talk to strangers.

bride portrait

Originally published 12/5/2011

I was looking at the viewing statistics for the site here and noticed that one person among the couple hundred went through every post just about in the space of a day or two. OMG ARCHIVE BINGE! It made me extremely happy and I felt warm, and loved.

Whenever I find a site or an artist I like online I just read EVERYTHING from them, I will binge until I am reading their diary from ten years ago, if it’s posted. Like when I found crimelibrary the first time, or when I started looking at explodingdog. I just went nuts, spent all my internet time following the trail back to the start. I suddenly realized that you guys read my stuff and look at my site the same exact way I look at yours and that made me feel really good. So thank you, anonymous archive binge person, for making me both happy and more educated about what I am trying to do, and how people feel about it.

THEN- I have gotten a slew of emails from total strangers, asking questions, tattoo and art process stuff, and general sort of things. I LOVE talking to you guys. Man, if you’re reading my stuff someplace and suddenly have a question, and you email me that you like my things and want to know the answer, I get sweaty excited about it. It makes me feel good- I love sharing information, and while I am not the most educated or the most knowledgeable about everything the things I DO know I love to share. And sometimes even if I don’t know, I can send the question to someone who does. And that feels great too.

.

And also- I spent the last few days interviewing a series of artists for a longer article I’m putting together. I’m working hard to write something useful about it. It’s taking me some time to assemble but I think it’ll be good. Talking to new people who get it, and who are working in smaller ways to affect the world- people who put their hands on the work and make things that have deeper meaning as well as visual aesthetics- that’s been really eye-opening and inspiring to me too.

Oh, and, last of all, I spent a day making paper. That was fun as all fuck, too.

I love talking to people about art. I don’t know how approachable I seem but really, I like talking to new people and I really feel great when I can help someone, give information, or just even see that people are interested in what I’m doing. So thanks guys for reading along.

If you have questions for me to answer, let me know in the comments. Or email me!

(you can find more of me by googling resonanteye, I am literally everywhere online. I talk to all the strangers!)

Three ways to end a creative block, right this very instant.

noncomplianceFirst of all, sit down. Clear a place on the couch and sit your ass down. Creative blocks are evil. I mean evil, wicked, bad things that get all of us at some point. I hate when it happens, and the worst is when you get into that feedback loop- you know, worrying about it and trying to start working on stuff, but it won’t come, so then you worry some more, then try and you still can’t do anything, and so you worry…that worry and fear is the root of it, sometimes, and it can turn into a neverending battle.

Other times a block isn’t really a block- it’s that you have fed your head so much that it is still processing. You’ve taken in a lot of inspiring work or ideas lately from other artists, and now your brain needs some down time in the dark to ferment it all into delicious beer. (or bread. whatever.) Either way, you can end it. You actually can end it, but it’s going to suck, just like breaking down a real wall sucks and is heavy work. It’s not easy but it’s pretty much dead simple. (more…)

How to choose a tattoo design when you’re completely clueless


10403044_10152164843797712_1077486435763939552_n
It can be hard to commit to one image that will be permanent. Some people just have too many ideas! Here are some ways you can decide what to get tattooed…Subject, style, and placement.

