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@jerry-moon-art
Sketchwurk
20290808.1344
Untitled, 6in x 7.5in, ink and iridescent watercolor on paper.
I’ve been using a Pilot Fude hardtip pen for years, almost exclusively for ‘doodling’. Lately I’ve taken the iridescent watercolor to them, just to dress them up a bit.
Yeah, I know they’re odd, but I’m exorcising my demons here. Whatever works, right?
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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The Day’s Work
20260709.1735
Untitled. 8.5in x 11in, Graphite on Strathmore 500 Bristol board.
I’ve been chipping away at this drawing for about a month. It’s a pleasure to tease out the texture on bristol board.
Mostly done with a 3H lead, with 3B on the darker bits.
I will always love graphite drawing, though it’s challenging now with my degrading eyesight.
I have an opening tomorrow at Strecker Nelson West gallery, which will be showing some of my landscape paintings. If you are anywhere near Manhattan, Kansas around 5pm, come by and say “Hi!”. Here’s a few of the paintings on view.
The Night’s Work
20260527.0008
Various Wood Cutouts, 12in x 12in, lasercut birch, painted and assembled.
So I’ve been pretty much locked down for the past three months with a large five-panel painting commission that’s taking two out of every three days to work on, with one or two days in between to let the layers dry to the touch. I can’t share that with you until the client sees it, and there’s at least another three weeks until it’s done, and possibly longer.
What I can show you is the project I’m working on while the paint dries on the commission.
I cut these pieces over a year ago with Hallmark’s laser cutter, intending to use them for wood-block prints, which was a miserable failure. I put them on a shelf in the garage and forgot about them. I saw them again while making some frames, busted them out, and started painting them. Then I glued them to black painted boards. I’ll get them into frames this coming week. Not sure when they’ll hit the Leopold Gallery + Art Consulting, but I kinda like the way they turned out.
The Night’s Work
20260317.2001
“Seven Corners Redux”, 9in x 11.5in, silverpoint and copperpoint on gessoed Arches paper.
28 years ago, I did a small gouache painting of two tied up swatches, one leather, one linen. A month ago, I found those same swatches tucked away in my desk drawer. I tacked them to the wall and did a new drawing of them. It took most of this month to do the damned thing. I used silver wire (in a mechanical pencil holder) for the swatches, and copper wire for the background.
I’d forgotten how painstaking silverpoint can be, especially with my wonky eyesight, but Gods, I love how silverpoint looks. And it’ll tarnish over time and look beautifully old.
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The Night’s Work
20260306.1919
“Spindrift After Aether”, 36in x36in, oil on panel.
The Night’s Work
20260304.2033
“The Gates of Asclepius - Seven”, 11in x 15 in, watercolor on Arches paper.
Last sketch for the client. They decided they wanted to reduce the size of the panels somewhat. I also got the angle of their stairway (where the art will hang) wrong, and I corrected that angle in the sketch.
The Day’s Work
20260302.1503
“Serenity After Scrutiny”, 24in x 24in, oil on panel.
Rough stage. The domes on this one also feel too large, so I will extend the background color next session, after all the transitional colors are dry. It’s tough to be patient sometimes.
The Night’s Work
20260301.2352
“Aurora After Wave”, 48in x 48in, oil on canvas.
I’m backtracking on this one. I felt like the domes were too large, so I’m bringing the background in on them a bit to keep them proportional. It looks rough now, but I have faith it will get better. Also, that blue will get darker, and less saturated.
The Night’s Work
20260301.2108
“Indolence After Conjugation”, 24in x 24in, oil on panel.
21 colors in, and still not halfway through it. Getting burnt sienna to blend with acid green is giving me fits. The between colors are distressingly counter-intuitive.
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The Night’s Work
20260228.2129
“Complacence After Exaggeration”, 24in x 24in, oil on panel.
This one may get a bit muddy in the “between” stages. Yellow and Violet don’t like each other much.
The Night’s Work
20260228.2004
“Consolation After Misjudgement”, 24in x 24in, oil on panel.
I still have a lot of color transition work to do on this one. The background color is too bright, as well. I’ll be adding a touch of a complementary color to that coral.
The Night’s Work
20260227.2210
“Euphoria After Petrichor”, 36in x 36in, oil on panel.
Making good time on this one. Gonna begin work on transitions over the next few sessions. Half-way done-ish.
The Night’s Work
20260227.2000
“Orb After Refuge”, 36in x 36in, oil on panel.
It’s been nine days since I did any oil painting, courtesy of sketches for a commission, which will always takes precedence over speculative muse-chasing. This one is in the very early stage.
The Night’s Work
20260225.2039
“The Gates Of Asclepius - Five and Six”, 11 in x 15in, watercolor on Arches paper.
After consultation with Hilary, the manager at my gallery, we decided to do two more sketches with less blue. We meet with the client on Saturday.
Fingers crossed.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The Night’s Work
20260218.1838
“Radiance After Tumult”, 36 in x 36in, oil on panel.
Nine colors in, and a long way to go.
Listening to the KISS debut album, and “I’ve got got nuthin’ to lose”. I can’t believe it’s been over 50 years since this dropped on us like an atomic bomb.
The Day’s Work
20260218.1630
“Erosion After Lassitude”, 24in x 24in, oil on panel.
I didn’t wake up until 11am today (I love being a full-time artist), so got a late start.
This is in the very early stage. I was using it as a template to build frames, so it has seen paint since before Christmas. Eight colors in, forty-fifty to go…