After finally getting my board setup and the paper bought I stared at the skeleton for some time thinking about the best way to begin this adventure. I decided that I will have to roughly map out all the key body parts, head, torso, spine, hips and legs to make sure that it all fits within the paper and doesn’t come too close to the edges, the last thing I want is this six foot skeleton to appear to be crowded within the confines of his own existence, especially with his cocked leg, and his right arm dropping as if he wad his own swagger, he looked confident, he looked comfortable. I reflected back to my past drawings and what had worked and what hadn’t. Sometimes I start drawing, and get so involved I don’t take a step back to see how it looks, and what’s worse is that if it doesn’t look right, I won’t change it, I’ll try to sketch or draw around it, as if telling a lie and trying to make myself believe in it, pushing and drawing, sketching, scratching, getting deeper and deeper as I go, with no way out. What do they say the difference in good art and bad art is? Good art is finished and well thought out, bad art is hastily thrown together. Might have been Duchamp or maybe even Grant Wood. At any rate, I came to the conclusion that I need to start this drawing strong, from the foundation. The curve of the spine must be exact; the angle of his shoulders must replicate the same heaviness that is on the skeleton’s arm, as it comes towards the viewer. This will be the first thing I want the viewer to see. His stance should be matter of fact, his legged lifted as if he was a walking advertisement for Captain Morgan’s Rum. With the foundation of this awesome structure in place, I could now focus on the biggest challenge of this drawing, erecting the column of this vessel, the spine.
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