Red Nose Studio

He will tell his tale…

Today marks the first day in public media’s history without federal funding. And we’re not going anywhere.

Listeners like you keep our mission alive. Protect one of the last places where America comes together to hear itself.

Stand with us today. Donate at this link: n.pr/46wamAj

Look at that Earles Fork like front end.

That’s what inspired this piece, I appreciate you noticing.

Thanks, it’s tricky, I’m slowly getting better manipulating that perspective.

BONUS: included is a 7 x 3.75 inch stereographic card of the staged scene.

The Charmer. Mixed Media: polymer clay, wire, foam, fabric, wood, paper and chipboard.
13.5 H x 10 W x 12 D inches.

www.rednosestudio.com/puppets/the-...

This stuff is my happy place.

For those curious: Patricia’s tractor is built from scratch, by hand with wood, brass sheets, umbrella arms, bits from a Corvair dash, tire tread from my old toys and other found objects.

Patricia and her tractor are the newest addition to the permanent installation ‘Over Under & Beyond’ at our local library here in Greenfield, Indiana USA

Keeping her eyes peeled, Patricia knows that it’s not just the big prize, but also the thrill of the hunt that keeps her life interesting.

YouTube video by Film Forum SANATORIUM UNDER THE SIGN OF THE HOURGLASS Trailer

Surprised last week when I learned of a new Quay Brothers film. I’m excited to see it. So in case any of you are as in the dark as I was:

youtu.be/XkKPqXMFHS8?...

Probably should go ahead and unplug it for at least 5 minutes then plug it back in.

Sneak peak of the next addition to the installation “Over, Under & Beyond” coming soon to Hancock County Public Library.

Yep. Been 30 years and still telling myself that.

The giants of the comic book world are descending on Yorkshire this November!

These incredible guests will be at Thought Bubble Comic Convention on 15 & 16 November 2025, at Harrogate Convention Centre, England!

Get your tickets: thoughtbubblefestival.com/tickets

The remaining GODZILLA-1 finale APs are LIVE!

Today is a day of choices- we’re offering two versions of the primary, (Deluxe and reg AP), and all the red flame variants in deluxe edition format, adorned with 24k gold leaf, hand embossed & signed.

www.gregthings.com

Long story really. Studied to be a painter but eventually wanted to incorporate more of what I loved about all the facets of art school into what I make. This is where the process lead me.

INTRODUCTION Get a book-size (or paperback-size)d sketchbook. Write your name and date on an early page and maybe think of a name for it — and if you want, write the book’s name there at the front. Make it into your little painful pal. The pain goes away slowly page by page. Fill it up and do another one. It can be hard to get started. Don’t flunk yourself before you get the ball rolling. You might want to draw more realistically or in perspective or so it looks slick — that’s is possible and there are tricks and procedures for drawing with more realism if you desire it. But drawing very realistically with great finesse can sometimes produce dead uninteresting drawings — relative, that is, to a drawing with heart and charm and effort but no great finesse. You can make all kinds of rules for your art making, but for starting in a sketchbook, you need to jump in and get over the intimidation part — by messing up a few pages, ripping them out if need be. Waste all the pages you want by drawing a tic-tac-toe schematic or something, painting them black, just doodle. Every drawing will make you a little better. Every little attempt is a step in the direction of drawing becoming a part of your life. TIPS 1. Quickly subdivide a page into a bunch of boxes by drawing a set of generally equidistant vertical lines, then a set of horizontal lines so that you have between 6 and 12 boxes or so on the page. In each box, in turn, in the simplest way

possible, name every object you can think of and draw each thing in a box, not repeating. If it is fun, keep doing this on following pages until you get tired or can’t think of more nouns. Now you see that you have some kind of ability to typify the objects in your world and that in some sense you can draw anything. 2. Choose one of the objects that came to mind that you drew and devote one page to drawing that object with your eyes closed, starting at the “nose” of the object (in outline or silhouette might be good) and following the contour you see in your mind’s eye, describing to yourself in minute detail what you know about the object. You can use your free hand to keep track of the edge of the paper and ideally your starting point so that you can work your way back to the designated nose. Don’t worry about proportion or good drawing this is all about memory and moving your hand to find the shapes you are remembering. The drawing will be a mess, but if you take your time, you will see that you know a lot more about the object than you thought. 3. Trace some drawings you like to see better what the artist’s pencil or pen is doing. Tracing helps you observe closer. Copy art you like — it can’t hurt. 4. Most people (even your favorite artists) don’t like their drawings as much as they want to. Why? Because it is easy to imagine something better. This is only ambition, which is not a bad thing — but if you can accept what you are doing, of course you will progress quicker to a more satisfying level and also accidentally make perfectly charming drawings even if they embarrass you.

