Here is the secnd sequence of pages from my 360 book, marking a thematic change towards alternate modes of representation which touch on the loving gaze of the real - the "realness" of touching castle walls, feeling the grooves in the stone, knowing you're there with a real physicality.
Sometimes I just need to be drawing fuzzy things I love. Faces, marks in skin, hair, and dreams. There is one page with a vaguely representational scribble. For that, I wasn't looking at the page, so what I've drawn is more of a kinetic representation of the subject and the transmission between eyes and hand, the hormones running from my brain to my hand, and the resulting movement. It's a sweet kind of representation in that I didn't have a chance to interpret those impulses of movement through looking at my hand. There's a simple honesty to it, and I didn't have to stop looking at my subject. Sometimes that's nice.
The scribbly pen depictions surrounded by lush painted backgrounds of only colour bleeding into colour have a simultaneous gravity and dreamy magic to them. They are ethereal, textural, yet have a sense of genuine and direct representation to them. A melding of dream worlds and real worlds. The collections of a real fairy tale
These compositions possess more of a mysticism and a spooky reality - they are bigger, wider, deeper, thicker - than my cartoon worlds. How can I bring ideal cartoon forms (rounded, simple) together with the texture of reality (peach fuzz and the endless pores and lines of the skin, grooves in tree bark, veins in leaves)? How can I enhance the emotional relevance of my cartoon forms? How can I bring the textural, pleasing reality to the cartoon world?