A DIGITAL SKETCHBOOK FOR THE ARTIST - SOME EXPLORATIONS

With the goal of improving my artistic skills that I might better teach art, this is a relating of what I can explain of the rabbit trails in the art of portraiture and art education I have been pursuing lately. The Watercolor Portraiture class I was excited about taking was canceled, so I found an alternative, Printmaking. Some topics I have recently explored, noted, or doodled in a dedicated a.r.t.s.APS sketchbook are:

• Printmaking, tools and techniques, since I am enrolled in a printmaking course at the Chastain Art Center this winter term and have found a new passion for this medium. A description of the course: INTAGLIO PRINTMAKING/ Kathy Garrou
  This course will introduce the participant to the exciting and varied world of printmaking: original art on paper. This session we will explore Intaglio techniques, starting with drypoint and engraving. Using copper, zinc, or plexiglass plates, a drawing is cut into the material. After inking, the plate is then run through the press and an impression is made. We will also work with an exciting new technique, Solar Plate, an etching method that does not involve using toxic chemicals and acids. Beginners are welcome, as well as those with experience; each student will receive individual attention at his or her level.
• The Artist’s Sketchbook as a tool, using a recent holiday purchase, Sketchbook for the Artist, by Sarah Simblet, artist, writer, educator. I would recommend this insightful, stimulating, and beautiful book to any artist wanting to enrich their use of the sketchbook. Described as: · A comprehensive reference for novices and students reveals the techniques used by master artists and demonstrates through a series of "drawing class" exercises how to approach a wide range of subjects, from portraits to still life, using a variety of techniques.
• The portraiture and printmaking work of Chuck Close, whose work was featured several years ago at the High Museum of Art, Atlanta, exhibition catalogue.
• The digital portraitist now featured in an exhibition at the High, Robert Weingarten, "The Portrait Unbound," who poses the question, "Can you express a person's being and character photographically without showing them?"
• In addition, I also recently purchased Simblet’s Anatomy for Artists, which is a photographic anatomy book that focuses on what an artist needs to know in order to understand how the human body works, rather than making one learn the anatomical name for each body part. It is very accessible, written by an artist for artists, with sumptuous and inspiring artistic photos that include tracing paper overlays which superimpose underlying bones on photos, published by Dorling-Kindersly
• Perusing books of anatomy, faces, of portraiture leads one in many directions. I am eager to experiment in several media. In addition to intaglio printmaking using acrylic plates, I have a mind to try making portraits with various stamps. Chuck Close did a self-portrait using his fingertips and a stamp pad. Sounds intriguing and a double meaning of leaving one's trace/image.
• The 4' x 4' portrait of a man pictured above that I am currently working on plays with altering proportion and extends portraiture by depicting the face with surrounding objects. One of the associated portrait objects is photographed here as modeled by my ancient hound. (Media gesso and litho-crayon on 1/4" masonite board).

Some of the Really Big Questions

Last night I was pleasantly surprised to hear on our public radio a remarkable program about emotions that exactly coincided with my recent readings about the necessity of EQ and Empathy in Daniel Pink's book, A Whole New Mind.

The Really Big Questions SoundVision's The Really Big Questions is hosted by NPR's Lynn Neary and will air on public radio stations around the country. In Atlanta on WABE, 90.1 FM. I've attached the link, you might want to give the program a listen: http://www.trbq.org/index.php?option=com_content&view=category&layout=blog&id=16&Itemid=43 Here is a description of the radio program: What are emotions? | Print | E-mail “In the modern world where computers are capable of calculating faster and more accurately than any person, we like to believe our emotions, not our analytic abilities, make us human." Those are the words of Boston University scholar Charles Lindholm. "Accordingly," Lindholm writes, " we say that people who are cerebral and unemotional are 'inhuman' and 'heartless.' We want our friends and lovers to be compassionate and ardent, not rational and calculating. For the same reason, our leaders never portray themselves as logically minded technocrats, but as empathetic individuals who 'feel our pain.'" But, if emotion is what makes us human, does the masking of emotion make one less human? What does it mean when a society's collective emotional response results in genocide? Are they less human, or more? NPR's Lynn Neary discusses these, and other questions with some of the greatest thinkers of our time. What are emotions and how do they shape our worldview?