4. Most people (even your favorite artists) don’t like their drawings as much as they want to. Why? Because it is easy to imagine something better. This is only ambition, which is not a bad thing — but if you can accept what you are doing, of course you will progress quicker to a more satisfying level and also accidentally make perfectly charming drawings even if they embarrass you. 5. Draw a bunch more boxes and walk down a sidewalk or two documenting where the cracks and gum and splotches and leaves and mowed grass bits are on the square. Do a bunch of those. That is how nature arranges and composes stuff. Remember these ideas — they are in your sketchbook. 6. Sit somewhere and draw fast little drawings of people who are far away enough that you can only see the big simple shapes of their coats and bags and arms and hats and feet. Draw a lot of them. People are alike yet not — reduce them to simple and achievable shapes.

7. To get better with figure drawing, get someone to pose — or use photos — and do slow drawing of hands, feet, elbows, knees, and ankles. Drawing all the bones in a skeleton is also good, because it will help you see how the bones in the arms and legs cross each other and affect the arms’ and legs’ exterior shapes. When you draw a head from the side make sure you indicate enough room behind the ears for the brain case. 8. Do line drawings looking for the big shapes, and tonal drawing observing the light situation of your subject — that is, where the light is coming from and where it makes shapes in shade on the form, and where light reflects back onto the dark areas sometimes. 9. To draw the scene in front of you, choose the middle thing in your drawing and put it in the middle of your page — then add on to the drawing from the center of the page out. 10. Don’t worry about a style. It will creep up on you and eventually you will have to undo it in order to go further. Be like a river and accept everything.

Posting GARY PANTER'S SKETCHBOOK TIPS to save a life -- the site that used to host these took em down years ago, and they are as useful a list about this kind of thing as you will ever find.

They are like a favorite dogeared paperback to me.

A bracket for the shelf upon which to place all aspirations.

Thanks for the recommend. That cover speaks volumes to me.

Why should I write better when a machine can do it for me? Because actually no one can do it for you, because your voice is unique among all the people on earth. Siri never petted a horse's neck. Alexa has never been ghosted by the captain of the football team. But you have lived, your heart is beating, you have suffered, and you have something important to say. It's a human's job, to use words, and whatever job you give to a machine, that part of your brain goes dark. Maybe it's worth it when it comes to remembering phone numbers and directions, but when that part of your brain that uses words goes dark, that's a vast area that's very close to your soul. Don't let some internet platform convince you that what you have to say and create isn't worthwhile. Words are the echo of your soul. Honing that echo matters.

this iconic advertising copywriter named Kathy Hepinstall Parks died over the weekend and I wanted to share something from her website I thought Bluesky would like

Pencils, sharpened

Generative art tools

Available if interested—>

www.rednosestudio.com/puppets/gas-...

‘Gas Left In the Tank’ One of a kind sculpture 15H x 22W x 13D inches. Mixed media: polymer clay, wire, foam, fabric, wood, cardboard, paper brass, copper and found objects.

Thanks. It took me several attempts until that solution surfaced.

The Dingess Tunnel — Red Nose Studio Original truck and props from the illustration created for the cover of the re-release of 'The Bone Beneath My Skin’ written by TJ Klune. One of a kind sculpture 14H x 13.5D x 15.5W inches. mixed me...

Mixed media: polymer clay, wood, paper, cardboard, X-ray film, LED lights, wires, batteries and dried leaves.
Available—> www.rednosestudio.com/puppets/the-...

The original spark effect was created with a live sparkler on set, so for this presentation I used back lit X-ray film with scratched out lines. It lights up while holding down the button on the right side.

’The Dingess Tunnel’ One of a kind sculpture 14H x 13.5D x 15.5W inches. Original truck and props from the illustration created for the cover of the re-release of 'The Bone Beneath My Skin’ written by TJ Klune. This is a condensed and archival presentation of pieces from the cover art work.