Good day all,
Today is an interesting day.
Why, doth one say such things? Well, today marks one full year from the first day I started posting here on the website (seriously, go check it out). It's been a good year and if anything, enjoyable and entertaining. Which is something to try and have little of, especially during the busyness that life seems to bring.
So to celebrate this monumental human achievement (please hold your applause) I thought I'd post a few things in regards to something I've been asked about a couple times. It's also something I myself, and probably most artists, find curiously sitting on the edge of our minds when viewing another's work. It's something we think about, analyze and wonder. It makes us scratch our heads and smile.
The process of creating.
Whoa, right? People really bite into this topic though and rightfully so. From the questions of Vermeer's possible use of the camera obscura to the x-rays used for a mere glimpse at the layers beneath Da Vinci's masterpieces. It intrigues us, surprises us, and helps us learn and grow.
Personally I've always enjoyed this topic but one memory that comes to mind and encapsulates this interest was a trip the National Gallery in Washington, DC. This was during the high school years and my classmates and I were lucky enough to be personally shown a drawing of Raphael's. Just sitting there. Right in front of us. Not under glass. Not behind a velvet rope. But sitting just a few feet from us. It was memorable not only because it was a Raphael but because it was a small look inside the ideas that came about and eventually lead up to the finale. We were even given enough time to sketch the drawing itself. Think I still have that in my old duct taped sketchbook somewhere.
How'd we get the opportunity? Eh, I've no idea. Maybe it was normal procedure. Or Mr. Morris was well connected? A bribe? Someone lost an arm wrestling contest (I wouldn't have arm wrestled Morris)? Who knows.
Okay, well that's a lot of talking which I hadn't planned on doing. So anyway, as I mentioned I've been asked a couple times myself about my own process and I thought it may be interesting to do a little x-raying beneath my own, in comparison to the above, meager attempts. In particular, the piece shown above called The Witch of Faith Lane.
BUT unfortunately I've eaten away my time with talk and now I've actually gotta get back to the drawing board, literally. So to be fitting with the occasion of this one year monumental human achievement (continue holding applause) I'm going to do something I've not done before. And that is...
TO BE CONTINUED...
Thanks all and talk with ya soon!
Good December all,
Now that we're well into the holiday season I thought it would be fun to take a giant left turn and stop by the ole' apocalyptic arena. Nothing aids in rising those holiday spirits like thoughts of long gleeful lines of impatient customers and the occasional zombie or burning vehicle. Tis the season tis it not?
Well, to help get those thoughts churning we have here an illustration for issue #111 of the delightfully suspenseful sci-fi horror magazine known as Space and Time. It's based upon the words found in the exciting short story July 10th, written by one Mr. Vaughn Wright.
For myself this one was very much a tale of "labor of love". Fishing through the story, tracking down tidbits of visual notes for what to include, what not to include, and how to include it. Then rendering it all in Windsor & Newton black Indian ink on one of my personal favorites, Borden & Riley #234 Paris paper. Definitely good times and hopefully you may enjoy it a little as well.
Thanks all and talk with ya soon!
Douglas E. Draper Jr. is an award-winning artist from Salisbury, Maryland. He received his Bachelor of Fine Arts from the Maryland Institute, College of Art and his work has been exhibited throughout Manhattan, Brooklyn, Annapolis, Baltimore and various other cities and galleries. His fine art and illustrative work can be seen from such publishers as Moonstone Books, Top Shelf, Desperado, IDW, and many others.
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