Experiments in Blue: Week 48 (and 47)

11/29/16

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Hello friends! Hope everyone had a great holiday (at least those of you in the U.S.). I am here to share with you my latest Experiment in Blue  (Week 48) and also to admit that I barely (and admittedly lazily) completed Week 47. More on that in a minute.

Suffice it to say, I am losing focus on this year-long project, which typically happens at the end of a year-long project! But I swear I’ll finish! Four more weeks!

ANYHOW, above you can see this week’s drawing. It’s part of a new series of work that I am making — all vintage packaging (which I love). You can see all of these paintings as I create and post them over on Instagram.

Below is my lazy Week 47 Experiment. I was having a hard time motivating for a few weeks there in general, especially when it came to making art. Instead of creating nothing, I managed to make a simple sketchbook spread the night before Thanksgiving (as I dreamed of all the stuff I’d book cooking the next day). Not my most scintillating work, but…life. I am happy to report, my motivation for making new work has returned in the last few days! So you should be seeing more from me in the coming weeks.

Creative block: it happens to all of us!

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I’ll be back on Monday with Week 49! Stay tuned!

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Experiments in Blue: Week 40

10/03/16

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This week’s Experiment in Blue (another traveling sketchbook edition!) is made from my favorite blue gouache paint and white gel pens. So simple!!

This week I’m back at home and hoping to make a painting to share Monday for next week’s experiment. Stay tuned!

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Experiments in Blue: Week 39

09/27/16

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Some weeks my Experiments in Blue have been finished paintings, ready for a gallery show. And some weeks (like this week) they are silly sketchbook spreads made with minimal materials while I’m traveling (I’m in SF this week taping a new series of classes for Creativebug that will launch in January — a post on that coming up next). This spread is a collection of hand drawings. I’ve been really into drawing hands lately (rather wonkily, I might add). I had a great time creating this spread.

The important thing for me? That I’m making something each week in blue. High brow or low brow, it’s always worth it.

Have a great Tuesday!

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Reflections on my Self Portrait Challenge

09/15/16

{Once a week for 10 weeks I drew my self portrait; this is a slideshow of all 10, in order}

This past June I was in London for a speaking engagement. I hadn’t been to London since 1998, so I took a week to explore the city for the first time in 18 years. I love museums and I love portraits, so naturally one of the first places I visited was the National Portrait Gallery. While I walked the different rooms of the Gallery, I noticed how many of the portraits were artists’ self portraits. I’ve been an artist for almost 20 years and a working artist for 10, and I realized that day that I’d only drawn a portrait of myself maybe two times in the past 17 years, and the last time was many years ago. I couldn’t stop thinking about that fact for the rest of the day.

Part of how I make my living is drawing other people’s portraits — mostly for books. But the idea of drawing myself filled me with anxiety. I try to look at my anxiety as something calling my attention, so later that day I asked myself: What was I afraid of? What if I attempted to draw a self portrait a week for several weeks in a row? How hard could that be?

I went back to the apartment where I was staying that evening and began drawing the first of the series of self portraits in my sketchbook (it’s the first in the video above). Each week for the 10 weeks that followed, I made 10 self portraits (all of them in my sketchbook) and posted them on Instagram. People were instantly curious about my process: was I looking in a mirror? Was I drawing from memory?

The first thing to know is that I cannot draw myself from memory! At least not accurately. I am someone who can draw a likeness, but only from looking at reference. In this case, I took a picture of myself with my iPhone each week and looked at that while I made each portrait. Some weeks I attempted an accurate, proportioned portrait, and some weeks I focused more on my feelings, and one week I allowed myself to go super messy and almost abstracted. I created the least technically correct portrait the week after I returned from two weeks in France in early August, when I was hit with the worst jet lag I’ve ever experienced. It might be the most accurate portrait I drew the entire series! One week I even drew myself as Marie Antoinette after visiting Versailles in France. I was traveling a lot this summer, and so there are portraits from London, Austin (Texas), Paris France, Antibes France and Rock Hill (New York); and of course, my home, Portland, Oregon.

The best part of the experiment (which is now officially over; I feel done) was pushing myself to do this thing that previously scared me. I learned that I could do it, not once or twice, but many times over. And each time the result looked different! In the end, the drawing part ended up being fairly easy for me. The hardest part was actually posting the photos of the portraits on Instagram. It felt incredibly vulnerable to both draw myself and then to share those drawings with my 115,000 followers. “Wow, so interesting how you see yourself!” people would comment. What does that mean??, I’d think to myself.  And then one week, something like “Maybe next time you could smile.” Maybe this isn’t about posing for the camera, I thought. Somehow sharing my self portraits felt like the most vulnerable thing I had ever done on the internet (and I’ve shared some pretty vulnerable things on the internet, including writing some very personal essays on this blog). It was like every week I said, Hey, everyone, look at me! And look at how I see myself! And look at how badly I draw myself! And that felt so raw. Of course, many of my followers instantly understood the rawness of the project and were enormously supportive and encouraging. Many of them acknowledged that this is not something they could ever do, or that they’d be scared to try.

I have always liked the saying, “Do one thing every day that scares you.” (no one really knows who said this, but it’s widely attributed to the great Eleanor Roosevelt). Thank you to everyone who followed along and engaged with my project. You made it less scary.

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Experiments in Blue // Week 35

08/30/16

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I was away again this past weekend, so this week’s Experiment in Blue happened inside my sketchbook, as it often does when I am traveling!

This past weekend I went to a summer camp for adults in New York State, and I had a lot of down time to draw (which was AH-MAZING!). The spread above, which is drawn in a large A4 Moleskine watercolor sketchbook, took about five hours total to create (not all at once, though!). Making spreads like this is a really meditative process for me. I love the repetition, layering linework on top of watercolor (in this case I used a watercolor marker by Windsor Newton), and creating a sense of balance and composition as I work my way across the spread. It completely relaxes me!

I talk about all of these things in my two Sketchbook Classes over at Creativebug, which you can view for here (and you can also sign up for Creativebug via that link).

Happy sketch-booking!

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