IAI 2018 Recap

My most recent trip to Texas was a true test of my will and endurance– could I possibly drink the last of that very-yummy-but-very-thick spiced date juice? Did I really need all those eggs? Is there room for one more piece of shrimp? How many lattes can one woman possibly drink in one week? I found the answers to these questions to be ‘yes’ and ‘I don’t know, but I’m awake now’. This was my second trip to Texas this year, this time for the International Association for Identification’s 103rd Annual Educational Conference, hosted this year in sunny San Antonio. My trip began and ended with displays of hospitality beyond anything I’ve had the fortune to experience before. Texans, native and temporary, really know what’s what. Just saying, the rest of us could really step up our games.

I landed in Austin on Sunday at 5:30 AM, 3:30 Portland time. I only understood why everyone was so concerned about my flight times about the time I hit security at PDX the night before. Fortunately for me, a sweet friend invited me to join her for a home cooked Lebanese breakfast in San Marcos before continuing on to San Antonio. I’ll just say, you haven’t lived until you’ve been stuffed to the gills with omelette and cheese and fruit and date juice and cappuccino (and and and) while half travel-delirious. I’m surprised she didn’t need to roll me out the front door. I don’t think I ate for the rest of the day. I’m still not over this breakfast- did you know you can put cinnamon and black pepper in eggs and it’s the most excellent thing?

Continuing the ‘International” theme, I was fortunate enough to set up base camp for the week with Kathryn, a colleague from Liverpool by way of South Africa, in an excellent little bungalow that came equipped with a proper hanging out porch, and some delightfully questionable decor. For example, a french bulldog statue in a sombrero, a bevy of Venetian masks and a lenticular Marilyn Monroe portrait that watched over my bed. As a team of non-natives we availed ourselves of many distinct pleasures not found in our hometowns. Shopping at the HEB in particular was a joy, and I felt like a salty veteran when I was able to advise against the ‘Crazy Water’. The crazy thing about crazy water is that it mostly tastes like dirty feet (I learned this lesson on my first trip in February of this year, where I bought two bottles on the strength of the name and finished half of one {also I feel like I have to apologize to the makers of Crazy Water, it’s just really really not my thing, you do you, feet water people}). If you’re going to HEB (or any number of froofy coffee shops in Portland), Topo Chico is the superior mineral water. While the hotels were beautiful and convenient, there’s nothing like constantly getting lost because you’ve been talking over your GPS to really give you the flavor of a town. I officially love San Antonio.

Casa Rio, on the San Antonio Riverwalk- one of my favorite places!

The Conference

The International Association for Identification (IAI) sums up their yearly conference as follows, “The IAI conference is the largest organized event in the world for education and training in the fields of Latent Print, Footwear and Tire Track, Blood Stain Pattern, Forensic Photography, Forensic Art, Facial Identification, Biometric, and Crime Scene Evidence”. This basically amounts to hordes of professionals descending on a convention center in search of training, lectures, coffee, and some much needed shop talk with colleagues from all over the world, and if you’re very lucky, some serious travel-fatigue induced giggle fits.

Among the lectures I attended, two outside of the forensic art discipline really stand out in my memory. One for the challenge, and one for the uplifting novelty. The first was led by Dr. Abimilec Morales Quiroz, regarding the identification and exhumation process of a pair of clandestine mass graves in Tetelcingo, Morelos, Mexico. Upon entering the room, I was greeted by Dr. Morales Quiroz with, “Habla Español?”, after my stomach dropped into my shoes, I replied “Hablo un poquito, entiendo mas”, to which he grinned and said “Me too!”. I’m not sure if he was making a joke about his English or Spanish speaking skills, but the entire lecture was to be delivered en Español. I’ve made a point of working on my Spanish this year (which has atrophied embarrassingly upon moving from California to Oregon), my response as I walked in was the first time I’ve spoken any of it aloud to a native speaker in years. I struggled to follow at some points, but afterwards I was able to compare notes with a fluent colleague and I found I had gotten the general gist of things. I highly recommend researching the subject, it is truly incredible what our forensic colleagues are up against at times in Mexico, and I admire their tenacity in trying to right some truly terrible wrongs.

