COVID, Creative Writing, and Comics

Experimenting with Procreate

UPDATES

It’s been a while since I’ve posted—and I have been busy with school since then. It takes up most of my free-time—time that I would normally use to develop projects or even just spending it on family. I know that having a degree will help me, but I'll admit, it's been rough from time to time. While I find my literature classes interesting, they can be taxing. That said, I'm gaining new tools in my repertoire and I believe it's improved my writing.

Work has been… well, work. Thanks to COVID and the lockdown, we’re serving a reduced and specific purpose and our team has shrunk considerably. Working from home has advantages and disadvantages… lack of social contact has really affected me the most, though. I miss casual contact with coworkers as well as making new friends from simple proximity and conversation. It’s a hard deal… but deal we must. I've known many people who have had the virus- many have suffered, and I just found out that a family friend passed from it.

Lockdown has given me a chance to rewatch all my favorite comic book movies, and some new shows such as WandaVision.  Everytime I see that Marvel Studios open my hair stands on end. It inspires me to create!

 

WHAT'S HE COOKIN' NOW?

As I have been writing, I’ve been eyeing some of my shelved comic book projects. I love comics, have a fair-sized collection, and if you’ve been reading this blog you’ll see I’ve flirted with it for a very, very, very long time. I wanted to be a comic artist early on, but wrestled with my slow development and short attention span, and discovered other avenues of artistic expression. But, things come full circle and I am back at home, while being at home, and writing the first issue of my new comic line.

Joseph Crowfoot will return!

 I am planning on making this title my flagship piece. The plan is to create six issues that can be compiled into a graphic novel, but if I can garner some interest, I will definitely submit it to some comic publishers. We’ll see if I can cut the mustard on it. Regardless, this is my calling- it combines all my previous passions for storytelling, visuals, drawing, design, cinematic sequentials, it simply has it all.

I’m experimenting with some technologies- such as using an iPad and Procreate (see the main image above), but I’m also working traditionally. I will say that my emphasis is on story—front and foremost.        

So… when can you plan on seeing something? I know I announce projects and then they end up dying. Not this one. I plan on sticking to it because I’ve had this character for many, many years, and have even talked about it in passing. Without delving into any spoilers (I want to finish the first comic- no point in spreading empty hype), I will tell you this: it’s occult detective series who happens to also monster hunt; it will reprise Joseph Crowfoot from Corner of the Mind’s Eye—the main character from my first feature film attempt. He’s not the lead character but will be a regular in this new series, and he will have the same powers. This is the same character, but 15 years later, so he’ll be about 53. Here's a clip from one of our rehearsals on the COTME set: 

I'm excited for this series because I have the first few books planned. I am working vigorously on the script to meet my self-imposed deadline of February 21st, at which time I'll start the art. Much of the character design is finished- like I said, I have been working on this for years. The lead character is female, and very, very capable. 

It comes down to this: I need a finished product to act as, well, a product to sell, and to double as my portfolio for my career. Yes, I am going to school for creative writing, but that ties right back into this, comics, my first love. However, like I had mentioned above, I want something to show- PAGES to show, no empty hype! I expect that my skill will improve each issue. I am looking into distribution avenues including self-publishing. 

In the end, I want to entertain you. The trick is doing the work.

 

 

I’ve surrendered to My Calling, and now I’m happy.

Drawing, filmmaking, writing. Drawing, writing. Filmmaking, series-producing, writing. Writing. Writing. Writing. 

Writing. 

I love to write. I have done it every single day since I was eleven years old. At my eighth-grade parent/teacher conference, my English teacher—Mrs. Stewart—told my mom “His creative writing reminds me of my own writing when I was in college.” The caustic would berate her ability, but I truly believe this was a complement.

Why didn’t I pursue writing as a vocation?

Fear.

Fear of ridicule, of rejection. Silly things like caring what other people thought of me. Guilt and a sense of duty to “find a paying job” that Put-Food-On-The-Table-And-A-Roof-Over-My-Family’s-Head. Paradoxically, laughably, I chose the path of a visual artist to do that. I ended up sliding into paying banalities the likes of: production artist, production video, marketeer… skill-based but about as interesting as the flat side of a thumbtack.

