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iew of the world that imagines that everything outside of oneself is operating according to routine after all what are the odds that it should be at this very moment of your witnessing that it break from routine but then meanwhile within oneself each moment unfolds as none has before every contributing factor is different from what it was and the moment and all those involved to witness it are completely new and yet it remains much more realistic to assume that everything is always as it has been and everwill be it will always be safe to assume this safe to assume is this the definition of that figure of speech if you know which regularities to look out for you will spot them each time as they fly past and disappear again out of sight into the chaos posted by aaronphilby at 1 53 am no comments we have hunting and gathering instincts within us everybody does but we are no longer hunters and gatherers we are farmers we have gathered enough plants which we are able to farm that we are able to live here on the farm we do not need to hunt and gather but we have hunting and gathering within us and we have had mixed feelings about hunting and gathering sometimes it brings trouble sometimes a hunter or gatherer is snagged by a wolf but sometimes something is brought back which ends up being of great use to us and then we have it forever we farm it we cultivate it hunting and gathering is still of great use to us but since we have hunting and gathering within us we don t need to encourage hunting and gathering in fact we ought to discourage it so that only the most voracious hunters and gatherers will be able to slip through the cracks of our grip and we will austricize them but we will learn from them and it will strengthen us we who have found ways to take pleasure in boredom and stability though we have a hunter gatherer somewhere within us posted by aaronphilby at 1 36 am no comments saturday october 19 2019 there s a feeling i ve had looking at caricatures a while back where it seems like the artist just merely listed some qualities that the face they were looking at had without really drawing the face and then the drawing feels disconnected from the subject then the opposite of this is that feeling of looking at a caricature where the drawing shares some essential aspect with the subject some aspect that whoever is meant to enjoy the caricature maybe the subject themself or maybe their parents or friends feels this aspect in the drawing and couldn t have imagined that this shape which they d internalized was drawable and therein lies the magic of caricature portraiture and drawing really and i admit that this last part may be my bias talking i had a couple of great faces sit down for me just yesterday a couple both of them had really interesting compelling visages that i really wanted to capture wanting as i always want to get to the essence of what it was precisely that made them so compelling and so i dove in but i wanted to go fast why go fast well here s another story two fairs ago out in delaware i drew a really fun couple they seemed so young and engaging and open and this contrasted to a couple of couples from the previous day and these couples reactions were anywhere in the range of so so to troubling but those drawings which brought on the reactions were also so so in my opinion so i can chalk it up and say that s on me but this couple was different indeed much more friendly and cool and open and so i took my time i must have just sketched with pencil for upwards of ten minutes before getting in there with marker and my friend and i chatted with the couple so comfortably and easily and at length and in depth and it was everything we could have hoped for i must have took an hour and a half on the drawing the drawing i felt ended up having many of the qualities of a good live caricature only fine tuned and laser focused and amplified i was very confident in the likeness and indeed amidst all of the heartfelt impassioned disapproval with the caricature that resulted not one complaint about the likeness was brought up not one there were even tears or at least nearly tears so one thing this reinforces for me is the need for a caricature to be fast if it s funny at least for some customers i guess i m not allowed to spend an hour and a half on a joke about a stranger s face or a somewhat stranger and it was a heartfelt impassioned disapproval that could weirdly enough only be quenched with a refund so her the buyer looking at the drawing has to at least entertain the idea is it just me who is extra sensitive maybe it s okay for someone to draw people like this and get paid she concluded no this is not right i cannot let what this man did go i must do something that s kind of how it went down and that was pretty much her tone after she came back the second time after coming back the first time when i preempted her complaint and passionately and vulnerably poured out to them my feelings about it how i really thought they were a couple of nice kids so i really tried to spend my time to do something cool for them i didn t cry but i really poured it all out to them as i d always wanted to address customers of this sort and i will admit that my eyes probably did get shiney and apart from this i ve had enough experiences to tell me that it s not enough sometimes to just take your time and make it awesome as a hedge against reject anxiety there s something built in with the speed element of live caricatures a load bearing wall not easily extracted but i was so excited to draw this couple yesterday and i wanted to go fast and there are other benefits to drawing fast and wacky on a busy day particularly it sets the standard for the next drawing as people watch it happen and decide they want to get one i drew the drawing i saw the reaction my interpretation of it is that they believe they got a caricature they were nice they paid but they didn t like it i could tell they didn t want to communicate their dissatisfaction to me certainly not forcefully they may have allowed for some of it to slip through past the bouncers of their good manners but i feel what happened effectively was that two great faces and two great mindsets got abused if they ever go to a caricature stand where there are good caricature artists working they re gonna say we wanna get one but don t make it crazy and the artist who draws them on that occasion will fall back on his old tricks and be prevented from cracking it open from digging into the face to get to the good stuff to turn it into something beautiful that seems like a good place to end but i may just keep going let s say you just simply don t like caricatures but you like portraits let s say there s some particular portrait of some person that you like that you love whether you know it or not you like that portrait because of some particular aspect of it or a bunch of different aspects so if someone drew a caricature or let s just say a quicker drawing which had those exact same aspects you would like the caricature instead of course now that you ve seen that portrait if someone were to simply recreate those aspects in a caricature it would be derivative but the point is that if the caricature from the outset had those particular aspects to it then they who like the portrait would instead be they who like the caricature it s just a matter of getting to those aspects first but what s interesting about caricatures and portraits versus other