Unconventional convention sketches

Some guys  just get lucky …

I am presenting you with a selection of drawings  which I did in a number of my books. These drawings were made for fans, colleagues  and friends who  either bought a copy of the book, or have got it from me as a present. The intention was to do a little sketch and to make their copy more personal and special. But in each of these cases,  soon after I started to draw, I felt inspired and instead of a simple sketch I ended up with a detailed drawing. All of them were done in my studio, or during one of my vacations, when I had enough time and when I was in the right mood.  Usually when signing my books during the conventions, I do not have enough time for a nice drawing.  I am always excited and even a bit nervous in this kind of situation. This contributes  to the poor drawing  results and therefore I am almost never satisfied with the sketches that I do during the conventions. These lesser drawings “decorate” the books  of the less fortunate buyers. But, I presume, they are still luckier than those who only got a signature in their copy.

A convention sketch

Unlike the drawings from the conventions, the drawings  presented below were done in the familiar surroundings, with no time limit, and in peace and quiet. They are a kind of materializations of my thoughts and feelings, the ghosts of  the ideas that are roaming through my mind in search of a proper “body” and the final incarnation.  When starting such a drawing session , I often have no idea of what I am going to do. I just begin drawing lines on the paper and I follow the shape that starts to appear. Reacting on what I see in front of me, I gradually build up the form. The story of the piece is developing simultaneously, inspiring the addition of new elements and features. The theme of the drawing often has something  to do with the content of the book, or it might be connected to the  subject matter that preoccupy me at that time.

However, I was so pleased with  a few of these drawings that I decided to include them in some of my book projects.

The next two drawings were conceived as the illustrations for the book Banished demons. As you can see there is not much difference in terms of detail and general quality between them and the drawings from above.

I told you, some guys just get lucky…

Remembrance – Remembering Meštrović

The painting Remembrance (see below)  was inspired by the sculpture, also named Remembrance, created by Ivan Meštrović ( 1883, Croatia – 1962, USA). This marble sculpture is to be found in the collection of Narodni Muzej (National Museum) in Belgrade, Serbia. Meštrović was a phenomenal sculptor known for his powerful epic sculptures loaded with emotion and movement.  He was an internationally renowned artist  whose work, in my opinion and in terms of expressiveness and emotion, could easily be compared to the  art of famous Rodin. In fact, Rodin himself called Meštrović  “the greatest art phenomenon of their time”. However, just before the outbreak of the First World War, Meštrovic abandoned his epical stylization and concentrated his  attention towards the religious themes. His sculpture lost some of its iconic epic energy, but gained more spiritual depth in return.  Below you can see some samples of Meštrović’s sculptures from the public places and museums from Croatia, Serbia, Monte Negro and the US.

My painting Remembrance is a homage to this great artist, whose sculptures inspired me greatly during my studies at the art academy. In fact, at the end of the second year, I was so moved by his art that I almost decided to became a sculptor instead of a painter.

Remembrance, oil on canvas, 50 X 70 cm, 2003

No Words - Just Pictures

                                                                        
   "The Exit"

The Exit, oil on canvas, 90 x 120 cm, 2005

Another Tolkien interpretation – a painting in progress

Eowyn and the Lord of the Nazgul, underpainting

 

“…Well, as you can see from the image I send you, I made a quite developed monochromatic underpainting of my new piece named Eowyn and the Lord of the Nazgul. I usually don't do the preliminary color compositions. The only preliminary color composition I did was the one I painted years ago for one of the paintings from the Steel Bashaw book (it was published at the beginning of  'The Making of ' chapter). The reason I don't do color compositions is quite simple - I have the feeling of spending (losing) an important  portion of my creative energy (or a creative tension, as I experience it) when doing it. I like to start with a new painting fresh and free-minded, so to speak,  and to search for the right color solution along the way. My paintings are often created in a flamboyant "fight" with the medium, the technique, the demands of a developing painting and my goals and aspirations in connection with that particular painting. When painting, I try to connect all the aspects of the creative process and make them work together, and as if in a state of creative "trance", I force my way towards my goal (This is especially relevant at the first stage of the work on a painting. Later on the grip of the mentioned “trance” gradually fades away).  I presume that this could sound as a mystification of the working process. It is not my intention to mystify my working process, although I am aware that it can appear to some people as such. It is just the way I approach painting.

On the other hand, there is perhaps  a bit of mystery in it as well, but of another kind. Every time I start a painting, I try to reveal that mysterious and elusive picture that already exists somewhere within me, or somewhere outside of me, I am still not sure about that part. I just have the feeling that such an image already exists somewhere as a potential, waiting to be materialized.  Through the intuitive painting process and the expressive behavior, (and without the preliminary color compositions, because they tend to reduce the level of that creative frenzy and excitement),  I try to grasp that illusive image and turn it into a most appropriate form.

This does not mean that I start the work on a painting without preparations, on the contrary. I spend much time preparing myself for the upcoming “fight”, as well in terms of collecting reference as in terms of mental preparation. Beside the other aspects of the future painting, I spend much time thinking about color arrangements and mood, as well.  And as you also know,  I do make many sketches, studies and  preliminary drawings, trying to solve the main problems of form, value and composition, but at the same time I keep on thinking about the color problem.

So, there is much painting going on in my head before the actual start of the work. I try to visualize as much as possible. So, when I eventually start painting, I often know what kind of color I have to use. But , I must admit, it is a struggle, sometimes a dramatic one,  to make a compact and stabile whole from a painting when doing it this way. As a working method, it is not very practical, and it cost a lot of energy. But again, that’s the way I like to work.

Detail of the underpainting

Detail of the painting in progress

Now, I also think that the making of preliminary color compositions is a very useful  thing, and it is quite advisable to include it in the working process, at least sometimes. At the same time,  in my humble opinion, one should not try to solve every bit of a problem with a color composition. I firmly believe that there has to be enough space left for the improvisation and the decisions that have to be made on the spot. I don't think the artist should have too much of a  "scientific" approach to art, or to have the intention to understand every part of the creative process, unless there is  a very good reason for that, of course . One has to leave some space for the natural, creative instincts, that are coming straight from our own, unique  personality, for these things are in charge of the uniqueness of the future art work. After all, if we pause for a moment and seriously think about it, we have to admit that the process of creation is a miraculous phenomenon. It is an ability that is “given” to us,  and that we should not try to control too much…” *

As Harvey Dunn, one of the greatest American illustrators from the Golden Age, and one of the most intriguing art teachers, said: “ Paint a little less of the facts and a little more of the spirit. Paint more with feeling than with thought…When intellect comes in, art goes out.”

(From the book Harvey Dunn, Illustrator and Painter Of the Pioneer West, by Walt Reed, Flesk Publications, 2010)







* Taken from the letter written to a younger colleague illustrator.