tag: sketchbooks

Cover of the earliest sketchbook, mustard yellow and dense with ink doodles: 'RIEA!', 'UTILITY SKETCHBOOK', Japanese characters, spirals, faces, 1989 Sketchbook drawing of a seagull in pencil and crayon, grey wings and orange beak, red legs, faint clouds sketched above Sketchbook fantasy drawing in colored pencil: a pale long-haired figure raising a sword before a sea with a tall ship, a huge face dreaming in the sunset sky Sketchbook drawing of heaven and hell: a bowed figure in black on brown earth, flames at their feet, while a distant figure exults under a cross and red sun Sketchbook pencil portrait of a young man in vest and shirt looking down, arms crossed at the wrists, signed in cursive 'Love Truitt' Sketchbook pencil drawing of an embrace: her hands buried in his hair as he leans into her shoulder, faces hidden Sketchbook spread in blue ballpoint: a large portrait of Martin Luther King Jr. speaking at right, smaller faces, a crown and 'KING' sketches at left Sketchbook page in faint pencil: a domed high church on a cliff above the sea, with ruled text beginning 'The high church of Oorcon looms massively...' Sketchbook ballpoint portrait of a laughing boy in an open jacket, eyes squeezed shut, a flame-like doodle rising beside his shoulder Sketchbook ballpoint page: a big-haired figure gazing sideways, an ear study, a diagram of arrows around a circle, and a small drawing of a girl in a room Cover of sketchbook 10: a dark window taped into mottled blue-green painted board, an X of white creases over a swirling green orb Cover of sketchbook 11, black leather-grain board with a small pasted label: 'THE NEW SCHOOL MUST FALL! LONG LIVE PARSONS!' Cover of sketchbook 12A: worn grey-green board mottled with dark stains, taped spine, and a tiny white '#12' label at center Cover of sketchbook 12B: black board flecked with white and pink paint, collaged strips of patterned paper and a small photo of a white horse at center Cover of sketchbook 13: dark blue-black board with a single pasted image of a theater curtain labeled 'unknown' Back cover of sketchbook 15: torn brown pages of a 19th-century elocution book pasted over grey board, a hymn on angels still legible at left Cover of sketchbook 15: the darkened, cracked contents page of an antique reader collaged under murky brown paint, entries like 'Trust in God' underlined in red Sketchbook spread: at left a black ballpoint doll-like head with a red mouth on a stalk; at right, red ballpoint legs in heels reclining from the page corner Tiny dark sketch of three standing figures side by side, scratched out of black ink Dense journal spread: an inked self-portrait beside a collaged red planet, columns of handwriting, and a blue profile facing a ghostly face — 'READ IT AND COMMIT ME' Journal spread 'MY PERFECT LIFE 30': a diagrammed stomach with handwritten confessions at left, a scrawled dark figure and notes on vomiting as remedy at right, dated 27 June 92 Sketchbook spread: a figure in red and green ballpoint asleep in an armchair, and opposite, a collaged anatomical heart ringed by a rhinestone bracelet with a red mitten below Sketchbook spread in red and blue ballpoint: a couple with a baby on a patterned couch, and opposite, a figure seen from behind in a white slip Journal spread: blue ballpoint knee studies wrapped in cursive about attraction and illness, skeleton torsos and shoe sketches, 'It's a perfect day for letting go' — 3 June 92 Journal spread filled edge to edge with handwritten lists of symptoms and side effects: cramps, dizziness, numbness, hallucinations, page after page in black ink Sketchbook spread of draped gowns drawn in ballpoint: a dark radiant dress labeled 'A Foolish Virgin' and two pale robes labeled 'A Wise Virgin' Sketchbook spread: at left a dark X-ray-like film scratched with 'I TALK IN MY SLEEP ALL MY LIFE', at right black figures and circles slashed over red paint Back cover of sketchbook 16A: a Daniel Clowes 'PARANOID' comic page varnished in amber, its edges dissolving into dark red drips Cover of sketchbook 16A: red cloth with a transferred engraving of a cluttered table of tools and instruments, worn and stained Cover of sketchbook 16B: raw grey board with a pasted three-panel comic strip — a woman's face, a burst of static, dark tentacles — captioned '...my wound healed, and I continued my journey' Back cover of sketchbook 17: a Kokoschka Kunstschau