Well, you asked…

Two more Spark responses, for Round 7. My partners were Melissa Pasanen, haiku master, and Cassie Premo Steele, who is just a creative master.

I came up with a whole series of things from Melissa’s haiku, and I’m still working on ’em. Here’s rabbit hole I ventured into:

My other response went like this, which is something I’ve been thinking about lately, in addition to skeletons.

Don’t eat acrylic paint – it’s isn’t good for you. Or your bum.



Family Art Night

In an attempt to balance my kids’ urges to practice corporate accounting, financial law and quantitative decision making for business, we make art together. For the second year in a row, we participated in the National Arts Program Exhibit at Johns Hopkins (December ’09).

Lily made this painting specifically for the event. She started off painting pictures of Coraline and arrived at the Solar System. It has shooting stars.

Cocoa entered her Oscilloscope, which usually hangs in my studio. I LOVE this painting.

My friend and colleague RJ entered a photo, too. It’s the one of himself, taken alone with an old, manual camera. We haven’t worked out how he did it.

To my astonishment, I took home a first place prize. Dr. Ed Miller, CEO of Johns Hopkins Medicine and Dean of the School of Medicine handed me an envelope.

Here’s me and the drawer…

Finally, a better photograph of  the Mystery of the Loaves and Fishes, an  impossible-to-photograph-well piece. Click the one below for larger.

Thanks to Fred Dubs for the last three pics here.

Bump in the Night

More acrylic, gloppy fun at 5×7.  It kind of makes me want to change my name to Clancy Frankenbacon.

This is a scan, and since acrylics are shiny (aye, shiny), I find it almost impossible to capture.

The Joy of Process

I began the Miracle of the Loaves and Fishes in October, knowing the deadline for the National Arts Program Exhibit was in early December.  I chose the title and started putting ideas down in a sketchbook.  I made a lot of sketches, did a lot of thinking and eventually settled on the idea of a triptych.  I’ve been experimenting with the old school nibs and India ink  which I loved as a kid. I find they are difficult to use, though, and tend to bleed big blobs of ink.

Nibs, ink bottle

Still, little that’s worth doing is easy, and I continue to practice with them. They offer great possibility.

In October and November (especially over Thanksgiving break), I had a lot of  ideas, and the piece kept shifting focus. But when the actual day started to approach, my thinking solidified and I was “forced” to make decisions about the piece and execute them. I realize that without the deadline, I would have continued to develop ideas…forever.

This is the joy of process – getting lost in exploration and discovery and practice. I am a master of  JOP. To a fault, perhaps.

Joy of process sketches

When I noticed the deadline approaching (it tried to sneak up on me, but thankfully I glanced up and saw it coming), I heard an audible “click” in my head. The pressure increased, decisions were made and the piece was assembled. Mr. JOP stepped aside and Mr. Assembly-line-worker took the plans got down to business.  This guy is the person who likes to make lists and accomplish things – a very good partner for Mr. JOP.


I used to do this with music – I’d write songs and record little  ideas and fill notebooks and tapes – I have gigs and gigs of this stuff – some of it is quite good, too. What was missing was a partner to work with, or a show to play or an album to finish.

Deadlines are good. Pressure is good. They add a dimension of purpose in what we do. They bring JOP together with Mr. Assembly-line-worker, the two halves of a whole.

Even more joy of process sketches

It’s very tempting to remain Mr. JOP. I think being him is more comfortable, and certainly more fun. He’s the mad scientist, loose on new frontier of possibility and wonder.  Do many other artists feel this way? I know a lot of my fellow developers do. And, I should add that these rough sketches in this post lead to other things – they all came from Mr. JOP’s efforts.

There are levels of deadline  pressure, too. A professional illustrator may be given guidelines, such as “Dead Fish Smoking a Pipe” or “Ruttabaggit” needed by next Tuesday. Open ended projects, on the other hand, may offer a little too much creative freedom, thus becoming a JOP trap. This can be especially daunting to non-professional creatives who are developing their own inspiration engines. Luckily, we live on a web with things like Illustration Friday, Spark and a bazillion other outlets to help us develop a JOP-creative output balance.

Alas, there’s work to do. Back to the drawing board.

Mystery of the Loaves and Fishes

I am hesitant to post these photos – I can’t seem to capture this thing properly. It will be hanging in the National Arts Program exhibit next week at Hopkins, and I’ll take the Nikon and see if I can get some visual traction.

Anyway, I’ve been working on this (idea) for weeks, and it turned out. This  triptych is another effort to extrude drawings and bring them into the “real” world.

Full Size View

The top panel is made of layers of drawings on illustration board, cut out and glued together. This fisherman makes an appearance.


For the center panel, I tried something new – I used pen and ink on canvas (below).  I’ve drawn this beast before – it’s a bit younger here, and to scale with the fisherman in the boat. I drew every single tentacle, one at a time. That might not be obvious from the image, but there’s a beginning and an end to each one.

Middle Panel

The bottom panel contains…fish.

Bottom Panel

And here’s a couple of work in progress pictures. The frame is made from an old drawer. The handles are still intact (not shown) which made carrying this on the subway a snap.

Behind the canvas in the center panel:

Behind the sail

And some fish.


This piece doesn’t have moving parts (aside from the fish on the lines) – but future ones will (the fisherman). Please note – there are no dead things in this art.