The other non-forensic art lecture that I thoroughly enjoyed came near the end of the week, featuring Bella, the cadaver dog. Bella and her handler, Rus Ruslander gave a demonstration and provided a vital bit of education in the capabilities of cadaver sniffing dogs; but more than that I felt like they provided a real morale boost after days of working hard to absorb as much as possible. I will just say that Bella is a very good dog, and is very good at her job. Dogs with jobs! What’s not to love? I am now the proud owner of a Bella trading card- feel free to be a little jelly about that.

This year I only attended one workshop, among the various lectures I took in. Of the other 2 workshops available, one I had taken last year and was so popular I couldn’t justify putting someone on a waitlist just to take it again myself, and the other I was leading (more on that later). Lucky for me, the workshop I was able to attend was led by none other than Karen T. Taylor, who literally wrote the book on Forensic Art and who I enjoy tremendously as a teacher and all around good-hearted lady.

Karen led a mini-sculpture workshop (mini meaning one day, as compared to her week-long classes in San Marcos), focused on identifying and depicting the muscles of the face that aid in expression. If you’ve never taken a class with her, they are a thing of beauty for those who appreciate order and preparation. For this class there was a fleet of 3/4 mounted skulls, baggies full of tools and wooden eyeballs, and a full color printed set of handouts with answers to any question a person might have about sculpting the muscles of the face. A mini workshop did not mean mini-effort, if you’re ever wondering if attending an IAI conference is ‘worth it’, there’s really no other place to get a taste of so many high quality trainings in one week as this.

Achieving Realistic Expectations

Most of my summer has been dedicated to preparation for this workshop- right up to the night before, which I spent on the living room floor of our little vacay bungalow, slipping my business cards into supply baggies and taping newsprint onto drawing boards. When I woke up at 5 am the morning of, I realized getting another hour of sleep in was going to be a futile effort, so I sat right back down on the floor in front of the coffee table and created some extra visual examples of the proportion finding technique I would be teaching in 5 more hours. After some breakfasting and fussing over clothing options, my bungalow-mate helped me shlep 21 students worth of stuff over to the Grand Hyatt. The morning was a bit of a blur, but it felt something like Christmas morning. Friends and colleagues poked their heads in as I was getting set up, and I just felt… happy. I am so grateful to my helpers along the way, from editing the course proposal, lugging all my stuff (and delivering a ‘bucket’ of coffee), sitting and modeling, modeling for the model so she could see the demo too… I love teaching. There is something very satisfying in seeing the light bulb go off for someone else, because you explained a concept in a way that clicked for them– that’s part of it, but the really amazing thing is all of the people that come together to make a class happen. And all of that is just the lead up to the class- once all the students show up, it’s a whole new animal.

My biggest worry going into the course was that the techniques might not translate- I hoped that what I was saying would make sense, and be applicable to improving anatomical accuracy and professional marksmanship. My students really went above and beyond my expectations in many ways, I was so relieved to see that what I had to say seemed to make sense to them, and I was able to see marked improvement even within the 5 hours of class with some of the students in particular. I could see quite a leap in accuracy from the warm-ups to the final pieces, and I was satisfied that everyone really seemed to be giving it their best effort.

I left my workshop feeling so proud of everyone who took part. My students really represented the whole gamut- from individuals who had never drawn before, to seasoned professionals. Taking an ‘art’ class can be intimidating, and it takes guts to walk into a 5 hour course for your first try. It also takes a certain dropping of the ego at the door to come in as a professional and give something different from your own technique a try. There was so much to admire among my students, I feel very fortunate to have had the cohort that I did. What really impressed me was the dedication and concentration I observed- I don’t think I’ve ever led a class that was silent during work time until now. Granted, mostly I’ve taught K-12 students, but I was impressed nonetheless.

To keep things in balance, as all things must be, my very favorite picture from the class will never be posted online, but I’m considering printing it for my fridge. In the photo, I’m gesticulating wildly, as I do, and there is a small circle of students sitting on the floor (let me just take a moment with that- these incredible adults SAT ON THE FLOOR like grade schoolers to see what I was doing in my demo, and I love them for that), and a couple rows back, another student is staring off into the middle distance with their mouth slightly agape. Whatever I was saying held no interest for that person. I have absolutely been that person in one class or another (Algebra 1A & 1B for sure), it’s not a personal failing. It’s good to remember that not every teacher is right for every student, and try as you might, you can’t please everyone, so just do your best for those people on the floor. The people who get you will listen, and may the rest find their right teacher too.

