On the book on composition, its something that I began a long time ago just as a personal way to record my thoughts on art as I set about learning, discovering, theorizing, and teaching myself to make the art I wanted to make. I'm still not the artist I want to be, and I've just begun to "make my name", as the saying goes, so even though what I have to say might be interesting or valuable to others interested in applied aesthetics, the treatise will probably remain a work-in-progress as long as I am a work-in-progress as an artist.
Maybe twenty years down the road, if a great deal of luck is on my side, I can be in a position where people actually care about what I have to say on the topic. Maybe if I end up teaching, I can use whatever institution I'm attached to, to put out the book "legitimately".
But, right now, I'd just be putting out another "drop in the bucket" art book by some unknown. I don't want to do that. The information is too valuable to me on a personal level. Plus Jim Gurney, and Stapleton Kearns and other top names are doing their books now and there is no doubt that these books will be fantastic. And given that you can download Greg Manchess's video from this website right now (!) you'd be crazy to waste time wondering what I have to say about art!
Best to you all,
Last edited by kev ferrara; August 8th, 2009 at 06:01 PM.
Awesome thread, beautiful inks. In my opinion there can never be enough ink in the world. Doesn't matter if you mix it on a palette, in a jar or with your wacom, I love it all. Especially love the horse work here. Years ago I drew nothing but horses for a few years and I never tire of seeing dynamic well drawn horses in action. I hope you'll post this piece above when you're finished. I love to see it again.
This is an amazing thread man! You have very stunning works!
In your hand I can see the southamerican style of great artists like, Arturo del Castillo, Vieytes, Salinas but also Frazzetta, Wrightson...wow love it!
Kev, thanks again for the note - it made my night.
I could have sworn I had commented on this!
This is such phenomenal work! God!
I grew up on CREEPY magazine, Corben graphic novels, Heavy Metal and Frazetta - your work has that old magic, I could have sworn I even smelt the pages of those musty, old magazines just by looking at your stuff.
Honestly, this body of work in amazing - it has that special something thats undefinable, that goes beyond technique and shop talk.
Anyhow, here's a pencilled panel I've scanned in because I'm probably about to ruin it with ink... and if that happens I can always just use the pencils in the graphic novel.
That pencil is a bloody marvelous image Kev. I'm trying to figure out what it is that makes it superior to the ink since the compositional dynamics are doing the job equally well in both...........
I reckon it is something to do with a deeper resonace that speaks through evidence of communion with the surface. The poetry of the interface between your hand the graphite the erasures and the resistance of the paper. All things that are of course largely irrelvant when printed and given the purpose of the graphic novel, but they are in that drawing large and proud. I look forward to a private view of works like this in a big posh gallery in New York!
Here's a portrait of my Uncle's dog Mikey. Oil on canvas 26x30. This is designed to match the tone and color of my uncle's living room, which has a very beach-like feel. Also, this picture is designed to "stay on the wall" so it won't clash with the quietude and soft decorative quality of the room.
Post up comments as you wish on this or anything so far. I love to hear what people are thinking, especially those who stay on the thread for an hour!
And thank you for looking.
Last edited by kev ferrara; September 17th, 2009 at 12:04 PM.
Chris Bennett sent me here to learn about composition ;-) I just noticed that I have been here before.
In an early post you said something like: think tree bark, not lines when you ink tree bark.
My aunt recently gave me a book by Thich Nhat Hanh, a buddhist monk from Vietnam. In one chapter he described an artist who asked him: "How should I look at a flower to get the best out of it for my art?" He replied: "When you look at the flower you can't be in touch with it- let go of your intentions and be with the flower without exploiting it or wanting to take something from it." (my translation from German, sorry)
That's pretty close to what you said. It's also to do with "honest art". It helps to feel what we paint in the body, to "become a flower" in a way.
*Goes back to learning from your art*--
Last edited by Uli; September 26th, 2009 at 05:47 AM.
Hi Uli, I really like that quote from Thich Nhat Hanh. Harvey Dunn said that when you paint a man, you must be that man. When you paint the side of his nose, that is your nose you are painting. This has to do with mentally projecting yourself into all aspects of your work in order that the results may have an inner life of its own... an inner life that is really your inner life being encoded into the art. The ability to do this is my definition of talent.