Amanda

[Patricia Joyce]

Thanks, Jeff. Jimmie, it is great to see your progression through this drawing. You have said before that you go over the drawing with a harder lead towards the end of the work. I think this gives it such a finished, more real, look. I, too, often turn the drawing around to hatch in a different direction and it is a great way for me to see the form, AS FORM, instead of a cheek, or nose....

Keep it up, Jimmie, we'll be viewing your work in shows/galleries soon, I'm sure. Any luck with the gallery you had mentioned earlier?? They'd be crazy not to want your work!

[Scott Bartner]

Jimmie:

I've enjoyed studying your drawings these last few months. What strikes me about this one is a maturity one (sometimes) acquires after many years of hard work. For example, the constant variation of line employed around the figure, blurred in places, broken in others, always interesting, never contrived; or the decision to focus on one area of the figure leaving the rest subordinated but believably (and beautifully) rendered; or best of all the unfinished quality below. The skin has an attractive textural effect from the way you applied your pencil in striations. It

[Jimmie Arroyo]

Thanks to everyone for the kind words.

I think it's your judicious use of your lightest lights and darkest darks that distinguishes your drawings. The amount of work done by highlights and accents (the dark counterpart of highlights) -- especially in monochromatic work -- can hardly be overstated, yet it's often overlooked or at least underappreciated

Steven, have you ever written a book? It's been said before, but you have an amazing gift to analyze pictures. Thank you.

Do I detect a slightly looser touch with the pencil, especially on the edges

I have been trying to break down my drawings more, especially as it moves down towards the bottom. I did'nt realize just how much looser it was until it was mentioned.

I bought some Stonehenge paper the other day, so now I'll be able to draw as well as you

Thanks, but I've seen your drawings and you under-estimate yourself. And thanks for posting the link, let me know how the Stonehenge works out for you. The origianl credit for the paper should go to Juan Martinez though. He also recommends Fabriano which I'd like to try.

Any luck with the gallery you had mentioned earlier??

So far I've only tried Arcadia in NYC, but was rejected. They said they liked the work, but did not have any space for new artists. I'm sure it hurts my chances not having any color in my portfolio so I'm going to start doing some pastels soon.

I would be very interested to know which artists of the past you look at for inspiration.

There's a ton of them, but I'll try to give my favorites. At the top is Gustave Klimt, I've never seen anyone else break down the figure as beautifully as he did. Very erotic. I favor Schiele's drawings, but feel it loses something for me after color is applied. I was a huge fan of Ingres's paintings and drawings, but slowly moved away from realism, although stressing realism, most of his work had exaggerated features. I'm still a big fan of his drawings. Recently my biggest influence is da Vinci. I decided to do finished drawings after viewing his show at the Metropolitan in April, so any drawings I've posted here or my site have been done since then, so I feel I have a long way to go.

[Elizabeth Schott]

And the hits keep coming! Bravo again Jimmy!

[Jimmie Arroyo]

Thanks Beth, glad to see you're on more often.