Rough Riders

Like last year, the conference wrapped with a banquet and installation of the new IAI President and board. I love banquets, galas, parties- any reason to dress up and clap. Unlike last year, I did not stay for dancing, but made a sneaky escape to a rumored-to-be-haunted bar at the Menger Hotel, which was around the corner from the banquet venue. I don’t know about you, but I’m not one to turn down a place that might be haunted, but definitely did host Teddy Roosevelt and his Rough Riders- how cool is that? Somehow it seemed fitting that the forensic art crew found themselves gathered in a funky haunted bar. There were artists from across the country and around the world, who braved countless travel setbacks, negotiated the time off work and found their way to this gathering, upstairs in a steamy old fashioned bar to decompress and catch up after a week of cramming as much information as possible into their brains. They may not be a full blown cavalry regiment, but they’re some pretty tough and tenacious folks.

After the close of the conference, Kathryn and I made our way to Austin, where as I mentioned in the beginning of this post, we experienced some truly incredible hospitality from some very gracious hosts. I won’t tell tales on friend time, but suffice to say, there were mountains of shrimp, cappuccinos, many an inside joke, and just happy and invigorating times. Thank you especially to my hosts, the days following the conference were even more special than those during for many reasons.

 

 

 

A Soft Touch

Last night I was on the phone with my dad, explaining the thought process behind a recent project of mine. There is a certain magic in family connections, you see, and there is a conversational magic that I learned from my father over years of following his threads of storytelling. He has the unique ability to connect anything in a logical manner, through seemingly disconnected stories. A notable memory of this is the time he took me from Beatle boots, to Britney Spears, to World War 2 and back again over the span of a 4 hour lunch date when I was 14. I still couldn’t tell you how we got to any of it, but I can tell you that it made perfect sense. So here I am, looking back at our conversation last night and realizing that it is indeed all connected, my new easel, my Grandmommy, my upcoming class in San Antonio, and the bird’s eye view from my new office space.

Let’s start at the beginning, or is it the middle? Who’s to say. What got me on this thread was that I recently built myself an easel for drawing on a table top. I already own 4 or 5 table top easels, and a couple of drawing boards, and truly, they get the job done fine enough. Really, the easel I built is not for me, because of the aforementioned 4 or 5 perfectly satisfactory easels I have lounging around my studio apartment. I built this easel as a prototype for my students next month. As I prepare for my class (on how to draw realistic faces in graphite) I have come to the realization that art supplies are always more expensive than I think they will be, and providing 20 tabletop easels comes then with 3 options:

  • Option 1: Buy 20 of my favorite easel that I use on the regular, spending the equivalent of a couple months of a yoga membership at a hip studio in town.
  • Option 2: Buy 24 bulk easels that will undoubtedly scoot across everyone’s desks, collapse, and generally drive people insane (and provide 20 drawing boards for said easels, that will be too heavy for the easel to support, and will, again, drive everyone insane), for the price of a new (second-hand) fall wardrobe.
  • Option 3: Build my own damn easel that will not scoot, and does not require a separate drawing board, because it IS the drawing board, for the price of a really good trip to the grocery store and some elbow grease.
Option 3

Obviously, I chose Option 3, because I am crafty and stubborn, and I really want to spend my money on clothes and yoga, while also providing the best possible easel that will not drive my students insane. This brings us back to the phone call with my dad, where I was explaining why I had to build the easel myself (and why I need to build 19 more). I explained that invariably, in a graphite class, a few of my students will be pushing way too hard with their pencils, so I need the most stable easels possible, because as much as I would like to teach them to use a soft touch, 4 hours is not enough time to change a lifetime of artistic habit- so the cheap bulk easels are out, and the stable custom ones are in. Now this is the interesting part of the conversation- my dad paused and said something to the effect of, “Mom said that exact same sentence, we had this conversation about her students, and she said the same thing”.

