“Starsky & Hutch” and art

It takes many long hours to finish one of my drawings. I’ve learned to pace myself and take five-minute breaks every hour or so, and one-hour breaks every four hours or so. Recently during one of the long breaks I discovered that reruns of Starsky & Hutch are now on cable TV.  Not to date myself or anything, but high school Denise was a big fan of Starsky & Hutch.  It didn’t win any Emmy awards and the writing wasn’t great, but it’s fun to remember why I had such a crush on David Soul, and my best friend was similarly smitten with Paul Michael Glaser.  So I set the TiVo to record them to watch during my breaks.

After a couple of episodes I remembered that some of the very first graphite portraits I ever drew were of Starsky & Hutch.  As a poor kid I couldn’t afford posters, but I was getting pretty good at drawing, so I bought a couple of magazines with especially good photos of them and drew them bigger to hang in my room.  Copyright wasn’t an issue because they weren’t for sale and there was no internet.  In working from these magazine photos, I had a great excuse to stare at every little detail of their faces, and was very motivated to improve my drawing skills so I could reproduce them. Schoolmates mocked me for having a magazine picture of them in my locker, so I never showed these portraits at school, to avoid even more ridicule.

My portrait of Hutch (David Soul) that I drew at age 15 on awful drawing paper.

My portrait of Hutch (David Soul) that I drew at age 15 on awful drawing paper. 8″x10″

But the last one I did was different.  It was 16″x20″, Starsky in a white suit (remember this was the 70s), sitting on a park bench.  It turned out so well my art teacher asked to show it in the school display case for a couple of weeks, and commissions for portraits of local folks started happening!  I even included it in my portfolio for admission to art school.  A couple of years later in college, someone asked about buying it to give to his sister for her birthday.  I was surprised that anyone remembered it, and I didn’t really want to sell it, so I suggested the ridiculous price of $50.  But that wasn’t high enough, because he bought it, and I never saw it again.  I bought two dresses with that $50 (again, remember this was the 70s!), and I still remember the dresses, but I’d rather still have that drawing in my archives.

My portrait of Starsky (Paul Michael Glaser) that I did at age 16.

My portrait of Starsky (Paul Michael Glaser) that I drew at age 16. 16″x20″

So what does this have to do with artwork?  Inspiration, motivation, and skill improvement.  It worked for me.  If you like something enough to want to spend hours with it, and you wish you could draw or paint well enough to do it justice, you have all the inspiration and motivation you need for improvement.  Nobody else ever has to see your work, or know that you did it as a fangirl/boy, or think you’re silly, or fret about copyright.  It’s all for you.  If it makes your art skills better, it’s all good!

A Humbling Experience

I had a very humbling experience last night. The setting was an event with many former co-workers, many whom I hadn’t seen in 15 years except on Facebook.

Three different people came up to me and the first thing they said was “I am so inspired by you!” It was all about my having returned to my art and making it a priority and producing quality work, while still working as a software engineer. One of them said he has resolved to start painting again because of me. Another of them has an ivy league PhD and a technical Academy Award, but said he was inspired when I took part of a year off from regular work to focus on my art. I have so much respect and admiration for the drive and accomplishments of these people, and yet here they were telling me, completely unsolicited, that they admired me.

I had no idea that my journey meant anything to anyone else other than me. I guess the lesson is to live life as well as you can not only for yourself but because you never know who is taking note for their own lives. Another lesson for me was that the act of making art affects others in ways we might not have imagined!

Saving a Lot of Time with Swatch Charts

When you first start working with colored pencils, deciding which pencil is the right color for the moment is a matter of picking up one that seems like it might be close (based on the color of its core), scribbling a little on a scrap or the border of your drawing, assessing whether that’s indeed the color you hoped, and if it’s not, trying again.  Lather, rinse, repeat.

This adds up to a lot of time over the course of a finished drawing, especially since those little scribbles can’t tell you later which pencil they came from.  It’s surprising how different from the pencil core a swatch can look.  You end up trying the same pencils multiple times.  I actually saw a finished drawing at the California State Fair in which the artist left their test-swatch border clearly visible and remarked on it in the artwork description.

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Before I made a swatch chart for this set of pencils!

This time loss is compounded if you have a large set of colored pencils such as the full set of 150 Prismacolors, and even more if you have multiple large sets of colored pencils.  So many greens!  So many blues!  Where to even start? It can seem overwhelming.  You might be tempted to print a color sheet from the manufacturer, but don’t: your printer’s inks will not match the pencils’ cores, and the printed colors will vary from printer to printer.

Here’s my time-saving system.  In a previous blog post I described how I organize my sets of pencils, and that is half the solution.  The other half is making your own swatch charts and keeping them on your drawing table while you work.  I’ve already done the hard part for you!  You can download swatch charts for the full sets of most major brands of colored pencils from my website.  They’re free–my gift to you as a fellow colored pencil artist.  Print one out and color the “points” with your own pencils, matching the color name on your pencil to the color name on the chart.  I recommend only coloring the “points”, not the whole “pencils”, so you can easily read the numbers and names.  Tape your finished chart to the top of your drawing board.  It’s important that your reference, your drawing, and the chart all be illuminated by the same light, otherwise your eyes may be fooled into mismatches. Now, notice that the swatches are numbered from 1 to whatever the set size is.  Those numbers correspond to the number tags you put on your pencils (you did read my other blog post, right?).  I recommend the numeric tags, because the color names on pencils are stamped with metallic paint and are therefore hard to read and take even more of your precious time.

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A portion of a swatch chart after I colored the “points” with my own pencils.

Now when you’re working on a landscape and your reference has a deep blue color, look for a match on your swatch chart.  If its number is 44, pull the pencil tagged 44 from your set. Voilá!  Look how much time you just saved!

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I looked for a violet color on the chart. I found it at #44, so I pulled out my #44 pencil.

You’re welcome!  🙂