Tag Archives: painting

Why I am full of Art

I started drawing with crayons and pencils sometime before I was five. I started telling stories around age seven and thoroughly scared my sisters and girl cousins. I became an exiled alien living in secret on Earth in second grade. I won an art contest in my fourth-grade class during fire-prevention week. That got me interviewed on television by Channel 3, KGLO TV from Mason City. From a very early age, I was a sponge, soaking up colors and shapes and weird connections, beautiful things, scary things, and taxidermied jackalopes that cost twenty-five cents to look at. And it filled me up to overflowing and spilled out on drawing paper and took up most of the pages of the spiral notebooks I was supposed to be using for school.

What came out of me was art.

I can’t claim to be a professional artist. I have to admit that most of the money I have made in life was earned by being a school teacher, babysitting in the monkey house and taming other people’s house apes for over three decades. I may have sold a hundred books as an author, but less than two hundred. I have never made a dime just for drawing or painting and making visual art pictures. Any art published in media by me has been for nothing more than exposure to the publication’s audience. So, can I truly claim to be an artist?

My entire life has been lived for art. I became one of the world’s all-time worst poets. I became one of the’ best story-tellers that nobody ever reads. And I enthralled over two thousand kiddoes as a teacher who told stories and intentionally made kiddoes laugh in class and try to tell stories themselves.

Why am I full of art? That’s what I WAS BORN TO BE.

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Being and Artistry

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Being an artist is a matter of genetics, luck, and loads of practice.  I began drawing when I was only four or five years old.  I drew skulls and skeletons, crocodiles and deer on everything.  My kindergarten and first grade teachers were constantly gritting their teeth over the marked-up margins of every workbook and worksheet.  I drew and colored on everything.  I eventually got rather good, drawing in pencil, crayon, ink, and as you see here, colored pencil.  I loved to draw the people and things around me.  I also drew the things of my imagination.  I drew my best girl, Alicia, and I drew the half-cobra half-man that lived in the secret cavern under our house.  I drew a picture of the house across the underpass from Grandma Mary’s house.  I drew cardinals, and I drew Snoopy cartoons.  I drew my sports heroes in football and hockey, Donny Anderson and Gordie Howe.  I drew monsters with fangs and fuzzy animals with huge soulful eyes.  I still draw and it’s mostly the same things that I drew when I was a child.  I will post more of the drawings here in the near future to dazzle you with my talents and ridiculous sense of the absurd.

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I inherited art talent from my father’s side of the family.  He could always draw fairly well, though he only used the talent to draw things he meant to build or create in his workshop.  He was a practical man who loved to tinker and make things work in a useful manner.  He had no love or need for that which is fanciful and fantastic.  I suspect, though, that he encouraged my artistical flights of fancy because it spoke to an unfulfilled portion of his own creative instinct.  My Great Aunt Viola was also an artist.  She loved to paint flowers on porcelain and create delicate beauty in items like plates and vases.  Her art was more fanciful than my Dad’s art, but it still had a certain Midwestern practicality at its roots. 

I hoped early on to be a cartoonist or comic-book artist.  I loved to draw wildly imaginative things.  The first cartoons I created were all about outer space.  I wrote stories and drew pictures of Zebra Fleet, a Star-Trek-like space force that kept peace in an area of space inhabited by dog-headed humanoids.  It was fanciful and goofy at the same time.  Since then I tried my hand at a Cowboys and Indians cartoon strip, built around the massacre of Custer’s command at the Little Bighorn.  I researched the Indians of the Dakotah, Crow, Shoshone, and Hidatsa Tribes for my cartoon.  I learned to love drawing feathers, totems, magic men, shamans, shirt men, and lovely Indian girls.  Nowadays I draw the adventures of weird little Toons from Animal Town and the various strange places in Fantastica.  Teenage Panda Girls go out for cheerleading and fail, seeking to wreak revenge on Animal Town.  Hairy Bear is a Grizzly with a tiny body and a huge reputation earned by fantastical hair growths and the ability to make large hair-pieces.  The Four Bares are a family of bears who live at Newt’s Naturist camp and turn Animal Town upside down when they insist on their right as top-of-the-food-chain predators to go anywhere they like naked.  If you are lucky, I will never be a published cartoonist.  I made a serious stab at it.  I came close in two different job interviews and one major submission, but I have arthritis, and it attacked my hands at just the right time to make me a school teacher instead of a cartoonist.