drama poster, an 'Andre the Giant Has a Posse' sticker, a strip of red velvet and a tiny yellow cat charm on a string Cover of sketchbook 17: cream paper with a small dark varnished window of foliage over faint cursive script, red velvet spine at left Back cover of sketchbook 18: a photograph of an open hand pressed under waxed translucent paper, everything tea-stained and creased Cover of sketchbook 18: a silhouetted photo-booth portrait taped under wrinkled white tissue streaked with rusty red drips Journal page: the Parsons 'fine arts' senior thesis exhibition card, 1993, above taped photo strips of small sculptures — 'this was a very good idea' in pencil Sketchbook spread in ballpoint: cathedral vaults and rose windows swarming with lines — 'So I guess I'm graduating... at Riverside Church, Sat 15 May 93' Sketchbook spread in ballpoint: gothic spires and hanging chandelier-like forms of Riverside Church, drawn dense and scratchy across both pages Sketchbook spread: ballpoint portraits of friends slouched in chairs, a pasted Gemini horoscope clipping, notes from 'Sat 24 April... 12:22am at Bob's instead' Cover of sketchbook 19: mustard felt-covered board with a small window of antique printed text pasted at center Photo of an open sketchbook held on a floral bedspread: 'NEVER DOUBT' painted huge in black over pages of smudged pencil writing, 'OK? O.K!' in the corner Cover of sketchbook 1: a red chaos star on black, 'RIEA' in white block letters, 'CHAOS is my life' at the hub — 'Auriea Harvey's Sketchbook' Cover of sketchbook 21A, 'The Disease Manifesto': white moon and streaked clouds on black-blue night, a pasted caption reading 'Night; stars and a bright moon.' Cover of sketchbook 21B: red felt covered in dark oval link shapes touched with gold, signed '21 TDM' — The Disease Manifesto Cover of sketchbook 22A: a striped box drawn in black ink on pink board with 'present' written in cursive across it, signed Auriea Harvey Back cover of sketchbook 22B: half faded red cloth, half a smoky photographic print of gnarled tree branches Cover of sketchbook 22B: a dark overexposed photograph of a crowd raising round-headed forms, like a procession seen through fog Sketchbook 22B open on a road case: a Chinese wedding chair clipping ringed by red imps, and on silver foil a mummy-like figure trailing long roots — 'I am big + the pictures that got smaller' Sketchbook 22B spread: photos of a sculpted head-jar and a brooch-studded form on scorched paper, opposite a mirrored double self-portrait photo above silver foil — 'I give you 1995 of my 23rd year' Sketchbook 22B spread of journal writing with taped photos of small buildings and trees, a pencil sketch of a wrought-iron gate — 'turn the trees to flame.' Sketchbook 22B spread: red flames drawn sweeping across a silvered page, opposite ink studies of a torso, flames, and notes — 'The Lesser of Many, Many evils, 17 Jan 95' Sketchbook 22B spread: a silvered page with a Handloom Batik Ganesha card taped on, opposite a drawing of a woman in a slip with one blackened arm against blue-patterned shadow Sketchbook 22B spread 'NIGHT OF ME': golden grasses and silver berries on seafoam green, opposite a red spider-like burst and a row of gold ovals circled in silver Sketchbook 22B spread: a pencil drawing of a nude sleeper stretched across both pages amid pink stains — 'never before has reality been so appealing...' Cover of sketchbook 23A: plain deep magenta cloth, worn and water-stained, no title Back cover of sketchbook 23B: dark red board with a vertical pasted clipping: 'She is a living example of the ancient theorem The Woman is a Sandwich Covered With White Marble.' — Max Ernst Cover of sketchbook 23B: a narrow old ledger bound in dark marbled paper, red cloth at the spine, edges worn to orange Cover of sketchbook 24: grey-black felt with a gold eagle medallion reading 'Illustrated Encyclopedia of the Modern World' Cover of sketchbook 25: dark green cloth with a small black-and-white photo of Devils Tower and three red ribbons hanging down Sketchbook 25 spread of watercolors: a faint green figure bleeding through above, and below, a blond man in black standing in a Maine yard by a shed — the only known drawing of Rick Back cover of sketchbook 26: waxed book pages printed with dark palm fronds and crosshatched shadows, amber and sepia Cover of sketchbook 26: a thick black branching form like roots or veins inked over