"Get Thee (Out From) Behind Me!"

CAPTION: "Porque tan triste?"

Well I did it again, sketched some human forms on the Light Rail. Since I told you I was going to sign the drawings, and keep giving them away? (When you get to the picture coming up? If you see the little smudge down in the right hand corner? See, nobody will ever be able to figure out who I am.) Well anyhow, I was just thinking it would be polite for me to share the follow up with you. AND I learned a few NEW things today I feel I should pass on...... should YOU ever decide to get into this business. Go ahead and scroll down to the picture and then come back. 

Up in the right hand corner?  See the exotic crinkled look on the pad? That comes from my wet SoBe it drink I sat down on it whilst drawing. I guess one shouldn't do that.

Also? If you are going to do redheads? Get more than one shade of red pencil.

 

Still it was a very positive experience.  Let me describe our encounter as I recall it.

She is shy and pensive with very distinct features. This will be a snap.  I gently ask, "may I sketch you?"

In this soft, barely audible voice, she intones," I think that would be okay."

And for anybody looking for a model? This woman DID NOT budge for a half hour.

And there would be the moment of truth. They can't all be happy, can they? Apparently they can. In this case, there is no guessing. I am not exaggerating here. I should have brought along a collaborative witness. The woman just gingerly places the drawing in a school bag, and then just starts jumping up and down in her seat. She looks at me with eyes that are now the shapes of frisbees.

"Oh, thank you, thank you, thank you."

Now wait it gets betters. She starts waving to me across the aisle when a mere nod would have been sufficient. And there is the seemingly obligatory, "YOU've made my day!"

But we are not done yet. Since we are both getting off on campus? Well I get to witness her ahead of me skipping with clear delight, and at least once turning in my direction to do some more waving.

Can I do no wrong?

Well apparently.  The next drawing you are about to see? Done on the way home in the afternoon? Well it is from a blind perspective. I only see the back of the subject's head. I like doing these because the subjects don't even know you're there. You don't even have to do that permission thing. And if you just stick to business, something usually pops up that gives your work some character.

All is going well until the fidgeting begins.

"Uh, oh! She's going to get off at the next stop. I quickly finish what I can and rip the "papyrus" from it's tablet. (unsigned dang it) Well even before her stop she is running towards the door, and I shout out to my model. ( I have a pretty big intimidating voice when I need it.)

"EXCUSE ME MAAM. I HAVE SOME THING FOR YOU!"

Her pace quickens and I scramble to catch her with my arm extended out to make the exchange, as if we are teamed up in a relay race. Well with eyes the size of frizbees again, yet this time sporting a tone of panic? She yanks the work out of my paws and runs at full speed, down the steps, across the concrete ramp and jumps onto another train.

Just in a hurry to get home you say? I don't think so. The only place that other train would take her would be back to where she came from.

Whatever noises I was making behind her, rattling pencils or muttering to myself,  must have scared the bejeebers out of her. Me shouting, "I HAVE SOMETHING FOR YOU" probably didn't help either. 

She may still be running.

Well anyway, I'm an emotional rag. And my artist sister Brenda emails me chiding, "Don't just give those away. They could be valuable some day."

If you don't mind? I think I'll take a break from Light Rail sketching for a few days.

Maybe when I do get back to it I'll hop on the train wearing a "beret" toting an easel under my arm. You think?