I started this piece with the intention of recreating a particularly pleasing aspect of another piece that I’d started but discarded; that being the wings and tail of the hawk. After they were laid in, the rest flowed very naturally. I’d intended to make this part of a larger composition (hence some of the lines run off the page), but that’s still a fantasy at this point in time. The imagery of the hawk’s head, tail, and wings reminds me of traditional art from the native people of Southeast Alaska (the Tlingits, Haidas and Tsimshians); hence the title.
I missed working on a square sheet, so I decided to cut some of my 500 Series stash down to size, and this is the first effort in that format. I’m deeply satisfied with this piece – I took a great deal of time refining the details, and it’s is arguably my best work yet, at least from a technical perspective. It celebrates the recent news of the rebounding population of Monarch butterflies, though they are not out of the woods yet – Please consider planting some milkweed that hasn’t been treated with systemic pesticides in your yard.
This piece honors the victory of the U.S. Women’s National Team in the Women’s World Cup of 2015. In particular, it celebrates the accomplishments of Carli Lloyd, who won the World Cup Golden Ball and the FIFA Women’s World Player of the Year, and scored a hat trick in the World Cup Final. I really enjoyed working on this, though it required a substantial amount of effort to complete. I’m especially happy with certain aspects that worked out well, such as the shading. There are a couple of weak points, but the overall effect is very satisfying.
This piece pays homage to Maya Ramirez, winner of the first Project Runway Junior design competition. Maya is a student at the Toledo School for the Arts, where one of my children is also enrolled. Unfortunately for Maya, I’m still experimenting with shading faces (I’m not especially thrilled with how her visage came out.) However, the model to the left is wearing one of her designs from the final episode at New York Fasion Week, and it looks reasonably pleasing to me. There are a number of other aspects of this piece I liked, so I’m calling it a keeper.
Side note: This was the first opportunity I’ve had to work with one of Strathmore’s higher-end papers. It’s impressive how much more readily the ink takes to the page; the flip side is that it’s hard to be patient enough to let it dry (there are a number of smudges that will attest to that.)
This is a piece I did a while ago, and it’s still a favorite. I used the Glaze series of pens from Gelly Roll to make some of the borders really pop, and I had to mix the inks on the paper before they dried to get the colors I wanted. The blending in particular was a huge hassle to get right, and filling in the large areas evenly with relatively small (and somewhat unpredictable) instruments wasn’t exactly easy, but I’m very pleased with the results.
This piece came out of a heartbreaking incident that’s too personal to go into, but caused me a great deal of distress; hence the subject matter. I especially like some aspects that were experiments in form and coverage (such as the flowers and vines.) Though I don’t think it’s my best work, it’s generally pleasing to me. If I were to do it again or come back to it, I might tweak the droplets to give them a bit more depth, and add some details to a few of the patterns.
This piece practically flew out of my pens. It was fun to experiment with the black paper, and I haven’t worked in color in quite some time; it was refreshing to do so. I like the variety of colors, and the intermingling of the Stardust and Metallic inks on the petals appeals to me as well, as it makes the flowers glimmer as the angle of reflection changes when the viewer moves. It’s unfortunately hard to capture in digital photos, but it’s very pleasing.