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storm light

Day two hundred and thirty-nine: As the first rains of hurricane Irene began to pass over Philadelphia, I made a quick run to the grocery store for a few last-minute items before the city shut down to wait out the storm. On my way, I enjoyed the remarkable glow created by the street lights as they beamed through streams of water. This study is an experiment to see whether I could capture the subtle effects of refracted layers of light cascading past shadow and brick. After some trial and error, I surrendered to the moment, and found it best to simply make brush strokes as profuse and furious as the light and the rain.

setting for a sci-fi thriller

Day two hundred and thirty-eight: Even though today’s sketch is based on a photograph of a real place on Earth that I visited, I’ve always thought this view seemed like something out of a science fiction action movie. It was a delightfully fun study to quickly paint. I’d like to tell you where this location is, but that might ruin the other-worldliness of the scene. Of course if you guess, I won’t be able to resist telling you the truth. Still, I won’t give any clues about this surprising cold place. Ooops – that’s the last one!

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Japanese actor

Day two hundred and thirty-seven: When this week began, if you had asked me what new thing I would learn about prints, I would not have mentioned the Japanese printmaker Utagawa Kunisada (aka Toyokuni III). That, however, is one of the wonderful parts of my job: every day some unexpected piece of paper requires a bit of my attention, and I learn something new. Kunisada’s color woodcut portraits of actors were wildly popular in Japan during the mid-nineteenth century, with some editions reaching 7000 impressions! My sketch today is based on a detail from one particular woodcut that my colleague Brooks and I found ourselves researching this week. The 1852 original depicts the actor Ichikawa Danjuro VIII in a series titled “Seven flourishing actors on paper lanterns in the evening cool.”

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baby Rothko

Day two hundred and thirty-six: This afternoon I went to the Philadelphia Academy of Fine Arts (PAFA) with a few curatorial staff members from the museum. In an exhibition of abstract expressionist paintings and drawings, we encountered a small painting by Mark Rothko (1903-1970) titled Maroon on Red. Due to its diminutive stature (compared with many of Rothko’s famous paintings) we joked it was a “baby Rothko,” suitable in size for a New York apartment. To make my study here, I used the Corel Painter program’s “oil” setting to keep the colors from seeming flat. Even so, I needed to layer and blend three shades of red and two maroon-like tones to create a sense of depth akin to that in Rothko’s original.

lava

Day two hundred and thirty-five: Scanning through photos to find a subject for today’s drawing, I came across one I took a couple of years ago while observing lava flowing into the ocean at nightfall in Hawaii. Although it’s a different natural phenomena, the lava reminded me of the earthquake tremor we felt at the museum after lunch this afternoon. My study here is a tribute to the powerful (and a bit scary) forces that rumble in the Earth!

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first time I met the blues

Day two hundred and thirty-four: I’ve been listening to CDs since I moved to Philadelphia, and trying to explore the ones that I’ve been given over the years, but never really listened to. When I first put in a compilation titled “Chicago Blues: The Golden Age” I thought I might make it through all the way once. Somehow I forgot to take it out of the 5-disc player, so when it came around again I got another dose. All the songs are remarkable for one reason or another, but “First Time I Met the Blues” sung by Buddy Guy was the one that initially caught my ear. His voice is off the hook! Today’s sketch is inspired by those blues, recorded in Chicago on March 2, 1960.

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half moon

Day two hundred and thirty-three: I think the moon is half full right now, and waning, although you wouldn’t know it this evening due to storm clouds and rain. The half-moon in this sketch is based on a snapshot I took around New Year’s, 2004. I believe it was waxing at the time. Good night, Moon! My daily sketch is done, and it’s time for bed. Looking forward to tomorrow’s sunrise and a whole new week of adventure!

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Eros in volo

Day two hundred and thirty-two: Designed to continue exploring a classical theme, and to practice line drawing, tonight’s sketch is based on an ancient figure of Eros in flight. The original can be found on an Athenian vase from around 480 BCE, painted by an anonymous craftsman known today as the “Dresden painter.” The vase is at the archeological museum in Florence, Italy. I think my classmate Annie K. may have written a paper that included this vase and figure. Maybe is was another winged fellow. Regardless, today’s sketch is dedicated to her.

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face off: Picasso vs. Epiktetos


Day two hundred and thirty-one: If Picasso has a “blue period” and a “rose period” then I must be in a “Picasso period.” I guess this is the result of looking at nothing but Picasso prints all day. I noticed the figure on the left in an etching by Picasso titled La Danse (The Dance), and I was struck by the strong nod to classical style. I couldn’t help but recall the similar use of line by Athenian vase painters 2500 years earlier, and decided to explore a visual comparison by sketching the ancient and the modern side by side. The Greek fellow on the right is based on a red-figure plate painted by Epiktetos, now at the Met in New York. One thing I learned today is the value of the line, and how the slightest waver can have a powerful aesthetic effect — for better or worse. Thanks to the “edit undo” function in Corel Painter, I had plenty of chances to practice my skills!

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woman’s face

Day two hundred and thirty: Today’s sketch is based on a lithography by Picasso that I admired this morning, but I’m afraid that aside from general areas of light and dark, my version doesn’t look much like the original. Picasso’s is beautifully printed and looks like a rich soft pencil drawing with thick, carefully placed lines. Mine was built up in multiple layers of white and black over gray until I was satisfied the picture was presentable. I decided to add my signature where Picasso put his, which somehow makes it seem even better.

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