All decked out in her new regalia. Passenger side.
Between a few blustery snowstorms the bare metal was cleaned, etched, and given two coats of super polymer Por-15, then a spray-rubber Por-15 coating. I let this cure out for a few days, then Friday saw the center plate affixed. Saturday afternoon was the passenger unit, and today was the driver’s side and the rubber/poly airdams at the bottom for both sides.
E and I (and Nora) took it out to Saltair, traffic at 75-80mph, and there was a great improvement in handling, acceleration, and cabin noise. The bumper was meant to say “safe from deer”, but instead it hollared “off-road monster”. Now it just sings along with whatever road, or not road.
Low Center view. Each side has a lower “flexible” rubber/poly air dam for the wheel wells- held by the lower line of stainless bolts.
Standing view- it tucks under and disappears.
Corner facet profile.
Putting lots of gestures on one bigger page, as I have a few old mostly used up drawing pads around. I like seeing the sketches all in relationship with each other. The gestures are 5 x 1 minute, 5 x 2 minutes, and 2 x five minutes; and then I break from the reality of life-model drawing and run the set twice more, so 5x3min, 5x6min, 2x15min. I do the initial set in a light h (hard) led pencil, the second set is an hb pulling out form, and the last set in b(soft) looking for weighted line and values.
The conte / color drawings are done on an easel out in the sunroom looking at my laptop, and the pencil drawings are done in the basement cast to the TV- I draw them on a little clipboard held on my lap which means lots of looking down and up with my whole noggin vs looking in one field with eye movement only. Artists use easels for exactly this reason; zillions of quick side eye movements that instantly transfer to hand vs cumbersome head movement with up/down eye movement causing reorientation with every move. Flow gets stuttered and drawings lose vitality. I’ll have to crowd the basement den with my old drafting table, in from the too-cold studio.
I stopped by the great little neighborhood art store this morning and picked up some toned butcher paper, conte pencils in sepia, brown, black, and white; two filbert style long bristle brushes (I’ve been using some ancient nubby cheapo’s from Michaels); canvas “paper” for more Zorn Palette studies; and Naples yellow light oil paint to add a bit more complexity. I tried out some conte pencil on the toned paper for an afternoon set.
I set up an artin’ station out in the sunroom, and have been trying out some of the 2-D sections from the online art school New Master’s Academy (I’ve been through most of their 3-D already). I’ve been working from the painting section with Joseph Todorovitch using the “Zorn Pallette”, which is limited to Black, White, Yellow Ochre, and Cadmium Red; this pushes color mixing while also simplifying for tonal cohesion. There is an instructor view of his painting, his palette, and the model (pretty small view)- but it is a great way to teach by example.