waxed book text crosshatched with shadows Cover of sketchbook 27: a cream string-tie envelope with red button closures, bordered in blue-and-orange Japanese fan paper, a faint face sketched at top Cover of sketchbook 28: swirling marbled paper in sage, rust and cream, held shut by four pale elastic bands Cover of sketchbook 29: a painted collaged face on black — cropped bands of eyes, nose and grinning teeth assembled into a mask Cover of sketchbook 2: rows of white profile heads drawn on black leather, a few picked out in blue, pink and green, with a chaos star — 'Auriea Harvey's Sketchbook II' Cover of sketchbook 30: a hanging cluster of pale bell-like flowers painted over turquoise and gold wash Sketchbook 30 spread labeled 'Hecuba blinds Polymnestor': ink and wash studies of gravestones and crosses, numbered like a catalogue of monuments Back of sketchbook 31: a dark felt pencil roll stitched in red over a black Moleskine, four worn pencils tucked in the bottom Cover of sketchbook 31: a plain black Moleskine with its elastic band, scuffed from travel Sketchbook 31 spread: a hand-drawn map of Rome's rioni with the blue Tiber winding through — Trastevere, Trevi, Esquilino, the Colosseum — 'ROMA v. 842006 - 1142006 A.D.' Sketchbook 31 spread in pencil: a jet seen from above the clouds and a sleeping fellow passenger — 'Slept. Flying out of Charleroi...' Roma sketchbook: the Colosseum's arched wall brushed in ink with red scaffolding crosshatch, tourists reduced to black strokes — 'Colleseo' Roma sketchbook spread 'S.P.Q.R.': ink studies of statues and angels with notes — 'It is a frightening thing when one culture supplants another... In Rome the Gods are truly dead.' Roma sketchbook: watercolor along the Tiber in greens, and below, the column of Romulus and Remus drawn sideways amid writing about finding Bernini's tomb Roma sketchbook: ballpoint sketch of Bernini's Cathedra Petri in St Peter's — the dove window radiating over the bronze throne and four doctors of the church — '147 popes' Roma sketchbook: the baldachin's twisted columns brushed in heavy black ink beside writing — 'There is a certain perversity to St Peters... The angel stabs you in your own true heart' Roma sketchbook: quick ink sketches of sculpture groups — figures wrestling above a skeleton, and a robed statue on a plinth Roma sketchbook: pencil sketch of a roped-off monument, and in purple and brown, a Bernini angel reaching toward a draped reclining figure Roma sketchbook: dense ink trees in the Vatican gardens under writing about tourism and dedication — 'genetics be damned in my spirals' Roma sketchbook: a pencil reclining nude, Ovid's Latin on Daphne's transformation lettered around it, and an inked mustached portrait — 'is it possible that in Roma there can be no fantasy?' Roma sketchbook: ink sketch of Bernini's Apollo and Daphne, her raised arms bursting into leaves as the laurel bark climbs her legs Roma sketchbook: study of Daphne's hands sprouting laurel leaves at her fingertips, drawn in ink across the spread Roma sketchbook: a weeping face drawn in red pencil beside a Palazzo Barberini ticket dated 10/05/2006 and postcards of Canova's Pauline Borghese and Caravaggio's Narcissus Roma sketchbook: brush-pen sketch after Bernini's Rape of Proserpina — her raised arm and turned head, his fingers pressing into her hip Roma sketchbook: an umbrella pine in terracotta pencil with a dark inked sculpture head resting at its base Roma sketchbook: a gnarled old tree brushed in ink, its roots gripping the ground before an arched arcade Cover of sketchbook 32, dark side: black cloth crossed by red elastic cords hooked through the corners of a QRS player-piano-roll label Cover of sketchbook 32, light side: two panels of tan player-piano roll paper, the perforated note slots scattered like morse code, a red band between Sketchbook 32 cover detail: creased player-piano roll paper, its white perforations drifting diagonally across the tan surface Sketchbook 32: pencil studies of heads — a downcast woman at left, and a large anguished bearded face, eyes closed, drawn dark and dense Sketchbook 32, page 11: three painted severed heads — a red-bearded head lifted by the hair from a white basin (#032), a grey figure, and a red-lined sleeping face (#006) Sketchbook 32 spread: a bushy tree in dried-blood red wash, and opposite, a chestnut tree in sanguine beside an Art Nouveau gate — 'with Laura