Alphabetized Vicodin Catalogue

Spring, Thesis.

2011-05-21T03:46:00.000-05:00

Excavator III: Scaffold

Excavator II: Portmanteau

Another'n

2011-01-10T10:52:00.000-06:00

Fall drawings, Thesis.

2011-01-09T00:01:00.001-06:00

AD332 Final, Part 2

2010-05-06T14:29:00.000-05:00

Tabernacle
Acrylic on Panel
18x24

AD332 Final (3/4 view, facing left)

2010-05-06T14:25:00.000-05:00

Exodus
Oil and Acrylic on Canvas
5'x3'

Selves (AD307 Final)

2010-05-06T14:18:00.000-05:00

Self as Jesus
Gold Leaf+Graphite on Rives BFK

Self as Daniel Plainview
Graphite+Blue Pencil+Ink on Rives BFK

Self as Stranger
Graphite + White Acrylic on Rives BFK

Vallejo and Bell

2010-03-29T23:03:00.000-05:00

Just rediscovered Boris Vallejo and Julie Bell, two artists who had an incredible impact on me early in life (among many other things, they did many of those beautiful superhero trading cards from the early-mid nineties). These are from Vallejo + Bell's "Ultimate Collection," which is, aside from being astounding in its own right, a goldmine as far as figure reference goes.

Charade (process)

2010-03-17T22:58:00.000-05:00

24x36, Acrylic & Oil on Canvas

Papercut

2010-03-17T22:48:00.000-05:00

10"x10" Armature wire, clay,
silver leaf, mirror, and paper

Rearview

2010-03-17T22:46:00.000-05:00

24x36, Oil & Acrylic

six drawings all hung up at once.

2010-03-09T20:34:00.000-06:00

Portraaaaits

2010-03-07T18:46:00.000-06:00

Woof.

2010-02-24T09:28:00.000-06:00

Woof.

2010-02-24T09:27:00.001-06:00

Woof.

2010-02-24T09:27:00.000-06:00

Sketchdump2!

2010-02-19T22:25:00.000-06:00

Sketchdump!

2010-02-19T22:24:00.000-06:00

LifedrawingHomeworkssss

2010-02-19T22:21:00.000-06:00

Shiva workinprogress

2010-02-19T22:20:00.000-06:00

Ink Week 3

2010-02-19T22:00:00.000-06:00

Ink Week 2

2010-02-19T21:59:00.001-06:00

Ink Week 1

2010-02-19T21:59:00.000-06:00

Ink Figure 3 (Upper Body, Female)

2010-02-11T18:42:00.000-06:00

Ink Figure 2 (Lower Body, Male; Upper Body, Female)

2010-02-11T18:41:00.000-06:00

Ink Figure 1 (Male, lower body)

2010-02-11T18:40:00.000-06:00

LIfedrawing Homeworks 2

2010-02-08T00:10:00.000-06:00

Lifedrawing Homeworks

2010-02-08T00:09:00.000-06:00

First Paper/Picture for AH207, history of ancient south asia. Free February at the Art Institute of Chicago!

2010-02-07T18:15:00.004-06:00

Karttikeya, God of War, Seated on a Peacock is a stone sculpture located in the Art institute of Chicago. It is a 59 1/16 x 47 5/8 x 15 3/8 in. granite sculpture that is viewable in the round. The sculpture is approximately life-sized, and possesses the dusty blue-black color of granite throughout, without much sheen save for a few "skin" areas on Karttikeya that have been polished more than the rest. By and large, its surface is a smooth one--great care has been taken to render the forms of Karttikeya and his peacock in a fairly realistic manner. Its size imbues Karttikeya's visage with an intimidating air--the sculptor was most certainly aiming to depict Karttikeya as an imposing, steel-nerved killing machine--a yesteryear Terminator of sorts.

