Here, below, are some new sketchbook pages – I’m still thinking towards publishing a version of my sketchbook. I’ve been encouraged to do this by friends who’ve looked at my book, as well as by my followers on social media – thank you all!!! Now without much further typing:
Living in the Pacific Northwest I see readers at the gym, at bus stops, in parks, sitting outside on benches, in the cafes, wineries, pubs and bistros – just about everywhere I look a book is in someone’s hand. Needless to say the library is a popular place as is the beloved locally owned bookstore, Vintage Books.
Below are a few of my sketches of people I’ve seen out and about. Along with quotes and musings.
Because I’ve been depicting people reading so much in my fine art it’s probably no surprise that in my sketchbook I’ve been drawing people reading. Anyway, here’s a few more drawings from my sketchbook:
Lately, however, I’ve thought that there’s perhaps a value in showing my sketchbook pages, putting a human face, so to speak, on creative doings and beings. I’m even thinking I might gather some of these into a book. What do you think? Do you like seeing my sketches too?
In Slaughterhouse Five by Kurt Vonnegut, the (ahem) text, for my recent painting (last post) Vonnegut talks of Tralfamadore another planet where time is viewed panoramically by the Tralfamadorians.
After posting about my painting “Slaughterhouse Chives” some friends said they’d like to see my view of Tralfamadore. So here, below, are several views of my artist book titled “Clancy’s View Of Tralfamadore * a homage to Kurt Vonnegut and other intervals of time”.
Including, (wink) a panoramic photo of the inside contents of my book. The book is 7 inches tall and 4.5 in wide when closed. It opens to span 36 inches. I made this book with ink and gouache on handmade paper.
In my artwork generally I think about time a lot, about the importance of the present moment, how we create – or curate – our present moments to our good or ill or something between. I think of how books are time capsules, messages from another era, another geographic region, another lived duration.
One of my favorite quotes is from a book called A Sideways Look At Time by Jay Griffiths the quote goes “The French philosopher Henri Bergeson, who greatly influenced Proust, understood the sublime importance of the present moment “time is creation or it is nothing at all” and lived durations are not simply intervals but are the very stuff of reality.”
I put that quote as a long-running phrase across the entire 36 inch accordion format that makes up “Clancy’s View Of Tralfamadore…” Around that phrase I’ve included references to the intervals of lived durations, Vonnegut (of course) and other authors I’ve read recently who’ve passed on to the eternal library in the sky. Also included are meaningful time intervals related to flowers/plants and soup. Each duration mentioned is an important part of this interval I’m living in. (For example; I’m aware that without flowers we wouldn’t have vegetables and other soup ingredients, or paper or…)
And for any extra amusement in it here’s a video of “Clancy’s View Of Tralfamador * a homage to Kurt Vonnegut and other intervals of time”
Thank you for sharing this present moment with me.
Recently I blogged about my kichen sketchbook keeping method. Here’s my “running around loose” sketchbook method. Yes, this is a different sketchbook. Both books are related to my current fine artworks.
My “running around loose” – aka “loosey” book (pronounced ‘Lucy’) – is a sketchbook measuring 3.5 x 5.5 inches and half an inch thick with a ribbon bookmark, an elastic closure and lightweight watercolor paper inside. Here’s a picture of it and my gouache palette which is the same size as my book. Also pictured is my water brush and a Tombow waterproof brushpen. Everything can fit in a small bag or jacket pocket.
When I’m out in the world, with my “loosey” book, I’m keeping an eye/ear open for things that catch my attention. Things I want to think more about. There are no strict rules, no pressure to make “art” in this book. I’m just noting what catches my attention. It’s like meditation in this sense.
Recently my spouse and I had lunch at a local bistro. My attention was caught by an accent I couldn’t place when a man at a table nearby spoke to a waiter. So using my glance-memory method I kept paying attention.
My glance-memory method is this – once my attention is caught I quick glance several times and jot random words: man, scar, blue, reads, coffee, space, reads, careful spaces for book/consumables, vertical spoon, triangle space, book arms length.
The above word list translates to: After the man ordered he pulled out a book and began to read. His coffee came and he very carefully sipped his coffee well away from his book. His careful use of physical space kept my attention. Then his soup came. He shifted the book so it was held at arms length from the bowl and coffee. What an interesting gesture! I also noticed other things: a scar on his cheek, the blue shirt he wore, the vertical way he held his spoon. His gestures and sense of space held my attention. So I pulled my “loosey” book out jotted the word list mentioned above and did some quick sketches. I didn’t worry about getting an exact likeness. What I tried to capture was the gesture. I used quick glances so I wouldn’t attract his attention to what I was doing.
I tried the drawing a few times.
This second sketch, with the triangle shaped space under his elbow best captured the gesture.
I wrote the phrases on each page because they came to mind while I was drawing.
