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What’s the real reason behind the choices I make as an artist? For instance, why didn’t I do this photo of the artwork over again when the wind warped the bottom left corner. That answer is simple. I was taking this picture with natural sunlight. And once the wind started messing up my pictures, it only got worse. This was the first and best of five attempts. And, while it doesn’t show up here, I did several photo-shop manipulations of this picture, including shrinking the girl’s head. The original was done from a couple of models I got consent from when I worked at a daycare center in Iowa City where I went to college. The boy was eight years old in the summer of 1980. The girl was six, but I used a photo of a girl I went to second grade with, so the head was also eight. They represent David Copperfield and Emily, Pegotty’s niece from the Dickens novel. I had to read the book for my Master’s Exam which I took instead of writing a thesis. The picture is about how I saw myself and my world in that timeless novel.

This picture won a blue ribbon in the art competition at the Wright County Fair in 1979. It is a colored-pencil cartoon situation right out of a Jay Ward, Dudley Do-Right cartoon. I used a picture from a Canadian travel ad for the Mountie. The Indian sidekick is a modified version of Little Beaver, Red Ryder’s sidekick. The villain and the girl were basically Snidely Whiplash and Nell from the Dudley Do-Right cartoons, but made to look slightly more realistic… but only very slightly.
Actually, I lied a bit about the blue ribbon. I got the purple Grand Champion ribbon for this picture. I had entered it solely because two years before I saw how easy it would be to win a purple ribbon looking at the pictures that won it, and I wanted to win the purple ribbon. Sorry I lied, but the real reason for this picture is that I wanted to win that ribbon.

This painting, from the 1990s, was an attempt to make sofa art to sell in my sister-in-law’s home décor store. So, the real reason for this painting’s existence is greed. But since I ended up putting so many hours into it that I couldn’t justify selling it for twenty dollars in a store that went out of business because nobody ever shopped there, I got far more value out of it by keeping it and enjoying it myself. It was inspired by numerous paintings of Native Americans done by white people on display in Love’s Travel Stops across Texas in the 1990s.

This picture, “That Night in Saqqara,” is about youth versus age, thinking about death, immortality, and being afraid of any or all of it. The model for the Mummy is Boris Karloff who was so nice to pose for a production still from his movie that I could draw him long after he was actually dead. The boy was a seventh-grader in 1983 who did not actually pose for this without a shirt on or with an actual Ankh life-symbol around his neck. The Pharaoh in the tomb-mural in the background was from National Geographic Magazine, and I think was supposed to be Tutankhamun, but I could be wrong. I am old and I mix up lots of things I once clearly knew. That’s what mummified brains have to be like, apparently.
The reason I had to create this artwork was because I was increasingly falling victim to illness, especially arthritis, and I was constantly thinking about what it would be like to die alone, entombed in a two-bedroom apartment on North Stewart Street in Cotulla, Texas. This was well before I met and married my wife, who is now my wife of 25 years.
Filed under artwork, drawing, foolishness, humor, inspiration, Paffooney

Once I was finally able to scan pictures again, I did some scanning of old pictures that only got the camera treatment before on my blog.
But why stop a drawing at just the pen and ink, when there is potential for so much more?
So, I took the Microsoft generic paint program and my generic photo editor to not only this pen and ink of the Jungle Princess, but a few other pictures as well.
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This is what she looks like after being attacked with color by my arthritic old hands. (There was a day when I could have handled intricate details more cleverly, but that was many, many days ago.
Anyway, I have added new dimensions to Leopard Girrrl with color.
Now I need to add more complications to the basic story of the picture.
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Here is an older pen and ink.
This is Dorin Dobbs, one of the dueling plotlines’ protagonists from the novel Catch a Falling Star.
But, of course, Dorin is a more complex character than this old black and white.
So, color needs to be added.
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I had this one actually already painted in…
But in order to use it in this project, I needed to enlarge it to make it fit into the other picture.

Making this unlikely pair work together in a story is one of the challenges of doing surrealist stories. They have to be grounded in realism, but also bring jarringly different things together. Like the Jungle Princess going on an adventure with Norwall’s Lying King.
But, putting these two together is still not enough. Let’s try some other things.

The Jungle Princess together with Tomboy Dilsey Murphy is an unusual pairing.

Or what about the blue faun from Laughing Blue?

Or even Annette Funicello?
Ridiculous, I know. But don’t they look like satin sofa paintings?
And how surreal is that?

The three primary colors of paint are red, yellow, and blue. Together with the neutrals, white and black, these colors can be mixed to make any other shade, tone, or hue that exists on the color wheel and can be perceived by the human eye. When all three are present in a painting, it inherently has a feeling of completeness, wholeness, and balance.

How those primaries are mixed, allowed to dominate, or allowed to recede does a lot to determine the feeling the artwork projects into the viewer’s mind.

All of the artworks I am showing you today haven’t appeared in my blog for some time. But all of them are interpreted in primary colors. I won’t tell you how each picture is supposed to make you feel. I am just the artist. Only you can prevent forest fires, and only you can interpret a painting and tell someone else how it makes you feel.















Filed under artwork, drawing, humor, illustrations, imagination, Paffooney

I respond to dreaming in ways that make sense in my stupid head, though the responses probably seem crazy to others.
The picture above was painted in oils in the early 1990’s before I met my wife. It was in response to a Bambi dream that seemed to be about my family as a family of deer. This was not about my family from childhood. It was, at the time, about my family in the future. Somehow I got it right. Two boys and a girl. Together for 25 years next month.

Some pictures are dream images that can only be interpreted metaphorically. This one is about me being creative and artistical… or autistical as the case may be. It is also about being a synesthete with pronounced synesthesia.