Fitting for a God of War, Karttikeya bristles with weaponry. His twelve arms fan out of him like wings, each holding an object. Some are readily recognizable instruments of death and pain--whips, knives, saws--while others are a bit more difficult to identify(Spike-handled brass knuckles? A pinwheel-of-doom?). Regardless, they all exude "weapon-ness" in the "these are most definitely for killing dudes" sense. Furthermore, each is unsheathed and held in a ready-to-strike position. Karttikeya is not getting ready for battle, he is already about as prepared as one could be for warfare. One could say that he "has his game face on."

Or, to be more precise, his game faces. He gazes in all directions, as his head is composed of six faces that look outward with the same serene expression. Karttikeya possesses an interesting physiology in that he exhibits both axial symmetry and radial symmetry. The former occurs in the left and right hemispheres of his body, while the latter occurs in the shared points of origin in his arms and head. This glut of appendages establishes him as more than a mere human--he is a superhuman who can see and strike omnidirectionally, a creature who has no blind spot, ever.

The sculptor most certainly took this into account when deciding between a frontally-viewed versus an in-the-round depiction of Karttikeya. "If I make something that one can walk all of the way around, one will appreciate how impossible it is to sneak up on, surprise, or otherwise best Karttikeya physically." And it works! Much like Chuck Norris, one can never be behind Karttikeya, one can only observe the face of death from a different angle. This was driven home by the Art Institute's curatorial choice of placing Karttikeya in a centralized location in the gallery. As museum patrons meander through the long corridor of the gallery, they never escape Karttikeya's steady gaze.

Atop each all-seeing facet of his head, Karttikeya wears a ridged head garment segmented into rings similar to a caterpillar's body. These six helmets angle inward and meld together to one massed headpiece reminiscent of an auger aimed skyward. The head-wear is at least as large as Karttikeya's head. Elsewhere, Karttikeya is sparsely adorned. His battle-dress appears more fashionable than functional. Upon his shoulders are wafer-thin pads, between which an equally thin garment encircles Karttikeya's neck and sternum area, more dickie than gorget. Straps running from his upper to lower body secure his battle-underwear, which surely are no impediment to locomotion--they consist of a kilt-like drape on the front and and a scant two pieces of fabric on Karttikeya's behind. Upon each of his twelve biceps he wears a bangle-like accessory that one would not expect to offer much protection.

By adorning Karttikeya in battle-dress that would appear to offer little, if any, protection, the sculptor of this statue makes a few implications. One possibility is that Karttikeya is impervious to attack, and doesn't need "real" armor for protection, because an arrow fired at him would be an arrow wasted. Perhaps it would bounce off with a satisfying "thunk." Another possible reason Karttikeya is dressed so lightly for battle is that he is a believer in the best defense being a good offense--that is to say, any enemy close enough to strike him is probably already dead by his hand(s). This possibility seems fairly logical, as Karttikeya has a six-to-one upper hand (so to speak) on mere mortals when it comes arms and heads. Surplus arms, in Karttikeya's case, more than make up for deficient armor.

Though lacking both armor and bonus limbs, Karttikeya's war peacock is clearly not a peacock of the "decorative" variety. Its face expresses a cold, animal alertness, its back forming a surface that Karttikeya sits on sideways, facing, as it were, to the peacock's right. The animal has an ornate saddle resting upon its back, little more than a few decorative embellishments. Its plumage explodes from its hindquarters, with spear-like feathers protruding at varying lengths. Neatly lined into rows, the plumage appears with a regularity reminiscent of rows of sharpened blades at an armory. The peacock stands with its center of gravity slightly forward-reaching and its head reversed and facing the same way as Karttikeya's body. This could imply a sense of being "ready for action," and being prepared to leap into battle at any moment. This sense is only compounded by the thickly-muscled legs of the bird, decidedly velociraptor-like in nature. Though not quite as heavily armed, Karttikeya's war-peacock is every bit as solid and alert as he is--despite having no arms to speak of and only a single head.

