WordPress has put in a new feature for finding old photos from Posts Past.
This allows me to pull from past years much more easily than the scroll-down feature I have been using. Thus, art from 2017.
This has been a look back at pictures posted in 2017, starting in December, and going back in time to January. There is at least one picture from every month.
As a comic cartoonist sort of artist named Mickey, I was as a teenager obsessed with making artsy goofy books. One of those was unaccountably called Dreams of the Mastiff. These surrealistic picturations are examples from that silly Donald-Duck thing.
This page is supposed to explain the title. So I guess all of the following pages are somehow supposed to be from the nighttime brain of the dog in the nursery.
And what is this supposed to be about? My old-man memory has not a single clue.
It occurred to me long ago that both Fantasy and Science Fiction were surreal by nature. What is the story behind Black Peter? Ich weiss nicht! I do not know! Old-man memory again.
Inexplicable Sci-Fi from this little surrealist art-book-thing.
And more of the same…
Now back to cockroaches from doggy dreams…
…And mice, monkeys, and tea-drinking ladybird beetles…
…And what…? The whole world in a nutshell?
To a thing I used in two novels, Catch a Falling Star and The Baby Werewolf.
I offer no explanations or excuses for these nonsensical and unaccountable things. I am not sorry I once did them, if you want to know the truth… but I probably should be.
This Saturday Art Day is about whatever danged pictures I whimsically decide to show you. I am not proud of them all. I am too focused on being a better artist. But today you take what you can get.
After years of being stored away, I discovered that my mother had hidden a hoard of my old artworks in the upstairs closet in Grandma Aldrich’s house (now my parents’ house).
This oil painting was done on an old saw blade at the request of my Grandpa Aldrich. He wanted a farm painting on it, like the one he’d seen in a restaurant during a fishing trip in Minnesota. I chose as the subject Sally the pig. Sally was a hairlip piglet that had to be bottle fed and raised in a box by the stove until later in life she became a favorite pet. Believe it or not, pigs are smarter than the family dog. She became a pig you could ride. And Grandma had taken a precious old photo of my mother and Uncle Larry riding the pig. I used that photo to make this painting. It was also the painting I wanted to find on this trip to Iowa. Searching for it led to finding all the others.
These two are among the earliest paintings I did. They were both done on canvases that I stretched over the frame myself in high school art class. The purple one is a scene from Shakespeare’s Midsummer Night’s Dream. The blue one doesn’t have a title, but you can see what it is. It is an ancient shibboleth water monster lurking under a dock, fishing for young boys to eat.
This drawing was done on the front porch in the house in Rowan. It would be years before mom framed it. It is another example of what I could do as a high school kid. In fact, I composed it from art-class sketches I did my senior year in school.
The Boy in the Barn was painted on the remains of an old chalkboard that my sisters, brother, and I had used in grade school.
Grandma Aldrich asked for this picture to hang over the sofa in the farmhouse living room. It stayed there for many years.
Great Grandma Hinckley passed away in 1980. I created this portrait from a combination of photos and memory. It was too good. It was never hung anywhere because it always made her daughter, my Grandma Aldrich, tear up.
This pencil drawing won a blue ribbon at the Wright County Fair in the late 70’s.
This picture is called First Years are Hard Years. It was painted in 1982 after my first year of teaching at the junior high school in Cotulla, Texas. I painted mostly the good kids. The girl on the lower right would later go on to become a teacher for our school district. I can’t claim to be the one who inspired her, but she did make straight A’s in my class.
This is called Beauty. It is done in oil crayon on canvas. I did it for my mother to hang in the hallway in the house in Taylor, Texas.
So, it turns out, I unearthed art treasures by searching for the one painting.
Filed under artwork, colored pencil, homely art, humor, oil painting, old art, Paffooney
The Toonerville Post Office and Bert Buchanan’s Toy Store.
Toonerville is not only a wonderful cartoon place created by Fontaine Fox in the 1930’s, but the name of the town that inhabited my HO Train Layout when I lived in South Texas and had the Trolley actually running nearly on time. The train layout has not been restored to working condition for over a decade now. The buildings which I mostly built from kits or bought as plaster or ceramic sculptures and repainted have been sitting on bookshelves in all that time. I still have delusions of rebuilding the train set in the garage, but it is becoming increasingly less and less likely as time goes on and my working parts continue to stiffen up and stop working. So, what will I do with Toonerville?
Wilma Wortle waits on the station platform for her train at the Toonerville Train station. I built this kit in the 1970’s, hence the accumulations of dust bunnies.
Loew’s Theater has been awaiting the start of The African Queen for more than twenty years.
Main Street Toonerville at 2:25 in the afternoon. Or is it three? The courthouse clock is often slow.
Grandma Wortle who controls all the money in the family likes to park her car near the eggplant house when she visit’s Al’s General Store.
But I may yet have found a way to put Toonerville back together through computer-assisted artsy craftsy endeavors.
A two-shot of Bill Freen’s house and Slappy Coogan’s place on the photo set to start production.
Bill Freen’s house lit up with newfangled electricical. (and I do believe that is the way Bill spells it all good and proper.)
Bill Freen’s house cut out in the paint program.
So I can make composite pictures of Toonerville with realistic photo-shopped backgrounds. Now, I know only goofy old artsy fartsy geeks like me get excited about doofy little things like this, but my flabber is completely gasted with the possibilities.
Bill Freen’s house at sunset… (but I don’t get why there’s snow on the roof when the grass is so green?)
