Life Drawing and the Continuing Challenge to Understand the Human Form

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Life drawing from Nov. 1 2009

I was always a guy who could draw — not great, just better than the average human. At different times in life, I’d make huge leaps in my ability or technique, other times, not so much. I studied life drawing here and there; I learned it in my first year in art school at Du Cret, and in 1987 I went to SVA at night to tune up my skills a bit. Nothing great, but enough to get by.

Then one day I met a guy named Tim Gula, who worked as a background artist on the pilot for the animated Rat Bastard series. Gula lived not far from the house I moved into in North Hollywood in 2000. He would come by and we would talk art and comics and the way of the world. I’m not sure when it became apparent, but I eventually found out he was a true master of anatomical drawing. He used to teach in various schools throughout the San Fernando Valley, and invited me to join in a life drawing session one night at a small school in Van Nuys. I thought, “what the hell — it can’t hurt.”

Drawing done under the auspices of Tim Gula, cira 2003
Drawing done under the auspices of Tim Gula, cira 2003

There are certain times in our lives (if we are lucky) when our eyes are opened for us by someone who sees some talent in us, but knows that we could be  better. Tim Gula was that person. He would repeatedly phone  me to go drawing with him everywhere from the Los Angeles Zoo to  The Art Center College of Design, Pasadena. I didn’t take full advantage of his wealth of knowledge, and I didn’t entirely appreciate what it was that he was trying to instill in me at the time. But he did get me thinking about drawing and creating in a different way. He forever ruined my tolerance for my own output. What I was drawing, how I was drawing could always be better.

 Tim Gula, Robert Sexton, and your host getting crazy over a Christmas turkey in Los Angeles 2002
Tim Gula, Robert Sexton, and your host getting crazy over a Christmas turkey in Los Angeles 2002

Now it is years later, and I am once again going back to a drawing studio for life drawing. As others in the room move about trying to get the correct angle or right lighting, I just set up anywhere. When asked how long I’d like the pose to be or if the lighting is okay, my response is, “it doesn’t really matter — I’m not here to make art, I’m just here to draw.” I’m really doing it to learn, to experiment, to understand. I have a long way to go. Fortunately, I’m in a studio with a good group of artists, and I look forward to every Sunday afternoon. With some perseverance and dedication, I look forward to posting some noticeable progress that even Tim Gula would approve of. Stay tuned.

New Saurus Web Site Features Shopasaurus and Friends

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Now I know how rock stars feel when fans insist they play their hits. I created Computasaurus, Shopasaurus, Partyasaurus, et al back in Feb. 1986, and some 23 years later I still get requests for Saurus shirts, coffee mugs, plush toys, etc., especially Dadasaurus.

I’m currently working on a completely different project, so to spend time on launching this new site, with our partners Digital Imagining Services of Spring Texas, really brings me back to the days when Saurus was the top selling T-shirt line in America. Many times I’ve tried to put Saurus in my past and move on to something grittier, something more challenging. But what I realize about the simple little Rockasaurus and Beachasaurus, is that they gave me the life and career I have today. I’m able to create what I want because they gave me the confidence and the freedom to go wherever my imagination takes me. Thanks Saurus.
You can find them at www.saurusgang.com

I’m Writing a Sci-Fi Story For This Guy

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Ten year old Cliff Galbraith in front of the United Nations building in NYC, after parade for Apollo 11 Astronauts in 1969
 

While he had many interests including cartoons, pro sports, art, rock music and comic books, this guy loved anything to do with space travel. Astronauts, space ships, science fiction or fact. It didn’t matter whether it was Neil Armstong on the moon or Charlton Heston on the Planet of the Apes. He read everything from Issac Asimov to Arthur C. Clarke to H.G. Wells. He was drawn to TV shows like The Outer Limits, Lost in Space, Star Trek, Space Angel, Astro Boy, Fireball XL-5, The Invaders, et al.

But the Apollo astronauts were his greatest passion. He’d cut out their pictures from newspapers and magazines and hang them on his bedroom walls. He’d draw them and their space crafts, and make little comic books of their journeys.

From time to time, I’d wonder what this little guy would say if he could meet the adult version of himself. What would be his reaction to the notion that he would one day be able to create animation or edit written stories on a personal computer? I think he’d ask me why I ever stopped drawing space ships, and when was I going start again?

This picture was taken by my mom, who took me to see my heroes in late summer 1969. She also taught me how to draw, and introduced me to Picasso, Dali, and Ruebens. Thanks Mom.

There Once Were Zines

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Back in the 90’s, I billed myself as one half of the Huja Bros. Tim Bird and I wrote stories for the comic Rat Bastard under that name, and I drew as well. Here’s a cover I did for Gimp Magazine. At the time, music scene snobs like Tim and I despised bands like Bush, Oasis, and No Doubt, so I sicced the martians on them in this piece. I always dug Mad Magazine, and wanted to give it that feel.

Swangler’s Bliss

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Jeesh! Has it been a month since last post? It’s not like I’ve been sitting around like Lou here — I’ve been writing the pilot, which is getting close to completion. Also, some drawings of possible supporting characters and backgrounds like houses, living rooms, kitchens, etc. But if I post everything, there’ll be no reason for you to tune in.