  • Find an image or subject that you like. If you don’t have any very specific ideas or you can’t find something you want to commit to permanently, abstract art is always an option. Simple, flowing shapes work very well on the human form, hence the popularity of “tribal” tattoos. You can even be as vague as wanting a shape, or a curve tattooed on you. “Abstract” means just that- there is no subject matter, and the meaning is obscured. This is a good choice if you’re indecisive or change your opinions from time to time.
  • Placement is important. Do you want to be able to see your tattoo? Then get it on the front half of your body. Would you like to be able to easily hide it? Get it on the thigh, or back, or calf (if you can wear knee socks). Do you want it to be a teaser? Get it so that part of it extends beyond the sleeve of your t-shirt from your upper arm. The easiest paces to get work done, and the best for long-term wear and tear, are the outside of the calf and thigh, the inside of the forearm, the outside of the upper arm, and the upper back. The most important thing though? Is where YOU want to see the tattoo. The pain only lasts a short time, but you will  be looking at the tattoo itself forever.
  • Abstract art works well too because you can invent new meaning or significance for the tattoo as you get older. Getting something that is pure decoration can save you the trouble of trying to commit to one point of view or meaning. Most tattoo artists enjoy doing some abstract work; just be sure the artist you choose works in the style you enjoy seeing. (more on this below!)
  • When seeking subject matter, keep an open mind. Look at tattoo magazines and imagine yourself as the people in the pictures. What would feel right for you? What can you relate to? Look at photographs and paintings that aren’t tattoo-related and imagine them on your skin, instead of on paper or canvas. Would it look right to you? If you have hobbies, think about whether there are objects or images that express them. If you have inside jokes with friends or loved ones, think of ways to express them with images. Getting matching images is usually not a jinx on a relationship the way getting a tattoo of someone’s name can be. Does your child have a favorite toy, or a nickname? Does your wife have a favorite flower? You can get her a bouquet, or memorialize this time in your child’s life, by tattooing it on you.
  • If it’s a tattoo for a relative, “Mom” or “Pop”, think about what kind of images they enjoy, and what their personality is like. Memorial tattoos and relationship tattoos, just like gifts, mean more if they are personal to the receiver.
  • Don’t feel hedged in to what you have already seen as a tattoo. The tattoo industry has expanded in technique and equipment rapidly in the last ten years or so, and besides being safer (with disposable equipment and such) the artistic possibilities are close to endless.  While not every design can be applied as-is, usually a few modifications can make it possible to do just about anything on skin. Look to all forms of art and photography for ideas and styles to apply to your tattoo.
  • Try to find your inspiration in your own taste and interests. If you like art nouveau vases, use them as reference. If you like wild animals, find some photographs of animals you find meaningful. Or simply look for shapes, motifs, and colors that you like.

(more…)

How to choose a tattoo design when you're completely clueless

10403044_10152164843797712_1077486435763939552_nIt can be hard to commit to one image that will be permanent. Some people just have too many ideas! Here are some ways you can decide what to get tattooed…Subject, style, and placement.

  • Find an image or subject that you like. If you don’t have any very specific ideas or you can’t find something you want to commit to permanently, abstract art is always an option. Simple, flowing shapes work very well on the human form, hence the popularity of “tribal” tattoos. You can even be as vague as wanting a shape, or a curve tattooed on you. “Abstract” means just that- there is no subject matter, and the meaning is obscured. This is a good choice if you’re indecisive or change your opinions from time to time.
  • Placement is important. Do you want to be able to see your tattoo? Then get it on the front half of your body. Would you like to be able to easily hide it? Get it on the thigh, or back, or calf (if you can wear knee socks). Do you want it to be a teaser? Get it so that part of it extends beyond the sleeve of your t-shirt from your upper arm. The easiest paces to get work done, and the best for long-term wear and tear, are the outside of the calf and thigh, the inside of the forearm, the outside of the upper arm, and the upper back. The most important thing though? Is where YOU want to see the tattoo. The pain only lasts a short time, but you will  be looking at the tattoo itself forever.
  • Abstract art works well too because you can invent new meaning or significance for the tattoo as you get older. Getting something that is pure decoration can save you the trouble of trying to commit to one point of view or meaning. Most tattoo artists enjoy doing some abstract work; just be sure the artist you choose works in the style you enjoy seeing. (more on this below!)
  • When seeking subject matter, keep an open mind. Look at tattoo magazines and imagine yourself as the people in the pictures. What would feel right for you? What can you relate to? Look at photographs and paintings that aren’t tattoo-related and imagine them on your skin, instead of on paper or canvas. Would it look right to you? If you have hobbies, think about whether there are objects or images that express them. If you have inside jokes with friends or loved ones, think of ways to express them with images. Getting matching images is usually not a jinx on a relationship the way getting a tattoo of someone’s name can be. Does your child have a favorite toy, or a nickname? Does your wife have a favorite flower? You can get her a bouquet, or memorialize this time in your child’s life, by tattooing it on you.
  • If it’s a tattoo for a relative, “Mom” or “Pop”, think about what kind of images they enjoy, and what their personality is like. Memorial tattoos and relationship tattoos, just like gifts, mean more if they are personal to the receiver.
  • Don’t feel hedged in to what you have already seen as a tattoo. The tattoo industry has expanded in technique and equipment rapidly in the last ten years or so, and besides being safer (with disposable equipment and such) the artistic possibilities are close to endless.  While not every design can be applied as-is, usually a few modifications can make it possible to do just about anything on skin. Look to all forms of art and photography for ideas and styles to apply to your tattoo.
  • Try to find your inspiration in your own taste and interests. If you like art nouveau vases, use them as reference. If you like wild animals, find some photographs of animals you find meaningful. Or simply look for shapes, motifs, and colors that you like.

