tonal value

anonymous asked:

Your art is always so dynamic and I love it?? Do you have any tips that'll help give a drawing more "life" ??

Shucks, man, thank you so much!  The best advice I have to give is to study both lines of action and silhouettes.  If you fill in a character’s pose completely with one solid color (black on white reads best), you should still be able to tell who that character is and what that character is doing.  Understanding lines of action will help you add intensity and motion to a pose or even a simple expression.

Otherwise, watch a lot of movies!!  Watch a lot of GOOD movies!  And when you do, pay attention to the cinematography and how the characters are shown at different angles to maximize the effect of the scene.  If you find a scene you think is REALLY good, try to sketch out a copy of that scene’s layout.  Rough in character shapes, tonal values, etcetera, and see if you can figure out why that angle works so well.  There are resources online that you can use to study different angles used in cinematography.  Here’s one of ‘em:

http://www.empireonline.com/movies/features/film-studies-101-camera-shots-styles/

I hope this helps!

Oil Portrait Tutorial ft. Martin Freeman

For @sherrkey who asked for oil painting tips and to whom I said I would make a tutorial but never did. Until now. Sorry about that.

Firstly, tools!

What you see here is essentially everything I use to paint, minus my palette and the canvas. From top left to bottom right, those are:

  • dirty cloth, for cleaning up odds and ends and wiping brushes
  • turpentine, for diluting paint for the first layer of painting and cleaning brushes. Never use water with oil paints.
  • linseed oil, for diluting paint for the last layer of painting.
  • paint, top row: zinc titanium white, chrome yellow, lemon yellow, chrome orange yellow, scarlet, crimson red, vermilion, rose, purple, ultramarine
  • paint, bottom row: cobalt blue, emerald green, viridian, chrome green, olive green, yellow ocre, burnt sienna, burnt umber, raw umber, lamp black
  • brushes, size 20, 10, and ½
  • palette knife, size 3 (I personally don’t use this very often, usually only to scrape mistakes off where I can’t wipe them)

The painting:

I’m going to use my progress shots from this painting I did a couple months ago

1. The reference picture - I used this photo of Martin Freeman as Richard III here:

2. The initial sketch:

  • I used a brown because it’s close to skin colour and isn’t too glaring.
  • Dilute the paint with turpentine a lot so that it’s quite wet and the lines are light. This gives you more room to fix errors. If you make a mistake, get your dirty cloth, dip it in turpentine, and wipe the mistake off. Cloth+turpentine acts as an eraser of sorts at this stage.
  • Don’t worry if the first sketch looks bad. Mine looked real bad. Keep fixing it until you you’re happy with what you have.
  • Try to get in as much of the tonal values as you can here, because it’ll help a lot to have values sorted before you get onto painting. If it isn’t sorted, when you come to paint you’ll have an extra thing to worry about on top of your hues and saturations and whatnot. Use more turpentine for lighter tones, less turpentine for darker tones.

3. Base colours:

  • Start with the background, then move on to the darkest areas of the person and work your way lighter.
  • Don’t worry too much about details. At this stage you’re just laying down the basic colours and filling in all the area.
  • Focus on getting your overall colour right.
  • Use turpentine to dilute the paint a little, so the paint isn’t too thick, but make sure it’s not transparent like the initial sketch.

4. Middle layers and details:

  • On the basis of your first layer, now you can start working on the details.
  • Do not use turpentine here, just pure paint. Don’t be afraid to make it thick, texture is an inherent part of oils and it makes the picture more interesting to look at.
  • Don’t try to do everything at once. This is the section that will take the longest and the most effort. Split up your work, pick something to focus on for one session, and just do that part. The first thing I worked on was the hand:
  • then the head:
  • then the coat:

5. final touches

  • This is where you do your refinements and extra small details and go back and fix things you didn’t spot before.
  • Because we’re just fixing things, there’s no need to go too thick, use linseed oil to dilute your paint if you need to, especially for details like hair where you wouldn’t be able to get fine lines with thick paint.
  • I added more detail to the hair and beard, and fixed the nose:
  • Then I redid the background just because it had gone dirty, did a final layer on the coat to tidy it up, put in the shadow of the tassel I’d forgotten before, and added highlights on the hair, badges, buttons, eye, and sleeve:

And that’s it!