When my dad refers to ‘Mom’, he means my Grandmommy, who was a fine artist and an art instructor in Los Angeles. She passed away when I was a little girl, 4 or 5, and yet somehow I have found my artistic career shaped by hers all the same. From what I remember, and what I have been told, I can absolutely see my grandmother sharing my frustration with people pressing way too hard with their pencils- I just know it is absolutely unnecessary and better effects are achieved when you lighten up, and here I am, knowing that she would say the exact same thing, probably in the exact same exasperated tone. As if this is just common knowledge all humans are born with, don’t you know? You just don’t have to push so hard.

You just don’t have to push so hard.

The above is now not just advice about pencil grip, but about life, see what I did there? I’m taking the thread and running somewhere else with it. In art as in life, I’ve found any situation I am truly struggling against would go much easier if I just lightened my grip a little bit. Over the past few months, for example, I had myself in a tizzy over a possible-maybe job opening across the country. I was so focused on that possibility that I was completely neglecting to see the opportunities in front of me in Portland. I had such a firm grip on what could be, that I was blinding myself to what is. Anything I was accomplishing, creating, or doing seemed to pale in comparison to what things might be like, if I had the other thing. Then I got hit by a car.

That line is mostly for laughs (my car was hit, with me in it), but really, it’s incredible how your perspective can shift when you’re forced to look at things differently. In early May I was suddenly ejected from my usual routine by physical limitations that took me by surprise. Very soon after the accident I made the decision to loosen my grip on the other thing and focus on my life in Portland, I wanted to see what I could do about accomplishing my goals, here. It doesn’t hurt that the sun is finally out. Portland is a truly glorious place in the summertime. The thing was, when I took a good look around, all of the things I was dreaming of having somewhere else were already here for me, if I would choose to see them. I can do the things I want to do with my life here, too. Once I stopped banging my head against the wall, I realized there was an open door right next to me, basically.

Loosening up also meant that I needed to drop my usual stoical schtick and accept some help for once. My dad and I have talked about this, it seems to be a trait we Andersons have in common, he blames our Norwegian ancestry. Whatever the reason is, I’m typically loathe to let anyone do anything for me. I despise not feeling self sufficient- which is not helpful to me when I just can’t be (because I’m human like everybody else, and sometimes I get hurt and just can’t do the things I want or need to). Over the last month I let someone else do my dishes and laundry. I let someone else carry my camera and lights. I ordered cat litter via delivery instead of lugging it 10 blocks from the store, which is more expensive, but I have to say, absolutely satisfying. I also took some odd jobs that I wouldn’t normally do, because they were all I could do.

One of those odd jobs brings me around to that bird’s eye view I mentioned in the beginning of this post. In an odd quirk of fate, besides in my own home, more of my artwork by quantity lives in a couple of coworking offices in Portland than anywhere else. They currently have 5 large abstract pieces of mine that would be completely unrecognizable to anyone who knows my portraiture style. The owner of the space, and so of the paintings, is a friend of mine. Recently he asked me to do another painting for the space, on site, so I packed up one of my many tabletop easels, a drop cloth and some paints in my backpack and walked downtown to make something ‘quirky and fun’.

While I was painting, I was also admiring the view. The office sits on the 11th floor of a building that looks out at Burnside on the westside of Portland (including Powell’s, the famous city-block sized bookstore). I found myself staring out the window and thinking about how much I like working in downtown and how I hoped I could do that more, as this was my second gig this spring to put me in a high rise with a choice view. Usually I work from a cafe, or at my dining room table, with a view of 2 backyards that don’t ever seem to be occupied.

I created a painting inspired by that morning’s surprise downpour, which I got caught in on my walk to the cafe and was soaked from my knees down (I am uncool and carry an umbrella). Other hapless walkers and I watched as 23rd Avenue become a swift moving little river, and I appreciated how whimsical the first day of summer in the Pacific Northwest can be. I didn’t have a plan when I sat down to paint, and at the end I had not only created one of my most favorite recent paintings, but I somehow also made an agreement to become a member of the coworking space. It felt like making a wish and having it immediately granted, and it was easy. No pushing involved.

I can see Powell’s from the fire escape, it’s like Where’s Waldo but actually fun.