Recently, an incident shook the complacency from my life. I learned that my position was evolving from being production-driven to curation-minded. I would no longer be “creating” items, but managing vendors instead. This infuriated me at first, but intense soul-searching lead to a realization: “This is an opportunity to re-assess everything I am.” 

“First thing’s first,” I told myself, “I need to go back to school.” My experience alone has been enough to garner jobs, but today’s reality is different. In order to compete in the job market, I have to have evidence of my ability. I need a degree. Ironically, I work for an online university—but it does not offer anything that interests me. 

“If I’m going to do this, it needs to be something that will keep me engaged.” The search began. Illustration and filmmaking were out, I knew that. I knew it was time to come forward with who I really am.

I’ve always written stories, but I had to assess what my weaknesses were; I’m ashamed to say it’s a common malady… I lack proper education in grammar. I know my tenses are all over the place, I have a vague idea what participles are, and I think I use semicolons correctly 50% of the time. Then there’s active voice, split infinitives, etc. I’ve taken it upon myself to learn, but I need guidance. I started looking at writing degrees.

There are plenty of writing programs out there. At the risk of sounding like a testimonial, it needs to fit my schedule—that means most brick-and-mortar schools are out (even the ones with online classes, since they’re taught at specific times). It needs to be non-profit, and it needs to be inexpensive. It didn’t take long to find one that matched my needs perfectly.

I applied and was accepted to Southern New Hampshire University’s Creative Writing program. My previous credits from Community College allow me to start out as a Junior. And further, this path will open up future opportunities with my career while I hone my craft at night.

However (and this is the best part), NOTHING WITH WHAT I DO IN MY SPARE TIME WILL CHANGE. I will still write, but now it will be with intention, with focus, and with pride. I have hundreds of stories that I have told. Once I’m confident in my ability, I’ll WANT to share them… just give me time to edit them first. 

“But Juan, what about your drawing? What about your films?”

Yeah- what about them? 

I’ll likely have the urge to draw once in a while or pick up a camera… but it will be on a whim, for nobody else, and for comfort. I won’t resent doing those things anymore because they aren’t important to me… or rather, they aren’t important for the wrong reasons. 

So here it is, 2020 is a new year. A new decade. I’m coming out as my TRUE self because I have finally accepted my calling.

10 Video Standards of Quality and Intentional Practice

A couple of years ago, a workshop was arranged to address an issue that arose in my absence.  My team was challenged by a manager to create a list of ten standards of quality video. While we corrected the issues, this exercise was an excellent way to solidify my thoughts on what I strive for in my video-making.

Interestingly enough, many others had similar types of standards. I thought I’d share my take on it:

10 STANDARDS OF QUALITY VIDEO

• Clarity: all aspects; from writing to execution. Clarity means that the video is free from distraction—which may arise from poor writing (confusing, lacking conviction, obscure/esoteric language) to poor execution (distracting audio, anything unusual that takes away the attention from the message). Ironically, poor video quality is the most forgivable violation. People forgive a bad picture, the will not tolerate bad audio, and will lose interest from poor writing. (Amateur vs professional)
  
  
  
• Visual Design: utilizing composition, camera placement, camera involvement (observer vs addressed), graphic design (color palette, text usage and movement, illustration/photos/animation) is an entire list in and of itself. Visual design doesn’t necessarily need to be pleasing, but it should support the content of the work).
  
  
  
• Accessible: Aside from clarity, it needs to be accessible to the impaired.
  
  
  
• Editing: there are two types of edits- invisible and intentional. Most of what we see online is intentional- edits for edits sake. It’s almost like visual poetry, or a slam cut to a loud graphic to keep your attention. However, the more you scream, the less you listen. Invisible edits do not attract attention to itself; it keeps the cognitive load to a minimum where the viewer can passively assimilate the information on its own merit. Invisible edits support the content as it is meant to not detract from it. 
• Intentional editing:
  https://vimeo.com/7366368
• Invisible editing:
  https://medium.com/applaudience/invisible-cuts-a-new-trend-in-video-editing-b858ede7403d
  
