This child has been dancing around in my head for a couple months now.
At first she appeared very far off in the distance. Pacing around the hazy edges of my consciousness. Gradually she started coming closer, more and more into focus each week.
I'm still learning about her background and have a bit of it pieced together. Well, not so much her background but more so her situation. Kinda.
The things I don't know make up pretty long list. For instance: Why does her head float above her torso? I don't know that one yet. And what is she trying to do? I have my theories but I'm reserved to tell. Nine out of ten times an image looses it's power when the maker tells their meaning behind it. I'll see how well I can communicate what I know about her.
But I'm not sure how effectively I can tell her story in the paintings to come. If they ever come. There are a couple reoccurring themes she always has with her. Perhaps if I can display them properly to the viewer they can figure out just as much about her as I have.
I've just gotta do a bit of painting practice before I take her to the carved wood panel I have set aside.
For the heck of I did sparse inking with a pen holder and nib. I haven't touched a nib pen since... golly gee I guess way the F back in two-O-one (2001)
Totes out of practice. I got ink globs allover the place here. And shaky... you'd think I did this in an earthquake.
Although, In my older age (compared to the me in 2001) I now prefer a little shake and wonk to the lines. It lets you know something was indeed done by hand. It's a nice opposite to the easier perfection of a digital piece.
I'm not saying blood sweat and tears don't go into a digital illustration just as much as an anolog one. But it's certainly much easier to endlessly edit and correct on a computer than it is in life.
Bless you Ctrl+Z. Even when working in my sketchbook, my left hand twitches for your mercy.
The things I don't know make up pretty long list. For instance: Why does her head float above her torso? I don't know that one yet. And what is she trying to do? I have my theories but I'm reserved to tell. Nine out of ten times an image looses it's power when the maker tells their meaning behind it. I'll see how well I can communicate what I know about her.
But I'm not sure how effectively I can tell her story in the paintings to come. If they ever come. There are a couple reoccurring themes she always has with her. Perhaps if I can display them properly to the viewer they can figure out just as much about her as I have.
I've just gotta do a bit of painting practice before I take her to the carved wood panel I have set aside.
For the heck of I did sparse inking with a pen holder and nib. I haven't touched a nib pen since... golly gee I guess way the F back in two-O-one (2001)
Totes out of practice. I got ink globs allover the place here. And shaky... you'd think I did this in an earthquake.
Although, In my older age (compared to the me in 2001) I now prefer a little shake and wonk to the lines. It lets you know something was indeed done by hand. It's a nice opposite to the easier perfection of a digital piece.
I'm not saying blood sweat and tears don't go into a digital illustration just as much as an anolog one. But it's certainly much easier to endlessly edit and correct on a computer than it is in life.
Bless you Ctrl+Z. Even when working in my sketchbook, my left hand twitches for your mercy.
Have you thought about sketching her looking directly at you? The image itself it's strong already, but if you make her look at you, you could definitely feel engaged. Like she's daring all the viewers to feel something. Idk, sometimes it's scary but good to look at those doubts directly in the eye =D
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