The solidity of both the peacock and Karttikeya is owed largely to a few clever decisions on the part of the sculptor. The peak of Karttikeya's head garment intersects with a great arch of stone that begins and terminates at the head and tail of his peacock-of-war. This arch probably exists to offer structural support to Karttikeya's many appendages, especially the oversized head; it also allowed the sculptor to carve clear the stone in places, leaving only the elucidated form of Karttikeya behind. Without this support, the hands and head of Karttikeya, partially embedded in the arch, would almost certainly be casualties to the rigors of time--like the limbs of many other ancient sculptures. At the base of the statue, longevity and stability are once again addressed masterfully. Karttikeya's war-peacock is able to carry such a heavily-laden god with the aid of a solid stone base left in a geometric and unpunctured state. With this inverted trapezoid beneath and the arch above, it is no wonder that Karttikeya's statue remains in almost-pristine condition, despite the approximately nine centuries since its creation. The sculptor of this object wanted Karttikeya to not only intimidate, but also to continue to intimidate for a very long time.

Figure Drawing 2

2010-01-28T21:17:00.000-06:00

figure drawing

2010-01-28T21:14:00.000-06:00

Dubasaurus!

2009-12-28T13:35:00.002-06:00

Ethnography! (A paper about Jake's band)

2009-12-28T13:27:00.003-06:00

Music Production As of Yet

With consumer electronics becoming increasingly ubiquitous in the American household, it comes as no surprise that the cost of most gadgets has dropped drastically in recent years. “Flat-panel TVs, laptops, camcorders, GPS devices, and video-game consoles are all being sold at record-low prices,” with the economic recession and the holiday season further driving down costs.4 The cheapening trend in electronics has also swept the realm of music: in the past ten years, the price of audio equipment has dropped a staggering 40.3%.3 With audio equipment becoming less and less expensive, demographics with low income and a keen interested in technology—specifically, college students—are finding themselves able to purchase and utilize heretofore unavailable methods of audio recording and production.
Jake Metz is one such person. An engineering student at the University of Illinois at Urbana-Champaign, Jake has always had a keen interest in both technology and music. He has been programming and building computers for seven years, and playing guitar for twice as long. In addition to his electrical engineering coursework, he works at WPGU, a college radio station, and as an IT workstation network supporter. His natural proclivities and the market trend for cheapening electronics have allowed him to assume the role of both musician and producer for his four-to-eight member band, As of Yet1.
When I first set out to interview Jake, I was excited to learn exactly how his band “works,” with regards to writing, recording, and production. After establishing our Skype call, however, we encountered technical difficulties. Though our conversation progressed smoothly at first, contact soon became sporadic. I had to ask Jake to clarify his statements more often than not, to make sure I heard it right. Oftentimes he would need to rephrase what he said to make it easier for me to understand on my side. “Shit,” I thought to myself, “I'm researching a type of human-technology interaction here, and technology has already decided not to cooperate. You win this round, Windows.”
After adjusting our respective connections and continuing the interview, however, I appreciated our initial technical difficulties. They gave me a sense, however small, of the type of frustration Jake must certainly encounter in the arduous process of producing a song. Aside from the obvious logistical hurdles encountered by a band composed of full-time college students, Jake has the lion's share of technical expertise required on the “post-production” side of his band's creative process. He outlined for me, the second time in unbroken transmissions, the equipment, knowledge, and procedures required for his band's music to evolve from the raw material culled from recording sessions to a finalized product.
The first step is, naturally, writing some music. Jake recalled fondly the first collaboration of the musicians who would eventually constitute As of Yet. “This is how we came cohesively together as a group,” he states, referring to As of Yet's core band members: Jake Metz (Guitar, Bass, Vocals), Evan Metz (Mandolin, Guitar, Bass, Synth, Drums, Vocals), Caitlin Younce (Piano, Cello, Vocals), and Claire Carolino (Vocals).1 Occasional contributors to the band include Dylan Sutcliff (vocals), Claire Barnhart (vocals), Douglas Patterson (drums), and Mike Schwebke (drums).1 “Dylan and Caitlin came like little paupers and then Evan and I, we were the miserly, y'know. They, like, wanted help and said, 'Can you help us make this into a more produced song?”2 It could be said that As of Yet was an invention of necessity—a desire, on the part of Dylan and Caitlin, for a level of technological precision not available to many musicians.
Jake is unique among his musically-inclined friends in that he, having a strong background in technology, exalts in the electronic side of music: “It got to a point about a year ago,” he recalls, “when me and the FedEx guy knew each other by name because of all of the audio equipment I had been ordering.”2 One might have deduced Jake's affinities during our Skype interview—the space in which he inhabited on my screen was a DJ booth, recording studio, and a bedroom rolled into one.
As of Yet makes extensive use of it Jake's room/recording studio throughout the development of a song. “We make music in the bedroom. That is quite literal, as we record in Jake's bedroom, but use the innuendo if you wish,” their website announces.1 But before recording can take place, the band must decide what will be played. Songwriting is not left to one particular person in the group, however; it is an egalitarian process. “For some of the songs—for most of the songs,” Jake relates, “probably one or two of us have written it together.”2