  
• Engagement: clarity is the gateway to engaging video. Engagement can be interesting content, interesting delivery, a highly desirable aesthetic, or a personable narrator. Engagements holds a person’s attention.
• Example:
  https://youtu.be/RLykC1VN7NY
  
  
• Connection: Relates contextual content to subject knowledge, deepening understanding. Connection invites the viewer to be an active participant in parsing the information, giving clues and fostering engagement. In the narrative world, mysteries are popular because it invites the viewer into solving the puzzle. Featured journalism uses storytelling, informational “tools” to educate the viewer and allow them to find the context of the information and relate it to the issue discussed.
• Example:
  Malcolm Gladwell
  
  
  
  
• Informative: A clear, engaging video can be devoid of any relevant information. A broad example of this is network/cable television… most entertainment. The opposite would be the evening news- dry exposition of information and facts. Documentaries often try to marry the two extremes.
  
  
  
• Noteworthy: Bringing a noteworthy element separates the content into something memorable and significant. An unusual attempt or delivery not only keeps the video engaging but gives the viewer a touchstone to recall it later. If the video reaches the other standards, it will entirely help shape their thinking. 
• Example:
  TED talk, rise and fall of Incan empire https://youtu.be/UO5ktwPXsyM
  
  
• Challenging:The content should challenge the viewer and invite them to compare different approaches and ideas that contrast their own thinking. However, there is a danger to fall into an opinion camp and skew the information to influence thinking. 
• Example: https://www.youtube.com/watch?v=5B5ub9bzwcU
  
  
  
• Invites Discussion:This one is a cheat- if all the other standards are met, the viewer/student will invite discussion with peers or the uninitiated.

INTENTIONAL PRACTICE

This is outside of the scope of the above standards list, but is important none-the-less. Intentional Practice is taking items that you have learned in a Youtube tutorial or a book on the subject, and applying it to a made up project.

5x5s: VIMEO used to have 5x5 video challenges. While they’ve mostly fallen to the wayside, I still think it’s a powerful took to keep in practice- much like how an illustrator uses a sketchbook to draw. If you’ve never heard of a 5x5 video challenge, it is simply this: Five 5 second clips strung together in an experimental narrative or comparison. The end video should be 25 seconds, and should use only the audio that was recorded with it. Purists eschew text, but I like the idea of anything goes- it’s experimental.

The purpose of the 5x5 is to train your eye for aesthetics and visual composition. It keeps you active on observation, shooting, and editing. Here’s my first attempt:

The 52 Week Video Challenge: Some others have decided to create a 1-2 minute video weekly. I plan on starting this challenge in January- a clean run. My hope is that it will improve my shooting and production style, and create a body of work. I think the hardest thing will be coming up with content each week- so there is a huge amount of diligence. It’s a perfect challenge for where I am right now.

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Kicking up the Settling Dust

Inktober 2019 came and went- and I actually managed to post a piece of art every single day. To be fair, I didn’t follow any prompts; I simply used a list for illustrations I needed for a table top card game I had designed, and when I got bored of that I did whatever. You can check out my Instagram profile to see the fruits of my month of madness.

That said, I wanted to continue to create creating ink illustrations. I don’t want to lose the huge gains I made improving my skill, and it gave me time to think about what I want to do. I am caught in a world between filmmaking and drawing. I seesaw in it because I like doing both, but if I want to gain true mastery I know I need to drop one or the other. The thing is I don’t want to.

That said, above is a drawing I did of a character from one of my feature-length screenplays which I want to adapt to graphic novel. I like the way she turned out, and it is close to the style I plan on making my oneshot comic. I originally had another idea for the oneshot, but I might go with this paranormal-noir script I have.

I just need to refine the idea into something workable. It always goes back to writing in that regard.

Right now my two main influences are Mark Schultz and Paul Pope. The two are extreme opposite when it comes to execution, but I find that love both styles and want to incorporate their art dna into my next project. I don’t know if it will be successful, but I intend to have fun exploring it!
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Self-applying Salt in Old Wounds

Old angst used for good.

A few days ago, I had a long conversation with my day job manager, Marc, who is also my mentor and friend. Our chat went to discussing those who we would consider our personal Nemesis. His was a narcissistic old professor he had while he was in college. The dude sounded like a real deuchbag, but Marc persevered. Mine, no less deuchy, was a former friend and business partner from ages (read 'DECADES') ago.

