Power Of The Pen - The joy of adding ink to graphite drawings by Gus Romero - IV
Whenever I wanted to get darker than my 8B graphite pencil would take me, I would usually go to something even softer like charcoal or black pastel. The problem was that it would smudge and never really allow me to sharpen it to a fine point. Then I discovered that I could get a ball point pen to do everything I was trying to do with broken pieces of pastel and sanded down charcoal. My pen of choice is a medium point black Bic. There is a degree of flexibility I can get from it depending on the amount of pressure applied or how many times I go over a line. With a bit of white pastel added in, I am able to go as light as I want and as dark as I want, really fine tuning those details. It's a blast having that much control to dramatically add life to a piece. Hope you give one a try and see how it works for you.
The experience of getting tattooed is a highly sensory and engaging experience. Roughly 40% of the people reading this knows what it feels like to get a tattoo.
The experience of the tattooist can be far more exciting, the olfactory and auditory senses are immediately taken up in volume by the smells and sounds of the shop.If your visual senses aren't fully engaged at this point they will be as soon as your carbon stencil is applied, this also applies to your sense of touch. When placing the stencil to the client you are working within their field of energy or their Aura, this heightens the astral senses and helps you to acclimate to that person much faster than most other forms of human contact.
You hit the foot pedal and your liner machine begins to purr. The process of outlining a tattoo is both riveting and scary; all of the other disciplines an artist has learned up to this moment come into play, but everything is in overdrive. This is creativity on the edge. There is no erasing, white out, or gesso on this, you have only one chance. Tattooing is focused immediacy.
When your outline is complete you switch over to your shader machine: this part would seem simple enough, but for most it is the fork in the road where experience and knowledge of ones craft dictates the outcome as that of a work of art, or one of dreadful mutilation. Using your reference and sense of form and depth, you feather in the various tonal gradations or color you need in the piece. Soon enough you emerge from a haze of adrenaline fueled creativity, but this art form will never sit in a museum or an auction house ( because it's not for the rich or the powerful to bid on, nor to be placed in the vaults of a museum ). No, like those who wear it, this art came from the earth and to the earth it will return.
Steven Lee Matz
A great specter is looming over the art world: the specter of Inter|Sekt. For far too long we have watched the artists of our generation turned into a disposable commodity, bought and sold by the galleries, stifled in their expression by the tastes of the art consultants who purchase pieces on behalf of financially minded clients who want a "solid investment".
They have been amalgamated into schools, said schools are a device of gallerists and art historians to divide and conquer the creatives and free thinkers.
For we live in a nation which thinks itself to be free yet is not, they expect the same of their artists.
Our culture has been raped and plundered by the upper echelon, picked apart and sold by the same greed mongers who claim to be it's patrons. The tool which has most effectively stunted the growth of modern American art in particular is the clever indoctrination of this idea of schools to not only the art student but anyone whom even reads a brief survey of the history of art sees that it is broken up into these categorized schools; the philosophies of these various sects creates conflict, division, and ultimately destruction of the morale and submission to the established order. Thus rendering the creative spirit confused and useless.
This helps curb the rebellious spirit of the average citizen outside of the art world in other spheres of society.
Art history is a lie and galleries are dens of thieves!
Inter|Sekt is not destroying the schools or the galleries, we are simply showing you they were never real, at least not in a world outside of that constructed by academics to sell text books to art students.
The reign of the gallerists and art consultants is over when you want it to be.
From the ashes of the indoctrinated schools of every form of art shall arise The New World Creative.
-Steven Lee Matz-
The inter|sekt manifesto
Gus Romero IV