I also noted that as I drew I thought about soup, the care/repair of books, Ray Bradbury’s “Fahrenheit 451” and, inexplicably, Kurt Vonnegut’s book “Slaughterhouse Five”.
Where all these thoughts will go I’m not certain but I’m starting a new 18 x 24 size fine art piece for my ongoing Readers Series this week. I’m sure these sketchbook notes will get used somehow.
I’ll also make soups at home. It’s going to be cold weather. And I have well used copies of both Bradbury’s “Fahrenheit 451” and Vonnegut’s “Slaughterhouse Five” which I’ll look at over the week.
Now you know the way of my “loosey” sketchbook adventures. I’ll share what happens next in upcoming posts.
Here’s a page from my kitchen sketchbook. It’s relevant to a fine art piece currently in progress; a reader having hot tea and a meal like this.
I’ll post about the fine art when it’s finished. Stay tuned.
You can see more art from my readers series at the Caplan Art Designs gallery. www.caplanartdesigns.com
On a recent trip to the library I saw a book titled “How To Draw And Write In Fountain Pen: A Modern Guide” by Ayano Usamura. (book link) The book reminded me that I’ve not talked about this essential studio tool in a while.
I’ve used a fountain pen almost daily since I was in art school at university. An illustration class required a fountain pen, a Pelikan Classic M200 , as one of it’s “textbooks” for the semester. We were taught the care and use of the pen – the pen care section of the book by Usamura mirrors what I was taught exactly. Part of the class requirement was to draw with the pen daily. The professor would periodically surprise-inspect our pens for proper care/maintenance and would look at our sketchbooks as part of our grade. Woe unto the student who forgot their pen.
Fast forward to now and I’m still drawing with my fountain pen daily. It’s my go-to tool for my on-going art studio philosophy: “Work in short bursts of time. Often.” When I’ve only a minute or two for creativity work I can easily, quickly, do an ink drawing without having to do any more “studio-set-up” than to open my sketchbook and pull the cap off my pen. Here’s todays fountain pen drawing:
Nowadays I prefer the Levenger True Writer. It’s the best fountain pen I’ve had yet. Writes and draws smooth lines with no pressure, less mess and less constant care needed than some other pens. I use the Noodlers brand fountain pen ink – the anti-feather black kind (also called “X-feather”). And of course these days I have a whole new appreciation for the environmental friendliness of a fountain pen; less used-up-pen-plastic-parts going into the land-fill.
Anyway, the book “How to Draw and Write in Fountain Pen” happily reminded me of what I’d been taught way back in the day at university. I brought the book home from the library to read and re-remember all the fountain pen tips and tricks. And, if the book was accurate to my fountain pen experience (it was!), I could mention it to you here on my blog – and photograph the book with my Levenger fountain pen for a post on my Instagram page.
Now if you’ll excuse me I’m going to go lovingly re-fill the ink in my fountain pen.
P.S. If you were wondering – I did use a fountain pen to do the graphic-novel style drawings in my recently published book “Dr. Bob’s Emotional Repair Program First Aid Kit“.
Update: After I had written the above post about fountain pens I went to dinner in Portland Oregon. From dinner we all walked to Oblation Papers and Press – where I happily discovered that they have a wide selection of fountain pens!! And staff who know the various pen brands! Here’s a link to their drool-worthy website https://www.oblationpapers.com/
Here’s the cover for the new print version of “Dr. Bob’s Emotional Repair Program First Aid Kit”. Keeping the hand-drawn look for the cover was important. Half of this book is filled with hand-drawn graphic-novel type stories. And the book originated in my sketchbook. So it seemed a no-brainer to keep the cover art “organic” looking. Here are both the front and back covers:
Yes, I did see this new print version as an opportunity to hand-write the entire book and considered it strongly. However from the outset of this project when we did the first printed editions small run, Dr. Bob Hoke wanted the book to be as easily accessible as possible – including constructing a book that would feel “simple” and even fun.
So as I designed this new print version I decided that typing the text of Dr. Bob’s lecture notes, rather than hand writing it would be more in keeping with Dr. Hoke’s methods. By typing I could also choose fonts and formats that would be easier for anyone, including dyslexics, to read. “Dr. Bob’s Emotional Repair Program First Aid Kit” is also small in size; 5.5 x 8.5 inches and only 56 pages long.
As I mentioned above, half the book is drawings… so I worked to make the cover art fit with the cartoon drawings inside the book.
“Dr. Bob’s Emotional Repair Program First Aid Kit” will be officially released November 1st – but since you follow my blog you can get early access here: https://store.bookbaby.com/bookshop/book/index.aspx?bookURL=Dr-Bobs-Emotional-Repair-Program-First-Aid-Kit1
I’ve been very busy getting ready for a one-person fine art exhibit at Caplan Art Designs that will open in September. (So my social media activity has slacked off lately.) Around the edges of creating new fine artwork, framing, paperwork and so forth I’ve been working towards a new print edition of “Dr. Bob’s Emotional Repair Program First Aid Kit”.