Here are some tips just about oil painting in general:

  • Oil painting takes a long time. Don’t expect to get everything right the first time. You’ll be working with multiple layers, so be patient, and take it a step at a time.
  • Make sure a layer has thoroughly dried before painting over it. This does not mean touch-dry. Oils can touch-dry in two days depending on humidity, but don’t dry enough for you to paint over until at least a week. While you’re waiting for a layer to dry, work on a different area, then go back. If you paint over a layer before it’s dried properly, the oil in the new layer get soaked into the bottom layer and your colours go dull.
  • Use turpentine for the bottom layer, linseed oil for the final top layer.
  • Clean and keep brushes in turpentine after painting. This keeps them soft for your next session, otherwise the paint will dry. If you’re waiting a long time until your next session, keep them in turpentine for a day or two, then wipe them and put them away.

Finally, as I like to say in all my other tutorials, this is never an exhaustive or definitive method. Everything in here has either been taught to me or been from my experience. I don’t claim to know everything, and others will experience things differently as well. There shouldn’t be absolute rules in art, only guidelines. Some guidelines are more important than others, of course but the best way to learn is to try something yourself.

Hopefully this has been helpful, and thanks for reading!

idk man these are personal preferences so look for what you like. i sacrifice a lot of tonal value for colours i like. i prioritize colours over lighting, mood, etc. i’m only good at pleasing myself. i also use too many colours (hungry to use as many of the ones i like as i can) so it doesn’t lend well to illustration.

the last section is just colour combos i find myself coming back to the most. there are places where other combos are nice as well but these are the ones i know for sure for sure i will like. very boring. will work on this

people with colours i enjoy:

  • yumbles (flats with attention to value)
  • marucos (very very fun)
  • maruti-bitamin (layering!!!)
  • goldxperience (less saturated, soft on the eyes)
  • paco (fun as well)
  • くの (desaturated but powerful, odd but just right)
  • からば子 (also very fun, you can even tell by the way they draw!!)
  • Q (clean and minimal colours, line dependent so it works)
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So I decided to delete the last 2 posts and post something a little more organized along with compositional call-outs and the final image.

Step 1: Rough Thumbnail Sketch
Probably the most important step in the whole process. Here is where the foundation of the whole image is created. If this step doesn’t work no amount of cool rendering will fix it. There is room however to make adjustments later on in the process, but you will need to start with something compositionally strong first. I illustrated 3 basic compositional tools above that help set up an interesting composition. 

- Large, Medium, and Small shapes create variety and interest. We like and are attracted to variation. I illustrated this with colored circles over my painting. In all your designs, including characters, try to incorporate a large shape, a medium shape, and  a small shape. At least one of each.

- The Rule of Thirds is a tried a true method of creating an interesting balanced compositions.  It is used heavily in all forms of image making.

Directing the Eye: All of the elements in your painting must be used to direct or corral the eye towards your focal point. My focal point was the dragons egg. Every shape or group of shapes points or directs my the eye towards that dragons egg. You can even use elements of your painting to block the eye from wondering away from what you want to say. Like that piece of seaweed I used on the far right of the image. I’m telling your eye, “ No, not that way. Look over there.”
There are A LOT  of different ways to approach composition. This is just one way. Hans Bachers: DreamWorlds book is a great resource for more details on composition. Check it out! Super informative book. I won’t go into more details about how or why I used them but I thought I would give you an example of how they can be used and were used in this image.

Step 2: Value/Color study and Flat Color block in 

Once I have a composition I like I begin by blocking in solid colors for each element of the painting. No rendering or cool texture at this point. Just flats. This helps me to control the colors and shapes to be set up for a more graphic approach.

Step 3: Clarifying Silhouettes
The silhouettes should be pretty clear after step 2, but just incase they are not I take extra care at this point to make sure nothing is difficult to read or confusing. If you start with good silhouettes you can always soften or strengthen their contrast later when we start using lighting to direct the eye.

Step 4: Lighting
I don’t do much traditional rendering in paintings like this but this would be the point where I would begin defining the light side and shadow side of an image. For this painting I wanted to maintain most of my graphic shapes and only do minimal rendering. I was able to do this by breaking up the graphic shapes into lighter or darker colors. The dragons for example have a lighter underbelly and darker backs. This along with the line work is enough to give it form. Lighting in this painting was mainly accomplished through the shapes silhouette and subtle tonal gradations. I used flat graphic shapes that are lighter towards the light source and darker as they move away from the light to provide the depth making sure to separate the foreground, mid-ground and background with different tonal values. This was enough to give us our lighting.

