Charlie’s golden beetle cafe and other sketches

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After supper, kidlingers helped with laundry. And kitchen dishes. Provided a few minutes for me to organize and store some of my art work.
 
Some ink on paper drawings fell to the floor. Collected at the back of an art portfolio presentation book, they escaped when I opened it. Not sure why they were loose. Too small? Or, I was in a hurry and stuffed them there years ago. Now scattered on the floor, I considered their future.
 
I picked up a mocked up advertisement for Charlie’s Golden Beetle Café. It was part art deco and part art nouveau. And had a dash of Alphonse Mucha-inspired design with a Patrick Nagel homage. Inked with crow quill and brush, the shellac of the pigment still shined. I placed it on my desk and picked up another page. A character model sheet for a comic book proposal displayed across several pages. Half pages and scrap illustration board. Some in black ink. Some had splashes of red to highlight an aspect of the character’s costume. I gathered up a couple pages of ink brush sketches. Practice sheets. Or illustration exercises.
 
What to do with this stuff?
 
Someone called from the other room. It sounded urgent. And yet not desperate. But still. Family duties called. 
 
I picked up the presentation book. It collected a comic book art pages I drew many years ago. A sixteen-page indie comic book story and two other short comic stories. There were no empty clear pockets to place the loose art.
 
I grabbed the ink drawing pages from the desk and began placing them. The presentation book featured 24 clear pockets. Each pocket sandwiched two comic book art pages and a black paper divider. I slide one of the ink drawings between the black paper divider and a finished comic art page. I continued hiding drawings in that manner until all the desk was clean.
 
And someone called again.
 
I closed the presentation book. And placed it in The New Yorker magazine tote bag along with another art portfolio. I paused. Looked at the pencils, pens, and brushes on the desk. Then answered the call.

Florilegium – gathering literary flowers

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Just listened to an audio podcast regarding florilegium.

Reminded me of these notes from 2019. Thought I would share the post again.

Coffeehouse Junkie

Ever have one of those moments when you realize you are not what you claimed or thought you were? Where an illusion of yourself, either self-imagined or externally imposed, dissipates.

Well, an interesting thing happened to me on the way to the Intermodal Station. While I had thirty minutes to spend, I lost my way through the labyrinthian shelves of Downtown Books in search of a Latin dictionary. Instead, I found a used English dictionary.

Knowing that half of the English language is built on the foundation of Latin, I found a delicious word: florilegium. Culling flowers is the literal definition. But “a volume of writings” reminded me of something else. The idea of gathering literary flowers or collecting the flowers of one’s reading. Somewhere between the Middle Ages and Renaissance the practice of writing quotes and excerpts from other texts began. Later it manifested itself in European culture as…

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Morning commute

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Found this photo from my morning commute. A year ago.

Read a Frederick Buechner book on the morning train. And a Li Po book on the evening train.

Practice art work

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From the archives. This goes back quite a few years. Before social media. And iPhones. How did I manage to create a regular comic strip with a full-time day job?

In truth it took a few years. Little by little. The style developed from pen and brush inking techniques — more realistic illustrations — to Sharpie® marker and Sakura Micron pen illustrations — more graphic and cartoonish. The intent was to streamline the process and art style in order to work quicker. However, the reality is that the graphic, cartoonish style takes just as much time as pen and brush. Just in different applications.

The character remains unnamed — loosely referred to as a young artist. Dressed with black turtleneck and unkept hair. The comic strip ran for maybe a year before the newspaper ended publication. A lot of newspapers and magazines shuddered that year.

I return to the “young artist.” To practice art work. A creative workout. Similar to physical fitness routines. An effort to keep the motor skills of drawing and illustration in shape.

Recent practice comic strips created remain unpublished. Private exercises. Not published in an independent newspaper. Not for public show on Instagram. Or Facebook. I do not have accounts on those social media platforms.

I may share them here. This has become a digital repository of material I find in old art portfolios and sketch books.

“Art is work”

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A drawing of my desk with books read, unread, or partially read.

It is a challenge for me. When I am introduced as an artist and/or poet. Still not comfortable with either of those nouns. The next question is inevitable. It usually goes something like this:

My wife turns and introduces me to her friend and adds, “He’s also an artist and poet, too.”

“Wow, can I see your art work on Facebook?”

“No. I am not on Facebook.”

“Oh. Instagram?”

“No. Not on Instagram, either.”

“Well. Um. What do you do? Oil paintings? Do you have a gallery somewhere?”

“He posts some of his work on his blog,” my wife offers.

About that time the bread crumb trail ends and the conversation shifts to something else.

The trouble is that some of the work I create I cannot contractually share. Technically, I do not own the copyrights to the final art. And so, I cannot distribute or display it on this or other online platforms. Frustrating. Yes. Bad. No. It is the cost of commercial arts.