We both got worked up as old memories surfaced and we told our war stories of betrayal and disgust. It's easy for old wounds to open up especially when they're so deep as they happened so young. After our chat, the rekindling of old anger dredged up the motivation to work on some projects. Applying salt to an old wound is not healthy, but it is effective.

However, the poison faded quickly- the thought of drinking in more toxic memories to feel powerful conjured many a cautionary tale. They ARE old wounds, but they HAD HEALED. My former acquaintance had actually given me a gift in the form of a life-long lesson: he serves as a template as a type to avoid. It has worked time and time again... and come to think of it, as recently as six months ago.

Would I ever want to be a friend of this "old Nemesis" again?

No.

He had contacted me ten years ago and I tried, but I walked right into the same vat of manipulation and abuse. I doubt he's changed. I'm certain it's been played over a million times as he presents himself as a victim- most narcissists do. But, while I'm not "over it" (and likely will never be), the vigor of old wounds has faded. I can talk about it freely now without the sting- and that is indeed positive.

Still, it serves as a way to stimulate the creative process. Creative acts pull from personal experiences, and I used those feelings constructively. It provided energy to kickstart productivity- and served me well when I filled a dozen pages in my sketchbook last night. By 9pm, I was mentally and physically exhausted.

I have the opportunity to help with a new video project- a docuseries that will involve travel throughout the outback of the intermountain west. I had taken on this project because I love adventure and for the same reason I tapped into old angst—experiences are the truest building blocks to create something new.

The Dragon Has Awakened

LOSTSKIES.COM has been renewed. Those looking to jump on lapsed renewals will be met with disappointment. I’m planning on keeping this domain for a very, very long time.

I’ve been working furiously behind the scenes to jump-start my filmmaking efforts. Doing videos for my day job have kept my skills from growing cold.

LIBBY LENAN
Libby Lenan has graciously accepted my offer to create a video for her stunning single “Wilderness” (available on Spotify). She asked if I could record her covering a few songs for social media, to which I said “of course!”. She had worked with my old friends from ALSO SISTERS to create a video another of her songs, hopefully to be released soon.

NEW PRODUCTION HOUSE

I am teaming up with a few people to create a production house. I’m not ready to officially announce names yet, but it’s in serious works. We have a number of projects on the plate- a couple of minidocs, and a number of short films with a serious effort to create a feature film within a year or two. Two short films are greenlit-- and one, Bond’s Bail Bonds, is in full pre-production. I’ve began casting, but it will be led by my longtime collaborator Geoff Richards taking on the lead role of Frank Crandall, recovery agent. 

The show will play out much like an updated 80s detective show with quirky characters and cartoon danger. I have three short episodes planned- and we are planning on doing this using an iPhone.

UNDERRATED BUT POWERFUL

I have sung the iPhone’s praises before, but check out some examples of what can be done:

Ari Virem’s iPhone cinematography using the Moment animorphic lens.

Zach Snyder’s heavily stylistic Snow Steam Iron.

BRONCHO “Big City Boys” which utilizes a DOF adapter (much like my pre-DSLR days).

Feature films have been shot using the iPhone- the highest profiled are Sean Baker’s Tangerine and Steven Soderburg’s Unsane.

I’ve recently acquired a Zhiyun Smooth 4 and am planning on using an anamorphic lens adapter with it. We are currently location scouting and rounding out the rest of the cast. 

It’s exciting fully coming home to what I love. I have put it off for so long, chasing other paths and finding that they lead back here.

The Center of My Mind's Eye

Author's note: originally written in 2006.

 

I’ve been working on a post-steampunk (steampunk without the Victorian tropes) novel for a few months. I’ve found some fantastic people who have been great at workshopping my story with me; listening to my rambles as I try to figure out the tone and plot of my post-apocalyptic story world.

As such, I’ve been helping some of these friends with their creative endeavors. One thing I’m particularly excited about is that I’ve come up with some ideas for a music video for my very talented friend, Libby Lenan. The flood gates of creativity have opened. While looking at ways I could shoot this no-budget video, I had been looking into some incredible work by skilled artisans of iPhone cinematography, and have become flooded with ideas on how to improve many old scripts and resurrecting old projects like “Corner of the Mind’s Eye”. 