Step 5: Texture and details
This step is basically about giving each element a subtle patterning to give it another lever of sophistication and life to the image.

That’s about it. After the composition is set up I just bounce around the image making small or large adjustments to shapes and adding or removing light,  that ultimately helps lead the eye towards my focal point, the dragon egg.

anonymous asked:

How do you draw people in poses based on pictures? Mine never end up on the right pose, or the proportions are screwy but the pose is right

Practice and eye judgment.

Usually our first few tries of drawing based on pictures are always horrible (unless you are naturally talented)
This is because we lack of eye judgement!
As our eyes are not use to understanding complicated poses!
So practicing will help our minds get use to seeing how anatomy and proportions work!

You can always study the photo by using shapes and forms.
1. Block out the main shapes using squares, circles, rectangles and etc to break down the form and understanding the subject.

2. Then slowly start filling in the details and make the shapes more organic!

3. After that use grey scale if you want to learn tonal value.
You may turn your reference photo to b/w first and try to match.
(*NOTE* Tattoos will effect the tonal value of your skin!! So do the base colour/shade of your skin before adding tattoos!!)
which in that case I can’t handle tattoos and I won’t be drawing them LOL

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Will the diaries of Paul Klee ever not be my favorite book idk probably not

872. Munich 1910 - “in spite of my sharp observation of tonal values and in spite of my clever way of determining the proper gradations of light and dark, I am still incapable of painting.”

anonymous asked:

re: your reply to prev anon ask. Could you do a post about the general principles that one teacher taught you that you 'could actually use to improve my skills'? Also I'm struggling to establish a regular practice, I want some system, like: start with portrait, pr details like hands etc. but can't decide how to build up skill efficiently so that it comes together in the end. I'd be so grateful for some practical advice.

Of course! There are probably heaps of them depending on what kind of drawing we’re concerned with, but I’ll try to cover several of the major things.

Composition:

Leave more room “in front” of the subject you’re drawing, and less room “behind” it. That means more room in front of a face than the back of the head, more room in the direction something is heading than where they’re moving away from, and so on. This applies to people and animals.

Use the rule of thirds, avoid perfect symmetries or coincidences. The rule of thirds is pretty self-explanatory if you follow the link. It’s related to avoiding perfect symmetries, where you want to place your elements on your page in a way that isn’t centred. Coincidences are where lines just happen to meet or touch. This makes things look unnatural. Overlap them, vary the sizes of things, create differences.

General accuracy when drawing:

Focus first on position and size. This relates to composition, as mentioned above. Mark in where you want your elements to go and how large, before you even worry about drawing any shapes.

Draw large to small. This means drawing larger shapes first and smaller shapes later. Larger shapes are easier to establish on a blank page. Once that’s done, smaller shapes can be added in on the basis of the larger shape.
Draw outside-in. That is, make sure your outside lines are accurate before moving onto any smaller details inside those lines. This is because outside lines determine important things such as the position and size of your picture overall. There’s no use drawing details first only to find as you go along that you’ve been doing it all too small or in the wrong place. Of course, with digital art you can move and resize things, but you don’t want to be wasting too much time doing that when instead you can be drawing.
Compare everything. Drawing is about comparison. Something is only large or small, left or right, round or flat, in comparison to something else. Use what you’ve already drawn as reference points to help you determine where and how you should draw the next area.

General black and white shading:

Start with black, and go lighter. This is what I’ve been taught, though I’ve heard of other people going light to dark, layering everything as they go. If that works for you, great. However, the reason to start with black is because black is easy to get right. You don’t have to worry about whether you’re going too dark or too light. Black is just black. 

Use the whole range of tones when shading. Once you have black (or the darkest tone in your picture if there is no black), you immediately have the two extremities of the range of values you need to shade with. You know exactly what the lightest tone is, and you know exactly what the darkest tone is. Everything else goes in between. A good work of shading requires a full range of tonal value, i.e. good contrast. This is another reason to start by putting in the darkest tone, so you don’t shy away from them. Starting light and going dark means you have no idea how dark you need to go until the very end, by which time people usually realise that they didn’t go dark enough the entire time and have to go back and re-shade everything. This is because:

Everything is relative. Compare everything. This is similar to what I was saying about making comparisons earlier. A tone only looks dark next to a lighter tone than itself. Next to a darker tone than itself, it will look light. The illusion above (found here) shows this at work. This is why, when shading one area, don’t just compare the tone with those around it, compare it with the entire picture. Just limiting yourself to how light/dark something looks compared to what’s immediately around it makes it easy for you to exaggerate the lightness/darkness of that tone.

