Friday, January 27, 2012

Mimicking Michael Mazur's Mark-Making

Studied Michael Mazur's work, focusing on mark-making and diagrammatic lines.
Still-life, ebony pencil on drawing paper

To the untrained eye, Michael Mazur’s work from the 60s may seem a sketchy, albeit interesting to look at, mess. Due to his loose, gestural lines, and mark-making style, his works often seem unfinished. But this imprecise quality is exactly what gives his works immense visual interest. Mazur’s mark-making is everything. His work focusses much more on showing the essence of what is there, rather than showing it cleanly and perfectly. Mazur utilizes diagrammatic lines in his work, lines that he puts down as measuring lines to figure out the distances between objects and for showing depth and perspective. Because he does not erase these sketchy measuring lines, Mazur’s work benefits from this mark-making style, as viewers typically love to see how an artist “thinks” while developing their work.
While working on my still-life, I tried to use Mazur’s mark-making style as inspiration. I put down my lines lightly at first, and then added corrections in darker ebony pencil, not simply going over my previous lines, but making new ones that went over the old and corrected them while refraining from erasing the lighter lines. By showing those initial lines, the viewer can come to see my thinking process in the work. I also utilized diagrammatic lines as Mazur did, particularly in the process of establishing depth through multiple 2-point perspectives. Rather than erasing the perspective guide-lines, I let them stay, and even extended them from the objects. These diagrammatic lines create a strong sense of rhythm throughout the piece. In addition, I drew in some simple, graphic-style shadows throughout the piece (rather than developing perfect, realistic value through shading). I felt that these dark shapes unified the piece, tying together all of the visual elements, thus leading the viewer’s eye across the page. However, Mazur’s work is often even looser and more gestural than my own, with more organic shapes that get lost in his gestural lines; the boxes in my own still-life are still more clearly defined and easy to identify. Hopefully, I have been able to successfully utilize Mazur’s unique style of mark-making in my work to enhance its visual interest for the viewer.

Image (c) Michael Mazur

Sunday, January 22, 2012

Civil War Concentration - Altercation

next: pg 1; pg 2; pg 3; pg 4
Pg2 of 4
The border-state Blue-Tick Coon Hound family goes through an altercation, and family ties are broken. One of the family's servants, a young donkey boy, witnesses the incident, heartbroken over the departure of his friend.
previous story: pg1; pg2; pg3; pg4
continue: pg1; pg2; pg3; pg4
next: pg 1; pg 2; pg 3; pg 4

Sunday, January 1, 2012

Oh, The Places: From Practice to Performance

Dr. Seuss's "Oh, The Places You'll Go!" College Scholarship Entry
From Practice to Performance
This piece shows a caricature of myself going from my weekly guitar lessons, which have been going on for almost 4 years now, to being able to preform onstage for a crowd.  Practicing my guitar playing is one of my favorite hobbies, and it is both fun and captivating to envision myself in the places I could go in my musical abilities...

Updated view of "Lesson" (top image):