I realized that I have been spending way too much money on books. I think it’s an addiction. Anyway, I thought to myself: why not exchange original art for books that I’ve always wanted to get but were a bit too pricey for me to buy.
Well, when Augie Rivera, author of “Isang Harding Papel” (the book I Illustrated) offered to buy one of my original painted studies for the book, I jumped at the chance. I requested for this particular book – The Philippines in the 19th Century (a collection of prints) by Rudolf J.H. Leitz.
The book is beautifully illustrated and the captions provide small glimpses into Philippine society during the colonial period.
Now, if I can only get someone to buy me The X-Men Omnibus volumes by Chris Claremont and Jim Lee…
The first three months of 2014 are almost over and the deadlines (if not the money) just keep on coming.
I hope I can wrap up all my obligations soon and get to work on some personal stuff.
There’s something comforting about a McDonald’s breakfast.
When I was still in advertising pulling all-nighters that lasted until daybreak, I’d reward myself with a Sausage McMuffin with egg meal and a cup of coffee.
Somehow, the morning would be just a tiny bit brighter.
In Advertising Land when I was an art director, we always talked about clarity of concept and how what you say is married with how you say it. Many, with good reason, have talked about how concept is king and how we as creatives should place great care in developing our concepts.
Right now I’m working on some stuff on the side and I don’t know what it is or what I’m doing. I had studies with a ready concept and a nice little rationale to go with it but in the end I abandoned it. Lately, I’ve been noticing how I shy away from clear messages when I work on my personal stuff.
The truth is I don’t know what it’s about or even what I’m doing. Often it’s scary because you never know if it’ll turn out the way you hoped it would. But strangely enough, not knowing completely what the work is about is kind of fun. It’s like discovering it as you go along and somehow meanings form and reveal themselves.
Just don’t ask me to explain them.
Every time you start a drawing, trust the image will come. If it comes unwillingly, coax it out. Gently but firmly. If it still doesn’t want to reveal itself fully in front of you, be patient and understanding. Frustration only leads to despair and failure.
When the image has come but you know it can still be perfected. Be firm and strict and demanding in order to whip it into shape. But only do this if it has been allowed ample time and space to play and indulge in its conceits.