Drawing has become for me a hobby and a lifestyle all about the color and the symbol.  I try to cram as much story and meaning into every figure or picture I do.  Each drawing is precious, and I must squeeze as much as I can from each one, because drawing has become so hard to do and is such a rare thing.  I lean towards the blue in my cartoons.  There is a certain Blue Period about my melancholy work and life.  Things turn out wrong at the end of my stories and there is no happily ever after.  When the nighttime comes, I have to go to sleep with the urge to draw more.  I’ll draw more in the next life, or maybe in my dreams.

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Spotted Trains

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I have had a practically life-long fascination with trains.  Where did that come from?  It came from a Methodist minister who once upon a time saved my life.

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Reverend Louis Aiken (in the cowboy hat) was a lover of HO model trains, as well as country music… and, of course, God.

My best friend growing up was a PK, a preacher’s kid.  And as we hung out and played games and got into imaginatively horrible trouble, we invariably wound up in the basement of the parsonage where his father kept his HO train layout.   I learned lessons of life in that basement in more than one way.  I have to explain all of that somewhere down line.  But for now, I have to limit the topic to what I learned about trains.  They are a link to our past.  They are everywhere. And they do far more for us than merely make us cuss while sitting and endlessly waiting at the railroad crossing.

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When visiting Dows, we absolutely had to stop and take pictures at the train station.

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This is, by my best guess, an SD40 locomotive parked at the restored train station in Dows, Iowa.

Spotting trains to take pictures of, gawk at, and totally make cow-eyes over has become a way of life to me.  When visiting Iowa, especially Mason City, Iowa, we always have to stop at the engine on display in East Park.

When I was a kid, this old iron horse was not fenced in to protect it from kids, weather, and other destructive forces.  Now, however, it is fully restored and given its own roof.  This is a 2-8-2 steam engine with two little wheels in front, eight big wheels in the middle, and two little wheels at the back (not counting wheels on the coal tender).  I have ridden on trains pulled by such a behemoth.  I love to watch the monkey gears grind on the sides of the wheels forcing steam power into the surge down the tracks.  And I can’t help being a total train nut.  Of course I don’t deny being more than one kind of nut.  But being a mixed nut is another post for another day.

 

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Homely Art – Part Two – Paul Detlefsen

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Back in about 1968 my Grandma Beyer was seriously scandalized by an artist named Paul Detlefsen.  Detlefsen did a lot of covers for the “Ideals Magazine” that Grandma always had on her coffee tables.  He scandalized her by putting a painting on the cover that showed a young boy taking his pants off, the rear view only, so he could go skinny dipping with a group of naked boys.  Truthfully the picture shown above is by Detelfsen, but it is not the one that offended her.  I have discovered that this painter of old-timey things like blacksmith shops and one-room school houses has painted at least four different versions of “the Old Swimmin’ Hole”.  And Grandma was easily scandalized when we were kids.  She was a very conservative woman who loved Ronald Reagan and his politics most severely and thought that Richard Nixon was a leftist radical.  She didn’t like for people to be naked, except for bath time, and maybe not even then.  She is one of the main reasons, along with this painter whom she adored, that I came to learn later in life that “naked is funny”.horseandbuggydays-print  http://www.freeplaypost.com/PaulDetlefsen_VintageArtPrint_A.htm

Grandma Beyer also seriously loved puzzles, and besides “Ideals” covers, Paul Detlefsen did a beaucoup of jigsaw puzzles. (Beaucoup means a lot in Texican, I tend to think in Iowegian and talk in Texican and completely forget about the need to translate for those people who don’t know those two foreign tongues)   One of the puzzles we spent hours working on was “Horse and Buggy Days” that I pictured here.  They were the kind of puzzle paintings where every boy was Tom Sawyer and every girl was Becky Thatcher.  And there were a lot of them.  Here is another;