Given simple lighting, the boundary between the light and dark side of an object is likely the darkest, not the place furthest away from the light source. This is because the dark side, while not directly illuminated, is still interfered with by reflections from its surroundings.

General colour:

The hue is where a colour is, or is closest to, on the visible spectrum (above image found here). The hue is the “purest” form of a colour, if you will. Every single colour possible is some kind of variation of a hue.

Saturation is how pure the colour is, or how much hue there is in it, compared to how much grey is in it. High saturation leads to a very bright, pure, vibrant colour. Low saturation leads to a dull, grey-looking colour. No saturation means the colour is greyscale.

Tonal value, or lightness/darkness, is simply how light or dark a colour is. In other words, if you stripped the colour of all saturation and turned it black and white, how light or dark would that grey be?

Every single colour that is physically possible can be obtained by a mixture of hue, saturation, and lightness. For example, pink is a variation of a red hue, but lighter. Brown is a variation of an orange hue, but darker. Khaki green is a variation of a lime hue, but with lower saturation.

The colour of the light source affects the colour of an object. The sun, for example, is a warm light, which makes the illuminated side of an object a warm hue, and by contrast, the shadowed side of that object will be a cool hue. If the light was a cool colour, for example pale blue, the light side would be a cool hue and the shadowed side would appear a warmer hue by contrast. This is in addition to the colour of the original object itself. Therefore, “warm” does not necessarily mean it must be red or orange or yellow, and “cool” does not necessarily mean it must be blue or green. One hue can look warm or cool depending on what it is compared to. Purple will look cool compared to pure red, but it will look warm compared to pure blue.
The purest colour is between the illuminated side and the shadowed side. This is because the illuminated side is contaminated by the lightness and colour of the light source, and the shadowed side is contaminated by darkness and reflection from surroundings. The light side is less saturated and lighter than the original colour, and the dark side is also less saturated but darker than the original colour. The bit in the middle retains most of the original colour.

I realise this is a lot of theory, so I’ve tried to illustrate them with images as best as possible, however the best way to learn this kind of thing is to go out, observe, and try it yourself.

I also have a portrait-specific tutorial here and an oil painting-specific tutorial here.

Hope this was helpful, and thanks for reading :)

anonymous asked:

Why is drawing so important for an illustrator? What about paintings? I see mostly illustrations in color. Is there a certain phase illustrators go through, like master drawing and then master color?

I like this question a lot. Mostly because it makes me think “well, why IS drawing so important?” I like drawing, and I’ve drawn almost every day since I was like 6, so I’m biased. But here’s what I think:

Drawing is the most immediate way to visually manifest ideas. Everyone from architects, to UX/UI designers, to jewelry makers, etc. utilizes drawing at the beginning of their processes. It’s that whole “scribble on a napkin” idea. Get it out of your brain and onto the page. I get a kick out of all of these apps that somehow think they’re aiding productivity by adding a step.

As illustrators, your primary job is to manifest things visually; and not just a building, or a website or whatever, but everything and non-thing under (and beyond) the sun.

Dean Cornwell said “The measure of an illustrator is his ability to take a subject in which he may have neither interest nor information, tackle it with everything he’s got, and make the finished picture look like the consummation of his life’s one ambition.”

While I personally don’t think that’s the only measure of an illustrator, I get what he’s saying. Illustrators have to convey information in a way that is representationally or emotionally convincing in order to be effective. 

That’s probably 75% of the reason that I am constantly drawing. At a minimum, I always have one of those small Field Notes (seen above) in my back pocket, and a pen. For me, to draw something is to understand it. I can look at a photo that I took a few years ago, and completely forget everything about the circumstances under which it was taken. I can look at a drawing that I did in the same time frame, and remember everything from smells, to who I was with, to temperature, or conversations that I had. The other 25% is to maintain my drawing skill set. Art making knowledge is experiential, but it also dulls without use.

However, I think primarily what you’re asking is why drawing is so important to the final image. 

Your brain processes value (or tone) separately from color. Physiologically, the way we understand depth and space is linked to our processing of tonal values, not color—which is important when we’re trying to create a simulacrum of a space within our image area, right? Additionally, our brains process information in large chunks rather than constant chains, so it’s important not to overload your viewer with too much information. This is why large shapes and abstractions are so important in your basic compositions. 

