Tuesday night was awesome. We had a big group, including Ryan, Tom, Jon, Derek, Rachel, and two awesome artists from work: Virginia and Brent Critchfield. Lots of drawings, and good enough times that we spaced late night sushi and had to scramble for later-night pizza and beer, instead. Woo!
So the first page was warmup, as usual. Ryan had declared he was going to spend the evening drawing women, so I decided I would join in. The gal in the upper-left was first. I just wanted a cute, spritely, tom-boyish type. The next girl was the one in the upper-right, and I was aiming for someone with a bit more of a nose and longer face. I was thinking about it because I put myself up on an online dating thing and there was a girl on their with the strangest, longest face I have ever seen. It's so easy to forget when doing the same ol' face you instinctively keep doodling out of your head that human heads can have such wild proportions. (Now I'm thinking of that rubber-faced guy from Delicatessen and City of Lost Children.) The last gal was done when Ryan mentioned drawing an enraged woman, and after finishing up the doodle I gave her something to say to justify her anger. But seriously, if she doesn't chill out, she will wind up being a dark jedi.
Then true to recent form, Ryan and I traded some poses (his experience on his site). I might have screwed up with the right arm, which seemed close to her head to me, so I wanted to do something with it. For lack of things to grab, I decided her own head would work, and so she became stretchy-headed. This sort of twisted, messed up body stuff reminds me of things Ottley and (drawing night OG) Mike May like doing, and it was fun to do something that made that connection in my head.
But why always draw attractive younger women and not attractive older ones? I started drawing grandma before Ryan handed me the above pose, and decided to finish it here. I liked thinking of flabbier skin and had a good time with her. But when she was done, I wanted to make another body interacting with her. I had the vague image of a sharp, skinnier girl launching off of her body with her fist in the air, but the rough pose looked kind of like she could hold a mic, and she became punk rock girl. I liked doing the skinnier body, unkept pubes, crazy hairdo and makeup; it was a lot of fun. But I felt obligated to make her yell out some wannabe punk lyrics that would drive her sweet, naked grandmother crazy. What a waste of youth.
I love it when Ryan gives me superhero poses because I'm usually imagining the really awkward (as opposed to powerful) extremes that happen when someone catches you in an action photo and your body and face is all twisted in some fashion you never thought possible. And nude didn't seem right, so I gave her a quick costume and added some fancy sound effects ("onomatopoeia" is such an awkward word).
I noticed I hadn't gotten any brush time in, so I begged Ryan for another pose. He gave me this great loose sketch of a girl leaning on some weird midget thing and I was really excited to try doing ink work over it. Some of the lines were decent but I think I really botched her head and breasts, and the little fella seems like he should have way more texture in him. Ryan was saying that he will brush upwards to get rid of some of the jitters and stay in control, but it really felt unnatural to me. Baby steps, I guess.
Wanting to practice more with the brush pen, I just started doodling the next guy. I liked how he turned out, but it really feels only semi-useful when you aren't drawing over something. The reason is because just about any line, even fucked up can be turned into a happy accident. I think that's why a lot of the ink-only drawings I do (I think) have wonky stylistic proportion choices; somewhere I hork the line and I just cover it with black and make thick hairy bits or I just embrace the weirdness in the doodle. But it looks nice enough... I think, anyway.
The night was winding down but I was feeling a groove, so I wanted to belt out one last quicky. And that's that. Peace out.