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Pirate booty! (No offense)

TBT to this picture of me as a pirate. I had to give up this sweet pirate coat when we moved to Oregon.

Ahoy, Mateys! Ye have found the treasure!  Shiver me timbers. Thar be the Jolly Roger linoprint, the pirate Ship print (that is definitely not haunted by the way. Harrr!), and of course, the classic “Adventures of Dinosaur Space Pirate!” to pass the time bellow decks. With International Talk Like A Pirate Day coming up on September 19th, ye best shake a peg leg & hook yer booty today!

Just click on the picture ye want to claim yer treasure!

Dinosaur Space Pirate

 

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Kali Night V

I’ve been working on this for a few days and I think it’s getting close. Either that or I’m going to start over lol. I wanted to do a big kali Night painting on watercolor paper with watercolors. I’ve been doing them small in ink on a really absorbant paper from the Himalayas, which is culturally poetic, but I wanted to see what I could do with a medium I have more experience with after learning on a less forgiving media. Turns out I face many of the same difficulties.

Having said that, it is nice to really wade into watercolors again. There’s a much more alchemical feel to them, because the colors interact with each other differently. With inks they’re all just basically dyes. At least the ones I was using, anyway.

Let me know what you think.

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The Challenge

Raising children is hard. It’s draining in a way that isn’t apparent, no pun intended. It’s not like heavy lifting all day, although there is definitely some of that. It’s the constant attention demanded of you, the rituals you must perform, even if you don’t understand why, (my 3 year old likes to hold the Olvaltine can before I make his chocolate milk… Is he weighing the difference from yesterday, does he just want to feel involved, does he want to shake it, because he doesn’t always? I just know he wants to hold it.) There’s the life threatening situations occurring on a daily basis. They seek them out. Child proof my home? The only child proof home is the one without a child in it. There’s the cleaning up the same toys over and over, the squirmy diaper changes, the endless attempts to get them to eat something. God forbid they eat the same thing twice.
I’m not afraid of hard work. I’ve worked at myriad jobs for thirty years. All day every day. I’ve dealt with problem customers, cooked fast food, worked with complicated machines, and dangerous chemicals. I’ve worked nights, I’ve been the boss, and I’ve been the low man on the totem pole. I’ve worked in creative fields and manual labor. Nothing I’ve done is as difficult as it is to raise children. Nor has any of my various jobs been anywhere near as satisfying.
My children are the most important thing in my life. I love them more than I ever thought was possible. It is an honor and a privilege to be the stay at home daddy. It is the most meaningful endeavor that I have ever undertaken. It is also the most enjoyable. We have fun, we play, we go to the park. We learn together, we draw, we have music. I am so lucky to be in this situation, I can’t be it. But, man, I am tired at the end of the day.
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Falling

I always fall sort. I fail myself, my expectations, and my family. I will never not fail. Not every time. Just occasionally. It’s unpredictable. It is very difficult to accept. Yet I am enough. I try my best. I will fall short. It will have to be enough. That’s why we have family; to carry each other when by ourselves we fall. It is my shortcomings that make me need others, and my shortcomings that make me feel unworthy of others.

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Azul The Blue Dragon Sumi Painting

Here is a large scale sumi painting of Azul the Blue Dragon. Azul is the enlightened master who teaches Yendor to be a wizard in “The Song of Yendor.” I’m really happy with the way it came out. There is so much energy in this painting.

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Everything Spins

I’ve been getting into a lot of musical biographies lately. It’s really inspiring to hear the creative journey of people like George Harrison and John Coltrane; their musical genius is wrapped up in spiritual expression. I identify with that quite a bit.

From the microscopic atom, with its orbiting electrons, to our planet rotating on its axis, which orbits the star we call the Sun, which also spins and orbits the galaxy, which itself rotates around its center, everything is spinning and swirling in a circular motion. It’s fascinating to me that electricity is generated this way as well. Is this why dervishes whirl? I think it is Probable, even though the method was developed in the thirteenth century by Rumi himself. (if Rumi had taken up Asian style calligraphy, he would have been Rumi the sumi sufi.)

This piece is part of a series and was done with acrylic, ink, and digital media. Buy the shirt here.