Ideally, your drawing should address all of these things, as well as any specifics like perspective, proportion, visual specificity, etc, BEFORE you slap that first coat of paint down (I slap paint down because well, I can’t paint.) Sargent said, “…you can’t go on indefinitely until you have solved a problem.” 

Now, that’s not to say that color is any less important to an image than the drawing/value statement. I just think of it as a house (which, I know nothing about load bearing walls so this is probably a stupid analogy). A good image needs all of these elements (for our purposes here, composition/placement, value, and color) working in conjunction with each other in order to stand. 

One more caveat: please don’t think that this is THE only way to illustrate. I’ve said early and often, that “voice” is so important to your identity as an illustrator. How you end up doing things may be radically different than how I do things. Take guys like Chris Sickels, or Eric Carle (one of my favorites) for example.

But no matter what you end up doing, I think you’ll find that drawing will be an important component, for any number of the reasons above.

ps- Merry Christmas everyone!

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Value Drawing

I recently solicited advice from someone that has significantly more formal art education than I do on what a person would do if they wanted to learn how to draw.  They were kind enough to outline a syllabus that should work as a starting point.  Once upon a time I took an intro to drawing class in an attempt to boost my GPA, but it’s been a while and I don’t remember much about it other than the TA was pretty cute.  I generally lack the technical ability to execute what I want to artistically - in some cases, I lack even the basic vocabulary to understand my shortcomings.  

So that’s what you’re getting here - a layman’s interpretation of basic drawing concepts.  If you want to play along, I strongly encourage you to do so (there’s every reason to believe you’ll do just as well as I do).  If you have something of value to add by way of a critique, I’m open to that too.

So what do I know about Value?  It’s the spectrum from dark to light, right?  I’ve seen tutorials that recommend isolating sections of your drawing with little one inch frames so that you can compare it to the same section of a reference.  That’s kind of what the little chart is supposed to represent - value from dark to light with various media.  Consider that an exercise.  Take your chosen drawing implement, mark off several little boxes, and make a value scale.  There are probably infinitely many values between those I’ve represented in my chart - feel free to represent as many as you feel are useful.

With the pencils and Conte crayon, I started at (3) as a medium value.  I didn’t press down too hard because I knew I would need something lighter (lighter pressure) and something darker (harder pressure).  

With the ink, I started with something fairly dilute.  I thinned it further with water for (4) and less for (2).  Not at all for (1).

With the watercolor, I tried a flat wash that was pretty dilute for the (4).  Less diluted for (3) and (2).  I let it dry (mostly), then added another layer for (2) to make it darker.  The (1) value is two layers of paint as concentrated as I can get it while still letting it behave like watercolor.  I probably could’ve gone darker by squeezing it directly from the tube onto the paper, but that’s not a technique I ever intend to use, so I didn’t think it would be overly helpful.

So what about (5)?  That’s just a square of white paper (before my scanner decided to chew it up).  That’s going to represent the lightest value in my drawing.  It’s also going to contribute quite a bit to all of the values.  Value (4) is just obstructing some of the light bouncing off the paper before it hits my eye.  Value (3) a bit more and so on until value (1) is letting very little (ideally none) of the white paper show through.

In the second drawing, I attempted to translate those to simple shapes.  Any drawing I do is going to be a flat, two dimensional object.  I’ve got to try to trick to viewer into believing there’s depth.  Value does that.  I cheated a little bit by drawing lines - I could’ve just used values to represent a sphere and a cube.  That’s probably a better exercise, since when I look at an actual sphere or cube there is no definite outline.  Do that, if you chose to try this exercise.

So that’s what I’ve learned about value so far.  I’ve got a couple more exercises ahead of me that are probably intended to ruthlessly drive those concepts home.  I’ll post them as I complete them.

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Practiced on a new medium that I hardly touch when I was younger: charcoal! 

Two hours(?) Classwork, The male torso took longer than the female because his ABS ARE UNCOUNTABLE and make you go cross eyed if you concentrate too much.

I found it to be extremely fun, especially in live drawing class. Given only 10 minutes i have to sketch out the figure quickly in charcoal and eraser.  

BLACK HANDS BLACK ERASER BLACK PAPER WAAAHAHAHAHA

Lorna and Dorothy Bell, Daughters of W. Heward Bell, Esq. (exh.1904). James Jebusa Shannon (American, 1862-1923). Oil on canvas.