For example, a couple weeks ago I drew a portrait. A line art drawing. The portrait will be featured as an etching in either crystal or acrylic as part of a lifetime award. Sometime in March. You may have seen such awards in business offices. A crystal award on black base sitting on someone’s desk or shelf or trophy case.

I am reminded of one of Milton Glaser’s mottos: “Art is work.”

Milton Glaser, celebrated graphic designer, may not be a household name. Not even in my home. But most Americans will recognize the I [heart] NY logo. It is highly unlikely that school children will study designers as part of their art curriculum. (My children are presently studying the American painter Andrew Wyeth.)

Too often I lament, or rather, complain that I spend too much time creating work in front of a screen. It was so nice to ditch the screen and work in ink on vellum and illustration paper. Took nearly four hours to draw the portrait. And that is with the interruptions of replying to emails and designing elements for a multi-page editorial piece. It would take four weeks if I tried to craft the portrait as an oil painting.

In order to answer a request (Where may I find your art work?), I drew the above page last weekend. Inspired by Jane Mount’s Ideal Bookshelf, I managed to draw the stacks of books on my desk by the bedroom window. At least fifty books. So many books. So little time. I enjoyed the exercise. It felt good to pencil a sketch, flesh out the details, and ink the page.

“Wait. You write poetry, too?”

“Um…” I start.

“Have you been published?”

“Yes,” I say.

And this time the bread crumb trail ends quickly. Because most people do not know where to begin to look for published poetry.

“He posts some of his published poems on his blog,” my wife adds.

Comic book pages found

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“What’s that?”
 
I turned to give the kidlinger a better view. 
 
“Did you draw all that?”
 
I nodded. 
 
Three years ago I rediscovered these 11 inch by 17 inch pages. Illustrated comic book pages hidden in a storage container. A gray Rubbermaid® Roughneck® storage tote of the 18 gallon variety. I stored art supplies, books, family keepsakes, manuscripts, and tools in dozens of similar totes. Living in a humid subtropic climate at the time, I did this to avoid water damage and mold ruining art and other supplies. Additionally, heavy duty polypropylene bags also prevent mold and water damage. To offer an added level of protection I used the technique of poly bagging art pages and then placing them within totes. When I moved across the country this also acted as a good way to pack.
 
However, that was not the case with these pages of art I discovered three years ago. Like an archeologist, I excavated those pages from a gray Rubbermaid®  tote. They were loose in the tote. Not poly bagged. Print samples of graphic design projects filled the tote as well. And also old newspapers and magazines. Either these publications featured something I wrote or something I designed.
 
In an effort to preserve the illustrated comic book pages, I found an old presentation book used for interviews. The Itoya Original Art Portfolio presentation books work the best. Good for professional presentation and storage.
 
During the holiday season I found one of the portfolio books with those illustrated comic book pages. Examined them again. This time one of the kidlingers was spying over my shoulder. 
 
“These are really good,” the kidlinger said. “Better than I can draw.”
 
“These are practice pages.” I said. Paused to let the kidlinger read the panels on the page. For a brief moment a wave of vulnerability washed over me. A child-like anxiety of examinations. The kind of fear I had when a school teacher reviewed my arithmetic work during class. Found an error and announced it so that all the class might hear. Why had I felt that way about my child reading this page? There were no objectionable elements to the story. Nor art. Nothing inappropriate for the kidlinger’s age. The moment passed.
 
“What language is this?” Kidlinger pointed at one of the panels on the page. 
 
“German.” I answered. “Deutsche.” 
 
The kidlinger hesitated. I considered translating the passage: Im Schatten sah ich. . .
 
“Lines from a German poem,” I said. “I added it to the story to help me remember the poem.”
 
Or to add texture to the short slice-of-life comic book story I composed. Sequential art as some have called it. A clever way of renaming comic book art.
 
I did not purchase my own comic book until I was in high school. An art teacher suggested that it may be a good way to study human anatomy. And it was. Exaggerated, dynamic anatomy. Superhero comic books were the only type sold at the local gas station on the way to school. The public library carried collections of Peanuts. But nothing like Superman or Batman. They did, however, carry the Classics Illustrated book series. Excalibur was the name of the comic book I bought at the gas station.
 
Though superhero comic books introduced me to sequential art, it was the slice-of-life stories that intrigued me. At the time, I had not heard of nor read American Splendor, Berlin, Cerebus, or Strangers in Paradise. But that was the direction I was headed creatively.
 
I probably added lines of German poetry to seem more sophisticated. To elevate comic book pages to sequential art.
 
“You wrote each of these stories, too?”
 
“Yes,” I answered the kidlinger. “Every one.”
 
