Sunday, July 22, 2012

Three Faces of Catherine




Here's something i just sorta pulled out of my ass ( ...so to speak.)



Since Moebius was on my mind lately.... I drifted back to doing a face in an 'Idyl' Style, which were these beautiful a one page strips Jeffrey Catherine Jones did for National Lampoon in the 70s.  Obviously nobody draws women like Jones...



but, as a tribute, i thought i'd try inking three women's faces in three different styles.



Also, the title also being a pun on 'The Three Faces of Eve' movie, (as my ALL my art seems to suffer from 'multiple personality disorder', style wise..)



okay, sorta boring right now. also hard to see in light pencil, but you get the idea.  i'm not worried yet about the faces all looking exactly the same, a few eyes on some faces are little too hight, so will try to correct in the inks. But the point isn't them looking exactly the same, is it?



it's more an inking exorcize.  I'm trying to use a dry brush here.. that's why i've let it try enough to make 'tire tracks' on this piece of cloth..



bu first a little brush for those eyelashes.. the dry brush is mostly for *very light* ... almost feathery shadows right now.


in fact let's not even use a brush n her hair.. it's going to be the lightest of the three, so why not black colored pencil on the hair.



THERE - at least i'll have the self restraint NOT to add a wash for a change, which should keep it nice and airy. Sorta dark on left side, lighter on the other.



So next i'll use a thicker dry brush like Jones used in his Idyl one pagers. These are harsher direct lighting. This style is always trickier because any pencil flaws stick right out.



We have no soft face rendering to hide the flaws in do we, with classic black and white it's all 'out there' like a sore thumb isn't it?



I can already see her left eye is too high, so i didn't correct enough. oh well. This one came out much faster, and i tried to keep it rough and high contrast mostly...

...but i cheated a little.....add some thinker rendering brush lines in a few spots ..



Onto number three... for this let's do it in a nice blue grey with one of those asian pen brushes.. theres that lens shadow on the paper from my flash... sorry about that.  I need to pop for a new camera don't i?


 This face also went pretty fast..



you can see the ugly brush lines in he hair though. this time let's use a way to soften those, eh?



okay, that's a little softer.



i won't start in asking which everyone likes better, though i am curious.

Maybe a better question that which one we 'like best', is just... understanding what each one has to offer. Why choose one of these styles in a drawing or story? ( or a hundred others styles i'll never master)



Each style creates a different mood, even aside from the technical drawing skills in the faces themselves, ( or lack there of).



So which one i use might depend on the mood of the story, or even just mood i'm in when i'm drawing it. Duh. Belaboring the obvious here.  Guessing i'm working it out in my own mind though, because i so rarely articulate this crap, it usually happens automatically. Intuitively.



Funny, ... i was telling Jon Way$hak how, in my mind.. that when i'm penciling the Hollows panel i  pretending I'm doing my own version of Moebius drawing.  But when i ink a Hollows panel, i find myself imagining i'm Jeffrey Catherine Jones.

Course by the time i finish with whatever washes, colors or additional inks, it looks nothing like EITHER of them.. not that i could look like either of them in the first place.

So in an odd sorts of way, trying to draw past i usually look like, usually results in a more interesting 'sam drawing'.  Not always.  But, sometimes.



Even if what was originally in my imagination....

....never comes out of my pencil (or brush) as i intended.



11 comments:

cody said...

I like all of them but the inked one is my favorite, whatever your doing on the hollow pages is working I really like the steampunk with a nature spin on it look of it, plus the character designs of what you shown are really intriguing.

Dan Reece said...

Sam, your personal problems are why I come here! For me, battling demons is the biggest part of creating. It's encouraging to hear how you struggle with your fears and insecurities. I thought there was something wrong with me until I got your sketchbooks, all my ideas seem to be disconnected and scattered, then I saw that you actually made that work for you. Thanks man

Plus, I like the blue face even with the brush lines.

Anonymous said...

Mr kieth,

I really don't know what to say.

Thank you so much (and of course to everyone else who commented) I'm truly speechless.

You have no idea.

Again, Thank you.

(P:S - I perfer the first one done in black colored pencil with minimal ink, has a much bigger impact.)

Anonymous said...

Oh and It's Chris by the way.

The above comment is mine.

Sorry.

Christina Bryant said...

Hmm... my personal preference is for the pencil because I love the tendrils of hair in that medium, or the ink for the graphic contrast. But when I look at the three together, I see age. The pencil in its softness and roundness feels young and dreaming, the marker a bit more defined and thinned out looks like the beginning of adulthood and life experience, and the ink with it's harsher lines, contrast and even thinner face looks like middle age and a life half lived. But that leads me to think it would be interesting to boggle those attributes around a bit - softness of age? definition of youth?

Anonymous said...

Catherine was a real poet for women's beauty. HIs/her work was their laudation.
Maybe, this is the reason he/she turn like this, like a woman at his/her late years.
By the way... each time you use the word crap, i always remember a title of a
Philip Dick book :" Confessions of a crap artist"... but I guess it's just me...

yours
Hex Nut

Aaron Desira said...

You are a very generous artist sam. Thank you also

Marcus Collar said...

http://web.archive.org/web/20080206030643/http://www.ulster.net/~jonesart/

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