Of ALL the film projects I wish I had finished, Corner of the Mind’s Eye is the closest to my heart. 

I could rant about why it folded to begin with… but it came down to two things: MY lack of skill, reliance on someone else to provide that skill and equipment. I was at the mercy of their agenda. However, I learned the most valuable lesson of my career: become technical and hone the craft. Perhaps this notion of making a film by relying on visual craft and using an iPhone to shoot it, Corner of the Mind’s Eye’s re-imagining could happen.

It has come back full circle. Because of my new ideas, I’ve gained ground against creative block afflicting my steampunk novel. 

Last summer, I decided to let my creativity ‘free-flow’… which means seizing and acting on inspiration, and refusing to stop up imaginative flow— to do so stifles that creativity.

Curves of a Killer - Flash Fiction Pulp Noir

The 3 A.M. Epiphany's second exercise is titled "Imperitive"—writing in the second person was strangely satisfying. I grew up playing D&D (among other RPGs) and so this was natural for me. It's also how adventure books (like Choose Your Own Adventure) are written- telling you where to go and what to do. Kind of bossy, really. 

Still, it was a great exercise; I wouldn't mind trying to create an adventure book, someday.

Exercise #2: IMPERITIVE (500 words)

Dusk slices horizontal strips into your dim office and onto your face, waking you.  You stretch, rub the sleep from your eyes and move to adjust the blinds when a quick rap turns your attention away.

You open the door, and a shapely female silhouette is softly illuminated by sunlight splashing off your desk. Her red fitted dress and matching flat-brimmed hat hide eyes that cut through black lace, judging your gape.

“It’s customary to ask a girl in to have a seat, detective.” She breathes. Her eyes glisten, moist and red from an emotional hotplate.

“Ah- sorry. Come in, Ms-?” you stammer while removing a stack of opened, unpaid utility bills off your guest seat.

“Devry. Lorraine Devry.” She smiles as you turn and shut the door behind her. You pull the chair and gesture her to sit. She places a Virginia Slim into her pert lips and you light it in one suave move.

She takes a long drag and blows smoke to the side. She notices the wall photo from your long-gone patrol days.

“You knew my father.” She exhales. You sit and pull a bottle of scotch out of your desk drawer.

“Devry. I thought you might have been related. He doesn’t have your legs, though.” You say as you pull out two glasses. You pour two shots but she refuses. You shrug and down your Scotch and Scotch chaser.

“Didn’t, as in past-tense. He’s dead.” She lowers her head. “I’ll have that shot now.”

A lump seizes your throat; Sgt. Devry took you under his wing as a snot-nosed cadet. He was a good chum with a hearty laugh. Though straight and narrow, you never liked how merciful was to dumb bums and undeserving vermin… the ones you knew were guilty.

“I’m sorry to hear that, Ms. Devry. What happened?” You wipe a glass with a handkerchief and pour a shot for Lorraine.

She takes a shot then begins to cry. You move in to comfort her but she shrugs you off and gives you the one-minute finger. She pulls out an envelope and hands it to you.

You see it’s a letter from him penned to you. Curious.

“It’s been opened.” You give her a side glance.

She shrugs. Never mind that now. You pull out the letter, turn and walk toward the window. You notice blood stains across the bottom of the paper.

The note reads: “Grimes. You son-of-a-bitch. I’ve known all these years it was you who turned me in to internal affairs. I lost my pension, my wife. All I got left is this gun to my head. Go to hell.”

You drop the suicide note. You turn and Lorraine is holding a gun right at you. She squeezes the trigger and three whispers fly out the silencer. You fall, feeling the wet splatter drain you cold to the floor. As your sight grows dim, you see her walk out and you contemplate the swing of those hips… the curves of a killer.

NaNoWriMore or Less

NaNoWriMo is on my mind. I have been attempting it. I also have been flailing sadly at how out of sorts I have been with my own storytelling- the only creative endeavor in which I find any creative flow. 

