another time, maybe. but probably not. anyway. . .
these eleven images are kind of representational of the end of that dark period. we're into november now - the lines are less gnarly, have taken on a different quality altogether in places and there's a definite narrative going on from one image to the next - though we're looking at selections here, not the whole pile - i think you can pretty much see the tension ebbing away. . .
also, yonder pajama wearing skeleton has become something more fully formed than the inky mess that first manifested. . .
34.
this is somewhat out of place in a way, a pencil drawing amongst all that solid black and white, but i wanted to post this because i like it, and because, like previously, backgrounds are creeping into my stuff in the form of interiors as WELL as exterior scenery, as seen here in the shape of, well, my kitchen. this was fast and done with more or less the same ethic as the ink drawings had been done with - don't worry about portraying what you see so much as what you feel. so while it's slight as drawings go in one sense, it's another step somewhere new. . .
35 & 36.
35 is sort of an anomally. the birdman figure was an abandoned piece from weeks earlier which i just randomly looked at one evening and said 'this needs another figure', which kind of went against my newfound habit of doing the drawings, leaving them and doing something else. a few corrections were made - which i regret now because they stick out like a sore thumb - in white ink, and a more straightforward self-portrait was added. i think. . . this is one of those pieces that has a narrative undercurrent, which 36 carries on with. 36 is noteable for being botha little less stylised, and for the fact that it was done in my trusty sharpie's - the second, actually - death throes. . .
37.
this one's open for interpretation, but even i don't know what's going on in it. i love this, though, mopstly for small things like emma's hair, my general dishevelled appearance - and the first appearance of the new suit and tie MASKLESS birdman look - the positioning of the fence, compositionally and by no means last or least, our skeletal oddball looking. . . well, skeletal. . . again though, definite narrative suggestion here. that illustration degree not going completely to waste, then . . .
38 - 40.
a mixed bag of stylized, random goofiness - 38 - further exploration of cityscape backgrounds and composition - 39 - and looser scratcvhing around with a new sharpie, seeing what can be come up with on one very white sheet of A4. i think by this point i'd become equally fond of that damn skeleton and the fully realised owl mask, but eprhaps even more fond of the medium itself. . .
41.
there's almost nothing to this. i don't think it could be any more minimal - and yet, i don't think i could love it any more than i do. . .
42.
the final three images - for today at least - are completely random and polar. i don't think they could be more different from each other. this one, i think, is a favourite of mine from a small pile of mask drawings i did around this time kind of. . playing around with how the character had looked and how i wanted him to go. i'm not sure why this one stands out for me, i just like the lines. . .
43.
bizarre that my hand should ever draw such a thing. do i necessarily like this? no. but the oddness of me drawing it lends its right to a place here. it's another small part of where we're going. this is kind of a landmark of ugly dundee architecture, a tower building belonging to the universtity which. . shows up less stylised in the background of at least one later piece you'll see. . . soon enough. . .
44.
. . . needs no commentary, explanation, or words of any kind.