Filed under art editing, artwork, autobiography, farm boy, foolishness, humor, illustrations, photo paffoonies, Toonerville
It pretty much goes without saying that, since I am an author of fiction, determined to be a storyteller, I spend most of my time talking to people who exist only inside my goofy old head. Sure, most of the imaginary people I create to keep me company are at least loosely based on real people that I either once knew, or still know. You can tell that about Millis, the rabbit-man, pictured here on the right, can’t you? Sure. I had a New Zealand White pet rabbit that I raised as a 4-H project. His name was Ember-eyes… because, well, yeah… red eyes. It just happens that my goofy old memory transformed him into an evolution-enhanced science experiment in my unpublished novel, The Bicycle-Wheel Genius. But he was a real person once… ’cause rabbits are people too, right?
Anita Jones, a character from my unpublished novel, Superchicken, is based on a real person too. I admit, there was a girl in my class from grades K through 6 that I secretly adored and would’ve done anything to be near, though every significant event I remember from my life that involved an encounter with her, involved red-faced embarrassment for me. That’s why I remember her as having auburn-colored hair. Charley Brown’s Little Red-Haired Girl… duh! I would’ve died sooner than tell her how I really felt, even now, but by making her into one of a multitude of imaginary people who inhabit my life, I can be so close to her that sometimes I am actually inside her mind. There’s a sort of creepy voyeurism-squared sort of thing.
Dorin Dobbs, the main human character of my published novel, Catch a Falling Star, is an imaginary character based mostly on my eldest son, though, in fact, I started writing that novel five years before he was born. Like most of the imaginary people in my life, I talk to Dorin repeatedly even when the real Dorin is half a world away in the Marine Corps. And even though the Dorin I am talking to is not the real Dorin, he is still constantly using language that is extra-salty far beyond his years, and is often defiant of my fatherly wisdom, and always argues for the exact opposite of any opinion I express. That’s just how it is to be the father of an imaginary son.
Realistically, I have to admit that even the flesh-and-blood people in my life are imaginary. No one ever actually inhabits another person’s head except through the magic of imagination. Even though I am talking to you at this moment, you are only an imaginary person to me. I don’t even know your name as I write this. And I am the same to you. You may have read my writing enough to think you know something about me… but you really only know the Mickey in your mind that I have worked at putting there with my words. And I really have no idea what that imaginary Mickey you have in your head is like. He is probably really the opposite of who I think I am.
I am, after all, married to this girl panda, Mandy Panda from the Pandalore Islands, and my three children are all Halfasian part-panda-people. Yes, this is the imaginary person who is my real-life wife. The secret is, we only ever know the imaginary people we have in our goofy little heads. We don’t know the real person behind anyone in our lives, because it is simply not possible to really know how anybody else thinks or feels, even if they write out their lengthy treatise about how all people are imaginary people. That stuff is just too goofy-dippy to be real.
Simple, clean lines and basic, well-defined shapes go together in black and white. They are in the basic nature of being a cartoonist. You translate what you see into line drawings where a few simple lines become a complex and meaningful image.
My one-legged Batman is an exercise in foreshortening and trying to burst through the two-dimensional confines of the page to grab the viewer. I learned this trick from comic book artist Jim Lee.
His sidekick is rendered as a static portrait where the computer monitor in front of him lights up Robin’s intense and thoughtful face.
She was an excellent teacher and former nun… she was a mentor to me, taught me a lot about life and love and great beauty. How do you adequately portray the wisdom and the patience in those highly magnified eyes? I drew from memory only. She never considered herself beautiful. But she was. And it hurts not to be able to capture it correctly.
Not every portrait is literal. Sometimes you exaggerate facial characteristics and behavioral quirks are emphasized to create humor in the portrait.
When I was first married I did a double portrait of us as a knight and his lady fair. I know, I know… it is so sickeningly sweet that it punches me right in the diabetes. But, hey, it doesn’t really look like me anyway. It is more of a portrait of Porky Pig in glasses and hair.
There is an art to pen and ink that cuts right to the heart of who you are and who you want to be. Simple lines in black and white… there is no more incisive tool for putting my goofy old mind down on paper.
Filed under artwork, cartoons, goofy thoughts, humor, pen and ink
Who am I?
Why do I do the things that I do?
No man is an island. John Donne the English poet stated that. And Ernest Hemingway quoted it… and wove it into his stories as a major theme… and proceeded to try to disprove it. We need other people. I married an island girl from the island of Luzon in the Philippines. She may have actually needed me too, though she will never admit it.
When I was a young junior high school teacher in the early eighties, they called me Mr. Gilligan. My classroom was known as Gilligan’s Island. This came about because a goofball student in the very first class on the very first day said, “You look like Gilligan’s Island!” By which he meant I reminded him of Bob Denver, the actor that played Gilligan. But as he said it, he was actually accusing me of being an island. And no man is an island. Thank you, Fabian, you were sorta dumb, but I loved you for it.
You see, being Gilligan on Gilligan’s Island was not a bad thing to be. It was who I was as a teacher. Nerdy, awkward, telling stories about when I was young, and my doofy friends like Skinny Mulligan. Being a teacher gave me an identity. And Gilligan was stranded on the Island with two beautiful single women, Mary Ann and Ginger. Not a bad thing to be. And I loved teaching and telling stories to kids who would later be the doofy students in new stories.
But we go through life searching for who we are and why we are here. Now that I am retired, and no longer a teacher… who am I now? We never really find the answer. Answers change over time. And so do I.
Catch a Falling Star 