(more…)

How much does a tattoo cost? Here’s the answer.

424611_10151055899257712_1661654307_nGood tattoos are not cheap: cheap tattoos are not good.

I’ve been a tattoo artist for many years, and I’ve heard, and said, this phrase too many times to count. Often times people will hunt for the cheapest price, without realizing that the cheapest price is usually a red flag to poor quality or bad health and safety precautions.

When you’re searching for a tattoo, the first thing on your mind should be safety. You’ll want to get tattooed in a professional shop, with the proper licensing from the health department. Your health is more valuable than the few dollars you’d save otherwise. Think about the long-term cost of your tattoo. You will be wearing this art until you die. Compare it to the cost of your shoes-which wear out every year; a tattoo costs less in the long run than any other purchase you can make.

Most tattoo shops in a given city or area will cost about the same rate. There may be a few artists who are booked far in advance, who charge more than this. If you are seeking a large, custom-drawn original tattoo, you’ll probably be better off to pay more, and wait longer, for one of these artists to do your tattoo.

You can count on paying anywhere from one to two hundred dollars per hour of time spent tattooing. Most studios have a minimum price for any tattoo, no matter how small. This price usually takes into account the cost of new, disposable equipment, and time spent sterilizing/disinfecting. On average this can range anywhere from forty to a hundred dollars, depending on the ability of the artist. Some top-name artists have a waiting list of a year or more, and may cost up to a thousand dollars each sitting. New or apprentice artists may cost much less, or be willing to work at a deep discount, in order to gain experience. A word of caution is in order for these young artists, though, as many of them will NOT do the best work for the money. The base hourly rate will vary depending on cost of living where you are at.

Tattoo artists are often paid on commission, earning from forty to eighty percent of your payment. This means that for a fifty dollar tattoo, the artist gets paid less than ten dollars, after equipment costs and commission are subtracted. Artists that own the studio may be paid a higher rate, and artists that are working part time may be paying a flat amount in rent to work in the shop. The majority of artists, however, work on commission or “percentage”, and are independent contractors.

In most cases, a smaller tattoo will be quoted a flat price, while a larger tattoo will be quoted at an hourly rate. Tattoos on hands, feet, and faces will often cost more. The minimum for tattoos from me is $60, but it’s $100 for those areas, because the possibility of a needle stick for me is higher, and because they will most usually need a touchup.

Your best gauge for pricing in your area is to call one or two studios and ask if they have a minimum price, usually an hourly rate will be about double this minimum cost.

31148_403057647711_1851485_nSince most tattoo artists do not have health insurance, workmens’ comp, or any standard paycheck, and since they do not get to keep the majority of the price of the tattoo, tips are always appreciated. Tips can range anywhere from five to twenty percent; depending on the difficulty of the tattoo, your ability to sit still, and the service you felt you received. A large, difficult tattoo that you could not sit still for, during which you wiggled, cried, and made the artist pause, and during which the artist was polite and entertaining to you, represents a situation in which you should tip very well. Industry standard ranges from 5% (for a huge tattoo) to 20% (for smaller pieces).

Most tattoo artists will also be able to suggest alternative placement, rendering, or ways to simplify a tattoo so that the basic idea remains the same, but will cost less overall. If you have a budget, let the artist know and see if they can work within it– often there are ways to do this, and usually the artist can find a way to make your tattoo affordable, within reason.

Your tattoo should be a point of pride, so when you’re shopping for one make sure to look at the artist’s portfolio, photographs of work they have already done, to be sure they can do good work that you think looks right; because what you paid for your tattoo will be forgotten in ten years, but you’ll still be looking at it for years after that.

If you like my work, check out the new horror coloring book I made!

(written by me and originally published at this link)

How much does a tattoo cost? Here's the answer.

424611_10151055899257712_1661654307_nGood tattoos are not cheap: cheap tattoos are not good.

I’ve been a tattoo artist for many years, and I’ve heard, and said, this phrase too many times to count. Often times people will hunt for the cheapest price, without realizing that the cheapest price is usually a red flag to poor quality or bad health and safety precautions.

