article written for International Artist Magazine
Inspiration
I’m fortunate enough to live in an area of the country that produces a year-round supply of produce and flowers. I often find inspiration for my drawings at the farmer’s market, where there's an abundance of vibrant colors and diverse textures. The figs featured in Dana were particularly enticing: soft and plump on the outside; vibrant on the inside. The distinct visual qualities of the tiger stripe fig ultimately inspired this drawing, which is all about contrast and temptation. I used both light green and dark purple figs for variety, and quartered one of them to expose it's juicy innards. I allowed a crisp strip of sunlight to come through the window, highlighting the round figs. Dana is meant to have the dramatic quality of a Caravaggio in a modern minimalistic setting.
Design Strategy
The design of this drawing was inspired by the light. I took photos throughout the day to capture the sunlight with varying levels of intensity. I took tons of photos, adjusting the settings on my camera, the amount of light coming through the window, and the arrangement of the figs. I wasn’t tied to a specific composition, but I did have a general idea of what I wanted to convey. I tried an endless combination of figs — whole, halved, quartered, some with minimal exposure to the light, and some in a direct beam. In the end, I chose a composition of several figs, with one quartered, sitting in a direct ray of afternoon light.
Working Process
I use both oil and wax-based pencils for my drawings, which each have their own benefits. Oil-based pencils are chalky, soft, and bendable, and because of those qualities they’re great for creating shadows and areas with soft focus. Wax-based pencils can be sharpened to a fine point, and are perfect for creating precision and detail. Early on, I like to establish the values by putting in the lightest and darkest tones. I then build several light layers of pencil, which helps to create luminosity in the drawing. I work slowly, so that my surface doesn’t over-saturate with the wax before I’ve finished the piece.