Seen is a juxtaposition of the British tradition of academic portraiture with trends of French modernism. The emphasis on form created through tonal values rather than line is clearly in evidence. The bravura brushwork that plays off the dark taffeta and feather boa worn by Dorothy against the brilliant white organdy of Lorna’s dress demonstrates Shannon’s conception of the work as at once a naturalistic representation and a two-dimensional aesthetic pattern.

Confessions of a tortured artist

Tip of the day: Don’t let art teachers try and push you into a style you are not comfortable with.  Experiment until you discover your preferred process and media to work with.  

In my first year of art school they kept on telling me to draw things using tonal variations and not lines.  But line drawing is what I naturally lean towards.  I love line work drawings like that of Sean Andrew Murray and want to incorporate it into my own work.  

Black and Silver (1909-1910). Sir James Jebusa Shannon (British, 1862-1923). Oil on canvas. Royal Academy of Arts.

While superficially a belle époque portrait of generic type, the present work is a visually erudite work that fuses the elements of its creator’s formation. Not least important is the painting’s juxtaposition of the British tradition of academic portraiture with trends of French modernism. The emphasis on form created through tonal values rather than line is clearly in evidence.

A Love Story (1903). E. Phillips Fox (Australian, 1865-1915). Oil on canvas. Art Gallery of Ballarat.

Fox shows more fascination with the “effects of dappled light” than to the “sunny vistas” one finds in the similar works of other painters. He is described as an artist who “remained committed to a late nineteenth century aesthetic that paid homage to Impressionism while retaining the tonal values of academic realism.”

yorricksskull  asked:

What books do you recommend to an aspiring artist?

it totally depends on what you’re looking for or what field you take interest in but i tend to think anyone in creative pursuit can benefit from the diaries of paul klee. it’s sharply written- his prose makes even his daily minutia and transcriptions of technique an endearing read. but what’s notable and powerful is how incredibly doubtful, self critical, and loathing he was of his work and ability. and paul klee is a total legend, like an undisputed master of his craft and hugely influential within his respective scene / time. but his diaries are littered with quips like “i am still incapable of painting, in spite of my sharp observation of tonal values and in spite of my clever way of determining the proper gradations of light and dark.”

the diaries provide great insight into a creative process that’s universal in a manor i wasn’t fully cognizant of prior to reading- it got me to accept hindering self doubt as an intrinsic part of that process. which, in turn, made my huge preponderance of doubt and instinctual self criticism hold a lot less credence 