As it were, I had picked up The 3 A.M. EPIPHANY by Brian Kiteley about ten years ago from Borders Books. I wouldn’t say I was intimidated by the work that would go into it, but rather the fact that I wasn’t ready. The book was forgotten and gathered dust on my bookshelf… shame on me. 

That said, as I was looking through my personal library for my BOOKSHELF ACADEMY series, I pulled this off the shelf and perused it, promising myself that I WOULD indeed do the exercises and, hell, why not post them as well? 

I thought I had done the first exercise but it wasn’t to be found on any hard drive, but I suspect it may live in typed form- playing on an old Smith-Corona Classic 12 that I had found at an estate sale; something about channeling Hemmingway, Kerouac, and Asimov. Meh. I suspect they would all willingly use a laptop with Word had one been accessible, but I digress. 

Here’s the first exercise in what will likely become another attempt at legacy in some form or another. There’s very little editing- it could probably use some, but moving on:

Exercise #1: THE RELUCTANT “I” (624 words) 11/11/18

The exercise asked to write in the first person, but keep the amount of “I’s” to a maximum of two… I managed three by using “my” as a crutch. I also realized I tend to do too many grisly endings. 

There were about a million pieces to this investigation that nobody could fit together. All clues, all pertinent, but nothing was gelling. Perhaps it was all a matter of coincidence? It was likely the lack of sleep and coffee. The city doesn’t sleep, and apparently, we’re not supposed to either.

Charlie had enough. He was in my office looking through the day's report, laying across my couch as if someone were going to listen to his childhood problems.

“You realize that once Mrs. McCleavy lawyers up, this case is lost.” He said, not taking his eyes off the casefile photos of Mr. McCleavy’s remains in the kitchen, the bathroom, the livingroom, and the back patio.

There’s nothing to say but shake one’s head at the entire mess. “There’s no way she could have done this anyway. What is she? Ninety?”

“Sixty-four,” The words were dry and telling- there was no way my throat could keep the pitch low, “And she worked out. She may be tiny, but she looks strong.”

Charlie darted up and walked over to the office door. The office was empty save for the night dispatch and some snoring down by the holding cells. He turned around and looked straight at my eyes with a tremor.

“What does she do for a living?” He asked slowly. He knew, but he putting the pieces together.

“She’s employed by… hold on,” All the papers had become scattered and it took a second to dig out her personal information.  “Ah, here it is… Genome Dynamics.”

Charlie pulled out his phone and ran a quick search.

“Genome Dynamics. There isn’t much, but they do look like they have quite a bit of government contracts.” Suddenly, a call lit up his face.

“Weird. This is a D.C. area code.”

“Well, answer it.”

Charlie shrugged and took the call. “Detective Watts.”

A sudden ear-splitting sound shrieked into his ears and he dropped the phone. Still staring at me, his arm fell to his side and he collapsed to the floor, a steady pool of blood began to grow about his head.

“Charlie!” I jumped over to him- the phone continued its deafening shrill- grabbing it and hung it up. It was hard, pulling Charlie unto my arms and pulled my own phone out dialing 911- only to get a busy signal.

“Damn it!” Looking down at Charlie, he was beginning to convulse –  I tore one of my shirt sleeves off to try to stop the flow of blood now coming out of his mouth, nose, and eyes.

Running to the door and screaming at Old Sarge on dispatch- “Get on the radio and call in an ambulance! NOW!” Sarge hasn’t moved like that in likely fifteen years. Gotta give him credit.

The tremors stopped and he let out one last breath- a hollow rattle that never leaves you. Jumping on his chest the compressions we learned in basic training came back, but blowing down into his mouth only gave me a mouthful of blood. Spitting it out and continuing, but he wasn’t getting air- as if there was nowhere for the air to go. Sitting back and wiping my mouth, looking over at the night dispatch officer who had pulled over the cb radio. 

“He was gone the second he hit the floor, Lieutenant. Was nuttin’ you could do.” Old sarge was right. 

Sirens howled in the distance and shouts came from the drunk tank. The paramedics came in, again trying to revive old Charlie and hitting him with voltage to kickstart his ticker… Sarge screaming into the dispatch and calling in the Chief. 

I looked down at the report and knew fine and well that this case, the mauling of Mr. McCleavy was out of our league.

