One might be forgiven for thinking this piece a surrealist response to Aubrey Beardsley’s illustration, The Examination of the Herald from Lysistrata, but it is in fact a meditation on vision (see previous posts). I hope you have enjoyed watching this process. This work is available for purchase. Please message me with any questions.
This piece is called Twist. It was drawn for my other blog, And Ink in Unfailing Supplies, where I do a monthly drawing challenge with another artist based on a prompt phrase. For the rendering, I used a pen & nib, something I’ve been going back to lately – I find it more interesting to work with than the technical pens that have been my mainstay for the past 20 years.
Maybe it’s comparable to the analog/ digital debate in musical circles. I love the way the nib is a little bit unpredictable. Not all of the dots are the same. Lines are more varied. The flow of the ink is a little more “dangerous.” Sometimes it’s sublime, sometimes it’s like working with venom on the end of a snake’s fang, when the nib bites into the paper fiber – fuk. Still and all, working with nibs is overall more fun.
There will always be a place in my work for the trusted Rapidograph. I actually started drawing with steel nibs in high-school. It was exposure to the work of Moebius (Jean Giraud) through Heavy Metal magazine that set me on a search for the Rapidograph. I wanted to emulate that incredible clean style. Later, I met this guy called John. John was a painter, but he encouraged me to develop my stippling style – he knew a guy that used stippling to render mining scenes in northern Ontario. John taught me a lot about work ethic: produce, produce, produce! That was back in the 1980s. I fell in love with meticulous, tightly rendered drawings. It became my thing.
I never lost that original love for the nib though.
Of course, I have one aim, the grotesque. If I am not grotesque I am nothing.
In an interview with The Idler (1896), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 309