When you’re searching for a tattoo, the first thing on your mind should be safety. You’ll want to get tattooed in a professional shop, with the proper licensing from the health department. Your health is more valuable than the few dollars you’d save otherwise. Think about the long-term cost of your tattoo. You will be wearing this art until you die. Compare it to the cost of your shoes-which wear out every year; a tattoo costs less in the long run than any other purchase you can make.

Most tattoo shops in a given city or area will cost about the same rate. There may be a few artists who are booked far in advance, who charge more than this. If you are seeking a large, custom-drawn original tattoo, you’ll probably be better off to pay more, and wait longer, for one of these artists to do your tattoo.

You can count on paying anywhere from one to two hundred dollars per hour of time spent tattooing. Most studios have a minimum price for any tattoo, no matter how small. This price usually takes into account the cost of new, disposable equipment, and time spent sterilizing/disinfecting. On average this can range anywhere from forty to a hundred dollars, depending on the ability of the artist. Some top-name artists have a waiting list of a year or more, and may cost up to a thousand dollars each sitting. New or apprentice artists may cost much less, or be willing to work at a deep discount, in order to gain experience. A word of caution is in order for these young artists, though, as many of them will NOT do the best work for the money. The base hourly rate will vary depending on cost of living where you are at.

Tattoo artists are often paid on commission, earning from forty to eighty percent of your payment. This means that for a fifty dollar tattoo, the artist gets paid less than ten dollars, after equipment costs and commission are subtracted. Artists that own the studio may be paid a higher rate, and artists that are working part time may be paying a flat amount in rent to work in the shop. The majority of artists, however, work on commission or “percentage”, and are independent contractors.

In most cases, a smaller tattoo will be quoted a flat price, while a larger tattoo will be quoted at an hourly rate. Tattoos on hands, feet, and faces will often cost more. The minimum for tattoos from me is $60, but it’s $100 for those areas, because the possibility of a needle stick for me is higher, and because they will most usually need a touchup.

Your best gauge for pricing in your area is to call one or two studios and ask if they have a minimum price, usually an hourly rate will be about double this minimum cost.

31148_403057647711_1851485_nSince most tattoo artists do not have health insurance, workmens’ comp, or any standard paycheck, and since they do not get to keep the majority of the price of the tattoo, tips are always appreciated. Tips can range anywhere from five to twenty percent; depending on the difficulty of the tattoo, your ability to sit still, and the service you felt you received. A large, difficult tattoo that you could not sit still for, during which you wiggled, cried, and made the artist pause, and during which the artist was polite and entertaining to you, represents a situation in which you should tip very well. Industry standard ranges from 5% (for a huge tattoo) to 20% (for smaller pieces).

Most tattoo artists will also be able to suggest alternative placement, rendering, or ways to simplify a tattoo so that the basic idea remains the same, but will cost less overall. If you have a budget, let the artist know and see if they can work within it– often there are ways to do this, and usually the artist can find a way to make your tattoo affordable, within reason.

Your tattoo should be a point of pride, so when you’re shopping for one make sure to look at the artist’s portfolio, photographs of work they have already done, to be sure they can do good work that you think looks right; because what you paid for your tattoo will be forgotten in ten years, but you’ll still be looking at it for years after that.

If you like my work, check out the new horror coloring book I made!

(written by me and originally published at this link)

painting as work and play/the dichotomy of the studio

Originally published on 12/23/2008.

20062641819191On painting…

You must have music which is entirely familiar to you playing. Any new thoughts or sounds may intrude upon your own particular vision, worming their way in, showing themselves. You want to have something so familiar that even the unconcsious ignores it. Something with beat that you can waggle the brush to. Something that makes you dance at your work.

You must have no unfamiliar or new scents in the studio. Only the familiar, the comfortable, the usual. Turpentine, coffee, tea. The things that your mind sees as backdrop, not as important, nothing that your mind must process or worry over. Nothing to bring up memories, which will also invade the vision. The mind as blank screen. No alarm bells, either for good or bad.

(more…)

the struggle to decide; prints or not? downloads or not?

(originally published Published on: Sep 5, 2013)

I always struggle with the question of whether to make downloads of my work available, or prints. In one way, I hate doing it, because I like the idea of something I made with my own hands going to your hands, as it is, with no other stuff there. Then I realize some things.