This morning I got up, grabbed a quick cup of coffee at my favorite cafe, and then rode the streetcar downtown to my new office to write. Once I got in and set myself up (and locked myself out once), I realized I had no idea what I wanted to say, so I decided to update my portraiture portfolio. For over a year I’ve neglected to add my graphite portraits- which are what I am basing my class on next month, so I realized I should probably let people know, I do that too. While I was updating the gallery, I dragged in the drawing I did of my Grandmommy, which became the step by step demo in my book, Achieving Realistic Faces. When I saw her smiling face, I thought about the conversation I had with my dad last night, and how she and I had shared the same frustration about pencil pressure, and I thought about how she shaped my art career. I thought about a story my dad has told me many times, that usually makes me tear up a little bit.

Charlotte

When my Grandmommy was ill at the end of her life, I remember my dad taking my brother and I to see her in what I assume was a hospice center. I remember it was surrounded by orange groves that were home to little white butterflies. While my brother and I were being led through the orange groves, my father was having the last conversations he ever would with his mother. He told me that he wanted to ask her what he should do with my early propensity for art, even as a very small child I was drawing and painting all the time. He wondered if I should be enrolled in some classes, should someone be chivvying me along this path of the artist. She shook her head and said simply, “Let her rip.” She didn’t seem to think I would have to be pushed very hard if I were going to be an artist, it would just happen, and she was right. She also had a question for him, “Will they remember me?”- my brother and I were still very small, and not totally aware of the gravity of the situation. When I say I tear up a little bit when I think of this, I mean I am absolutely sniffling through this paragraph. It makes me cry because I know we could never forget her. Not a day goes by in my life that I am not reminded somehow of her influence on my life, no matter the number of days we physically shared together. Her voice is with me in everything I do, right down to deciding to build a couple dozen easels because no matter what we do, people will insist on pushing too hard when all it takes to make an impression is a soft touch.

 

 

Crash Into Me

Crash Into Me

I’ve always been a sucker for shamelessly pulling song titles from my favorite artists for my work, and I feel like this Dave Matthews Band ditty is just right for where I’m going today.

In my last post, I talked about how sometimes something that you don’t want to happen can push you to do something really positive. Well, last week I was in a car accident in my zippy little car, which is out of commission at the moment, and that leads me to the negative action leading to a positive outcome.

In January I started working on a book– my first book! I always thought my first book would be a novel, or a children’s book, or a comic book, or… anything other than an art technique book. However, inspiration struck while I was working on a slide deck for the class I will be teaching this summer at the International Association for Identification’s 103rd Annual Conference. While I was building my slide deck I realized I had a whole lot more to say about my technique than a slideshow could possibly hold. So I started making a book. Like you do.

 The unglamorous side of being a freelance artist is that sometimes you juggle a few different gigs just to keep things afloat- one of my gigs was heavily dependent on my car, which will at the very least be out of commission for a few weeks.. so I thought, “What else can I do?”, and I thought of my book, just sitting and waiting to be shared…

About the Book

“Achieving Realistic Faces” was created specifically to aid Forensic Artists in speeding up and improving their skills in graphite, though it would benefit any artist who wants to improve their pencil work. In this book I lay out my shortcuts and faster ways to achieve high level results in graphite. I’ve combined my favorite and most used tips and tricks that I’ve amassed over a lifetime of being obsessed with portraiture and wanting to depict the face as I see it. My background in fine art and illustration comes together with tips for creating lifelike results, even if you don’t have a reference to work from. These techniques can be used in composite drawing, post-mortem depictions, or just drawing for the sake of depicting a face.

This book is broken up into exercises, cheat sheets for quick reference (on subjects like depicting different hair textures and wrinkles) and an in depth follow along portrait so you can see step by step how I achieve results like this (and how you can too):

I outline preferred supplies, set-up and some ways to re-think how you’re looking at the face. Why am I qualified to teach you anything? Probably because this is pretty much all I do. I’ve been creating portraits on a professional level for nearly a decade, with classical art training before that. More than my experience though, the thing that made me think “Maybe I should write all this down sometime…” is the fact that I keep getting asked to explain what the heck I’m doing when I work around other artists. I have a somewhat unorthodox approach to creating portraits, that I feel is more intuitive and I know lends itself to speeding things up. My approach is a blend of classical attitudes matched with illustrative speed– classical artists want to get it right, illustrators want to it on time. I want to teach you how to do both.