Inktober so far…

I am falling behind on these prompts. I am two days behind- partially because of some impromptu overnight plans this last weekend, but more because I am drawing a blank (pun unintended, but approved).

I've noticed a few things while attempting Inktober—I have a long way to go with the particular inking style I want to master, but my default technique is actually decent.

Creative block is my current struggle. Between home life and work projects, my artistic well is running on fumes. Despite distractions of everyday life, many of my ideas are from personal projects that I’m not ready to share publicly... and it's pushing me into a self-imposed block.

I’ve had a hard time with the official prompt list; though many other lists are a bit more literal on WHAT to draw, I haven’t had much inspiration. Again, like I said, I’m drawing a blank.

Here are some of the better daily ink drawings. Hopefully, I can come up with something decent fin the next couple of weeks.

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The Bookshelf Academy: Part II

In a previous entry, I realized that I have an incredible resource under my nose- my own personal library of books I’ve bought over the years. My art books, in particular, are my most valued. This will be an ongoing, intermittent series of my personal favorite books culled from my personal library. Books that actually TAUGHT me something. Each upcoming entry will briefly highlight three books.

However, before we get into it, I want to outline my approach to actually USING these books. I could drone on in an intense article- but I'm doing us both a favor by simply outlining the facts.

How I self-teach using an art instruction book

• Get to know the book:
• Go through it, cover-to-cover.
• Don’t be afraid to jump ahead if you feel inspired.
• Make a concerted effort to start at the beginning and do the exercises within:
• LABEL each art with the book and the exercise/page number! This will give you a reference as you go through your sketchbook notes.
• If there are no exercises, try your own drawing using the presented technique.
• Keep these in your main sketchbook- write notes on what you like and don’t like about your own work.
• Don’t be afraid to mess up your drawings with notes- these are exercises not works of art!
• While doing the learning exercises, if you create a sketchbook drawing that you find you really like, then it’s okay to save it—but that can be counter-productive.
• Fear in destroying/writing over an exercise drawing drowns your confidence. Be confident-simply recreate. Use emotion to draw, but don’t become sentimental of your past sketchbook/learning work.
• Improvement comes by pushing forward, not by resting on lucky laurels.
• All that said, if you want to preserve a drawing but want to draw over it with notes or corrections, tape tracing paper over the work to draw on. It’s also a great way to protect your work from smearing on the opposite page.
• Posting on Social Media:
• This one is tricky… IF you decide to post your exercise- make sure you post credit to the book and artist you are working from. Plagiarism is a fine line, don’t cross it!
• An old professor of mine once said, “To design is to give up a pound of flesh.” It’s blood, sweat and tears. You are allowing yourself to be vulnerable and art is subjective. Ask for friendly critique and blow off harsh or rude reviews… develop that tough skin- it will DEFINITELY help you later in your career!
• Art is subjective. Post attention is a great way to measure your artwork's appeal. Keep in mind of the size of your audience, though.

Do you have anything to add? How do you use your Art Instruction books?

A world of Inktobers…

Brush pen illustration by Juan Maestas, Copyright 2018.

I have been using a Faber-Castell PITT artist pen, soft brush #199. I love it. The point is fine, the bristles are soft. The ink is dark. And I found it at Michael’s for only $5.

I’d rather ink with a brush, but it’s a messy affair- and clean-up is brutal. With a brush pen, you get the experience. However, it’s water soluble ink… meaning that it’s not waterproof and erasers pick up the ink when you try to rub out pencil lines.

I had been teaching myself how to ink for years. I was trying to develop my confidence as nervousness leads to shaky results.

One way to gain confidence is to draw with a ball point pen: I filled up an entire small sketch book with hundreds of messy pen drawings. As I was feeling more confident, I moved on to crowquill. I would also use india ink mechanical pens, but you get no flexibility in the line.

It’s been a few years of on/off use, and you’ve seen me post some stuff before. Now that Jake Parker has released the Inktober 2018 list (here’s a print friendly copy) I am going to use the brush pen as much as possible. Follow @InkTober and @JakeParker on Twitter and Instagram!

A print friendly version of Jake Parker's Inktober 2018 list.