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May The 4th Be With You

 

I don’t do a lot of fan art. I try to provide original content at my site. However, this does not mean that I’m not a huge fan of various great artistic contributions to our society  I love Star Wars, for instance. I have dabbled in some fan art here, and today seems like a good day to bring my nerdom into the light for the celebration. This is a linoprint of the patriarch of the saga.

Here are a few more. Two of them are sketches of my son, Gabriel with a lightsaber, in one of which, he is dressed as a jedi for Halloween  the other he is learning the ways of the Force. The third is Admiral Akbar as a college student in the 60s .

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Chinese Ash Sumi Painting

 

I have been wanting to paint a large scale sumi painting. For me this means about 20×30 inches. I know there are much larger paintings, but I have been doing 5×7 ones. The handmade paper I get comes in 20×30 & I’ve been cutting down to make folios for my sketchbook. You use a whole different set of muscles when you work larger scale. This is my first one. It’s a tree on the property of my apartment complex and I think it lends itself nicely to the project. I did a sketch first because the materials can be costly working large, if you have to throw away a bunch of mistakes. I don’t normally make preliminary sketches, primarily because I’m so lazy, but in this instance I wanted to get a feel for for how things might play out. It was helpful for composition and knowing which brushes would be useful and other procedural processes.

Legitimate problems with too much preliminary work is that it can reduce the improvisational surprises that can keep your work lively. Also, if your sketch comes out better than your actual work, it can be a drag, because usually it’s done with cheap paper and materials. But, many people do sketches of different angles, compositions, color comps, and really like to lock down all the details before rendering the final piece. I tend to work out a lot of that with my reference photos. I generally take all my own references, and since the advent of digital photography, there’s no reason not to experiment at this level. It’s important to get lighting, angles and composition just right in reference photos so your final piece has as much worked out in advance as possible. This way, my drawing can be loose on the final and keep as much energy as possible. There’s a saying that if you’re not enjoying it, you audience won’t enjoy it. If you’re not surprised, and interested by your work, your audience won’t be either.

The sumi style requires painting without an under drawing on your paper, so that’s why doing a separate preliminary painting can be helpful.

I may work on the final more. I had to stop because my children woke up from their naps. One of the challenges was getting a light touch on the delicate foliage using ink on absorbant paper, so there is a light look that may be too light. Also, working large requires photographing the piece rather than scanning it.

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Secret Jumblies project

Since it’s national poetry month, I thought I would share my secret project with you. I’m working on illustrations for my favorite poem; “The Jumblies,” by Edward Lear.  My 1st sketch shows the seive with the pea green veil. In this sketch, we have a frog and a hedgehog in the seive. My confusion is, are the characters in the seive the jumblies? Are they the ones whose heads are green and hands are blue? Or are the ones in the seive traveling to the land of the jumblies whose heads and hands are so colorful? For this sketch, I have decided the latter. In the preponderance of illustrations I’ve seen so far of this poem (that are in color) the characters in the seive have the colorful anatomy. So my illustration is contrary. That seems like reason enough, but my main thinking is those with green heads and blue hands are unusual, and would live in lands that are far and few. I will show you more sketches as they come. It’s a long, detailed poem, full of fanciful imagery, so it should be a lot of fun.

THE JUMBLIES.

I.
THEY went to sea in a Sieve, they did,

In a Sieve they went to sea:

In spite of all their friends could say,

On a winter’s morn, on a stormy day,

In a Sieve they went to sea!

And when the Sieve turned round and round,

And every one cried, “You’ll all be drowned!”

They cried aloud, “Our Sieve ain’t big,

But we don’t care a button, we don’t care a fig!

In a Sieve we’ll go to sea!”

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.

II.
They sailed away in a Sieve, they did,

In a Sieve they sailed so fast,

With only a beautiful pea-green veil

Tied with a riband, by way of a sail,

To a small tobacco-pipe mast;

And every one said, who saw them go,

“O won’t they be soon upset, you know!

For the sky is dark, and the voyage is long,

And happen what may, it’s extremely wrong

In a Sieve to sail so fast!”

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.

III.
The water it soon came in, it did,

The water it soon came in;

So to keep them dry, they wrapped their feet

In a pinky paper all folded neat,

And they fastened it down with a pin.

