Old Man in the Eaves

September 26, 2013 § Leave a comment

old man in the eaves

Pillsbury Hall Sculpture

Here’s a look at two views depicting the architectural sculpture of an old man under the eaves of Pillsbury Hall on the campus of the University of Minnesota.  The work was completed in colored pencil, Conte’ crayon, and pastel and on two very different papers; Canson colored and a Fabriano hot press showing two different vantage points and two different effects,  The drawings were part of a series looking at the relationship of the buildings we create and the architectural ornamentation that adorns them. 

Telling a Story With Serial Imagery

September 19, 2013 § Leave a comment



Through a series of drawings, we are able to examine the complexities within each composition and how they relate to each other.  Each represents a different look at the same grouping of flowers.  When we take the time to examine our subjects more closely and make our own decisions about what we want to say, the storyline becomes more complex.  Each piece represents a unique dissection of the space around the forms and each has a prominent area of focus. By looking at the drawings together, we can see the similar nature of the flowers repeating and reaching toward the light.  Take the time to explore the possibilities within your subject material.  We don’t always have to draw what we see!!  

Opening up the Story Line; A Two Part Composition

September 6, 2013 § Leave a comment

Pen & Ink Duo

With this still life, I chose to depict it in two parts; one in hatching and the other stippling.  I enjoy seeing how the character of the composition changes when using different textural techniques.

Working with Serial Imagery

August 27, 2013 § Leave a comment

Persephone I

Persephone III

Persephone II

Persephone IIII

Persephone IIIII

When attempting to tackle the big world of composition, it is important to not pigeonhole yourself by allowing just one option.  Too many times, when starting out with drawing and painting and someone would ask “Why did you depict your subject this way?”, “I would say well that is because it looked like that”.  I didn’t realize I had the power to change my images.  Instead of taking things at face value and saying only one thing about our subjects, we must challenge ourselves to explore our options.  When looking at a subject move it, walk around it, step in to examine it closely, look at it in different lighting.  Some examples of serial imagery are a zoom in for the first piece, then step back, and step back again.  Try three or four different vantage points.  Add something to the composition or take something away.  Try the subject in different mediums or techniques; one in stippling, one in scribble, one in hatching, and on and on.  By limiting ourselves to spitting out just one portrayal, we never really explore the full storyline a subject has to offer.  I’m including a series of color drawings of the goddess Persephone seen in different seasons, colors, and with varying settings,

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