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Grandma had this in puzzle form also.  We put the puzzle together, glued it to tag board, and framed it.  It has hung on the wall in a Grandparent’s house, first Grandma Beyer’s and then Grandma Aldrich’s, since the early 1970’s.  My own parents now live in Grandma Aldrich’s house, and that puzzle-painting may be hanging in an upstairs bedroom to this very day.  Detlefsen is not known as a great artist.  He was a humble painter who painted backdrops for films for over 20 years.  In the 1950’s he switched gears and started doing lithographs that were turned into calendars, jigsaw puzzles, laminated table mats, playing cards, and reproductions you could buy in the Ben Franklin Dime Store in Belmond, Iowa and hang on your back porch at home.  I believe I saw his paintings in all these forms in one place or another.  According to Wikipedia (I know, research, right?) “In 1969, UPI estimated that his artwork had been seen by 80 per cent of all Americans.”  That is pretty dang good for a humble painter, better numbers than Pablo Picasso ever saw.  Let me share a few more of his works, and see if you recognize any of these;

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The Secret Gallery in Grandma’s Closet

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).

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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.

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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.

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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.

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Grandma Aldrich asked for this picture to hang over the sofa in the farmhouse living room.  It stayed there for many years.

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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.

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This pencil drawing won a blue ribbon at the Wright County Fair in the late 70’s.

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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.

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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.

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Wisdom From the Bob Ross Bible

If there is a Church of Sacred Landscapes then Bob Ross is its Jesus Christ.  That is not a sacrilegious statement of bizarre cult-mindedness.  Painting is a religion that has its tenets.  And Bob Ross explained to us the will of God on his painting show on PBS.  All the illustrations used in this post come from the Facebook page Joy of Painting with Bob Ross. All the wisdom comes from things the Master said on the show.

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Bob Ross was the prophet of the paintbrush.  He would present us with a lightly prepared canvas at the beginning of the show and then proceed on camera to take his brush and palette knife, and all his paints, and create a piece of the world before our very eyes.  And he was not Picasso or Van Gogh or even Norman Rockwell.  He was not a talented artist, but rather a very practiced one who knew all the tricks and shortcuts to sofa painting, the art of knocking out scene after scene after scene.  He could make his little piece of the world in only half an hour, and he made it obvious how we could do the same.  His work was not gallery quality… but his teachings were Jesus-worthy.

His work was natural, flowing, and realistic in the random complexity it presented.  He took standard paintbrush strokes and pallet knife tricks and made them dance across the canvas to make happy little trees.

His painting methods presented us with a philosophy of life and a method of dealing with whatever mistakes we might make.

And of course, any good religion must take into account the existence of evil.

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Bob Ross tells us that evil is necessary as a contrast to what is good and what is true.  We need the dark.  But we don’t have to embrace it.  Bob’s paintings were never about the dark bits.  He always gravitated towards the light.

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Of course, sometimes you have to beat back the darkness.  A good artist takes care of his tools.

Bob Ross admonishes us to look and to learn and love what we see.  The man radiated a calm, gentle nature that makes him a natural leader.  His simple, countrified wisdom resonates because we need calm and pastoral peace in our lives.  It is one of the main reasons mankind needs religion.

So I definitely think we ought to consider building a Bob-Rossian Church of the Sacred Landscapes.  We have our prophet.  The man has passed away, yet he is risen to paint again endlessly on YouTube.

And if you are willing to try… Bob Ross will smile upon you.

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The Surrealist

Yes, I admit it.  I am a Surrealist.  I also hope that it is not too terrible a thing to be.  Because I truly think that everyone who was raised by television, and lived through the revolution where computers took over human life, is one too.

definition from Merriam-Webster;

Simple Definition of surrealism;

a 20th-century art form in which an artist or writer combines unrelated images or events in a very strange and dreamlike way

Full Definition of surrealism;

the principles, ideals, or practice of producing fantastic or incongruous imagery or effects in art, literature, film, or theater by means of unnatural or irrational juxtapositions and combinations