And they passed the night in a crockery-jar,

And each of them said, “How wise we are!

Though the sky be dark, and the voyage be long,

Yet we never can think we were rash or wrong,

While round in our Sieve we spin!”

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.

IV.
And all night long they sailed away;

And when the sun went down,

They whistled and warbled a moony song

To the echoing sound of a coppery gong,

In the shade of the mountains brown.

“O Timballo! How happy we are,

When we live in a Sieve and a crockery-jar,

And all night long in the moonlight pale,

We sail away with a pea-green sail,

In the shade of the mountains brown!”

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.
V.
They sailed to the Western sea, they did,

To a land all covered with trees,

And they bought an Owl, and a useful Cart,

And a pound of Rice, and a Cranberry Tart,

And a hive of silvery Bees.

And they bought a Pig, and some green Jack-daws,

And a lovely Monkey with lollipop paws,

And forty bottles of Ring-Bo-Ree,

And no end of Stilton Cheese.

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.
VI.
And in twenty years they all came back,

In twenty years or more,

And every one said, “How tall they’ve grown!

For they’ve been to the Lakes, and the Torrible Zone,

And the hills of the Chankly Bore;”

And they drank their health, and gave them a feast

Of dumplings made of beautiful yeast;

And every one said, “If we only live,

We too will go to sea in a Sieve—

To the hills of the Chankly Bore!”

Far and few, far and few,

Are the lands where the Jumblies live;

Their heads are green, and their hands are blue,

And they went to sea in a Sieve.

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Sumi Moon painting Color

I made this piece for my son, Gabriel, who is obsessed with the moon. Originally, I had planned on making it more detailed, but I really like the energy of this direct and simple execution. I am experimenting with this zen style of painting. The idea of the style is to empty your mind and let the energy of your spirit flow into the painting. When executing a Kanji calligraphy, the calligrapher would concentrate on the word or phrase and Chanel the energy of that into the calligraphy. When I do Sanskrit Calligraphy that’s what I do. It’s kind of a learning curve. I get a small brush and practice the word over and over until I’m comfortable with it. Even if it’s a word I know really well. Then I prepare several sheets of paper and execute the word full size several times. Sometimes I do several full size practices 1st, but if I have enough good paper, I just go for it, because sometimes the best one is what you thought was a practice one, and if you did it on practice paper, you’re screwed. At the end of the session, I’m exhausted and maybe have one or two good pieces. Maybe none came out good enough. It’s hard to tell because the aesthetic is different from traditional calligraphy. It has to have a vibe to it. It should also be relatively centered on the page and not have any glaring mistakes or drips.

A scene involving multiple subjects and composition and thought about meaning, mood, color, brushes, inks, requires too much mental activity to do it all in advance and then just execute a plan, like a well rehearsed dance. Spontaneity is a big part of of these pieces. It’s not Bach, it’s the blues. Pieces like the sumi moons on blue paper, are fairly spontaneous; I’ve painted similar scenes enough to not have to plan it out too much to get the right feel. Still the process of emptying my mind is the new element that has to fit into the puzzle. It’s difficult to do it for a prolonged period of time.

For this piece, I thought I would start with this simple moon/sky. First I did it in black; a series of enso circles to define the moon and the surrounding sky, then broader with water, to create a wash. Then back in with gold for the moon and a halo, and then blue violet for the sky, using the same technique. For each stroke, I empty my mind, breath out, breath in and then execute the stroke on the exhale, driving the energy through my body and down my arm and into the painting with each stroke. Then I had planned to go back and add detail to the moon, perhaps a ground beneath, maybe the ocean. Maybe add clouds, or stars. However, I was struck by the energy in the underpainting, and I thought further detail would weaken what seemed to me to be a strong piece. It’s for my son anyway, and not really for sale, so it doesn’t matter if it’s polished or not. He’s two years old. Almost three. But it was a real learning experience. To reset after each stroke, concentrate on what I am doing and not what I did or what I am going to do. This is the goal of this kind of technique. It’s a meditation practice for monks. Hopefully, I can keep this lesson learned.

A print of this piece can be purchased here.