I took what little free time I had over the last few days to finish this drawing. It’s been so long since I went overboard on a “personal” piece, that I have almost forgotten how to do it. This is definitely one of those cases in which I had to force myself to not overwork it. I made a conservative effort to only use a #2 watercolor brush in hopes of not making anything TOO black. And as you can see, the detail is pretty ridiculous even for me.
The other thing that was a nice change about this piece was that I got to work on a larger scale than what normal client projects (not to mention time restraints) call for. This is about 19”X24” which is big enough that it almost makes me uncomfortable.
This thing almost took up half of my desk, which granted…is humungous (not to mention how ridiculously huge my light box is).
I get asked a lot about what kind and size of scanner I use. Well stupidly enough I use a 10 year old run-of-the-mill regular ole’ A4 size Canon scanner. So then you might ask, how do I go about getting such a giant drawing scanned?
With a lot of patience (as well as Supernatural playing in the background).
This is sort of a mile stone for me. Almost 5 years ago I took on nearly 120 private commissions to help pay off medical bills from an absolutely ridiculous experience involving a Brown Recluse and an awful lot of pain and infection and immobility and necrosis and bone deterioration and doctor’s visits that only I would be unlucky enough to stumble into. This drawing is the last in a very very long list of commissions. Let’s hope it was worth the inexcusably long wait.
Frank Horvat, Gare Saint-Lazare, Paris, 1959
Josh Keyes IV