This is based on a snapshot I took last winter, while visiting the Florida panhandle’s “Forgotten Coast” (which I understand is now its totally obliterated coast, at least in some of the parts we were in). Here’s the reference photo:
I won’t be shocked if someone tells me that isn’t an egret; I’m not much for identifying what I see.
Anyway, the egret wasn’t my son’s vote for this week. He liked this Oaxacan dancer in the big fancy hat:
He was particularly pleased by her clothes. I like her, too.
Where I live in Michigan, there are a lot of wetlands. As a rule, when you build something that creates a lot of impermeable surface (like a warehouse or parking lot), you have to create someplace for the water to go, so it doesn’t strain our storm water systems or deliver a concentrated flow of surface pollutants to the rivers.
In practice, that means that lots of rust-belt Michigan office buildings and strip malls (i.e., the natural environment where I grew up, riding skateboards and bikes and playing tag and setting off fireworks and playing with slingshots) have little scrubby neglected wetlands next to them. These can become remarkably healthy and resilient little ecosystems all their own. I saw this little guy (who I’m 90% sure was a juvenile sandhill crane) while sitting in the car outside a Target waiting for my wife. If you could zoom out on this sketch a click or two, you’d see an Applebees and a freeway and an abandoned Chuck E Cheese—the many vibrant biomes of Southeast Michigan!
I believe sandhill cranes were endangered in Michigan when I was a kid. They were certainly a rare and exciting sight. Now they’re getting to be almost a pest species in some places. Every spring they take it into their head that a section of paved bike trail in Island Lake Park belongs to them and attack the unwary. A pal of mine got a black eye from one. #PureMichigan
My son was really excited by how the reflections came out on this one, as am I. Water is really, really hard to unsee enough to capture it in graphite.
My son really liked the depth on the skull, but his actual vote for this week’s Sketch of the Week was this one of Mr. Hori from the film Noroi: The Curse, noting “the expression … is incredible”:
I personally was unhappy with how I elongated the face; Mr. Hori’s face is fundamentally round, but my hand kept wanting to regularize him against Munch’s “Scream,” I guess 🤷♀️.
I do feel like I get at least close to the extremity of Mr. Hori’s terror in that scene. (The actor, Satoru Jitsunashi, is pretty amazing in that role; he totally makes the movie for me.) Here’s the reference image (more or less; I was working from several stills I grabbed from the movie, because his whole face wasn’t ever in frame at once):
A lot of my favorite horror films are SNL digital shorts. I’ve been mulling this over for years now (in fact, I just spent the last hour writing about this from a craft perspective, a screed that I mercifully deleted rather than sending).
I think it all comes down to this: horror in film basically relies on four tools:
Jump scares are easiest, mounting dread takes the most time, and squick is often the best way to cash in or make a name for yourself. But it’s always the uncanniness I’m after in horror, that experience Freud described as abruptly seeing the “familiar and old-established” as strange and alien, thus giving the sense of revealing a deeper truth “which ought to have remained hidden but has come to light.”
It’s the horrific uncanniness I love in these comedy skits. In part, this arises from what’s implied about the universe that the characters live in, all the stuff that’s outside the frame (e.g., Jason’s refrigerator, the pizza beast, the old woman across the street, that high school).
But I think the key element—the thing that pushes this beyond “the familiar and old-established made strange and alien” and into the territory of “that which ought to have remained hidden being dragged up into the light” is the fact that the world we actually really livein—where I’m sitting and typing and you’re sitting and reading and we’re both watching these little 3-minute-gems—is also outside the frame.
The awful thing the characters in the movie are about to experience? It’s already happening here. Hell, it’s us. And we’re laughing.
“Unedited Footage of a Bear” —> the unskipable Claridryl ad —> the uncanny Claridryl reality that may or may not be part of the unskipable Clarifryl ad
This week’s sketch is watercolors and India ink, of a house up the street after the sun has dipped below the treeline, but is still above the horizon:
Back when I was a teen I was taught two ways to use India ink: dip pen and bamboo calligraphy brush. You can do a lot with either, but Jesus are they fiddly. Also, the old bottle of India ink I have is not waterproof, which is great for certain effects, but often maddening overall (esp. against watercolor).