These proto-songs are then presented to the group as a whole, which then extrapolates on the material. This often involves a jam session to get a “feel” for what will be added to the song. At this point, the entire group is actively participating in the creative process. Citing a specific song, Jake explains: “In 'Wondering', Claire and Caitlin came to me and Evan, and we went from there, jammed a while, got Mike to come help with that and jam on drums. First it was a piano riff, then we added drums, then I added guitar.”2
With the whole band present, some early effects in recording/production can be made, allowing for immediate feedback. These live production improvisations can take many forms, such as one instance in which As of Yet “did this cool thing that was fun during practice,” in which they “recorded a crash cymbal and guitar power chord and then reversed them, and added a little volume and then a buildup rush.”2 Jake's dexterity allows him to perform such complex maneuvers on the fly, allowing the band to more cohesively decide what does and does not “work,” production-wise, during a given practice session.
When a song is first taking shape, it is recorded as a “really crappy draft version”2 that is then disseminated amongst the entire band. Each member is then issued a copy of the draft. They each take it home and listen individually to the draft, noting specifically which areas need improvement. When the band reconvenes after meditating on the song for days or weeks, they agree on what they need to do to “tweak it to get it to where we want it to be.”2 After adjusting the draft comes the next phase of the process: “recording individual parts, layering them. Like a rhythm, just a drum track, or just a synthesizer.”2
By “recording individual parts,” Jake is referring to the process of collecting, one at a time, the various instrumental “layers” that constitute a song. Why record one part at a time, and not every part simultaneously? Dividing the track into layers for this next phase allows Jake to fine-tune the sound of individual instruments—instead of one collected mass of recorded material, Jake has each individual part of the performance at his disposal. This compartmentalization makes little tweaks, additions, and subtractions to a given song easier to perform after the recording has taken place. Layering tracks in this fashion is an efficient method, as Jake is able to let the recording “stay like that for a while,” but can then later decide to “add more guitar for some parts” without needing to rally the entire band for a time-consuming re-recording session.2
After the various instruments have been recorded and Jake has compiled them, a process of call-and-response takes place between the members of the band as adjustments are made. “So we all kinda go through [the layered version] one time to find the parts we like,” Jake explains.2 Then Jake makes other adjustments to the recorded audio files, such as “getting the levels of the individual layers correct and working together cohesively.” After making those adjustments, Jake will once again “send it out to everyone,” collecting their feedback. It is interesting to note that when he says “everyone,” it isn't much of an exaggeration—drafts of the song will be forwarded both to band members and to people with no musical background—such as family, friends, and friends-of-friends—in order get as much feedback as possible.2
The next stage in the song's development is where the real “producing” takes place—and it can prove to be incredibly time-intensive. Though the earliest parts of the production process were conducted with the entire band present, Jake does a majority of it alone, joking that “I cry every moment of it.”2 With initial performances and adjustments recorded and commented on by the group and by acquaintances, the files then “sit in the folder in my computer while I procrastinate for two or three months,” he admits.2
Eventually the rest of As of Yet “pesters”2 him enough to conduct the tedious-sounding task of fine-tuning the recorded material. In addition to “mixing it up a bit,” Jake takes into account the environments in which the song will be played: “I test it on some different sets of speakers, on some headphones, studio speakers, stereo, or a car. I take notes on how to edit it.”2 It's only after this “survey” of various listening devices has happened that Jake can incorporate his findings and then “come in and do a final mix.”2 The gradual editing of the song can be a glacial process. After arriving at a “final” mix, Jake surveys his work: “I listen to it again in another two months. At this point I start listening to it a lot. Little things start to bug me, so I edit again.”2
This process gave me a sense of deja vu, but it took me a while to figure out what it reminded me of. Then it hit me: Jake's and my original Skype conversation directly paralleled Jake(and As of Yet's) creative process. First, one member of a group approached another with an idea for a project and a general idea of what was desired. Then, a dialog was established between the entire group, and a mutual understanding for the subject matter was established. From there, one member was tasked with gradually refining aspects of the project and disseminating it amongst the other members via a technological means. A call-and-response was established, where a producer presented updated information, the rest of the group gave feedback, and the producer further refined his product based on that feedback.
In both cases, technology is a double-edged sword. Though Skype aided Jake and I in collaborating for the interview, its failings altered the nature of our interaction, as Jake was forced to alter his responses slightly with each requested re-iteration. Similarly, the production technology and techniques that Jake utilizes when creating a song offer him much more control in determining the final outcome of a song. Complications arise when one applies the vast number of variables that are offered by technology to the already-limitless potential of music-making: As of Yet is tasked with addressing the product of multiple infinities. When I asked Jake if, after the countless revisions, tweaks, additions, and subtractions that he'd mentioned, a song was done, his reply was this: “No, I'd say that none of our songs are gonna be done for like two or three years.”2