Artistic Inspirations

1.) Reflect on your individual creative process. What are the sources or influences on the art that you produce? What is the goal or purpose of your art, and why do you produce it? What are the unique cognitive skills that you employ, and how do they help you achieve your creative goal? Cite specific examples and provide clear evidence for your statements.

Starting this class work has been described by one of my colleagues as a journey, one entered with some trepidation and shaky self-esteem. I haven’t taken an academic class in a long while and I wonder if I can keep-up with the assignments and master new technology like weblogs. Everyone needs to figure out their own path. I'm still on my own personal journey as an art teacher. It’s been 7 years now, in 5 public schools and I am struggling with many issues such as providing students authentic art experiences while trying to integrate my teaching into the rest of the school’s curriculum. I very much want to grow as a teacher and as an artist, making a significant contribution to my students’ lives through the visual arts, giving them opportunities to learn about themselves and the world around them. Additionally, helping them envision their futures with the valuable insights the arts can bring.
The inspiration of much of the art that I have created or envision creating is portraiture. I am fascinated by faces and the unique personality that they reflect. A Christmas gift to my “Artist-Self” was the book, The Artist’s Complete Guide to DRAWING THE HEAD, by William Maughan, (whose website is: www.EaselPainter.com). Note his "Books" tab and the cover of his publication to give you some idea of his skills. I am inspired by such mastery of describing the human form through chiaroscuro drawing.
Although I have not specifically studied portraiture, I am drawn to the wonderful, magical effect when an artist succeeds in making a believable representation of a person, capturing something of their essence, spirit, and soul. Success in the work comes from great skill and deep seeing. Previously, I have studied Life Drawing in several courses with the legendary Atlanta figurative and fantasy draughtsman and printmaker, Ben Smith, (whose website is: www.BenSmithArt.com)*. I have been fortunate to be a collector of some of his work through the generosity of my wife’s cousin, the late Judith Alexander. Studying his work yields fresh insights and delights. His style mixes an awesome technique in all manner of media with a fertile, playful, and fantastical imagination. An example is his “Mechanical Fortune-teller” (2004), which can be found on his "New Woodblock Prints" page.
My favorite personal artwork reflects these influences, focusing on the human form. It also incorporates my fascination with puppetry, dance, masks, and the circus arts. Serendipitously, I have found a portrait painting art class at the Chastain Art Center that begins January 14th. Knowing that a class is a necessary discipline for my creating art, even though I teach art as a job, I have looked around for art classes to enroll in since October. What I found should be a good adjunct to this a.r.t.s.APS Professional Development course. I anticipate that dedicating 3-4 hours of studio time each Thursday evening would help me materialize my fascination with faces. The goal is to help me surpass myself, and to liberate my creativity, so I can help students in doing the same themselves. Painting portraits will be a stretch for me, since I have little experience. The course’s instructor is Marie Matthews, a notable Georgia watercolorist, and long-time student of Ben Smith. Her course is, “Painting Heads in Any Medium”. The Course Description: “Explore the excitement and challenge of drawing and painting the head in the medium of your choice. Working from a live model, participants will learn specific techniques for rendering heads and faces that are solid, convincing, and alive. The course will begin with rendering the head in black and white, and color will be introduced as the quarter progresses. This course will include a combination of exercises and live demonstrations. Drawing experience is a prerequisite for this intermediate level course.” Her website is: http://mmatthews.com/. An example of her work is “Edward” (2005) on her "Portraits" page.
So…I enter this New Year, this new decade, resolved to learn, practice, and produce art. The plans and experiences proposed in the months ahead will demand no less than a serious commitment to these goals.