21 hours. Barring any tweaking there's just the hand still to go. The individual bases of the fingers are hard to tell apart, not forward to that aspect.
I had to take the photo twice, the first time he literally had a cat hair in his mouth. (nuts, I only moved it to his sleeve.) See how the shading on the pellegrino balances the image? Leaving it blank Just the outline, no shading) would have been a nice artistic touch, I've seen that done by some of the artists that inspired me and I've done it myself, but the heavy shading of his other elbow necessitated giving that shoulder cape the full treatment.
I did tweak the shading on the chin, but just barely. It's enough, his skin now does not blur into his collar the way it did.
Still not as crisp as it ought to be when you zoom in. One of his shoulders fades out. Think I'll try playing with the camera settings again.
It's 8"x10" on quality paper, and you see by the progression just how much it took. How much do you think I should ask for this? How much I'll actually get is another matter, I have no idea what that might be... but what I mean is, do you think a lifetime's worth of skills should get at least minimum wage? People understandably do not want to pay by the hour for this kind of work, and I winder what a reasonable flat fee would be.
I was working on an image of an actress last year that came to being finished, I think it was at 18 hours in, and I believe that one to have been more labor-intensive and much more problematic in it's details. I should be able to increase my speed when I correct my work-station :posture, consistent lighting, printed reference, etc. Having a computer is a great help, I can zoom and play with contrast to see details better...but it slows me down having to look farther away from the page, readjust my focus all the time. This is the first drawing I've done entirely that way.
And the actress? Sharon Mitchell in a leather jacket. I hope to finish that one still, I have the ref on flash drive and I think the drawing is with the next batch Lore will send. I called her, she is waiting for he next payday. The only problem with the Mitchell is that I didn't rests my hand on a barrier and one edge of the paper yellowed a little. Maybe I can trim it. I had an edge trimmer for papers back home but I had to abandon it. I meant for it to go to Kevin and Katie along with other crafty off and ends, and I printed them out before I left. I hope they didn't get thrown out as trash.
Neither I nor Jesseca knows how much it will cost to have prints made of Pope Francis. I've not enough money left after I pay the phone this month, and I'll need to put what's left in my wallet into the account back home to pay AT&T. Oof. Hope that money from home comes through soon. They were expecting June or July but would have been this month if the estate hadn't been overcharged. How long will the refunds take?
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I mentioned to Jesseca doing images from Tetsuo: The Iron Man (my review: http://sinistersimian.blogspot.com/2015/01/tetsuo-iron-man-shinya-tsukamoto-1989.html) and she thought it might be a good idea. I thought the audience would be too small but she says it's the niche markets that are thirsty for a market that hasn't been oversaturated. I don't do landscapes, everyone does still lifes...anything Shinya Tsukamoto hits that venn diagram sweet spot of cult interest and my own passions. There are three Tetsuos movies to work from (four, if you count Tsukamoto's experimental films prior to theatrical releases). I'd be even happier to do work from A Snake of June (http://sinistersimian.blogspot.com/2015/04/a-snake-of-june-shinya-tsukamoto-2002.html).
Tsukamoto does have a following, but not as large as the group who've only seen Tetsuo. I'd be happy to draw from all of his films... Tokyo Fist, Bullet Ballet, Gemini...I've done reviews for all of them except Kotoko and Nobi aka Fires on the Plain (still haven't seen Fires) but Snake is always my fave.
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15 minutes, rough shading of the hand. Falling asleep because I slept too little. Might be from eating too, food puts me out like a knock-out drug but I've been doing better with that lately. Losing weight should help bring my numbers down. I hope someone back home finds which box my test strips are in, I would recognize what I labelled the box as if they have it. "Testing" or something like that.
(outside for a while)
One of the things I like about the Mitchell piece is that her hair seems to me a touch stylistic. I want to do more like that, move more of my work in that direction. When does a flourish add to a piece and when is it out of place? I think that if it works, if it adds a flavor that meshes, then it isn't an addition but an integral part of the whole. It's not a flourish anymore.
I also like the leather jacket. After many false starts, visual gibberish, and a ton of erasing it really did finally come to be a leather jacket.
Pope Francis and Sharon Mitchell both in the same post and both treated with respect and admiration. Never thought you'd see that, didja?
Blogger.com is not set up to mark individual posts here as NSFW, so I would have to crop the picture. Show you her hair but not much of the jacket. It's been almost half a year since I posted to a different blog that's NSFW, though the Mitchell drawing was the only image on it with nudity. It's the only one I've ever done with nudity...damn, so much time wasted, one of my favorite subjects and I never did a drawing?
Here's a different example, from when I began the drawing for Scott. I am further along than this but don't have a photo on my flash drives any further along. This is the kind of thing I've been talking about, getting a feel for the textures and the way they fold as they hang on a body. Feel the material, feel the way it moves.
That's from a much larger tablet, that one brother alone is a roughly the size of the Francis image. The picture is of four brothers in front of their boat. I have two of the brothers done and much of the boat. You see the initial tracing for coordination, while the trace marks for the second brother have been erased almost entirely as I was about to begin drawing him. The background should hardly be there at all in the final picture, more indicated than drawn. We'll see. I hope to have it in a couple of weeks so i can start in again. It became impossible to work on it much at home.
This is the fluid kind of work I can do, that I really love to see in my own work.
Below is Sharon. You can see the shading trail off where I was still working her sleeve. I really like what was going on with her hair.
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Almost there, hands partly done. 22 and a quarter hours.
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