J’ai déjà posté un premier essai sur celui-ci, mais à mon avis, la dernière version n’était pas satisfaisante, donc je l’ai retravaillée pour obtenir quelque chose d’un peu plus proche de mon idée originale.
Finally a new post after a few weeks with no online activity, as I didn’t have anything really interesting to share. I still worked on a few things, and here’s one of them : a new digital conversion of one of my graphite drawings.
Tired to deal with my old camera’s limitations, I recently decided to acquire a new one. The photo part of the work being the one I enjoy the least, this simplifies by a lot my drawing’s digital conversions. 🙂
For a first try at making a new displate poster, I played a bit with GIMP, Krita, and ArtRage on a small format drawing I already posted, initally titled « Dehumanized », providing it with some contrast and color effects.
Il y a quelque temps, en retour à deux articles évoquant mes difficultés à évaluer mon travail pour le mettre en vente, les commentaires de certains membres de Steemit m’ont fait m’intéresser à des approches que j’avais jusqu’alors ignorées ou négligées, notamment la vente de copies de mon travail.
Un montage video de ces séances matinales de dessin, de 5h à 7h hors weekend… Travail abstrait, histoire d’exploiter la brume dans laquelle baigne ma cervelle au réveil :p Au passage, quelques expérimentations vidéos, avec une recherche d’ambiance rétro.
Since that little comic strip posted a few days ago, I’ve tried to keep up with this kind of approach.
I’ve never been inclined at working on complete comic book, and won’t pretend to, but that sketchy raw black and white little story from last time has triggered in me some new interest that I want to explore a bit more.
I spent some time trying to figure out a nice way to frame these two small panels together. What’s follow is a placeholder, waiting for my skills to become better at making something… well… better. 😀
I didn’t have great expectations in my ability to build something perfect, so I took this occasion as it was : like an empirical learning experience, involving foamboard, cardboard, cutters, glue, and Gesso…
Voici la suite de notre espèce de diptyque:)
J’ai passé un peu de temps à essayer de trouver une belle façon d’encadrer ces deux petits panneaux ensemble. Finalement, ce qui suit est un bouche-trou, en attendant que mes compétences s’améliorent pour faire quelque chose… heu… d’amélioré 😀
Je n’avais pas de grandes attentes quant à ma capacité à construire quelque chose de parfait, alors j’ai profité de cette occasion pour en tirer quelques apprentissages, à la bonne vieille méthode empirique, le tout impliquant du carton, des cutters, de la colle, et du Gesso…
Cela me prend parfois : j’abandonne mon crayon au profit du pinceau… Pas souvent.
Voilà deux ou trois ans, après une longue pause sans activité graphique, l’idée de peindre m’a pris… Et m’a très vite fait découvrir cet océan de petites problématiques que mon fidèle crayon avait eu la gentillesse de me cacher jusqu’alors.
Une approche conceptuelle un peu diférente de ce que je fais habituellement : essai de transfert d’une image imprimée sur papier vers un support en bois-medium (MDF), en vue de le retravailler avec des outils traditionnels.
I won’t be able to write the next part of Wanderings in Imaginary Lands this week : a bit too busy.
Instead, here’s the timelapse of a graphite artifact made these last two days : the « Rune House », abstract graphite drawing on wooden tablet, playing spontaneously with lines and angles and ending with some northern-runic-shaped symbols, hence the title.
The tablet had some previous collage on which I’ve put layer of gesso. I’ve left raw vertical brush strokes, wondering if I could get some sort of « interlaced » effect. Not sure yet if that would work : acrylic blender still drying while I type this 🙂
From the Dudes Farm to the Moon House : following Will-to-Evade’s right into troubles.
Last time we saw how my unreliable companion, Will-To-Evade, left me alone in Imaginary Lands, right in front of a strange structure freshly appeared from nowhere.
I wasn’t really feeling comfortable while looking at that house… And even less now I realized how high in the skies that thing was standing… That moon symbol should have alerted me.
Imaginary lands always tend to make distance perception a bit sketchy… Goals reveal themselves to be always farther than you’d thought at first glance, and – of course – obstacles a lot closer.
The Moon House was sitting at the top of what seemed to be a much longer and higher pillar than I first thought.
I didn’t want to climb that…
Unfortunately, I couldn’t see any way to leave that place without my good old silly Will-to-Evade. It seemed I was programmed like that.
So, finding that little pest was now my top priority. And last time I did see it, it was running down there…
Yes… So far away.
I had to walk some time before reaching the foot of that tower. Each step was making myself a bit more uncomfortable.
That good old ground that was sustaining our last time met twisted trees was now supporting a crazy structure. I could have swore its roots were from a the same kind of our tree friends.
But what kind of madness did take control of its growth ?
Anyways… With that door up there, it looked like it could be an entry to the Moon House.
« Eye(open) »
What ? Who said that ? I was standing still, petrified.
« Invalid argument »
The voice sounded mechanical.
That was coming from the structure.
Heart beating hard, I hid observing the insane building and its logic.