This story from the First Aid Kit has been a good reminder of an art technique I try to practice daily – even when I’m busy:
Even when I’m very busy I practice taking a moment within my day, wherever I am, in the here-and-now and pay attention to my 5 senses. I try to let go of any preconceived conceptions, to just expand my awareness. I also include, in this exercise, paying attention to my free-associations and my imagination during my 5-senses check-in moment. I’ll note my sensory experience and “watch”, like you’d watch television, the memories, thoughts and associations that cross my mind as a result of the sensory experience. I’ll often make notes in my sketchbook.
What I “get” for my payment – when I pay attention – is the power to choose what to focus on when I’m at my art easel working.
This practice of paying attention to both sensory input and the content of my mind – is a version of what Betty Edwards wrote about in her book “Drawing On The Right Side Of The Brain” – in the section where she talks about chairs. How (and I’m paraphrasing) a drawing student first attempting to draw a chair will substitute their knowledge about chairs (4 legs, a square seat and back) and will draw a child-like symbol of a chair. One has to learn to see the shapes of the spaces around the chair as well as the shapes of the chair itself – what is actually seen (3 legs, a trapezoid shaped seat and back).
I find too often – especially when I’m busy – I’m substituting my “knowledge” about the world, my preconceptions, for what “is” in the world. So I find it helpful to practice seeing the shapes of spaces, so to speak, in my sensory experience of the world. And to see the shapes of spaces within my own mind.
Paying attention allows me to merge real-world phenomenon with my mental life and to choose to communicate, via art, in ways that are helpful, playful and fun.
Currently “Dr. Bob’s Emotional Repair Program First Aid Kit” only exists in e-book form. But as I said above, I’m working on that. This book has had such a profound impact on my own creative life that I want to have another print version around.
As per my last post I’ve been starting new projects in my studio. I’m also having some down time to rest and recharge. While starting new projects I’m keeping in mind my studio statement. Here it is on a 2 by 3 inch paper thumbtacked to my art studio wall.
I jokingly say that my mission in life is to wear pencils down to nubs. And I do think that’s true on one level at least – I practice drawing and writing daily and lots of pencils get used. So that must be the point right?!
Yes, daily practice is indeed the point! (And yes, I like the Blackwing pencils a whole lot!)
But, seriously, these statements are true in my experience: “What you repeat sticks. What you don’t repeat goes away.” – “Anything worth doing is worth doing poorly at first.” and “Nothing has to go right today” – all of these concepts come from an artist book I did. (More about that here).
It has been crucial for me to purposefully design my daily artistic habits (repetitions!). And to focus on maintaining the habit-ness of creativity rather than being out-come based about my creative output. (it’s okay if today’s artwork is not perfect!)
It’s also important to take breaks. Both the design of daily creative habits and the breaks from them are part of making my creative life sustainable. The point is to have fun being creative and to keep it fun!
Over on my Instagram page I’ll post a pic of at least one of the things I’m doing to rest and recharge…
One of the many things I love about the Pacific Northwest are the indie bookstores and all of the people I see reading. Almost every time I’m in town I see people reading printed books in coffeeshops, in cafes, in the park, in the library, in line at the post office, waiting for the bus and even while walking down the sidewalk.
For example here’s a sketchbook page (left side) I did just after passing by the lobby of one of the downtown apartment-plexes. There’s a lobby on the first floor and a guy was sitting in a chair reading with his dog on his lap. (I added the cat – just for fun.)
I did the other page (on the right) on the same walk, but just after walking past a café window where a lady was having a dessert and coffee. The book she was reading was about the same small size as her cake! So I had to note that!
Below are several more pages from my “running around loose” sketchbook (a book I take with me when I go to town) as well as a few from my “kitchen sketchbook” (a book I keep in my kitchen at home to doodle in while I wait for water to boil etc.)
These pages – and my many other sketchbook pages full of readers and books – have been feeding my current “reading and books in art” fine art series that I’ve been posting about in my last several posts. This series of paintings is for an upcoming exhibit. Plus books are a fun topic for me to use in my artistic practice to, well, practice.
I’m still thinking hard about my notion of nesting ideas (like the way one book refers to another book etc.) and this week I’ve added a twist; in past years to accompany my fine art exhibits I’ve included ebook versions of my sketchbooks. What if this year, instead of an ebook, I did a limited edition printed book? And what if it was a book that collected some of my sketches of human readers and possibly included some of my poems/short stories? So that the poem/story related to the human reader, what they might be reading and also to the fine art? It would be a way for me to include the story alluded to within my recent painting Epic Tales Of The Pug King for example.
Hmmm… I’ll keep thinking. And I’ll probably post some of my human reader sketches/illustrations here too and see what you think.
Oh, and to add another layer to my nesting-ideas concept, over on my Instagram page I’m occasionally posting books I’m currently reading.