matt mcwilliams, lunar property owner

2009-11-03T20:36:00.000-06:00

2009-11-03T20:34:00.000-06:00

Pound for pound, you are producing 10,000x more energy than the sun!

2009-10-04T13:22:00.001-05:00

Notebookery!

2009-10-04T13:19:00.000-05:00

Some Things!

2009-10-04T13:16:00.000-05:00

2009-05-26T14:44:00.001-05:00

sightings on the way to NYC; to Newhaven. Cassadaga!

passages from a book about dyin, old folks, Yalery, travel

Nudity Beware!

2009-05-26T14:40:00.002-05:00

goblin sharks are spooky.

casey giving directions on mother's day and stalker and s.t.a.l.k.e.r.

Beaker is still having second thoughts about moving in with his girlfriend (but he probably won't bring it up tonight because he doesn't want to make a fuss this early in the week).

airport ADHD. so many faces! wish i could draw more quickly/accurately, or stop time.

2009-05-26T14:37:00.001-05:00

table things and acrylic toe-dippin and botched roommates

google image search guy

self port and thumbnails

more botched roommate (marios this time); skellingtons

IlliniCarbon Logo/Art possibilites For Jake

2009-05-07T03:15:00.002-05:00

Illustrator is a goofy thing

As is painting digitally.

Time lapse painting finals

2009-04-29T16:12:00.006-05:00

each photo represents a time lapse of somewhere between a couple and a bunch of hours.

what is happening here is that an octopus is fighting a lobster in the rain and some people and a diver guy are holding hands and watching and a tank is aiming at the creatures.

go listen to autoclave while you look at this! and then read the dark tower series! there are some things i like and others i don't. during critique i was asked about how it related to the essay. i made something up!

semester chronology. i think i improved. leave please leave comments on how i could do things better. especially if i don't know you and/or you don't have any art background at all. it is your advice i find most valuable.

Drawings comma various

2009-04-29T15:49:00.005-05:00

it looks like regular blood (only lighter i think)

biology notes + alex's sinister dream + acrylic foray

nate doing color theory, figure lady

figure lady deux, preliminary drawing for a dream i had wherein casey both was and was not batman

have you ever tried drawing a knot? they are tricky!

poor aerodynamics. battle tactics. narrative inquiries. later kei turned into a lion with a sword shaped like a key in his mouth. kingdom hearts is some kind of chimeric fever-dream.

group portrait during porco rosso which was gorgeous go watch it

mike and early wardenclyffe and an awful, awful kei.

crystallized boredom and divided attention.

painting final brainstorm. absolutely no desire to connect it to the prompt (because then i care more and make something better). forgiveness not permission! hey oh!

meeting at u of c with mom where i felt out of place and drew faces and other things

casey becomes batman!

i forgot the batlogo!

self portrait of disdain!

digital accumulation!

i'm not sure how arms look from inside but ribcages are fun to draw!

