I ended up drawing several variations of the laminated wood salt and pepper shakers.

Trumpet Parts No. 85 with Laminated Wood Salt Shaker

When I travel, I bring my favorite trumpet part, “T2P2”, with me.  It hung out on the table with the salt and pepper shaker, urging me to keep drawing all those laminated layers!  I liked the ink bleed in the previous attempts, but it only worked well in the wider layers.  The ink overpowered the color in the thinner layers.  I drew this in pencil first and applied brighter colors to create a more realistic rendering of the salt shaker.  I even used perspective to draw in the ovals at different intervals and diameters before indicating the lines of the thin layers.  Whew…. I haven’t done that in a long time.

Sketchbook drawing/painting: drawn first with pencil followed by watercolor washes.

You’ll find the trumpet part if you look hard enough.

Trumpet Parts No. 80, abstracted perspective

For some reason, my scanner reads the colors oddly when scanning from my handmade sketchbook with the Rives BFK paper pages.  Even with color adjustments I don’t seem to be able to reproduce the painting as it appears in my sketchbook.  This is as close as I can get.

Creating these altered perspective drawings captivates my brain in a similar way that working jigsaw puzzles does.  I search for patterns, shapes and color intersections.  The nice thing about spending time working in my sketchbook is that when the drawing is completed I don’t take it all apart and throw it back in a box.

When playing the Color Scheme Game, I am forced to concentrate even more on the changes in color value and color saturation.  The eye does not find its way to an object, it simply moves through the composition.  The eye does this when looking at any painting, but the brain thinks it has arrived when it recognizes something familiar.

I am attempting to reprogram my brain to get past seeing sky, trees and ground when painting en plein air.  I will be able to create a better reality when I can see the landscape abstractly.

Sketchbook painting:  Trumpet Parts No. 80, drawn first in pencil, followed by watercolor.  Extended Analogous Color Scheme.

This is not the direction I thought I would be heading in when I returned to full-time painting.

Trumpet Parts No. 79, pencil and watercolor 7" x 11"

I’m exploring the basic structure of things the same way I explore the skeleton in order to express the movement of a figure with one flowing line.  The basic structure of most things is geometric.  A byproduct of perspective drawing is intersecting planes that are not necessarily attached to the object being drawn.  The shapes that appear to float in the air surrounding the object create the illusion of space and movement that I strive for.  Hours vanish like cotton candy on my tongue when I’m working on these drawings.

By incorporating both neutral, less saturated colors with primary, full saturated colors, the push and pull effect between the shapes is enhanced. The more saturated colors appear to advance and the less saturated colors retreat.

Sketchbook drawing: Trumpet Parts No. 79, drawn first with pencil and ruler (Yikes! I’m using a ruler again…) followed by watercolor.

Color Scheme:  Everything except Blue/Green, Green, Green/Yellow