I love to draw people playing the accordion!!
There’s something physical about the way they have to lean into the instrument, its spinelike flexibility, that just blows my mind. It’s like they have a person in their lap and they are squeezing music out of them!
So when Dirk Rave came onstage at Ludwig the other night with his accordion i was delighted to draw him. Amazingly, after I wrote the above, I went to his website to add the link, and guess what I read???!
“The proportion of the instrument can not be underestimated: the accordion breathes. This makes it the ideal partner of a singing man, whether it is a baroque, a pop song or a classic French chanson.”
So I was right! It is about the physicality and proportions of the accordion, it adds a unique dimension to a performance! Isn’t that cool, that Dirk and I share this notion and didn’t even know it?
Dirk performed several of his original compositions, then was joined by Danish tenor Mads Elung-Jensen.
They were GREAT! You can see them perform together yourself here. It was a performance way the hell out of the league of a quiet Thursday night in Neukölln, exactly the kind of unexpected miracle Berlin specializes in.
About the drawings, I must note that the top one is another example of me nearly ruining a fine drawing by adding pastels and mixed media.
I wanted to use only grey tones, because I worry that I’m in danger of developing laziness around values from using pink and umber. I knew I had to be careful to leave the open space of the kraft paper as a value and that I needed deep darks to convey the night-time feel of the bar. I could just barely wrangle it all together, and it devolved for a bit.
Sargent said that if you control the midtones you control the painting.
I am working on midtones, trying to use them more effectively. Since I developed my entire style of drawing to be reproducible black and white linework for comics, that’s challenging to me. I still find spotting hard blacks is helpful when the drawing isn’t reading clearly.
Having a true peer that you see and work with often is so crucial to artists.
Daria is such an important part of my growth as an artist here in Berlin. It’s her voice I hear in my head when I want to overwork a drawing, and her voice I heard tonight saying, “When in doubt, add more black!”.
For the second drawing I kept it simpler, leaving more of the paper surface open. While pattern and value ensure it reads easily, it doesn’t have the same night-time feel. My next sketchbook is going to be a Canson grey tone pad. Sargent painted on canvases toned with a cool grey midtone, and I am excited to try using pastels to work on that kind of base! Wow, the 50th-birthday gift of greyscale markers from my beloved friend-muse-Patron Clear really opened the drawing door for me!
More accordion drawings:
Four hour portrait painting of Julia
There’s one of Heather playing accordion but I couldn’t find it on my flickrstream, you can look at her great photos instead
Old ones from St. Paul and here and here
My Trans Dino-Witch is finished at last! I’ve been working on her all month.
She was a huge project for such a small work!
She is a companion work to my Pride piece, 
It was harder to make her, because I had some harder feelings. I realized while making her that I often connect deeply with trans women partly for a very sad reason.
Suck that, 
Catherine is a work built on a legacy of artists who inspire me. First, the incredible sculptor and assemblage artist 
I thought, Dino-Kitties! That’s a fine idea. I wonder why you never hear about Dino-Witches…
My