I started to say something. To explain that these were practice stories and drawings. I wrote the script and illustrated the pages a decade ago. No. Maybe two. Each page, each panel pencilled and inked with crow quill and brush. It was practice for greater things.
 
My goal in those days was to publish a comic book or a childrens book. I did not know how. But the owner of a comic book store suggested I visit some comic book conventions. I did. And even booked a table on artists alley for a couple comic cons.
 
Artists alleys are a feature in nearly every comic con. The alleys feature artists and writers showing their work in hopes of securing a job with a major publisher. Or any publisher for that matter. Or trying to sell their own artwork. I met several artist and writers at these comic cons. And learned how hard I needed to work. Over time, I connected with writers and got a few independent projects. Some of them published. Most remained unpublished.
 
The kidlinger flipped through the entire portfolio. Read through several 2-page and 5-page stories.
 
“Nice,” said the kidlinger. An expression newly formed in the teenager’s mind to mean awesome or fantastic or good.
 
“What do you think?” I asked. 
 
“I don’t know,” said the kidlinger and ambled out of the room. 
 
I thought about that for awhile. What had the kidlinger found in looking through these pages? These artifacts? In a way, this portfolio is a childrens book for at least one child — my child — mein Kind. But these pages remain unpublished. Hidden in a black portfolio book. Even a fragment of a German poem remained hidden: Im Schatten sah ich/Ein Blümchen stehn. . .
 
I stumble through a translation:
 
In shadow I saw
a flower stand. . .
 
Or maybe:
 
In shade I saw
a flower grow. . . 
 
What is that? Goethe? Was I reading Goethe back then?
 
I will not deny the desire that someday I would like these early drawings and writings published. But why? Maybe my desire is misplaced. Maybe these pages should remain in the shadow. In the shade. They are practice pages after all.
 
And then I have discovered something else. I was reading Goethe when I illustrated those pages. A fragment from Goethe’s poem “Gefunden.” Or, in English, “Found.”

A poem for the second Sunday of Christmas

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Hark! The Herald Angels Sing, block print Christmas card, 2020

Carol

R. S. Thomas

What is Christmas without
snow? We need it
as bread of a cold
climate, ermine to trim

our sins with, a brief
sleeve for charity’s
scarecrow to wear its heart
on, bold as a robin.

A poem for the first Sunday of Christmas

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Hill Christmas

R.S. Thomas

They came over the snow to the bread’s
purer snow, fumbled it in their huge
hands, put their lips to it
like beasts, stared into the dark chalice
where the wine shone, felt it sharp
on their tongue, shivered as at a sin
remembered, and heard love cry
momentarily in their hearts’ manger.

They rose and went back to their poor
holdings, naked in the bleak light
of December. Their horizon contracted
to the one small, stone-riddled field
with its tree, where the weather was nailing
the appalled body that had asked to be born.

The story behind “I Heard the Bells on Christmas Day”

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Coffeehouse Junkie

Since the tradition curating advent poems[1] was started a few years ago, I found this story[2] particularly interesting.

NOTES:
[1] Advent Poems (or the 12 days of Christmas poetry), December 13, 2012, https://coffeehousejunkie.net/2012/12/13/2013-advent-poems-or-the-12-days-of-christmas-poetry/.
[2] Justin Taylor, “THE TRUE STORY OF PAIN AND HOPE BEHIND “I HEARD THE BELLS ON CHRISTMAS DAY”,” http://www.thegospelcoalition.org, December 21, 2014, accessed December 11, 2016 https://blogs.thegospelcoalition.org/justintaylor/2014/12/21/the-story-of-pain-and-hope-behind-i-heard-the-bells-on-christmas-day/.

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A poem for the fourth Sunday of Advent

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To Live in the Mercy of God

Denise Levertov

To lie back under the tallest
oldest trees. How far the stems
rise, rise
before ribs of shelter
open!
To live in the mercy of God. The complete
sentence too adequate, has no give.
Awe, not comfort. Stone, elbows of
stony wood beneath lenient
moss bed.
And awe suddenly
passing beyond itself. Becomes
a form of comfort.
Becomes the steady
air you glide on, arms
stretched like the wings of flying foxes.
To hear the multiple silence
of trees, the rainy
forest depths of their listening.
To float, upheld,
as salt water
would hold you,
once you dared.

To live in the mercy of God.
To feel vibrate the enraptured
waterfall flinging itself
unabating down and down
to clenched fists of rock.
Swiftness of plunge,
hour after year after century,
O or Ah
uninterrupted, voice
many-stranded.
To breathe
spray. The smoke of it.
Arcs
of steelwhite foam, glissades
of fugitive jade barely perceptible. Such passion—
rage or joy?
Thus, not mild, not temperate,
God’s love for the world. Vast
flood of mercy
flung on resistance.