A constant flow of passive sitting human dudes was incoming, a few individuals were regularly picked-up by mechanical claws and then replaced by other dudes.
Screw that Moon House !
I’d never enter that horrific Dudes Farm !
No way !
I’d just have to find Will-To-Evade, and go back home…
Wait… what was that ?
« What are you doing ?! Don’t go there ! »
Will’s blurry silhouette was running right into troubles… And once more I couldn’t prevent myself to follow the same path
I started to run after Will, shouting « Stoop ! »
« eye(Target) »
The mechanical voice was the the last thing I heard before something hit me hard…
A last memory of the whole crazy place faded to black behind my blind eyes.
I didn’t really know where I was lying now, but I was feeling some presence. Close.
« Mouth2(smile) » said the mechanical voice
Oh, freaky crap !
Back to darkness…
« Eye(Open) », said the mechanical voice.
No, no, no, no ! Not open !
How would that thing say ? « Eye(close) ! » and even : « Eye(close, close, close, and close !) »
« Invalid argument. »
Fuck you ! Back to darkness !
More comfortable !
« Agreed ! » agreed Will- to-Evade, lying next to me.
Finally, we were both reunited, facing the worst thing we’d ever had to flee from.
But… (take your breath)
… that will be… (do you feel the suspens ?)
…for the still unknown, unwritten and mostly not designed next part of this weird story ! 😉
Thanks for reading, folks 🙂
That was some good fun, even if I have met some problems due to bad support choice while drawing. Lesson taught : I’ll know what not to do for the next part.
That said, I must admit that I’m a bit scared by how to handle what’s to come…
First : apologizing for the lack of online activity these last weeks. Some computer illness, commonly know as a Failed Windows Update, that had to be treated with extreme Linux medication, prevented any productive use of technology during these days.
One good thing with this kind of messy times : my will to get away from them didn’t last long before showing up… I usually see this personal trend to evade responsibilities as something rather nasty, but sometimes, this old poisonous friend shows itself as a good fellow. That’s why I’ll give that part of myself a bit of independent personality and the ability to bring us in short improvised story. (disclaimer : English isn’t my native language, therefore I apologize for any language mistake that could survive to my different correction attempts 😉 )
So… That good old Will-To-Evade-Reality and I took a short walk again in Imaginary lands.
Last time we went there, we found an unusual place : a place where there were none of the mechanical structures I’m used to find, but only a nude twisted tree. (see : The Yellowish Twisted Woodsman).
The eventuality that other weird trees specimens could grow in these parts of Imaginary Lands made me curious… Will-to-Evade (let’s call it like that) followed with some enthusiasm and we let my graphite pen wander there again for a while…
It didn’t take long before graphite strokes made the thing twist out of the blank wooden tablet.
Was it a tree or some aggregated roots, maybe some other kind of creature ?
I couldn’t say, but the thing was looking like it was trying to show me a direction… Even if it wasn’t the prettiest being I’ve ever met in Imaginary Lands, I couldn’t feel any form of fear nor danger emanating from it.
Without a word, we left it there.
Will-To-Evade made me follow the indicated way on which we met the Yellowish Twisted Woodman, still frozen in its eternal tortured stance. Like its rooted cousin, no luck at trying to have a talk. Imaginary Lands make trees look strange, but don’t make them be great speakers.
Though a bit confused and wondering if we hadn’t misunderstood the first tree’s sign, we decided to continue on our imaginary walk.
Farewell silent friends !
Will-to-Evade and I wandered a while, until we were surrounded by blank space…
Nothing everywhere or maybe nowhere… I’m not sure… Everything was white
Like a child facing a blank wall, I felt that urge to mark my territory with a few random pen strokes. It was like a way to shout « I was First to Be Here » at the next wanderer who’d get lost in that emptiness.
And as soon as I had done this, the void was broken, something started to emerge from that initial movement.
That was a strange place… Never been here before this day. I was sure now the first twisted tree had shared with us some untold Imaginary Land’s secret.
My eagerness to reach that structure made me hurry a bit too much. Enough for Imaginary Lands, being unstable by nature, to made it fade and vanish under a new white layer before I could reach it.
I had wanted to shout in disappointment : « No ! », but the Lands didn’t give me any time to do so.
Those heavy sounds, in my mind !
Typical songs of mechanical lined and curved graphite artifacts populating Imaginary Lands…
I stared at Will-To-Evade : « We walked to far away, we lost what we were looking for. »
Will shrugged and started to walk away.
Even here, it Will was evading.
« I’ll make you bring me there again », did I promise while that untrusty bastard was leaving me alone.
Of course, while my Will-to-Evade was fleeing away, I was willing to stay more than ever.
The mechanical song was closer now : Right in front of me, a new house was being built out – pretty quickly – from nowhere.
Each line, each curve was acting like a support or a resistance for its closest neighbor, making the whole structure resilient to Imaginary Lands’ insane instability.
Now it was here, strange clinging building, simply waiting to be visited.
