Saturday, September 14, 2013

Friday, September 13, 2013


How do your intellectual selves come together?

How do your creative selves come together?

How do your destructive selves come together?

Tuesday, September 10, 2013



don't fall back on old habits.

Hand + Eye = Good.

Page Placement.

Figure in square.

Point Relationships.

Losing your way is allowed. 

Assess points along the way.

Map it, even the faults.

Work organically. 

What is most essential?

What is most functional part?

What are you focusing on?

Failure can be a form of resolution.

What is important?

What is the case you want to make?

Is there  a transformation taking place?


Be clear about your methods.

How does the language work for you?

Stylizing volume?


A marked change of tonalities?


Implosions .

Think about the possibilities of line as a mapping tool.

Part vs. Whole.

Isolation of parts from whole.

Can you describe the formal aspects?

How does the action of the object play into the quality of line?

Think about the part of a form and what it relates to.

Find the value in doing something you don't typically do.

Never admit defeat.

What strategies did you use and what could you do differently?

More emphasis?

Progression of tonality?

How much can you leave behind?

Too much?

Not enough?


What have you used here?

How much can you get rid of?

What do you need?


Tell yourself exactly what you've done here.

Do an analysis.

What have you done?

What haven't you done?

Consider more than the edges.

Waste more paper.

Be more spontaneous. 

Try out different things, by dint of your own labor.

This is the way, arriving at your own way of doing things.

Again and again.

Again and again.

Change it slightly, grunt work.

put yourself through the wringer.

Quality of surface.


Subtlety, let's talk about it.

Keep yourself in check.

More can happen in a drawing that you are aware of. 

Ideas will shift and change.

Break it down analytically.

Thoughts dissolve and are constantly moving.

Faces suck the life out of drawings.

Is it an abstraction?


Is it muddy?

What are your color strategies?

Is it referencing an object?

Something from nature?


Color relationships are more important than their names.

What are your intentions?

Are you undermining yourself?

Different things are accepted in different contexts.

Density of material. 

Is the form readable at a distance?

Can areas become more specific?

Less specific?

Are you making a reference to an art historical period?

Do you move through the piece?

Is it static?

What is the first thing you notice?

Have you captured anything?

If you cold make one comment what would it be?

How are you dealing with the space?

Are you exaggerating?

Is there a transformation taking place?

Does it emit light?

Does it glow?

The decisions you make go beyond themselves.

Does it read as continuing initial shape?

Does it become a pattern?

I'm curious, why did you do what you did?

How is it different or how is it similar?

Does it feel right to you?

On a scale of 1 to 10 how much did you think?

I'm wondering if this could be more properly identified. 

Is there only one reality here?

How does one go about referencing another reality?

Does this make a very strong statement?

What do you need?

Is there a potential for narrative?


Develop the use of line.

Never retrace lines.

Talk to yourself a lot.

there needs to be a discernible link between the. work and the viewer.

Something universal.

what stays, what goes?

What needs downplayed?

Determine intentions, plan accordingly.

Is that clear enough or do you need more?

How to you want to achieve this?

Get the structure.


superimpose identity.

What's the strongest thing here?


Don't force it.