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).