Wardenclyffe Tower

2009-04-17T15:31:00.002-05:00

This was for Seminar II, it's a response to Jorge Luis Borges' The Circular Ruins, a story about a man who wills a son into existence. The story reminded me of Doc Manhattan, so I tried to work in some of the anatomy I've been learning, transparency, and an sense of incomplete construction. And those glowing thingies are based on
Wardenclyffe Tower (thanks, Jake), a never fully-realized structure conceived by Nikola Tesla. Gotta love Tesla.

Graphite on 14x17 Bristol Board

Three-Part Miniseries (For Rita!)

2009-04-12T12:39:00.000-05:00

New.

2009-03-30T20:29:00.008-05:00

bio.

painting.

study for cannibal painting.

highlighters!

pencil for Rita.

ink for Rita.

this one's for you, chris.

english.

crits.

english.

last page of Christmas Sketchbook from Casey.

Jake, asleep, on car ride to Ozarks.

Backpackin companions.

"I dreamt that I was perched atop a throne of human skulls,"

"On a cliff above the ocean, howling wind and shrieking seagulls."
From Autoclave by TMG, gonna be my next painting project.

Graphite Acrylic Digital Ink Graphite/Faces+Bodies

2009-02-10T02:15:00.012-06:00

This is what happens when I procrastinate! Big ol' Posts!

18x24 acrylic, Casey's Band...I like the drawing better than the painting. "Abstract," said the project prompt. Prompts are overrated!

T-Shirt Designs for Jake. Digital.

=====NUDITY AHEAD! NSFW!=====

Figure Drawing. Graphite + Ink

Painting Crit Drawings:
Nate.

Sonja. Loomis figures.

Tim n Jake at U of I

Kevin.

Kate Beaton is awesome. I stole her style for a few faces here and there.

Night of Casey's Concert, Sketches.

I have black pen but also sometimes there is a red one present. Sometimes I almost draw an artichoke!

Drawings from Jake's Room at U of I:

3/4 of Led Zeppelin

Jake. Deltoid! Guitar!

Bus ride to Champaign. Shortly before this, on the bus, a (maybe drunk) old lady paid me $3 to draw a picture of her son from a photograph. The picture turned out terrifying, and this one here is the only picture i drew on the bus ride worth mentioning.

Imagine how much I'm getting done in english! Go on!

...imagine!

Brittany Crit. Hers was my favorite. Talent!

Painting, Faces.

Loomis figure studies

More Loomis

Loomis, "Drawing the Head and Hands"

Kate Beaton inspired.

English/Biology

Roommates.

Marios.

Seminar II

English

Seminar

Wes's Birthday

holiday sketchdump!

2009-01-08T15:51:00.003-06:00

Saturday Sketchdump

2008-11-08T08:46:00.006-06:00

8x11, Friday in Electro. Emma likes to be drawn. And to fall asleep.

8x11, Chris(my Responsive Arts teacher) reminiscing about his battle in space with Perseus-9. Or, at least that's what came to mind when I saw what appeared to be a disembodied robot head in his awesome, awesome home studio on field trip day.

8x11, One real person and two fake. Try and guess which!

8x11, Oh Bridgeman's Guide to Anatomy, you are so beautiful to me.

8x11, More of the same. Some glassware from Hyde Park and some hands. This page is rife with sorrow. I was having a bad day.

8x11, Electro. A few classmates and a sea monster named Sheila and her real-life counterpart in the spine on the left, there. Lilly made her out of a straw wrapper, red sharpie, and blue nail polish. Shortly before completing this, I drew lightning bolts on someone's shoes. We seldom do what we're supposed to during Responsive Arts.