in the park (citadel), 2006' Sketchbook 32 spread: a copy of Rodin's Le Sommeil in red wash and pencil, the sleeping head dissolving into loose coiling lines — 'Le Sommeil, Monsieur Rodin' Sketchbook 32 dark side spread: black ink thickets with yellow and tan smears at left; a clump of pines behind a Speed Limit 35 sign at right Sketchbook 32 dark side spread, dated 08/06: a black ink flood spilling across a winter landscape of pencil hatching and gold-brown brush marks Sketchbook 32 spread: a dark inked barn and farmhouse among trees with a small blue butterfly collaged at center — 'Hamilton, NY, USA, CC retreat, 2006' Sketchbook 32 dark side spread: pencil sketches of family on couches — a woman reclining with cats curled below, a young woman seated, studies of faces Sketchbook 32: Carpeaux's Ugolino and His Sons sketched from the back in sanguine wash, the huddled figures knotted together Sketchbook 32, page 34: pencil study of Rodin's Old Courtesan ('She Who Was Once the Helmet Maker's Beautiful Wife'), her bowed bony body in profile Sketchbook 32 spread from the Met's Asian galleries: pink brush sketches of Krishna battling the horse demon Keshi, notes on Durga and Shiva, and a seated Maitreya Bodhisattva face in ink Sketchbook 32 spread: Washington Square Park fountain in white and brown gouache, black silhouettes circling through hot pink swirls — 'a beautiful day after meeting with Wayne + Ashley, 2006' Sketchbook 32 spread in black ink: Central Park trees at night seen from the Natural History Museum steps, canopies blotted heavy against a pale sky Sketchbook 32 spread from the Met: a falcon-headed crocodile god in yellow, four red Anubis-like animal heads, and pencil sketches of a resting arm — 'a river runs through him' Sketchbook 32 dark side spread: Acropolis columns dripping in dark red ink, a Greek alphabet chart taped above a pencil island — 'first meeting with the Mediterranean sea, 2006' Sketchbook 32, Mediaterra Athens, session 1 'Gaming Society': ballpoint portraits of seven speakers as busts on plinths — Julian Dibbell, Daniel Pargman in a Magic Circle trophy, and others Sketchbook 32 spread: Eagle Creek park, Indianapolis, 2006 — dark red ink water swirling over swimmers, a duck sketched at the edge Sketchbook 32, Mediaterra session 3 'Game Politics': six conference speakers drawn as ballpoint busts with name labels, tangled cords looping between them Sketchbook 32, Mediaterra session 2 'Identity & Psychology of the Player': Espen Aarseth mirrored top-to-bottom with Celia Pearce, speakers threaded through a yellow coiling snake Sketchbook 32, Mediaterra day 2 'Gaming Environments': pages crowded with ballpoint portraits — Michael Mateas, Chris Crawford haloed mid-speech, notes on Deikto and immersion Sketchbook 32, Mediaterra day 3 'Game Art': speaker portraits including Martin Pichlmair in a yellow shirt and star collar labeled 'PWNED', notes on appropriation art Sketchbook 32, page 53: pencil figure studies — a man standing hands behind back, and a woman with sunglasses on her head playing a flute Sketchbook 32, Mediaterra 'Utopia & Virtual Space': ballpoint portraits of panelists — Margarete Jahrmann, Laura Baigorri Ballarín, Gonzalo Frasca — with notes on ludic society Sketchbook 32 spread, Athena 4 Oct 06: the Erechtheion caryatid porch in red ink, a purple caryatid 'cement copy', pencil snakes twisting below — 'growing hair, moving arms, shifting weight' Back cover of sketchbook 33: a jeweled blue Renaissance sleeve and a hand leafing through a green book, collaged in leather corners with a floral tapestry band Cover of sketchbook 33: the sleeping face of van Eyck's God the Father from the Ghent Altarpiece turned sideways in its gold inscribed halo, set into pebbled leather and tapestry Sketchbook 33 spread, Teotihuacan Mexico 2007: a shaggy pepper tree in black ink over a shaded path, and at right cactus paddles drawn in wandering line Sketchbook 33 spread: magnolia branches in contour line budding through a rust-red wash with pale purple blossoms, dark ink branches breaking in at lower left Sketchbook 33 spread: a pine tree drawn in patient pen line, its trunk splitting into branches over a bare horizon, a few ink burrs floating above Sketchbook 33 spread: two great black ink blots mirrored across the gutter like a Rorschach figure with outstretched arms, faint pencil sketches beneath Cover of sketchbook 34: a bluethroat