little guy. It's not a great picture; it's poorly lit and somewhat blurry, but I liked the expression and chose to give it a try. Taylor belonged to a friend of mine who misses him very, very much. He was such a little dynamo that there aren't many great photos of him; he moved too fast!

Today I'm thinking I want to put in some of the freckling around his nose, and possibly add some subtle shading on one side of his face, and alter the shape of one ear a little bit. This is why I like to keep portraits around for a few days, if I can; I see things I didn't see at first.

Watercolor Pony Sketch

A Streak of Paint, 10 x 8" watercolor and pencils on cotton rag paper

This darling pony mare belongs to a friend of mine and is currently without a name. She's half Arabian, half Pinto pony, and yes, she really does have that tiny muzzle, those huge eyes, all that impossible fairy-tale-illustration stuff you might thing I exaggerated.

Her owner took the photo I used for this sketch. The art required about 30 minutes total; that's because today was a good day, and the profile view is pretty simple (well, it is is you're me and you've been drawing horses since you were ten).

Pony's owner has spoken for this piece, but if you'd like one similar to it, come see me at Saint Paul Art Crawl and bring your photos with you. I'll be sketching animals on site.

Amazing Gracie

11 x 11" mixed media on cotton rag paper. Gracie was a whole bucket full of sass.

What the heck is Saint Paul Art Crawl?

Saint Paul Art Crawl 

Friday, April 26, 6- 10 pm; Sat., April 27, 12 - 8 pm; Sun., April 28, 12- 5 pm. 

Orange Ranunculus, 10 x 8" oil on panel, is one of the pieces I'll have available at Art Crawl this month.

So what is Saint Paul Art Crawl, anyway? I've noticed, when I say "Art Crawl," people smile and nod, politely pretending to know what I mean.

Saint Paul Art Crawl is around 300 artists opening up their studios on one weekend and inviting everyone to come on in.  The bulk of these artists are in Lowertown St. Paul, but many (like myself) are part of "Crawl Off the Map" in other parts of town.

It's a busy weekend, with all kinds of people, and art, and everyone moving from one space to another. Crawl has a very relaxed atmosphere similar to an outdoor art fair.  Just without all the bugs and muddy spots.

                                             
I'll be making animal sketches, like the ones above, from people's photos "On the Spot," in about 20 to 30 minutes. I only do this at Art Crawl. Bring me a photo of your creature (all breeds and species welcome) and I will make a drawing while you're there. If you like the results, you hand me $20 and take it home.  If you don't have an animal, it's still fun to watch. I'm an instructor and if you're not careful you might learn some stuff by accident.

You'll find me with Josephine Geiger, Brenda Brousseau, and Christy Johnson, at J. A. Geiger Studio at 1647 Beech Street, just off 94 and White Bear. Parking on the street is free at our location.

Late to the Pony Party, #30, Lad the Appaloosa

I think it was his softness that actually gave me so much difficulty with Lad. I mean, I did have to correct for lens distortion that had stretched out his nose in the source image, but still -- everything about him was so soft around the edges that it was really challenging to find and define the structures of his head.

Of course, the thick pink halter he was wearing in the pictures didn't help either. :-D I chose to remove that, guessing it was a hand-me-down from an older sister or something.

The softness is what I love about this horse, though. It's so clear how kind and sweet he is.

Jane, Not Plain, is Pony the 29th (I think)

Forgive me; I am from Florida and counting stuff is hard for us.

Not Plain Jane, 10 x 10" mixed media on cotton rag paper. I had a gorgeous couple of photos to work from for this, and the main thing I altered was, I turned winter to summer in order to better contrast and show off her rich red coat.

I have to do a recount (ha) of the Ponies, because some schedule shuffling and my recent travels have left me unsure whether my numbers are off. I know there's at least one more and possibly two.

In other news, I am planning a weekend workshop this summer (after Shedding Season ends) so those who are curious can learn how this is done. There are so many artists who ride, and riders who make art, I think we could really have some fun.

Here's the Mystery Horse!

Bold Brigadier, watercolor, pencils and pastel with touches of white acrylic, on cotton rag paper. I used a deeper tan instead of my usual Rives BFK, because I felt this horse would look best on a slightly darker ground -- the better to make that beautiful blaze stand out. He may be the only one for whom I chose to leave the backdrop blank.  Oh, and there is a lot of violet, blue, brown/red, and even touches of green in the big black stallion. 

 

Center photo above, the portrait in progress. This was with the first layers of carbon pencil and watercolor. Last, my reference photo. Brigadier is no longer with us, sadly, and while I loved his sweet expression here, the photo ... you really can't see a lot of detail, and if you look at his ears you'll notice the camera distortion that made one of them much too large. I corrected that right away. The other thing I altered, you can't even tell: I made his neck thicker and more arched than it actually is in the photo. 

Yes, I know it looks exactly the same. But in order to get it to look exactly the same, I had to change it. I think it was another perspective/distortion problem, but when I drew it accurately to the photo it looked far too skinny. This kind of thing is pretty common when translating photos into art; the thing that looks fine in a photo can look very wrong as a drawing or painting. So artists learn not to let the photo be a tyrant, and to trust ourselves instead.