The distinction is probably not even apparent but it is a big deal. And as big a deal as it is there are bigger distinctions to draw. I have been working toward creating a confrontational sense of drama with these characters, the “Models From Crime Page,” looking for clues as to which way the head is turning, which eye is lower, how the hair falls, which features are essential, which descriptors enhance and which to leave out, in an attempt to help me convey a clearer sense of form and a bigger presence but the police shot sources are so straight on they are begging me to take liberties and I am just now seeing it that way.
The commitment to depiction must be real. It must show in every mark. I would like to think the trail of development is laid out behind me in a pile of academic drawings and there is no going back but it will be forward in fits and starts. Just a moment to savor a successful drawing and time to move on with my eye as my guide.
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