songbird collaged upside down with a sprig of blossoms, over rosy paint on black board with a red rectangle above Cover of sketchbook 35: a red Moleskine planner with a Polaroid of dried leaves taped under plastic, dated 2008/11/16 Sketchbook 35, a diary week crossed out to 'X-MAS': pencil portrait of an older woman in profile with a wine glass, and studies of hands and a girl reading Sketchbook 35 diary spread relabeled December: a long-haired girl seen from behind, and again close-up kissing a dark bird's head, a game controller sketched below Sketchbook 35 diary spread: close-up of a dalmatian-spotted jacket and a zigzag-lipped fish face with a button eye, opposite a loose contour figure climbing Sketchbook 35 diary spread in pencil: the studio television on its wheeled cart of consoles and decks, a book shelf, and a big plush flower against a cube Cover of sketchbook 36: red Moleskine with a dark Polaroid of a braided head wrapped in red-veined tissue, a postcard of an ornate clock-tower shrine, and a skull sticker Cover of sketchbook 37: red Moleskine overlaid with gold paper drawn over in red vines and lettering — 'The...King' — a printed eye peering through the tendrils Back of sketchbook 38 and its spine: marbled green paper under a black inked cloud, leather corners, spine strips reading 'Der Geist des Rokoko' Cover of sketchbook 38: a misty black-and-white photo of a Japanese garden framed in Kodak TX film-box edges, collaged over torn German book pages with red initials Inside back cover of sketchbook 38: a sun-bleached Polaroid self-portrait among bare branches, hair falling over the face, taped beside a German page on 18th-century literature Sketchbook 38 fold-out in pencil: a Ryanair seatback tray, the wing over a coastline near Bologna, and a neighbor thumbing a phone — 'airplane to Bologna' Sketchbook 38 fold-out: a pencil still life of a Pelikan Fount India ink bottle lying on its side beneath the curve of a banana Sketchbook 38 spread: a great cedar in the botanic garden, dark boughs in ink and wash spreading over water, small figures picnicking beneath Sketchbook 38 spread: charcoal sketches of the blackened statues on Charles Bridge, birds swarming around a saint's head Sketchbook 38 spread in watercolor: magenta coneflowers with drooping petals at left, a bank of pink valerian against dark hedge at right Sketchbook 38 spread in watercolor: pale garden flowers in blues and reds, a spiky globe thistle, and red blooms — noted 'Gonks garden' Sketchbook 38 spread: a Tyrolean pine hillside in plum-dark wash, kettles sketched beneath — 'Gutshof zum Schluxen, Austria. Wir freuen uns auf Ihren Besuch!' Sketchbook 38 fold-out: aquarium jellyfish in sepia and violet wash pulsing across two panels, beside a dark rooftop against a pink dusk Sketchbook 38 spread: a night-blooming flower in pencil, pale petals reserved against a darkened star-flecked ground Sketchbook 38 spread, Oudenaarde: a face rising behind watercolor foliage, gothic church windows, and a pencil driver seen in a car's wing mirror Sketchbook 38, first spread: a graphite study of an old tree's crossing branches over water, drawn dense and silvery against a blank left page Sketchbook 38 spread in ballpoint: a park path curving under trees toward a small stone bridge, an empty bench in dappled shade Sketchbook 38 fold-out: a quince studied twice — in soft graphite lying on its side, and in saturated watercolor hanging yellow against green Sketchbook 38 spread: Prague Castle and St Vitus's spires in loose watercolor, red rooftops dissolving into wash below a blue sky Sketchbook 38 spread in charcoal: the gothic buttresses and pointed windows of St Vitus close up, and a small sketch of Charles Bridge arches over the river Sketchbook 38 spread: a lattice footbridge at Schwanau crossing between mossy cliffs and firs, all in soft grey-green watercolor Sketchbook 38 spread in pencil: a glass of tea, its bag slumped beside it on a crumpled napkin — 'tea, Ronse(?)' Sketchbook 38 spread, 'The Roof view': a chimney and a patch of green moss and lichen spreading across pale roof slope in watercolor Sketchbook 38 spread: the roof view again — a sunset skyline in pink and indigo above, and a brick chimney rising through clouds at right Sketchbook 38 spread: rooftops in watercolor — a mottled brick gable at left, storm clouds and a dark slate roof-line against blue at right Sketchbook 38 spread: