I had the immense pleasure of opening my copy of CODEX: Obscurus this week. This was an artist collaboration of ‘witchy’ and occult themed artwork produced by SPIRIDON. The book itself is quite hefty, and I’m especially loving the texture on the cover and back ̶ not to mention it’s glittery and gold. Each artist has a page dedicated to their work, so you get the enjoyment of seeing the work in proper scale (no small/quarter images). On top of that you have the talents of Viktor Pushkarev with all his lettering, graphic, and calligraphy work. I’m now on the hunt for a vintage frame for his lino-cut print. If you’d like to see some more of his intricate-designs, his contribution to Alex Konstad’s Artbook, Obliskura is a good place to start ̶ link here (you’re welcome…it’s mind-blowing).
If you missed out on the original Kickstarter campaign, I believe there are a few copies of just the artbook itself out there for purchase from Liber Distri.
Hunter, graphite & colour-pencils on paper, 8×10″, 2021
BACK TO GRAPHITE
I’ve taken a little break from watercolours again. This one being a more fun personal project, taking a character from author Nalini Singh‘s work and imagining it into a more illustrative piece.
Starting off using the same technique from my last painting (Banshee’s Wail), and layering the preliminary drawings so they are ready for the transfer stage. This time around I wanted to play with more dramatic lighting, as I slowly get more comfortable with it. I decided to do some simple black and white lighting samples on Paintshop Pro. It’s not a really an in-depth study; more of an assurance, so that I don’t desecrate the drawing when I work graphite powder onto the paper. Speaking of paper, I’m using Strathmore’s Bristol 100lb. (270 g/m2) in Smooth Surface. I’ve used both the vellum and smooth surface sheets from Strathmore for many years now, and I usually shift between the two if I want more texture or not. I tend to shy away from more textured paper however, because I like to scan my pieces for digital use.
I use graphite powder for mainly large surfaces I want to cover. I don’t have any experience with any store-bought brands, so I tend to just use the saved ‘residue/remnants’ of when I sharpen my graphite (using the blade method). Using a tissue, I work it in to the paper ─ for this particular piece, adding in various forms with my Blending Stumps. I ended up feeling that the piece was a bit on the grey-scale of things; in which my usual work consists of some pure black elements for contrast, so I thought it might be fun to add some colour instead. Sticking to the paranormal and fantasy aspect of the author’s work, I chose to just focus on the eye with various shades of green colour pencils. Overall, a much needed casual and experimental project; although I never want to see leopards or spots again.
As I went to post my latest Wardruna inspired drawing, I realized I missed posting the last two pieces I had done. So here’s me backtracking to a couple of older sketchbook drawings. I’ve gone back to using my Strathmore Tan Drawing Sketchbook, and I would say after using it for this long it’s the only sketchbook I’ve gone back to over and over again (sadly some of my regular sketchbooks are collecting dust). Many artists, myself included, love the amount of depth you can easily create on toned paper. You already have a working middle ground, so pushing the shadows and highlights comes easier and results in better depth in the overall drawing.
WARDRUNA ‘Lyfjaberg’, graphite and white colour-pencil on paper.
The Appeal of Pagan Folk
I’m using the term ‘pagan folk’, but sometimes placing specific genres on a musician or band can be a bit vague. ‘Faroese singer-songwriter’ comes up for a singer like Eivør Pálsdóttir or ‘alternative Nordic pop’ for Aurora or Kalandra. The band Heilung describes their own music as “amplified history”. Where as a band like Faun from Germany, identifiable with their medieval themes, gets labelled pagan folk as well. All to say, lots of genres being thrown out there to the point that I don’t know how to package any of these musicians into one specific label.
The desire to be closer to nature, live more rural, and escape from the general madness of our concrete jungles is no longer reserved to a small population. It’s also something being translated more and more into different art forms including music. Inspiration can be found in many forms different from your practice; photography, film, etc, but mine has overwhelming been through music and literature. I can easily get lost in the rhythms and voice of a singer like Einar and feel transported.
“I think many people who don’t go to church or other religious ceremonies, I think they miss that solemn, holy place. … One of the goals with Wardruna concert is to actually create that space. To create that serious space, moment, where you can just get lost into the music. … It’s about communication, back and forth. About acknowledging things that are bigger than yourself. Remembering nature, that we are part of it, etc.”
WARDRUNA ‘Kvitravn’, graphite & white colour pencil on paper.
The drawings for Kvitravn; the one above and the one with the white raven featuring Lindy-Fay Hella, are both inspired by Wardruna‘s latest album and the visuals from their respective music videos which you can find on Youtube.
This drawing is probably the most fun I’ve had on an artwork this year. The initial research and reference stage had me a bit confused at first, as I hadn’t really thought about Odin’s eye until I looked at some old drawings and paintings online. I noticed a constant switch of direction of his missing right eye; my guess is mirroring had resulted in artists switching to the left side of his face. All in all a fun little project. (A side note, I had no idea how big ravens were. 😶)
Conversations, microns & markers on paper, 8×10″, 2019