Monday, March 10, 2014

Consider the Following

Well well well. It's been a while. How are you doing, art blog?

YOU... you left me here to die... I waited for a year, but you never returned...

I appreciate you ever-insightful input, art blog. But we shan't dwell on reintroductions for too long. I have a project to explain through comedy of a range of brows.

I'm starving...

Moving rapidly on, my first art project in this class was to draw science. Naturally, such a simple concept wouldn't satiate my endless artistic hunger, so I did not only draw science, but I drew the manifestation of all things science, the science king, but above all of these things, the Science Guy.

Work in progress photo: Workiness is evident by the sheer amount of art supplies lying around

The King in his full glory

Of course, if you know anything about science, Bill Nye should be the first thing that comes to your mind when you think "Scientific". He ranked on the top of my list of scientific things, right up there with "zombie kittens" and "dinosaurs" and "rocks" and "ghost busters". None of these things stood a chance. Let's be honest, I knew from the beginning that Bill Nye the Sometimes Wry Fly Bowtie and Science Guy was what I was going to draw.

In between deeply contemplating how to fit a summation of Bill Nye's ever-glorious character onto a single page, I was vaguely aware of drawing shapes with implements that were pretty much pencils but not quite, like charcoal pencils. Charcoal pencils, instead of using graphite to draw, use burned dinosaurs. We also used pens, which are magical implements that use black magic to stain paper until the end of time (Really, imagine if the declaration of independence was written in pencil. The pencil would have smeared off as soon as Nicholas Cage took it out of it's display case). This is the same black magic that, if used by an inexperienced sorcerer, can the the three pages below it stained with the shadow of it's inscription. Using these implements intimidated me and caused me to retreat back into my comfort zone, which is the pencil equivalent of a ball pit. Though, even my comfort zone hurts me sometimes. Most of the pencils in the pencil pit are sharpened, so I imagine you can see the design flaw. Alas, I stayed there (Not because I had crippling lead poisoning, but just because I prefer pencils).

I showed contrast by suspending Bill Nye between the realm of Light and the realm of Darkness. He exists in the middle of the two. He is everything, but he is also nothing. He can be found in every direction, spatial or temporal. He has always been there, but should you look for him, you will not find him, and believe that he is nowhere. He is the universe. Nay, he is all universes. Also his body is lighter on one side and darker on the other, and all of the wrinkles have a light area and a dark area, etc.

In line with the theme of this project, I used complex science to create this piece. You see, the chemical reaction that occurs between the graphite of a pencil and whatever eternally mysterious element paper is made of creates a product of paper with graphite on it. This works because graphite is made of layers of hexagonally organized carbon atoms called a graphene layer. Paper really loves hexagons made of carbon so it takes the graphene layers and wears them as a fashion statement. I used this relationship to manipulate the paper into making a picture of Bill Nye on itself. Whenever I told the paper about this, to make sure it couldn't discover my real intentions, I used the code name of "Shading" which is kind of a menacing sounding codename and honestly I'm surprised that the paper wasn't suspicious. Shading, as I had explained it, was the technique of rubbing more graphene layers on one area and then gradually rubbing not so much on adjacent areas (Or, more specifically, to "put more graphene on some places for maximum stylishness"). Shading, of course, wouldn't have worked with pens because they don't use graphite and therefore cannot be fabulous (as far as shading goes, that is; no offense to pens).

I took a major risk by making the sleeves and bowtie have wrinkles. I wear wrinkled sleeves all the time, you know, and by virtue of that I often look at wrinkled sleeves, but even with all this experience I couldn't hold in my mind a stable image of what one looked like. So I did what any sane person would do; I traveled to the Tibetan Plateau and sought guidance from the monks that lived there. "How do I remember what wrinkled sleeves look like?" to which Grand Master Choden (We go way back) told me: "To understand the image of the wrinkled sleeve, you must find the wrinkled sleeve within yourself." So, in the monastery's courtyard, I meditated on my inner wrinkled sleeve until I became united with it in my mind, and I came back, and projected it onto my paper. It turned out alright. They were much easier to pull off than I had expected, I just had to plan it out a bit.
*It was also during this time that I got sick with some vicious malady and crawled around on the street trying to make dolphin noises, wondered about the plurals of words, died, etc., etc. In true Art tradition, it seems.

Overall, I think this is probably the best drawing of Bill Nye the Science Guy that I've ever seen. I always appreciate a good, old-fashioned pencil drawing of Bill Nye the Science Guy, but this one is the best. Under the "Good times list" (A list that I have been compiling for several years so I can read it when I'm old and remember that I wasn't always old but, hey, at least I can still read) I will add "Drawing Bill Nye in art class for the first time" because I assume this will happen again, because it was just such a splendid experience.

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