I’m offering “Achieving Realistic Faces” as an e-book initially, though I hope to do a print run eventually. You can buy the book here. If you know anyone you think would benefit from a new look at drawing in graphite, please pass this on!

Ready to jump in? Get your e-book for $15!

This link will take you to PayPal, once I receive your payment I will email your copy to the email address you provide!

Double Happiness


Double Happiness

(Notes about my trip to the IAI conference in Atlanta)

Last week, as I was picking my way down the steep front steps of my AirBnB in Atlanta to get into my Lyft (if this sentence isn’t a complete time capsule for the gig economy, I don’t know what will be), I was stopped by a monarch butterfly. It landed on my shirt and I paused halfway down the steps- I’m not one to rush a visit with a butterfly. It lazily flapped its wings and poked about with its funny coiled antenna, and as soon as it had come, it was gone- off to another flower, or to land on another jet lagged soul. Later that night, after I had returned from a day of lectures and learning, I was sitting at the dining table talking to my host, maybe about the lost 9/11 flag, or maybe about her history as an anthropology major- I’m not sure, we were just idly chatting after a long day. I felt something land on my hand, and my immediate impulse was to shake it off (there had been an incident with a very large spider the night before), but before it was gone, I looked and saw that it was a little orange ladybug.

The next morning, I was bumped off of the waitlist into the workshop I had been most excited to attend, and in my giddiness I entered the classroom chattering, as I sometimes do, and told the professor about my visitors the day before. He smiled and cocked his head, and said, “You know, that’s what the Chinese would call ‘double happiness'”.

I’m not sure double happiness even covers how I feel about my time in Atlanta. Every day was a delightful mix of purpose, study and meeting more kind, interesting and accomplished folks than I could have imagined or anticipated.


102nd International Forensic Educational Conference

My journey to the 102nd Annual IAI conference started early this Spring, when I was reading “The Girl With The Crooked Nose”, a sort of thriller biography about Frank Bender, a titan in the field of facial reconstruction. The IAI was referenced, so I looked it up and saw that they had a conference coming up in August. I started browsing through the lecture titles, and was rolled by a class titled, “Let’s fingerprint that dead body!”- I took a screenshot and sent it to my dad, sure that he would also appreciate that funny bit of professional enthusiasm. I added that I’d like to attend, though it might be a pipe dream for this year- he responded in true dad fashion, “You are going!”. I wasn’t sure if this meant a) he believed in my ability to figure it out or b) that he was going to help me get there. It turned out to be a little of column a, a little of column b. Over the next few months we worked together to figure it out, and 2 Saturdays ago I found myself on a plane on my way to Atlanta for my first professional outing in a field I’ve dreamed of joining since I was a teenager.

 

Day 1

I would be lying if I said I wasn’t absolutely horrified for the 5 hour plane ride, and subsequent first 10 hours in Atlanta prior to the conference. Some thoughts included, “What have I done? Why am I here? What in the world do I tell people when they ask me what I do? Will anyone even talk to me?”- I found some answers to those questions in short order at the opening reception, where I met up with Paloma Galzi of Galzi Forensics Limited, who I had connected with through Instagram a few weeks earlier. Soon after arriving, I was profoundly relieved to find the community of artists to be extremely welcoming and friendly.

So the answers to my panicked arrival questions-

  • What have I done? Taken a huge step towards the career of my dreams.
  • Why am I here? To learn from people who have already navigated this path.
  • What in the world do I tell people when they ask me what I do? Right now I’m learning as much as I can, but I hope to be working in the field soon.
  • Will anyone even talk to me? Uh, yeah, a lot of people, so many that it’s kind of overwhelming in a wonderful kind of way.

The week was a blur of activity- workshops, lectures, the dreaded ‘networking’- the entire time I was constantly surprised at how supportive, warm, and genuine the other artists were, and how humble they are about the incredible work that they do.

Day 2

Day 2 was mostly lectures, and therefore mostly doodling and note taking.

 

Day 3

I had a run in with a butterfly (see above), and attended a workshop called ‘Court and the Forensic Artist’ taught by Paul Moody.

