Obelisk and Angel

I failed trigonometry in college. But while I was taking notes I made a doodle in the margins that later became this painting. (Just for the record: I missed the first class session where the students were told that they could not use a calculator. Besides, I had just spent $75 on an advanced calculator and I was determined to use it! I could not imagine a scenario where anyone would not take advantage of a calculator if they could. However, my professor did not see it that way. He was about 70 years old in 1977 and he could not imagine anyone using a calculator. His opinion won out on the registrar's report.)

While I was interested in algorithms to a point, I was more interested in the experiment of combining abstract concepts with surrealism. The "Obelisk and the Angel" was one of those experiments. The obelisk and the face of the angel were rendered in an abstract form, while the remainder was rendered in a surrealistic form. The doodle was originally drawn with a blue ball point pen, the look of which is retained in the image of the obelisk. The hand is threatening to keep the angel from ascending beyond the height of the obelisk. The profundity of which escapes me for the moment. Any Freudian suggestions?

The "Obelisk and Angel" was painted on canvas with oils.

Complete Guide to Drawing

I have been drawing for forty years now and from time to time have instructed others who were wanting to improve their own skills. In all of that time I have never seen what I thought was a really good comprehensive book on drawing that would be good for both the novice and the one who is already beginning to master some skills in drawing - until now. Recently, while browsing through one of the major chain book stores, I ran across this guidebook by Giovanni Civardi in the discount section. It is published by Search Press. And, as the title states, it really is complete! At 376 pages, it incorporates what were published separately as six different shorter books. The six chapters cover: techniques, portraits, clothed figures, hands & feet, scenery, and light & shade (chiasrocuro). The techniques range from basic to advanced and a wide variety of drawing media is demonstrated. Some fo the drawings look a little dated but the book is a recent publication. And Giovanni's skills and instruction are excellent. If you are looking for a book that covers the full range of drawing skills and subjects, this is the one! By the way - for you mothers of teen aged boys - most drawing guides that include figures have several nudes in them. This book has one or two (sketches, not photos), which is probably the least you will be able to find in a book that includes figure drawing.

Knight, Death and the Devil

Recently I met with a priest for a long over due confession and he described to me this print, observing that it was a great example of Christian perseverance. Notice how the knight is unwavering in moving forward. Death and Satan do not distract him from his goal. In fact, the knight's undistracted resolve seem to communicate the same to his horse and dog as well. For, they too march forward looking straight ahead. "Yea, though I walk through the valley of the shadow of death, I shall fear no evil . . ."

While this is a masterpiece of draftsmanship, it is also inspiring as you consider the story that it tells.

According to the Met: "The artist may have based his depiction of the 'Christian Knight' on an address from Erasmus's Instructions for the Christian Soldier (Enchiridion militis Christiani), published in 1504: 'In order that you may not be deterred from the path of virtue because it seems rough and dreary … and because you must constantly fight three unfair enemies—the flesh, the devil, and the world—this third rule shall be proposed to you: all of those spooks and phantoms which come upon you as if you were in the very gorges of Hades must be deemed for naught after the example of Virgil's Aeneas … Look not behind thee.'"

Love's Seeing Eye Dog

Romans 8:28

Phone Control

Believe it or not there is actually a website that specializes in selling electronics that don't beep. I like that. The constant annoying reminders from beeping electronics makes me feel like I will need to wear a straight jacket soon.

Austin and Alice

Since I am partially colorblind, I have never felt quite as confident with painting as I have with drawing. Even so, I was more pleased with the way this painting of my father turned out than any other painting I have done.

By the way, my father is Austin, not Alice.

Painted in 1982 (I think), the painting was an experimental oil painting. I had never painted a portrait before that was set in a natural background. Up until that time, all my paintings were fantastic and dealt with imaginary beings and settings. This painting of my father was inspired by a photograph of him out in the Mojave Desert, which was one of his favorite places to be. It captures him well and anyone who knew him would recognize the likeness and the appropriateness of the setting.

I may have tried to incorporate too many different influences but even twenty-five years later I still find the combination pleasing. The upper background was prepared with a textured gesso and the painting was inspired by Monet. For the foreground I prepared my own mixture of Japan drier and gesso that forced the surface to crack, which was painted over with a wash so that the paint would seep into the cracks to give them definition.

In the 1970s I was listening to albums on vinyl records, which meant that while you listened you could analyze the artwork on the large album covers. The album covers that impressed me the most were the Yes covers by Roger Dean and the Welcome to My Nightmare cover by Drew Struzan. With apologies to my father, this album cover influenced how I rendered him in the above painting. Struzan imitates a 1920's stylization that is crisp and clear and has patterned embellishments, that are usually seen in drawings and advertisements rather than paintings. These appear as sharp edged flat lines for shadows and highlights. (Note Alice Cooper's top-hat, hair, hands and the bottom of his vest.)

The painting of my dad is not as crisp nor as precisely stylized as Struzan's but it was the main influence to the style. Due to the informal setting of my father's portrait, in contrast to the formal setting for Alice Cooper, I rendered the lines in my dad's shirt more organically and not so rigidly as in Alice's tuxedo.

For me though, the best thing about the painting is not who influenced my technique; it is that it reminds me of the person who most influenced my ideal for character and integrity.

Welcome to My Nightmare - Artist: Drew Struzan

Parsley Lovers Do Exist