  • If I was a musician, I’d sell records, not just perform live.
  • I can only make so many original things, in so much time.
  • I’d like to be able to earn enough from my art to make it worth the time and energy (see footnote)
  • I have to eat.
  • Many people want to be able to enjoy my work but couldn’t afford the cost of an original.
  • I can’t manage shipping and storefronts online and promotion for all of that, and STILL HAVE TIME FOR MAKING THINGS.

I will take these point-by-point.

shirtsIf I was a musician, I’d sell records. I’d want more people to enjoy my work than I could perform for in person. I’d want people to be able to take me anywhere with them. If I was a writer, I’d print books of my work. I wouldn’t expect people to only access my work through attending readings, or by buying the hand-written manuscript. I’d want my work to be accessible, something people could enjoy.  I also would maybe still sell the manuscript, or some signed first editions…but the books would be published, out there, even on a kindle.

I have two hands. If I work the equivalent of fulltime hours, I can make maybe four things, of substandard quality, in a week. I can make maybe one or two things of good quality in a week. I can make one great thing a month. Now…how much is minimum wage? Should I set all the art aside and get a job at McDonald’s? Because if I can only sell a piece of art one time, mcdonald’s will pay better, and maybe I should set this art stuff aside permanently and get a real job…I can only make so much stuff with my own two hands. But if I sell prints and let people download the works, I can post it – set it and forget it. I can sell those while I am busy making other new things, and can continue to make money from a piece for years sometimes, long after the original is sold or destroyed.

I love making art. I spend all my time making things. I do have to eat. So therefore I have to charge money and sell my work- my choice is, work a job which takes all my time, and rarely make anything, or sell my work at a reasonable price and live off that money. I love making art. The process of actually making things, well, I will do that no matter what. I’ve had my Kafka years, working fulltime then coming home and putting in another eight hours painting. But my work wasn’t as good. And I had no time to show it to anyone. I need the time to show my work- to scan it, photograph it, share it, post it. If I don’t make any money from a piece, I’ll still MAKE the piece- but I will not spend the time posting it and discussing it and sharing it with you, or with anyone. If I was lucky enough to have inherited wealth maybe I’d have that kind of luxury, but I don’t. I wish I did, really.

EPSON MFP imageAnd yeah- YOU GUYS are broke too! I mean everyone is hurting. Being poor shouldn’t mean you can’t enjoy or own art! I want to make things accessible to everyone as much as possible. So- digital downloads. Most people have a printer- or access to a library with a printer in it- and can pay me a few dollars for a file, take it there, pay a buck or two to print it, and hang it up. Prints are next in line- the quality will be better, professional grade, the print will last longer, years even. Limited run? Why? It seems like a waste of time, of energy. I put my initials and a number on them and they’re magically worth more somehow? No. I do handpainted prints though- the next higher price things- and those are fun. I can take an hour and embellish a painting I already did- make new details on it, play around. The buyer gets something unique, like an original, and I get to play…

I spend maybe an hour or two a day online writing copy for my work, explaining it, discussing it, sharing technical stuff, writing, posting, and keeping track of what has sold. I spend another hour or so every day taking photos, scanning, fixing the damn scanner. And another hour every other day packaging stuff to mail out, trying to keep track of what goes where. I am not good at any of these things. They are REAL WORK, hard work I don’t enjoy very much. I’d rather be actually making things. So this work- I need to streamline it, make it as handsfree as possible. Selling originals is difficult. I have to post it everywhere, and hope the right person sees it, and then once it’s sold, do it again, the entire process, from documenting the work to explaining it to answering questions and pricing it and packing it and shipping it. All that work has to be done completely from scratch, every time I sell an original.

A print? I scan it, touch it up, post it, and it’s done. I can leave it there, just like that, for years. People can buy it a year later, without any additional work from me. It’s what they call a secondary income stream, and as an artist working alone I NEED that to happen as much as possible. It frees up my hands for making more better things. The digital downloads are the same- even easier, in fact. There’s no parameters to set, no material-checking, no worrying about quality control. It’s set and forget.

EPSON MFP imageSo, in order to be able to make more and better art, and in order to live, I sell originals, downloads, AND prints of most things. I charge people a tiny bit extra if they buy an original and only want me to do a limited run of prints. I charge A LOT extra if someone buys something and wants me to make no prints at all…for example, A painting I make- the original is a hundred bucks. I will probably (if it’s a good painting) make another two hundred off of prints and downloads of it over the course of a year. For me to sell ONLY THE ORIGINAL and still pay my rent, I have to charge three hundred for that original, now.

