I'd call this a breakthrough, but I don't want to jinx it...

So, over the last few weeks I
1. made 3-d work that has potential, and that I loved making
2. made 2-d work that has potential, and that I loved making

Great, right? But I have a senior show coming up in 1 week, and I wanted to put all-new 2-d and 3-d work in it, and, although my work was related inside my head, it was not related visually.

I think these new pieces are closing in on what I need:

I found a brush tip marker that I filled with alcohol, which allowed me to make deliberate marks and have more control. The curvy, thorny shapes of the brushwork are similar to the shapes in my new sculpture.
I have no images of the sculpture yet, but I think I thought of an interesting way to bring it closer to my thesis AND closer to my 2-d work.

I'm also working on finding titles for these pieces, and how to mount them on the gallery wall.
Stay tuned!
 P.S.  If anyone had any title ideas they would like to share with me, please let me know! I'm keeping my mind open to new ideas for as long as possible... 

Techical Process: Figure Drawing, Part 2

Untitled Nude, graphite on plate-finish bristol, 16"x 12"

This is the result of a two-day figure drawing session.

I finished the figure by blending the shading, increasing the contrast, and finishing the hands, feet, and face.
This was the fun part! Day one was the hard part- check out my earlier post if you want to see the details.

I plan on darkening the background, especially under the bench and around her feet. I want to leave the background with a rougher texture, so the marble-like quality of her skin stands out in contrast.

When I finish the background, I'll add a new image to this post.

Here's an image of Rodin's The Kiss. This is an example of what I mean by contrasting texture. Rodin left the base of the sculpture rough and unpolished, which makes the flesh of the figures seem more alive in contrast.

I'm no Rodin, of course, but it's nice to dream, right?