What’s inside, my pen didn’t tell me completely yet… All I could briefly see, was some kind of creature parts, half clinging, half organic.
Would I be bold enough to try to find my way insight that crazy structure ?
And even less sure knowing that my good old sneaky Will-to-Evade could come back and catch me away from this
And even less sure knowing that my good old sneaky Will-to-Evade could come back and catch me away from this area of Imaginary Lands.
To be continued…
That’s all for now, fellows !
I must say I had fun at trying to build some kind of narrative link between these unrelated drawings.
Even if that’s not great literature, I’ve enjoyed mixing spontaneous writing based on spontaneous drawing.
This experiment was unexpectedly fulfilling.
I hope you liked as much as I had fun.
Take care and farewell, people 🙂
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Would Art be the window allowing us to watch landscapes during that trip ?
Infinity is wide, and everywhere.You’d had to pick a direction first.
You could go for Large and Big !
Go Gigantic, starting by painting room walls, then seeking for larger surfaces, decorating whole buildings, tagging skyscrappers or even photoshouting the world from mountain tops…
You’d go on, as close as possible of your tools and universe’s limits
That’s a way…
But you could also go for Small and Tiny,
As would do macro-photographers, collecting large visions of a microscopical world.
As would do simple graphic dudes with a simple pen, filling sketch books, exploring that narrow blank space in the corner of a page, trying to get closer and closer to that macro world inside their own mind, always looking for a way to get that finiest line or these tiny dots, that’ll help depicting unknown creatures and territories from infinite lands…
…Make them as wide as possible…
…As wide and dense as your hugely tiny universe’s limits.
Welcome on board of the miniaturism, pointillism, sketching and doodling train,
on departure to Infinity,
via the tiniest way. !
That’s all for today ! Have fun, and, either in tiny worlds or huge ones : explore your abilities !
« Qu’est-ce que ça représente ? Qu’est-ce que ça signifie ? »
Voilà bien le type de question qui m’embarrasse quand on me la pose au sujet de mes abstraits…
Elle m’embarrasse surtout parce qu’elle n’a pas vraiment de réponse.
(Mais j’avoue : ça me ravit de savoir qu’on puisse se faire des nœuds au cerveau pour en trouver une.)
Pour être objectif, la dernière chose à laquelle je pense quand je me lance dans un abstrait, c’est à sa signification.
Dès lors qu’une intention, un sujet ou un message entre dans la réalisation, ce qui arrive fréquemment, je commence à quitter l’abstraction pour virer vers le figuratif ou l’illustration.
L’abstrait est une des bases de mon travail : l’évasion un rien méditative pendant le travail, la spontanéité, le hasard, les facteurs externes et tous ces petits brins de chaos qui viennent s’inviter sur les premières couches vont déterminer l’évolution et la finalisation du tableau. L’évolution se fait de manière organique, se transforme et mute au fil des heures et gré de tous ces éléments..
Ce n’est que lorsque des formes évocatrices se cristallisent dans la mouvance, à l’instar de celles qu’on aperçoit parfois dans les nuages, que je commence à prendre les guides et à orienter le travail jusqu’à trouver un équilibre entre Chaos et Contrôle.
On pourrait considérer qu’il s’agit d’une d’illustration au processus de création inversé : on lâche prise, on laisse le tableau délivrer son propre message, et quand il n’en a pas, il devient un support d’expérimentation libre, permettant de se confronter ,sans pression ni ennui, à des techniques diverses : composition, mouvement, couleur, texture…
Ok, mais finalement, qu’est-ce que ça représente, et qu’est-ce que ça signifie ?
Je dirais que ça représente un instantané figé de tout ce qui a pu se produire durant la création du tableau sous le coup d’influences extérieures ou intérieures, combiné l’état actuel de mes compétences, et que ça signifie simplement qu’il me reste beaucoup à apprendre…
« What does it represent? What does that mean? »That’s the kind of question that embarrasses me when asked about my abstract paintings.
It embarrasses me especially because it doesn’t really have an answer.
To be objective, the last thing I’d think about when working on an abstract painting is its meaning.
As soon as an intention, a subject or a message enters into the realisation, which happens frequently, I start to leave abstraction to turn towards figurative or illustration.
Abstraction is one of the bases of my work: meditative evasion during the work, with its spontaneity, randomness, and small strands of Chaos inviting themselves on the first layers will determine the evolution and the finalization of the painting.
Evolution is done in an organic way, changing and mutating hour after hour under all these elements influence.
It is only when evocative forms crystallize in the movement, like those we sometimes see in the clouds, that I begin to take the guides and direct the work until I find a balance between Chaos and Control.
One could consider that it is an illustration’s reversed creation process: let the painting deliver its own message, and when it doesn’t, let it simply become a support of free experimentation, allowing to test, without pressure or boredom, various techniques: composition, movement, color, texture….
Okay, but finally, what does that mean, and what does it mean?
I would say that it represents a frozen snapshot of everything that could have happened during the painting’s creation under external or internal influences, combined with the current state of my skills, and that it simply means that I still have a lot to learn…
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