Should I do that? Sometimes I want to. Because I love the idea of something I made with my own hands, being in YOUR hands, with nothing in between us. Also because I like originals myself. But I can’t manage to, or figure out how to, promote myself well enough to always sell my originals, let alone for three times what I have them priced at now. So unless a magical fairy of promotion comes and makes me famous or rich, without charging me anything or requiring more of my time to work it…I will keep selling prints and downloads, of nearly everything I make.

I love you guys. Those of you with two bucks, and those of you with a million. You’re all people I like, and I want you all to be able to touch and enjoy my work.

Gel medium to transfer drawings and sketches, DIY

So I got a huge tub of soft gel medium, and immediately decided I wanted to put some of the drawings I’ve been doing (mostly figure studies) onto some cedar planks I had. I searched for a how-to, and could only find people discussing photocopies, printed photos.

Nobody seemed to be interested in putting their own drawings onto other surfaces- or if they were, they were willing to photocopy them first.

I wasn’t interested in that- I wanted to draw the piece on paper myself, in reverse, and then transfer it right to the wood.

I read up about the way gel medium works. If you’re using something that soaks into the paper, it won’t transfer. You need to be using something that sits on the surface of the paper, like prismas on tracing paper, or like inks on copy paper, or dry paints.

(more…)

hobo how-to, makin an old-timey drawing

Here’s an old timey post for you guys. Tattoo artists that like old-timey stuff will recognize some of the in-jokes here that others might not- I kind of wrote it for you guys as a joke anyway, but these directions WILL work…so enjoy. You can actually buy prints of this guy here, YES PLEASE FUCKING BUY ONE I AM A FUCKING BROKE HOBO.

How to make an extremely old-timey picture

1.First, You have to brew coffee.

Good strong coffee.

The kind your grandpa would make at a hobo camp.

Coffee that will put hair on your chest.

Shit your sister would never drink.

The kind of coffee that people see in the glass and look confused about.

Brew your coffee first and brew it strong,

Not only will it keep you alert throughout this process, and taste better with whiskey in it,

but we’re going to use it as a dye.

2. Then, pour into a tray. Soak some cardstock or watercolor paper in the coffee,
crumpling it and savaging it at random, if you are in a foul mood. or just soak it flat if you feel pretty amiable.

3.Lay the paper out on a towel or other handy surface, to dry out a bit. You want the paper to be just about totally dry when you start working with it. Not damp, just chilly. You’ll notice that the crumpled scapegoat paper looks kind of cool.

4.Next find yourself some reference, or using your brain and its own images, start drawing in light pencil on the paper. I used a 6h pencil so it would be very faint.

If you use a hard pencil don’t get too angry at the paper.

You’ll rip it to bits.

If you’re using a softer pencil go ahead and be a jerk to it.
Then take a small soft filbert brush, dip it into black waterfproof ink, and draw some more.

Right over all the pencil marks.

I use either FW or higgins ink, for this.

5.I have used reference for my hooter picture. Whatever you are drawing, remember that you only have a few minutes before the yard bulls show up and stick ya in the pokey, so hurry the fuck up.
Keep it extremely simple.

6.I mean real simple. You can use watercolor black from the tube. Or you can use some liquid watercolors.

Or you can use kid’s paint, dry watercolors, although those are a pain in the ass. I suppose you can also use sharpie or prismacolor with alcohol on the brush, too, but those dry really fast, too fast for me to do old timey stuff with them. They do have the benefit of using up your whiskey spit.

Here is my ink and brush- as you can see, my brush is flattened and curly? That’s because I’m too lazy to clean them up right away, so they sit in the water til they dry out weird and curly. Don’t do that.

7.I usually lay in the darkest areas first, then come back through with a dry brush and smooth out the edges, then with a only very slightly damp brush I moisten the edges of that again, making it blend. it doesn’t take long and you don’t need water- it’s easier to use a damp sweaty hand or your spit to do it. if you are drinking your coffee like you should be then your hands will be nice and sweaty by now. I know a lot of people will have the unbearable urge to wet the paper then paint onto it, like you’re supposed to use watercolors.

WE’RE NOT DOING THINGS THAT WAY IN HERE, GO BACK TO WETCANVAS FORUMS.

8.At this point, just crank up the music and keep going. you wanna
keep it minimal.

