Glenn Sparks (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
reorienting) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
jikan_network2021-08-25 07:47 am
reorienting) wrote in jikan_network2021-08-25 07:47 am
Entry tags:
video | un: furfeathers
[Sometime around the late afternoon on the 25th, the video opens up to an old desk, its surface occupied with a sketchbook with a metal cover (engraved with a butterfly design,) some assorted graphite, a few long-bristled brushes, an ink stick, and an grinding stone/well. A bit of water is put off to the side.
[After a moment, the camera shifts a little, one tentacle reaching for the comm, and adjusts it for a more aerial view while keeping the pages in focus, and another, just in the peripheral view at the top, visible with a singular eye. Until it manages to shift out of frame. Another tentacle opens up the sketchbook, first with a partially-done drawing of a smiling woman. It turns to the next pages at a leisurely rate, between different sketches of a few people he's met in rather detailed (and, to the discerning eye, affectionate) renderings. Between them are different drawings of flowers, insects, the odd yokai, an even a few different ayakashi (such as the minobi.) One thing that's of note, perhaps, is that Glenn seems to use some unique, delicate shading in places to denote a sense of movement, even if the subject itself looks relatively still.
[After a moment, he turns to a blank page and starts to draw anew, the sound turned up enough to pick up the rhythmic scratching of graphite to the paper. After a moment, he speaks up.]
...So, I'm not feeling the most social, even though it's my birthday. But if anyone wants to watch me or chat while I'm drawing for the night, please feel free. If you wish to communicate, please use audio, at least, so long as it's within your comfort zone to do so. It's just easier for me to notice if you speak up rather than message, since, well.
[He turns his head a bit to look at the camera.]
I'm not going to really be looking at the comm.
I estimate I'll be drawing for at least the next four hours before I call it a night.
[He purses his lips, cheeks turning a little ruddy.]
And, um. If anyone enjoys this sort of thing, let me know. I could.. do it more often.
[Not expecting anything, he turns back to the drawing that's rapidly taking shape with careful, practiced movements.]
[After a moment, the camera shifts a little, one tentacle reaching for the comm, and adjusts it for a more aerial view while keeping the pages in focus, and another, just in the peripheral view at the top, visible with a singular eye. Until it manages to shift out of frame. Another tentacle opens up the sketchbook, first with a partially-done drawing of a smiling woman. It turns to the next pages at a leisurely rate, between different sketches of a few people he's met in rather detailed (and, to the discerning eye, affectionate) renderings. Between them are different drawings of flowers, insects, the odd yokai, an even a few different ayakashi (such as the minobi.) One thing that's of note, perhaps, is that Glenn seems to use some unique, delicate shading in places to denote a sense of movement, even if the subject itself looks relatively still.
[After a moment, he turns to a blank page and starts to draw anew, the sound turned up enough to pick up the rhythmic scratching of graphite to the paper. After a moment, he speaks up.]
...So, I'm not feeling the most social, even though it's my birthday. But if anyone wants to watch me or chat while I'm drawing for the night, please feel free. If you wish to communicate, please use audio, at least, so long as it's within your comfort zone to do so. It's just easier for me to notice if you speak up rather than message, since, well.
[He turns his head a bit to look at the camera.]
I'm not going to really be looking at the comm.
I estimate I'll be drawing for at least the next four hours before I call it a night.
[He purses his lips, cheeks turning a little ruddy.]
And, um. If anyone enjoys this sort of thing, let me know. I could.. do it more often.
[Not expecting anything, he turns back to the drawing that's rapidly taking shape with careful, practiced movements.]
no subject
Yes. Have been for quite some time. I do portraiture, landscapes, and creatures, in particular. I primarily draw for my own pleasure, but at times I'll draw for someone else.
[He eventually stops his current drawing, and turns to another blank page. A dragonfly starts rapidly taking shape on the paper, with few stray lines, with practiced ease. His style isn't strictly true-to-life here, boasting of some excess exaggeration in the perspective of the wings.]
Insects are my absolute favorite. And there are more than just Earth-bound variants. I've seen some in other worlds that are as large as I am.
no subject
I like different, different is good.
no subject
[He actually turns to the camera, face absolutely lighting up like someone's told him it's Christmas. He completely forgets about drawing.]
Do you have any favorites?? I really like the ones with wings, but I also love the Earth variants of orb weaver spiders because they have super pretty webs with their use of parallel lines. And they're pretty friendly-ish and it's fun to watch them when they decide to occupy the space near a window.
I actually figured out how to make safety masks because of how they arrange their webbing. And it's a simple matter for me to recreate spider thread to make clothing. And when done right it's super durable.
Off-Earth, I once saw this butterfly-like creature with ant-like mandibles and coloring that could only be easily seen by creatures with more than three color cones. Five at best! And it was just the trippiest thing to see once I figured that out. It was like this huge array of reds, pinks, blues and yellows that don't even exist on a tri-cone spectrum. It was just--
[He spreads his hands out with a verbal "whoosh!"]
--amazing! I'll have to redraw it and try to recreate it in a way that human eyes can easily see the approximation of colors.