kinds of art is any particular aspect isn t localized within the drawing same goes with all other observational art the aspect is the drawn shape s relationship to the observed shape so whether or not a drawing stands on its own as a work of art it also has to stand in relation to its subject matter the subject isn t merely inspiration to help the artist create now all the art that s hung up in the museums and upheld in art history books as the golden standard all the subjects are dead if those works were all theme park caricatures it could be no different but to think in terms of being archival and hanging in museums gets away from the main point and the main point is resonance and connection and likeness and humor i guess what i m getting at is that you can t not like caricatures artists abilities vary customers faces vary but the principals remain every face has a different answer a shape password a code that can be gotten to and when the code is found the likeness is achieved and when it is achieved it can t be denied if the likeness is good enough it doesn t matter how ugly the drawing is it could be the most difficult bad mood having helicopter mom in the world seeing her daughter s face will crack that rough exterior if only the artist can allow himself to look at the face and be vulnerable to it and wait for the answer knowing that it comes not from him but from the face so that s why i felt bad about wasting that couple they were open to me doing whatever it is i do and i could tell they had it in them to make a broad imaginative leap to see the likeness so it was a shame that s all i had done the sort of live caricature that i d seen so long ago before starting into drawing live caricatures the sort of drawing i d held in contempt and set out to avoid we ll treat this as the titular moment though it s not as clear cut this is the moment when i realized that listing is actually a valid approach to caricature it just has to be done right you have to make sure at the outset that you really step back and feel the overall picture get a sense for the main issue this will be the aspect of the face most unique to this person and thusly most obvious most palpable to the non caricature artist most obvious to the untrained artist the aspect the shape you ve never drawn before so this as opposed to wow his teeth are weird lemme draw those all those elements are so important and need to be shown if you re feeling them but held together by the larger meta observation of the relationship between those shapes but of course with the understanding that shape means aspect we live in a world where manipulating so many different aspects of a two dimensional plane is such a common place thing now with everybody having phones and ipads it use to be that we all manipulated two dimensional visual planes by way of making letters on pieces of paper and shape was a way we talked about the marks we made but what we re all easily capable of manipulating visually now has jumped so drastically our common conception of shape will likely stay stuck in the realm of mathematical geometry but shape allegory is the way likenesses are established and no visual aspect is exempt from its affecting likeness but how is this listing those teeth that you dove into you were excited to draw them because you ve been holding those teeth in your arsenal waiting for someone to sit down who had them same goes for the eyes same for the cheek wrinkles the face sits down and you list all the shapes that you have a match for all the shapes in the face that you have in your hand you just list them off it sounds very rudimentary but only until you realize that a shape is just an aspect it could be as simple as a nose that s just a ball or it could be some aspect spread out across the whole face it could be that their tongue looks like whistler s mother it could be a gradation of the skin it s just an aspect of the face an aspect of the face that resonates with you that s all a shape is it s nice when it s like their head is a perfect square their nose is a perfect circle their eyes are when it s all obvious to see and simple to draw only those people rarely sit for caricatures for a number of reasons a lot of people come to caricatures curious what anyone could even do to their face and it s nice when we re able to do something to where our observations clearly resonate if not with them then with their family watching but hopefully with them hopefully with everybody posted by aaronphilby at 10 48 pm no comments there s that impression of passing through time as though all that happens is then left behind for example one s childhood or any chapter of one s life that one feels they ve left but really you can think of those bygone passages as introductions to that adventure your swept up in the middle of right now too close to to clearly see posted by aaronphilby at 10 15 pm no comments tuesday january 29 2019 i think i ve heard both one story is a long time ago caricaturists use to draw crazy now everybody just draws fast and cute the other story is the opposite there s your traditional caricatures and then there s your new school crazy ones it s strange how the word traditional gets used for caricature the tradition caricatures actually comes from is a tradition where a drawing is done for the newspaper in order to smear some politician or public figure of course there are also live caricature traditions too but live caricatures haven t been around all that long when i think of live caricature traditions i think of the best of dino and tom richmond but that s just me me and growing up in a small town in ohio and going to cedar point live caricatures may have been around for a while but everybody seeing everybody else s live caricatures is only as old as the internet or the widespread use thereof the early 2000s now that s young twenty years editorial or newspaper caricatures has built into it an element of mass exposure mass exposure is new for live caricatures because the artform doesn t work that way the more public any given live caricature of some person becomes the more it wades into a different role the role of the editorial caricature a lso the more of a public figure the subject is editorial caricature is a public drawing of a public figure posted by aaronphilby at 11 50 am no comments saturday march 10 2018 live caricatures as hanbok there s an appeal to caricatures that s a bit like trying on hanbok in korea the old tradition clothes is called hanbok you can look it up or you can just imagine that it s very ornate and fancy and cumbersome and asian looking you know what old traditional chinese garb looks like maybe it s what you just think of as chinese garb period because you re racist but i m telling you now people in china don t dress like that anymore but tourists and more often in korea young koreans who are on vacation might go to a place where they can rent the traditional garb and they ll walk around and take pictures and it s a big hoot there is some appeal to live caricatures that is very similar in a way i think as professional caricature artists we can get divorced from this appeal but the appeal goes like this people read magazines or at least they use to and in the magazine you see these drawings that are there to make fun of what some famous person looks like some face that s always in the public eye bombarding everybody with their weird old face more or less because to be on a tv ...
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