Suggested music would include baby gramps, tom waits (early works, or like bone-machine)
I actually think I did way too much on this one, way more shading and fucking around than I should have.

The simpler, the smoother, the less work, the better with this stuff.

If you mess up somewhere, just find a way to hide it with more black.

That’s what it’s there for, right? I guess if I was truly old timey I’d be using lampblack soot, dirt, and saliva  to make the picture.

I try to get pretty close, anyway.

Eventually, you will come to believe you are finished, or the yard goat’s light will pick you out, and you’ll have to stop with the feverish sweating and blending.

9.Now, since you’ve come so far, finish out any little things you got confused about,or forgot to do, while you were blending.

Like his fucking feet and the perch.

Everything will probably look a little rough and shitty at this point. It helps when doing this kind of artwork to make sure your lighting is inadequate, and that you have someone sitting near you drinking and exclaiming at random intervals,
and that you work on a shitty piece of uneven wood, or at least a stained old clipboard precariously balanced
on your knees.

Markers are only considered cheating if you do them with your right hand.

roughed out

10.Now if you want to be schmancy, you can pick a few spots and put a color in it. One color. What do you think this is, art school?
One color only. Remember, you’re a bindlestiff, a wayfarer, a gandy…you ain’t got no room for paint pots in that sack, kiddo. One color. It’s not even 1940 yet, so simmer down.

I like to use red everytime. Feel free to use green, yellow, or brown if you prefer.

No blue, no purple, definitely no hot pink- you’re in the wrong place to get fancy.

Put a dot where you think the darkest red should be.

11.Do this for every place red will go.Then use the almost all the way-dry brush you’ve been chewing on, to blend them out. I like to make the areas of color into little half-circles.

12.Wow, that’s come along pretty far. Looks nice and clean. At this point I usually would put on a monocle and top hat.

No matter what you are drawing, just go ahead and do it,
trust me, monocle and top hat.

Man, if you can give it a cigarette in a long holder, even better.

The closer you get to the monopoly guy, the better.

You want the art to be classy, goddamnit.

If you can’t do a monocle and top hat, whatever you do, DON’T ADD A MUSTACHE-

This is old timey, not HIP.

13.At this point, get out a thin liner brush, or a permanent black non-water soluble marker,and clean up the edges of the black and all the lines.

Now if you want to be a dick you can add a bunch of crap around it. This one looks like a capitalist pig owl to me, so I’m giving him a name and a joke.

It’s a shitty joke, I know.

No really. I know.

You will be tempted to draw blood, or if you are a tattoo”er” some raindrops, around the object. Resist this temptation!!!
Your picture should be a combination of items that is humorous to you, and you alone.

that means no unicorns, no mustaches, no ironic shit.

Nothing that popular modern culture would enjoy

(says the one painting an owl in a top hat)

14.Now get a damp, really damp rag, and a candle, and set that shit on fire!

15.The rag is for putting out the fire, so that you only burn the parts
of your page that seem useless to you, or where it would look cool to have a singe.

You need the rag.

I should make it very clear that if you’re kind of half-assedly following the instructions and didn’t bother to get a damp rag you might be kind of fucked right now,

because you set your shiny new art on fire.

That’ll teach you to follow instructions.

16.Bet you like it so far, huh?
Think you did a good job?
That’s some kinda cool picture?

BULLSHIT, IT’S GARBAGE!
THROW IT THE FUCK AWAY!
YOU SAD SACK OF SHIT,
YOU CAN’T DRAW!!!

UGH SERIOUSLY YOU SUCK!

JUST CRUMPLE THAT WASTE OF TIME INTO A BALL AND THROW IT AT A POKEY OR A COP!

IT’S NO GOOD FOR ANYTHING ELSE!

Damn, I was just kidding!
Sheesh, man, try to have a thicker skin!
Why you gotta be so worried
about what I think, anyway? flatten that
thing out again, let me get a closer look.

Go easy on it. I mean it’s still kind of-

oops oh shit hey I’m sorry-

Hey waittaminute…ok

dry that crap off with the rag. the burny rag.

You really needed that rag.

17. Crumple it up, flatten it out,
spill coffee all over the back of it,
and let it soak for a few. Don’t do this
until ALL the paint has dried completely.
That looks right out of a hobo museum.

Good show, sir, good show.

Originally Published on: Nov 12, 2007

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