This dream was a dream about being a Native American during a thunderstorm. It is called “the Magic-Man’s Daughter” because the Dakota Sioux tribe held the belief that dreams about lightning reveal you as a Shaman or Magic Man. Wakȟáŋ Tȟáŋka is the Lakotah word for “the Great Mystery”. That was a dream that sent me to the library to look things up.

I have dreams with clowns in them that are not nightmares. Here the clown known as Mr. Disney is encouraging me to sing sad songs.
I wrote and entire novel about that whopper of a dream.

It is not uncommon to dream about death and mortality. More than once I have dreamed about my own death. None of them have yet proved prophetic, but you never know.

I think dreams can be prophetic because they are not bound by our perceptions of time in the physical universe. You can look ahead in a dream to that which has not yet happened. You can also look backwards into the past beyond the boundary of your own birth. I often think some of my most vivid dreams are about peering into past lives and a very different me.

I know I sound crazy when I talk about my dreams. But they are a significant source for my artwork and creative endeavors. And dreams have a logic that doesn’t work by the rules of the world we know. Rather, it is a world of wonder.

As I get older and older and more arthritic, it has been a real boon to me that I can use actual photos in artwork to electronically complete visions of what an artwork should look like even though I no longer have the digital dexterity necessary to execute complex and detailed backgrounds.










Filed under artwork, drawing, photo paffoonies






Pen and ink, black and white drawings are the place where my art career started. Line drawings like the ones in the newspaper cartoon pages. I collected newspaper comics. I copied them. I drew Blondie Bumstead and Moonshine McSwine naked. I drew Pogo Possum, Popeye, and Hagar the Horrible. I also drew Steve Canyon and Buzz Sawyer. I still draw Mickey Mouse. I learned cartoonist skills from the best in comic strips and comic books.



Filed under artwork, cartoons, comic strips, drawing, humor, illustrations, Paffooney, pen and ink

Drawing nudes is a risky business. People judge you more harshly when you draw a nude and don’t explain the context. What a pervert you must be. They forgive you a little when you explain that you are an artist and once you took an anatomy drawing class in college where you were drawing from actual nude models. But understand, artists probably take classes like that because they are perverts to begin with.
And you have the added complication of being a victim of sexual assault as a child, so you have a PTSD-sort-of fear of nudity and physical contact while at the same time having all the natural urges that flesh is heir to.
The nude above was drawn actually from a photograph, a Polaroid. The griffon (who represents the fear in your PTSD-inspired dreams) did not want to pose nude in real life. So, you were given a photograph in which she was actually holding on to her boyfriend’s shoulder. Oh, wait! You mean “he” not “she”. The griffon was a boy. But she smiled when she saw the picture. And she asked why there was an eagle in it.
“But that’s not an eagle, it’s a griffon,” you said. “It represents being afraid of being nude.”
Obviously you did not give her the version of the picture with the “eagle” in it. She was happier with the nude you did give her, though it wasn’t drawn as well as this one.

And you are always a little leery of posting nudes you have drawn over the years on your blog, but somehow they get more views than anything else you post, and while you have to wonder why these pictures are so popular among judgmental people who have told you that you are probably a pervert, you secretly know the real reason.
This picture of Karla gets lots of views. You have posted it three or four times before. (Of course, that is not Her real name.)
It is kinda the thing that started the college nude drawings. She was your roommate’s girlfriend, and she was looking at your drawings because Bill told her about your artworks and she was curious. She challenged you to draw her. It was the first nude model you ever drew outside of class. Bob sat in the room with the two of you and watched you draw. (Oh, wait. You called him Bill before. Change that. Bob Bill. There, that’s better.) You drew in pencil.
You did two versions of it. The pen and ink that you drew of it in 1996 was made from the one that you kept.
If you had never done that picture of Karla, the one of the griffon wouldn’t exist either. She had to go and show her picture off to her friends. After all the great cartoons you drew over the years, you might know that the biggest reputation you ever got as an artist came about because of a pencil drawing of a smiley nude girl. And she had a big mouth… both figuratively and literally. But she was nice, and you couldn’t be mad at her. She and Bob Bill got married, and she probably still has that picture in its little frame somewhere in her house.

There was a time in my life, in fact, for a majority of my life, that all these things were pretty much secrets that I kept to myself. I didn’t show the nude pictures to others. I kept them in a portfolio in a closet. I never would’ve admitted to being a nudist at heart either. Or anything about being assaulted as a boy. Or told anyone about any of it in a blog post like this. I can only do that now that I am old and know that none of my sins are really that awful and need to be kept secret. There is a certain beauty in that. You don’t even really need to keep doing it in second person point of view, confusing the audience into thinking it’s about them and not about you. Sorry about the meta-messaging. I just find it funny that I can be completely open at the end of the essay of life, and no longer feel the need to hide all the things that we hide under our clothing. Sometimes there is beauty to be found in the depths of a risky picture.
Filed under art criticism, artwork, autobiography, drawing, humor, nudes, Paffooney, strange and wonderful ideas about life
Truthfully…
Truthfully… for a fiction writer, a humorist, a former school teacher of junior-high-aged kids, telling the truth is hard. But in this post I intend to try it, and I will see if I can stand the castor-oil flavor of it on my tongue.
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Filed under commentary, Disney, drawing, feeling sorry for myself, goofy thoughts, healing, humor, mental health, nudes, Paffooney, pen and ink paffoonies, pessimism, strange and wonderful ideas about life
Tagged as Annette Funicello, artwork, drawing nudes, humor, nudes, paffooney, pessimism, truth