8x11, a portrait sketch during you-know-what. John was very amiable about sitting still so long. He probably should have been soldering an LED or coding with Arduino or something while I was drawing, so I thank him for his patience.

8x11, scribbly goulash.

8x11, Thumbnails. Top two based on the song "Dirty Old Town," originally by the Dubliners but the version I've heard is by the Mountain Goats. The bottom four are concepts for a drawing involving a throne of human skulls. There's "Autoclave" by TMG and Stephen King's "Crimson King" that both employ said skull-thronery. I've wanted to draw one for at least a year.

8x11, Mobsters.

8x11, Drawn shortly after Jake and Alex visited and we watched Extras. "I've already seen everything."

8x10 (I think), Based on a photo I took at Dad's airport. Leon is hilarious. This is the smallest canvas I've worked on. Still workin' on the underpainting. This is part of my next painting project, which will involve three small squarish canvases and one bigger rectangle canvas.

14x17, various Bridgeman drawings and some thumbnails.

14x17, Pure Bridgeman. That guy knew necks like nobody's business.

14x17, Bridgeman, again. I find it incredibly hard to draw convincing legs. You might notice that most of my drawings don't include them. This was a little practice.

14x17, Thumbnails for a roughly 6' x 4' drawing project we're working on. My partner and I are drawing The Terminator in Manet's Olympia's pose. The drawing is a response to Jeff Koons' work. I had to swallow the bile in my throat upon hearing his name in the project description.

14x17, Bridgeman. Skulls n Legs. And a lower trunk.

14x17, Bridgeman on right, imagined drawing on left. Brainstorming how the Skull-King would dress and sit and accessorize. Didn't get very much done in painting class that day.

14x17, All together now!

Quick Dance Break

2008-11-03T18:13:00.002-06:00

Suh Suh Suh Sketchdump

2008-10-15T16:42:00.007-05:00

Found this in a notebook from last year

11x14, Never got around to drawing wes. he was being snuggled

11x14, self portrait circa michigan organic farming, after i left scad.

11x14, treehouse and white stripes

11x14, two flavors of elephant, i drew this in my dorm last year.

11x14, ricky gervais having a nightmare that will maybe one day i'll complete drawing. his nightmare involves muppets. that's either stadtler or waldorf above him, there.

18x24, emma from electronix

11x14, self port sometime around michigan

11x14, wesley is way awesomer than you.

8.5x11, i should learn to draw anatomy better.

8.5x11, nobody in particular. electronix. boredom.

8.5x11, biker gal. done during art writing. also boring sometimes.

24x36, acrylic on canvas...in progress. the project is to take a story from a newspaper, make a "sculptural response" to it, then paint said response. mine was the travelin' kidney man, about an article about people donating kidneys in a "pay it forward" manner.

24x34, second painting for the same project. in progress! we had to make a collage, then paint it. it's loads more fun than the first one. mine has science. and industry!

*UPDATE*

oh how i enjoy this.

18x24, graphite. we paired off in drawing class and needed to do an object and an emotion. this is frazin, a lightsaber, and lust.

18x24, second drawing for that project. i used charcoal on a blending stump. many thanks to trent and erin and car car for providing the caffeine needed for its creation. the drawing is frazin/welding goggles/sadness.

What happens when you put Trent Reznor, Leonard Nemoy and William Shatner in a box?

2008-10-05T20:31:00.004-05:00

Wonderful (and yet slightly disturbing) fucking things. That's what.

PS - Special thanks to Veronica Castro for introducing me to this

incredible piece of mashup, fanboy, and subtley homoerotic media.

Mixtapes...revisited

2008-10-04T21:54:00.003-05:00

I'd first like to thank my esteemed colleague for all the wonderful compliments. I'm sure I deserve nigh half of them. Secondly, he forgot to post links...so here they are:

Side 1

Side 2

Enjoy, general public.

PS- If you have the means and the elbow grease, to transfer aforementioned audiographic conglomerations to some sort of media employing magnetic storage...I, and the people here at AVC, highly recommend it.

Edit: Upon further examination...it seems Max has posted the links, but I'm still leaving this up because it contains my thanks to him for the compliments.