Day 4

On Thursday I got to attend a workshop called ‘Sculpting The Human Skull’, which is pretty much exactly what it sounds like. We worked from anatomical casts and had our choice of 6 skulls, 3 male and 3 female in 3 different ethnicities. I chose to work on a female Asian skull, because I liked her smile. It’s been about 12 years since my last sculpture class, and I felt it at first, but after the first hour or so of struggle it started to come together for me again.

The class was very helpful in brushing up on specific anatomy and being able to take a deeper look at what makes every skull unique and different. It was a treat to have the guidance of Dr. Daniel Marion, who is in so many ways a master in this field. Towards the end of class we had a visit from Karen Taylor (I’m not starstruck or anything), who casually walked past my skull and informed me that I’d given it the mandible of an elderly person- it was a quick fix, and it definitely opened my eyes on the importance of the subtle details involved in creating a likeness. Being able to work alongside artists who are leaders in the field compared to my nearly utter lack of experience was very humbling.

By the end of class I was so attached to my skull that I couldn’t consider not taking it home- which presented some interesting challenges. I was one of the only artists not staying in the hotel where the conference was held, so it meant that I got to carry her around with me all evening until I went back to my AirBnb, and so thusly, I named her Ruth- wither I goest, she goest! I have to say, the residents and Lyft drivers of Atlanta are pretty unflappable, and we only mildly startled one waiter.

 

 

Day 5

The last day of the conference was also the second most exciting workshop for me- it was called ‘The Composite Sketch Tune-Up’, and consisted of a deep dive into pushing value scales in drawing (the lightest lights to darkest darks and everything in between). I had been so looking forward to this session that I brought my travel easel with me from home- because when I nerd out, I really nerd out. So naturally, in my excitement, the morning of the workshop I promptly left the easel behind at my airbnb… Luckily I made some friends last week and one of them was sweet enough to haul my forgetful self back to go get it- thanks!

 

 

The night ended with a banquet, and it really felt kind of like the end of summer camp for me. I enjoyed my week so much, and all of the wonderful people I met, that I really could have just kept doing that for a while more. Fortunately, I have other workshops to look forward to next year, and of course I’m hoping I’ll be back for year 103.

 

The New Portlander

s-o-g-new-yorker

In this issue:

  • Field Trip: The Frye Art Museum Seattle
  • You’ve Got Mail: The Postcard Project
  • The Cartoon

Field Trip: The Frye Art Museum Seattle

Last month I took a trip to the Frye Art Museum in Seattle on the suggestion of a friend who had fallen in love with their salon style gallery.  The recommendation was apt- I fell in love with it immediately. Of course, with 3 Bougereaus in one room, how could you not? I appreciated the mix of late 18th and early 19th century portraiture, and especially some of the wilder lesser known pieces.

The Glorious Salon
The Glorious Salon
Graphite Schmutzler.
Graphite Schmutzler.
Doodle with copic markers.
Doodle with copic markers.

You’ve Got Mail: The Postcard Project

For the holidays this year my dear brother gave me the gift of an art supply spree- because he’s the best. I meant to space out my purchases and really give them thought and planning… and then I walked into You’ve Been Framed on Foster/Powell and I just couldn’t help myself. Or rather, I helped myself, to a lot of incredibly fun things I wouldn’t have normally splashed out for, one of which was a package of blank postcards. I’ve been slowly working my way through them and enjoying the small scale and finality of them as a medium. Clearly I’ve been heavily influenced by my dark wave playlist recently- why name your own pieces when you can let Morrissey and Depeche Mode do it for you?

170103-truelove

170103-stripped

170103-lastnight

The Cartoon:

A cheesy idea came to me in the office today.
A cheesy idea came to me in the office today.

Queen Elk

One of my close friends works outdoors teaching kids how to be wild in safe ways, and yesterday she posted a picture of herself with mud all over her face and twigs in her hair. She does this for a job, and is basically everyone’s hero/idol. She knows what plants you can eat, and what plants are totally great to wipe your butt on (for real). Last week I learned she can make rope out of anything. When I saw her after work selfie I got totally inspired and created this:


I’m getting pretty jazzed about the idea of a girl in the wild, and I’m hoping my friend can add her vast knowledge of the natural world to make this more than just a sketch! Until then, I will keep playing with this new ‘toy’!