To get me started I'll call this post 'to do' , as I could use some form of organizing this and my thoughts, and this blog seems like a good place to do that.
SO I'm taking Painting three, with Stephanie Henderson. She is cool. She's a bug time illustrator, as in, she has big things going on. She's strong. I've got to go to the Ringling museum tomorrow, in the morning would be a good time, or maybe in the afternoon, whichever. Maybe look at paintings in the morning, then go outside and paint in the afternoon, That could be good, because I'll probably (maybe) drink tonight, then wake Ideally at 9 or nine thirty, or ten, then either, dream, or meditate, or read, or write, hopefully not buy anything, and get a brunch at Hammond Commons (the dining hall). From there, maybe to Bayou 2 via an unlock from Security, to retrieve my French Easel, wherefrom, I will head straight to the Ringling Museum- might as well- with a fresh panel (in Backpack already) to make a pleinair study (or two). Photographs will need to be taken, consider a tiny color study, to prepare for abstraction et al.
It may behoove you to look up some methods on glazing. Once you've got an idea of what pigments old masters used, you could go back in to that (while thing, or) background of that Ermine DaVinci cover-painting. (what didi DaVinci use to glaze, and glaze, making flat shadows, and complex darks), then you're off. It is also important that you go fat when you do this (these) glazes, so that the painting won't fall off, or crack, or that it will dry, but not with an unsatisfactory finish- in time to apply a presentation-worthy varnish on it before it hangs tentatively on the display case for Mike Hodges' class portrait showcase. Photograph and email mike the finished (or in process if you want) painting, that he and I may zero-in on the show.
Another pertinent thing to do is to make the illustrator spot illustration for digital illustration class- this is not so far from exactly why you got into- really into- this (or at least, by one recollection)- that time you were living in a car and reading Snow Leopard and illustrating text passages. So, this Shakespeare prompt could be a dead end, might be, so it would be good to read each of the articles, rather than just the shakespeare, to check out if there's greener grass, or more fertile soil maybe.
Something of a big decision to be made is that one pertaining to moving to Philadelphia. This is the latest in the series of big ideas- well not the latest, second to latest. The latest one is buying a house, (or some complex) with Emma, fifty fifty, to be slumlords together, and attain cash flow. She's smart, and someone I would frankly marry. I like her as a friend, even though we are very different from one another. She's compassionate. So the house-thing is not so far-fetched- it's something that I've thought about for a handful of years now, and I wonder who I would be (in past, present, and future tense) if that be the decision I come/came/will come to. It's whatever. Emma said I'm so airy, and she's right I was ready to put out the cash for a house after like a text message. It's a wonder I get anything done at all, but here I am, with no life, and a drive for learning about art, and the world, and I also wax poetic, and want to be a farmer, or something useful, so I was happy to have Emma as someone who could tell me very flatly that I was airy, and that it works well for me. She has great perception.
So the second to latest thing, which is more probable, and in line with the line I've been making- less schizo- is going through with application for PAFA, the Pennsylvania Academy of Fine Arts, in Philadelphia. It's the oldest school in the country etc., and it looks like their painting facutly is legit, and can teach about painting, and the recourses are good and the location is good, and the structure is different, and the housing is off- location, and the library seems good, and the school is built on top of a couple museums, and there's a first-edition cast collection below one of museums for students to draw, and at some point down there too they bring in a big horse, for the darwing class to draw from, and the meals (company-store dining) are not built in, but there's bagel shops all around, and the gym isn't built in, but there's a big city to walk, and gyms all around, and a Rodin Museum, and a old-rich collector's house full of paintings to see, and history, and intellectuals, and just at the end of the day, something new. Also per-semester it would be cheaper than where I go. I was just up there for a few days in the Winter Break, to talk about switching to their school, and it would be cool. I've already done something like this- it may even be me in the habit of uprooting, since my introduction of the concept from my family, growing up. Anyway, the decision os not-so-hard, to stay or to go, because I want to go- I think I would do great there, and benefit from actually learning how to paint, and to speak with smart people about what to paint about and what my paintings are about, and all that kind of stuff.
SO to get there, I have to arrange my files, to submit as portfolio, and to write my essay, explaining what I want to go there for, and email my teachers (after the weekend, and after talking with then, perhaps reading them my essay about what I want in an art school, or snippets, so the package becomes comprehensive) about writing for me a (two) letters of recommendation.
I should photograph (this weekend) then cut up that sculpture via a cut-off grinder.
I've got to do that new illustrator project, but not before class the next day, as the teacher hasn't formally assigned (posted) it.
It would be good to go onto the website for painting class, to study the new paintings (and horse paintings). Photograph and email DV copy to Stephanie, to ask about next steps, and photograph (bring from north studios) all of the studies done-thus-far in Bayou2. Store those things in there too- the North Studios is a little lame for painting.
Think about screen printing, ( I am ), and about what you want to do (design, in illustrator) regarding color, spot or shape, and subject matter. Consider that thing in the sketchbook. Scan that thing and Vectorize it- value, then color that thing.
Go in to Glass casting when the time comes- no rush- to seal-up that cracked mold, to prepare for the kiln.
Saturday after returning from the Museum painting, treat yourself to a night of figure drawing gestures at FEWS. Bring the money packet, and get it at the end of the night too.
Either keep going or crash, whichever.
Wake up Sunday thinking about Monday's print-making class in the morning, then Illustration final crit(s), then figure class (whereafter it may be good to talk with Carl about that letter of rec), wherealso charcoal and mix-media are the media. Be prepared for Monday by being prepared on Sunday.
Tuesday comes digital, where I should have the spot done, and where I should dive in to the portrait assignment. I't might be good to do a self-portrait. Then glass-casting. Maybe on this day, run the money up to finance for a FEWS deposit. Pratt or old Brit as options. Figure draw long pose in the evening.
Wednseday morning- painting class (what's going on ? Where are we going?) The canvasses (surfaces) have been gessoed, it would be good to have those paintings done (the little masters, the mid-size master) and the bay one- these she wants to see, and also she has yet to see any of my paintings this semester. There's a possibility that if I do not show her that I am working sometime soon, I may fail the midterm, and fail the course- show some work. It would also be a vary good idea to actually go to the museum tomorrow- it's the surest way that your museum-stunt (skipping that part of class, to work on that monotype book) go forgiven, or at least, explained. That's a wrong-to-be-righted with my painting teacher, for sure.
Same thing with the digital class- the wrong-to-right is turning in the spot that was due (whoops,) yesterday.
Feels good to write.
Wednesday evening, go to bring the thing to FEWS< then to work at the North Studio.
I'm getting herpes in my nose again, this fuckin sucks.
That's most of it. Paint tomorrow, then draw, then paint, then the next day do all of the print-services stuff after an illustrator morning, then finish-up the work for the images, then photograph them.
Maybe look at internet sites, maybe dip into personal work, and maybe chip away at Pafa stuff.
Finish Noa Noa and give that to Angie.
