I’m not sure if a recent head injury (reference my zombie hammer posting below) managed to rattle loose the plaque clogging up my artistic side, but I’ve been scribbling on just about everything for the past week or so.
I have one gigantic stumbling block when it comes to artistry, however: I can’t draw a straight line to save my life. Sure, everything looks just peachy in my head, but transition to paper is a Herculean effort of “over-the-mountains-and-through-the-woods” between my brain and hand. To make matters worse, the frustration of the effort makes my lines even shakier than they normally would be.
If, by some chance, I do indeed manage to get out a decent representation of what I was attempting (typically on the piles and piles of random scrap paper I keep in my office), I am often hard-pressed to duplicate whatever effort I just made look acceptable.
Even more scary is that the current things I’ve been doodling out look like stuff that Martin Ontiveros has done whilst having a seizure during an earthquake.
By no means do I let any of this distract me from putting ink and graphite on paper: it’s just adjusted my approach a little. I spend much more time experimenting with lines I normally draw straight and seeing if I can duplicate the opposite side of a curve. It’s frustrating as all hell since I’ve been spending the better part of the last decade popping out computer generated graphics like crazy. Photoshop and Illustrator are much more forgiving that good ol’ pen and paper.
I’ve got no problem with computer graphics, and still rely on using the computer for almost 90% of ideas I’d like to move forward into any semblance of a physical manifestation of my creativity, but there is just something fundamentally different between printed images from the screen and something that was plotted out and drawn on a given surface.
Recently I’ve begun playing around with customizing the paint schemes on designer toys (my beloved RealxHead mini fortune cats in particular). The challenges of working with a two and a half inch tall piece of vinyl really turn into a matter of scale. I’ve got grand plans that need to be executed very small, so I’ve turned to working with stencils and my newly acquired airbrush setup. On the screen everything seems just perfect, but trying to cut out wee tiny stencils after printing is just about one of the most annoying things I’ve ever done.
I realize that the more I practice, the easier this will all go and the better I’ll eventually get. It’s a painfully slow process, but I’m willing to stick it out (for now).