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  • There is a certain satisfaction to be had in knowing for certain how to define oneself.  I learned about Surrealism in high school art class back in the early 70’s.  I saw and admired the works of Salvador Dali, Rene Magritte, and Max Ernst.  And I realized that everything I wanted to do in the Realm of Art, whether it was weird paintings, cartoons, comic book art, or bizarre puppet shows… fantasy, science fiction, or humor… it was ALL Surrealism.  Surrealism saturates out culture and our very thinking.    We are drawn to watch baseball by the antics of a giant pantomime chicken.  Our food choices are influenced by a happy red, yellow, and white clown who battles a blobby purple monster and a hamburglar over shakes and French fries.  It is only natural then, that I would want to draw bug-sized fairies who would saddle and ride a red rooster.  I have embraced surrealism as a way of life.
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  • I have no trouble writing a poem about the difficulties of life by writing about a game of bowling where you have to roll a moose down the alley into the pins.
  • Surrealism is all about creating things by lumping all kinds of disparate goodies into the same pot and cooking it up as a stew.  It is important that the stew tastes good in the end, so the mixture has to have large doses of reality and realism in it.  Dali painted melting watches and boneless soft-sculpture people with almost photographic realism.  I am compelled to do that too.
  • And what is humor, after all, if not lumping strange things together into a reality sandwich that makes you laugh because it takes you by surprise?  I don’t shy away from weirdness.  I embrace it.  It makes life all the funnier.
  • And why did I put bullet points on everything in this post?  Because it allows me to mash bits of wit and wisdom together in a weird way that only seems to have no connection, one to the other, and only seems to make no sense.
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  • Sometimes we just have to look at things sideways.
  • I was recently accused of being eclectic in my posting topics by one regular commentator.  I could wear that word like a badge of honor.
  • Definition from the Urban Dictionary;
    This describes a combination of many different individual elements of styles, themes, mediums or inspirations pooled from many sources. It can refer to musical tastes, dress sense, interior design…many things.
    She has an ecletic sense of style, today she wears biker boots, pink fishnet stockings, a pencil skirt, a military jacket, a baseball hat, a my little pony t-shirt and a dunlop bag covered in badges from all her favourite bands from ABBA to Kooks
    by Ezmerelda August 28, 2005
  • So, if I am going to make sense of this whole mess of words and ideas and bizarre images, let me do it with a picture that I think is surreal.
  • Ima mickey

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Drawing for a Lifetime

I was born an artist. It has to be developed and nurtured and practiced over time to become what it can truly be, but artistic talent is something you are born with, and there is a genetic aspect to it. Great Aunt Viola could draw and paint. She produced impressive art during her lifetime. My father can draw. He has demonstrated ability a number of times, though he never developed it. Both my brother and I can draw and have done a lot of it. All three of my children can draw and paint. My daughter, the Princess, even wants to pursue a career in graphic design and animation.

One of the factors that weighs heavily on a career in art is the starving artist factor. To be a serious artist, you have to study art in great detail. You need lots of practice, developing not only pencil-pushing prowess, but having an artist’s eyeball, that way of seeing that twists and turns the artist’s subject to find the most novel and interesting angle. It takes a great deal of time. And if you are doing this alone, you are responsible also for building your own following and marketing your own work and creating your own brand. You need to be three people in one and do this while potentially not being able to make any money at all for it. I have taught myself to do the art part, but I paid the bills with something else I loved to do, teaching English to hormone-crazed middle-schoolers.

An important part of art is what you have to sacrifice to do it.

Many artists become alcoholics, drug users, or suicidal manic-depressives. There is an artistic sort of PTSD. Doing real art costs a lot because it alters your lifestyle, your mental geography, and your spiritual equilibrium. Depending on how much of yourself you put into it, it can use you up, leaving no “you” left within you.

I am not trying to leave you with the impression that I mean to scare you into not wanting to be an artist. For many reasons it is a great thing to be. But it is a lot like whether you are born gay or straight… or somewhere in between. The choice is not entirely up to you. You can only control what you do with the awful gift of art once it is given to you. And that is a serious choice to make. Me, I have to draw. I have to tell stories. My life and well-being depend on it. It is the only way I can be me.

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Meaningless Corrections and Correct Implications

A lot of critical art viewers will randomly tell me that using AI Art programs is plagiarism because these programs have been trained on people’s posted artwork without permission or acknowledgment. I agree that that is not fair. I also think that is not how I use AI programs. The above picture used Picsart AI Photo Editor and AI Mirror in its creation. The Harlequin Girl is drawn from a model I saw on Instagram, a human dancer in a costume that is similar to my drawing. I used AI Mirror to make my imperfect drawing look better than I can do with arthritic fingers. I used the uncorrected version here with the problem hands so you could see the kind of things you have to go back and draw over with digital art tools. I used Picsart to turn her into what is called a “sticker” that I could place upon a background. I used a colored mandala that I got from Tapcolor Digital Coloring Book as a background. Before I put the sticker on top, I added the butterfly and altered the round design elements into flowers.