So this was done with Faber-Castell Pitt pens, which are amaaaaazing. Yeah, a dip pen can give you a much finer line, and an ink brush can do really interesting dry-brush and textural things that you can’t coax out of a Pitt pen. But in terms of bang-for-buck (esp. when the “buck” translates to hair-pulling frustration), the Pitt pen is hard to beat:
The India ink is dark and flat and deep, water soluble/flowable when first applied, but then dries absolutely waterproof. They have a ton of different nibs. For this sketch I used a 0.3 fine liner and a soft-brush (the later nicely emulates doing wet-brush work with a Japanese calligraphy brush, giving you all the expressiveness and none of the sorrow). The color of the sky was me experimenting with wet-on-wet watercolor.
I’m callously taking advantage of the Reason for the Season to plug some of my free-to-read/hear horror stories:
This Place Is Best Shunned
“This Place Is Best Shunned“—Allie and Rooster are heading down to Asheville for Rooster’s new gig, a cushy stint as artist-in-residence at UNC. Rooster is more of a con artist than maker of art, but Allie doesn’t mind, because he’s good-looking, charming, and values what she is: a girl with a keen eye for abandoned places and a knack for getting into them. But when they stumble upon an old backcountry church—the perfect backdrop for Rooster’s latest project—they discover that some “abandoned” places have a knack for keeping themselves occupied.…
Whatever Comes After Calcutta
“Whatever Comes After Calcutta”—It was late in the day when Lyle Morimoto saw the hanged woman and almost crashed his Prius somewhere between Calcutta, Ohio, and whatever the hell came after Calcutta. For hours he’d been sipping warm Gatorade and cruising the crumbling two-lane blacktop that sliced up the scrubby farmland of southern Ohio. He understood that he was not thinking clearly, but that seemed OK, since it also meant not thinking about his ear, or his wife, or Detective Jason Good, or the gun in the pocket of his suit jacket.…
The Slender Men
There Was a Crooked Man, He Flipped a Crooked House
If you simply must purchase something, you might just as well purchase this (especially if you liked any of the above, because it’s all that and moooooore):
There Was a Crooked Man, He Flipped a Crooked House—”Downtrodden architect Glenn Washington and his none-too-bright sidekick Lennie help a crooked real estate baron flip houses in downtrodden Detroit. A house comes up that is too good to gut for parts. Too good to be true. Waaaay too good. Thing is, nothing leads where it should — go through the front door, step out the door on the back porch. Best library ever. And why are the cops nosing around? Non-Euclidian architectural petty-crime adventure, and all that implies.”—Adrian Simmons, Black Gate magazine
My son voted for the upper sketch, noting “holy heck I love the shadows on the flowers.” The model for this was a little table near the entrance of the Unitarian church where my congregation held Kol Nidrei service on Oct 11. I’m on our Safety Committee, and so had a shift watching the front door. Thankfully, it was an extremely boring shift, hence the sketch.
The lower sketch is based on Diane Arbus’s “Child with Toy Hand Grenade in Central Park, N.Y.C. 1962.” The sketch maybe looks pretty odd if you aren’t familiar with the reference. (Otto noted, “He’s adorable but I confess the angle of the head is kinda confusing me.” Then, after seeing the original, added “Pfff okay he just looks like that” and “Is that a grenade!?”)
Here’s my photo of a reproduction of Arbus’s original photo (which, stated like that, begins to sorta feel like I’m making a cheap Duchamp joke):
I cannot get over how persuasive the movement is of this snake’s “faux-spider” tail lump-and-floofs is. Structurally, it looks practically nothing like a spider; it’s like a skin tag put on a feather boa. But the way the snake moves it is an amaaaaaaaazing piece of puppetry. I could watch this video all day.
If you want more danger noodles, here’s the excellent Ze Frank explaining how kangaroo rats put snakes in their place:
Just a quick, loose sketch I did of our rabbi at the bimah while she was leading Rosh Hashanah services. (Our particular rabbi trained as a cantor before being ordained, and happens to play harp; harp isn’t a standard part of Jewish services.)
My son voted this sketch of the week because “I really like the curves on the harp. All the geometry in that one is very beautiful.” (I spent most of last week working on faces, which I’m terrible at; weak as it is, this is the best sketch of the lot 🤷♀️)