pencil towers — the Oudenaarde town hall dome, a crenellated castle brushed dark on pink ground, and Bologna's leaning towers with swallows Cover of sketchbook 39: half marbled paper veined in red, half grey felt with visible stitching, a pen clipped into the top edge Sketchbook 39, digital painting: a headless pair of legs and buttocks in flesh tones striding out of a deep violet ground Sketchbook 39, digital painting: a hollow-eyed figure in dusky red with long dark hair and thin wire rabbit ears, leaning forward in darkness Sketchbook 39: a woman in a slip drawn in charcoal and white chalk on kraft-brown paper, her head turned sharply in profile, hair swept up Sketchbook 39, digital painting: a bedside lamp with an orange shade glowing yellow underneath, on a brushy brown ground Sketchbook 39, digital painting: a boy in a blue sweater in profile, pale face under a mop of brown hair, his shadow doubled on the tan wall Sketchbook 39, digital painting: the full moon as a soft smudge of white haloed in violet-black night Cover of sketchbook 3: black leather painted 'AURIEA'S SKETCHBOOK III' in purple around a photo of a hand with a chaos-star drawn on it, one eye peering past Sketchbook 4, 'Diagram of the War': a page-spanning blue ink flowchart of spirals and rivers of self-argument — 'nothing exists until we perceive it', 'be careful what you wish for' Cover of sketchbook 40: plain dark grey woven bookcloth, worn at the corners, no title Sketchbook 40, 'Plan V': a hand-drawn watercolor map of the Venice trip — the Grande Canal, Lido, flight numbers, hotel notes, two instant photos taped on, 'we sat here + kissed' Sketchbook 40, 'colors list! 2011': swatches of every watercolor named in script — rose madder, cobalt green, new gamboge — beside a rooted tree stump study Sketchbook 40, journal page copying Anne Carson: 'Drawing is quite, quite naked...' with notes on drawing, honesty, and modelling a hand in 3D, a wiry hand sketched above Sketchbook 40 spread: Florence from Fiesole in the faintest watercolor — a blue hill line, green olive trees, two golden figures standing at lower left Sketchbook 40, IGS Cologne, Aug 15: pencil portraits of the indie games scene — Brandon Boyer, Michaël Samyn, Douglas Wilson — around the panel title 'Beyond Fun' Sketchbook 40, Köln museums spread: Roman mosaics and hairpins from the Germanicus museum, notes on Käthe Kollwitz's 'Frau mit totem Kind', and inked towers over park trees Sketchbook 40, Lido 30 May: beach umbrellas in blue ballpoint, a palm frond, a yellow-lit Venetian facade with flower balconies, watercolor swatches down the edge Sketchbook 40, 'Going Forth By Day': Gent to Venice by train — a blue-inked station kiosk, and sleeping passengers in faint pencil — 'every now and then it lets out a high pitched scream' Sketchbook 40, Schloss notes: a red ribbon whipping between inked topiary and hedges, sketches of chandeliers and a fountain in a room, notes on hidden servant doors Sketchbook 40 spread: bare trees brushed in black ink before a lake, pink clouds scribbled in the sky, a carved trunk with a hollow at right Sketchbook 40 spread on the game that became Bientôt l'été: door-and-level diagrams, color theory notes on hue value chroma, and the Room 101 passage from Orwell copied out Sketchbook 40 spread planning the Sunset Appreciation Society game: door verbs, bookmark grids, a purple-clouded screen sketch, and lists — sunset alarms, sunset paint by numbers Sketchbook 40: notes from the Theories of Beauty symposium in Leuven under a blue KASK Cinema flyer, with a pencil drawing of a woman reading beside an hourglass Sketchbook 40, Theories of Beauty continued: notes on the technological sublime and 'Beauty or the Aesthetic', with pencil portraits of speakers and audience Cover of sketchbook 41: grey-blue board stenciled with curling vines, a moth sealed under a round window, a blue tape stripe and a Belgian lion patch Sketchbook 41 opening spread on grey paper: attempts at painting the moon in gouache — 'clouds hiding her face' — waves in white ink, and a figure in a red-pink cloak on a dark thorned hill Sketchbook 41 spread: Sunset Appreciation Society notes with a lighthouse lamp drawn in ballpoint, a turreted house, and below, gouache studies of a fountain and an ultramarine stair tower with the persons of the play (Salomé) listed Sketchbook 41 spread on grey paper: a blue circle with traced hands, and