Steps

I usually document my work with my iPhone as I progress. I thought I would share some production shots of “Otolith.

I like to begin with a graphite line drawing, where the composition is worked out fully before inking. With this piece, I was most interested in the accuracy of carp skull and introducing movement into an otherwise static arrangement of forms. My inspiration for the tendrils was the air roots of an orchid.

Inking begins. I’m working out the contrasts by doing the darkest areas first. Modelling the form makes it pop on the page and I’ve already decided at this point to preserve the effect by forgoing a background. Parts of the lichen ruff were done with a Pigma Micron, but I much prefer the .25 Rotring Rapidograph on the Arches hot press paper.

Here is a close up of the ruff. The look of the Micron and the Rotring pen are indistinguishable, but the respective tactile experiences of point against the paper are worlds apart.

I jumped to the top of the piece because I wanted to see if my desire to feel a certain rotation in the floating object would work. I used free floating fragments of plant material to give a sense of rotation, even chaos.

A close up of the object. I based this object on Neolithic spheres. It is theorized that they may have been mnemonic devices and that is the association that interested me the most.

Closing in on the end of the piece. The carp skull was the slowest part of the drawing because I wanted it to be accurate, but merge with the other elements of the form at the edges. The ball in the eye orbit echoes the centre of the Neolithic ball above.

And done. I saved the anthropomorphic character for the last. He has a single Otolith floating in his head (typically there are 3).

I hope you enjoyed this little glimpse into my process. I’m happy to answer any questions you may have—just hit me in the comments.

If you are interested in purchasing any of my work, please visit my webstore, or the Collector’s Catalogue on my artist website.

Richard