By Jesper Ejsing
The other day I was creating another wallpaper for my screen. I try to shift the image each month choosing the latest drawing that I was happy with. Since I use the computer a lot, the wallpaper is a constant reminder of what is my best art so far. It reminds me what is good and helps me to sharpen that. To be perfectly honest I do not always know what I am doing. But focusing on the lucky ones, and staring at them each day, convinces me that I might be able to do it again.
That day I chose a wallpaper that was a zoomed in head shot of a Persian fantasy princes. It was one of those where I think I got the facial expression just right. When the face filled out my whole screen I could suddenly see all the brushstrokes and small twisted lines of transparent paint that altogether, when seen from afar or zoomed out, blends into a nicely clean face. But in the zoomed version it looked dirty and ragged.
So without thinking anymore or deeper than that about it, I skipped through a bunch of covers and plucked out all the faces, zoomed in and put them nicely together.
I am not sure what to learn from this, other than for me it felt quite good. Noticing the rough brushstrokes in the blown up versions made me feel a great deal more like an artist, and a little less like an illustrator.
The other day I was creating another wallpaper for my screen. I try to shift the image each month choosing the latest drawing that I was happy with. Since I use the computer a lot, the wallpaper is a constant reminder of what is my best art so far. It reminds me what is good and helps me to sharpen that. To be perfectly honest I do not always know what I am doing. But focusing on the lucky ones, and staring at them each day, convinces me that I might be able to do it again.
That day I chose a wallpaper that was a zoomed in head shot of a Persian fantasy princes. It was one of those where I think I got the facial expression just right. When the face filled out my whole screen I could suddenly see all the brushstrokes and small twisted lines of transparent paint that altogether, when seen from afar or zoomed out, blends into a nicely clean face. But in the zoomed version it looked dirty and ragged.
So without thinking anymore or deeper than that about it, I skipped through a bunch of covers and plucked out all the faces, zoomed in and put them nicely together.
I am not sure what to learn from this, other than for me it felt quite good. Noticing the rough brushstrokes in the blown up versions made me feel a great deal more like an artist, and a little less like an illustrator.
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RC - Wednesday, August 31, 2011
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