This is how I use AI Mirror to improve my artwork. The picture above is nothing but a pencil drawing inked and guidelines erased. If you look at it carefully you can see how I skewed the eyes when I inked the pencil drawing. One on the left is the roundness I wanted. The right one has a lower eyelid that cuts too narrowly to make the eyes look mismatched. So, I ran the photo of the finished pen and ink drawing through AI Mirror allowing it to make changes up to 50 %. Below you can see the best result. It took eight tries to get the eye match I wanted.

You can see that the program made changes to more than just the eyes. It took much of the 50% to adjust the background, adding art tools that I had in previous photos of the drawing board used in similar pictures I used AI Mirror on. It also changed the hairstyle, and since it didn’t like the ladybug theme of the dress, changed it for white roses which I have used in similar pictures repeatedly. I did go back and add whiteness to the roses to make it look a little cooler.

This one above is intended to be a surrealist interpretation of a piece of music. Of course, the AI Mirror program and the Picsart program are both overly sensitive to copyright and trademark. That’s why it intentionally screws up the sheet music and the words on the t-shirt of the drawing I did for the girl sticker. It doesn’t reproduce things that could potentially be trademarked. And the flower stems the girl held in my drawing got turned into a short black stick and a sword? There were multiple things I needed to correct as I continued to change it to make it fit my vision for the piece.

This isn’t a final version either, but it is closer. It still needs to have the sheet music tamed to look more like ordinary sheet music. The main character’s bikini bottom shows up in a way that proves that making it two-color black and brown needed to be more contrasting to the shadow color on her legs. And the nudity of her companion was my idea, but I will have to make the further correction of not sending this post to Facebook. Facebook is ready to sanction me for showing bare breasts in their news feeds.

I am now done complaining about the nagging little things that annoy me about the AI art process. But I do the drawings that I present as my work. I am not plagiarizing anything. And I thoroughly enjoy this whole process.

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Making Portraits

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My biggest regret as a cartoonist and waster of art supplies is the fact that I am not the world’s best portrait artist.  I can only rarely make a work of art look like a real person.  Usually the subject has to to be a person I love or care deeply about.  This 1983 picture of Ruben looks very like him to me, though he probably wouldn’t recognize himself here as the 8th grader who told me in the fall of 1981 that I was his favorite teacher.  That admission on his part kept me from quitting and failing as a first year teacher overwhelmed by the challenges of a poor school district in deep South Texas.

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My Great Grandma Hinckley was really great.

My great grandmother on my mother’s side passed away as the 1970’s came to an end.  I tried to immortalize her with a work of art.  I drew the sketch above to make a painting of her.  All my relatives were amazed at the picture.  They loved it immensely.  I gave the painting to my Grandma Aldrich, her second eldest daughter.  And it got put away in a closet at the farmhouse.  It made my grandma too sad to look at every day.  So the actual painting is still in a closet in Iowa.

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There were, of course, numerous students that made my life a living heck, especially during my early years as a teacher.  But I was one of those unusual teachers (possibly insane teachers) who learned to love the bad kids.  Love/hate relationships tend to endure in your memory almost as long as the loving ones.  I was always able to pull the good out of certain kids… at least in portraits of them.

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When kids pose for pictures, they are not usually patient enough to sit for a portrait artist.  I learned early on to work from photographs, though it has the disadvantage of being only two-dimensional.  Sometimes you have to cartoonify the subject to get the real essence of the person you are capturing in artiness.

But I can’t get to the point of this essay without acknowledging the fact that any artist who tries to make a portrait, is not a camera.  The artist has to put down on paper or canvas what he sees in his own head.  That means the work of art is filtered through the artist’s goofy brain and is transformed by all his quirks and abnormalities.  Therefore any work of art, including a portrait that looks like its subject, is really a picture of the artist himself.  So, I guess I owe you some self portraits to compare.

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Yeah, that’s me at 10… so what?

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