yeah that’s definately an important book to me, i think it’s worthwhile

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Male Hero 2
In a picture from Reincarnation series (Reincarnation Series Reincarnation Oil on Linen Signed) a masculine man holds an antelope that seems to attempt escaping from the embrace of the male who has a head of an ape.The ever-present image of a secondary feeble man is close by in connection to the scene watching it or in some way participating.In Reincarnation with a woman-shark (Reincarnation-3 Same title Series Oil on Linen Signed) a male figure is in a center holding up the reincarnated woman. The man’s body is physically fit.A reclining male in the lower right side is also muscular but younger, with long blond hair. His position, youthfulness, and attractiveness create additional meaning of compliance to the one who is stronger and older.In another work from Reincarnation series with Pinocchio (Reincarnation-2 R. Series Oil on Linen Singed) a sinewy hand holds decreased in size legs of a woman whose upper body part is not shown in tone but suggested by an outline while her lower body is lightly fleshy. Another almost unseen female is sitting on the hand.In the center a macular body of a dark color spreads upward that seems to be a black woman.Some haughty unshaven profile is closing eyes and pouts his lips in a grimace to what could be an aura and smell of naked bodies that surround and connect to each other.Meanwhile Pinocchio is a curious and appetent voyeur whose nose is directed to the center.The line curve that taps the long nose has almost palpable sensuality being nothing but a graphical line in the context of the work that changes value of line into new dominion.In a work called Sinphony that gives name to Jaisini’s series of works another male image is a conductor postured as perhaps a ballet dancer with obvious reduction of maleness and in context of the picture having awakening of an inner spirit that has no gender definition.In First the male characters are of a non-masculine artist in a hat in linear portrayal that avoids any tonal value. Another is a city dweller that holds a rat by the end of the tail being a petit man with typical appearance full of a small time trader. Next male image is a kind of smart, sharp profile of quick-witted criminal attorney.There is also an unshaven profile with cocked nose possibly of a redneck.A drunkard’s blue nose indicates a presence of yet another male personage.In each picture there is a male image or images as unique part of the conveyed composition.In Wet Dream we find few male images and silhouettes.An almost undefined profile in the center of a powerless character that could be an overwhelmed witness of the surrounding whirlpool of female flesh.A second image is of an opinionated but also feeble man.In another work titled Das Ich Und das Es a man brandishes knife and holds down a head of another who in turn interacts with a reclining woman or maybe just looking down at his feet.The mood of the picture creates self-destructing overtone that could be attributed to the inclusion of bright red color strongly connecting to the shape of a sharp blade and to a proud-looking silhouette of an amazon woman. She could be in fact a true possessor of the knife and the gesture could be interpreted as her strong grip over the weapon in immediate urge to cut the exposed man’s throat.In the picture’s left side the image of a bull could portray a massive devil with masculine built.Another mode of male portrayal is through a clown, an inmate in Circus series (Circus-4 W x H (“) 36 x 36 Oil on Linen Circus Series Signed).Circus-4 seems to ask a question of the difference between representation and reality. On which side there are the heroes of this performance. Does the work portray the inner or the outer? There is a perpetual detour on the way to truth that has lost status of any finality.A cowboy shadow in Blue and Mauve (Blue and Mauve W x H (“) 30 x 40 Signed Oil on Canvas);A king in Royal Flesh (Royal Flesh W x H (“) 36 x 36 Signed Oil on Linen) and in Under the Moon (Under the Moon W x H (“) 35 x 35 Oil on Linen Singed);Tsar in Great Bastard (Great Bastard W x H (“) 48 x 48 Oil on Canvas Singed);Dwarfs in Pick-nick at a Sideway and in Crystal Man(Crystal Man Early Period W x H (“) 48 x 50 Oil on Linen Signed dated 1994)The whole artistic endeavor builds a new image of male as not a traditional hero with excessive pride that started in legends as male hero’s pride towards, or defiance of the gods.The male image was a prototype of the God himself and at the same time a vulnerable example of pride and its doom.In the works of Jaisini the male image doesn’t possess the role of physical superiority but also not a protagonist in relation to woman.Jaisini shows the indefinable transformation where female body could be masculine and otherwise.The non-masculine man is not anti-masculine, or feminized.The breed can’t be artificially chosen by humans, they couldn’t be feminine or masculine by their own choice, this happens due to natural evolution.In Show Must Go On a main male image is rushing forward in what seems to be a deliberately provocative indication of an intercourse in a bizarre set up. But the figure of the aggressor is also vulnerable in the depiction of attack by a sward fish. If the animal predator is a true portrayal of maleness then the central man who is meant to render a singer is not a masculine type even being athletically built and seemingly aggressive. The image is going through immediate transformation that is amazing in creating a new type of an androgen. The recent incarnation of the androgen in popular culture carry strong sexual charge.The singer couldn’t be separated from his sexual nature and Jaisini represents him as one who tries and attempts to be dominating power, but not as much in physical context as by principle of creativity, improvisation and composition.In popular music rock stars have all in their various ways flirted with the idea of androgen. Sometimes this was simply a matter of costume while making it the subjects of their own ironic commentary.In SMGO the image of male would be rough if in the compositional relations there was no threat from a true predator.The exposed position of injury invites compassion as an image of an androgyne seem less threatening to young and weaker same as effect achieved by rock musicians seeking appeal among diverse public.The expression of such sexual ambivalence establishes a fascinating game, is he or isn’t he? In a period of conflicting sexual identity Jaisini often shrewdly exploits the confusion surrounding male and female roles to create ambiguity of visual image.The singer is portrayed as an “unearthly" being.“These singers often took heroic masculine roles in the operas of Hendel and his contemporaries, and were rewarded with the adoration of both men and women. The range, power, and flexibility of their voices seemed both to quash the accusation of effeminacy and at the same time set them a little apart from the human sphere. Unearthliness seems to be the quality, which separates the genuine androgyne, at least in our imaginations, from the merely effeminate male. Because of this the androgyne is powerful, alluring and sometimes, though not always, as threatening as the exaggeratedly muscular hero whose antonym he forms.“Gleitzeit essays circa 1994 Author Yustas K Gottlieb AKA Ellen Yustas K Gottlieb