portraits of grandmother in a blue headscarf, hooded mourners, roses, and publishing-platform notes below Sketchbook 41, page 33: ballpoint family scene — a woman with long dark hair, a toddler seen from behind, and a bearded man in glasses reclining with one socked foot forward Sketchbook 41 spread of figure-drawing sessions: pencil studies of a standing model bending forward above, quicker red ballpoint crouching and kneeling nudes below Sketchbook 41, page 43: charcoal seascape — two dark headlands flanking open water, a small buoy mid-channel, gulls scratched into a pale sky Sketchbook 41 spread: pencil and red ballpoint life-drawing studies of crouching and reclining nudes, with a handwritten list of painters — Morot, Shishkin, Carlsen, Mancini, Prud'hon, Vibert, Bonnat, Ribera Sketchbook 41 spread: a wall of ballpoint portraits from a games conference in Montréal, labeled with names — Darren Wershler, Brian Greenspan, Jim Bizzocchi, Nick Montfort, Bernard Perron — and 'I cannot draw Thomas Grip' Sketchbook 41 café spread: ballpoint sketches of a coffee cup, kettle, and a long-haired bearded man, with conference notes on Silent Hill 3, spatiality, the uncanny, and games as creative writing tools Sketchbook 41 spread: charcoal studies of noses and lips, a seated figure, perspective primitives, a red-draped column, and a blue gouache nude marked 'after Carracci' Sketchbook 41, page 92: layered ballpoint study of a seated figure with rolled sleeves, hands clasping reins or cords, with small thumbnails noting 'full scene VR view' and jump points Cover of sketchbook 42: olive-green board embossed with a crackle pattern, a strip of yellowed cloth tape along the stitched spine and a bent wire clip at top Sketchbook 42, page 11: ballpoint still life on tan paper — a two-liter Sprite bottle, glass mugs, eyeglasses, a crumpled wrapper, and a TV remote Sketchbook 42 spread on tan paper: ballpoint café portraits — a man's face cropped at the glasses, and a woman with an updo, round earring and choker glancing back over her shoulder Sketchbook 42 closing spread: crayon figure studies — a standing figure in hot pink, yellow and green with rainbow scribbles beside it, and a fainter second figure dissolving into color bars Sketchbook 42 spread: notes for a talk on designing from emotional experiences — The Graveyard, The Path, The Endless Forest — beside a gouache castle tower with flags and pencil portraits, with 'we draw on the dead body of the world' in red ink Sketchbook 42, page 14: ballpoint portrait on tan paper of a woman with a ponytail seen in profile, eyes lowered, her seated body trailing off into light contour lines Sketchbook 42, page 24: pencil still life — a canning jar and a stack of magazines topped by a Glamour 'New Year's Special' issue with three laughing faces on the cover Sketchbook 42 spread: layered ballpoint and blue pencil sketches of sleepers — a face sunk into a pillow at left, a bald man asleep against his raised arm at right Sketchbook 42, page 3: ballpoint interior — a television on a carved dresser, a figure in a patterned robe behind it, and someone sleeping under blankets in the foreground Sketchbook 42 spread: ballpoint Christmas stocking hung from a switch plate, a basket of dried flowers, and studies of a toddler — walking away in a dress, laughing face, sulking mouth Sketchbook 42 spread: ballpoint figures on tan paper — a dark-haired woman embracing a bald figure from behind at left, faces and a clasped arm layered over blue washes at right Sketchbook 42 spread: ballpoint profile studies — a face with pursed lips filling the left page, overlapping fragments of eyes, noses, lips and small hands on the right Sketchbook 42, page 66: watercolor and pencil of a sleeper's face resting on a yellow-washed arm, the head faint graphite, the raised forearm a wedge of gold Sketchbook 42 spread: graphite copy of a muscular bearded figure biting his knuckles, after a Sistine ignudo or slave, above a faint pencil tangle of folded limbs Sketchbook 42, page 69: small gouache of a nude with a purple headwrap crouching against a dark brown ground, seen from behind, beside faint pencil thumbnails Sketchbook 42 spread: ballpoint portraits on tan paper of a sleeping woman with braided hair, eyes closed, and a baby looking down, mouth open mid-babble Sketchbook 42, page 88: ballpoint domestic still life — a stereo tower and tissue box on a table, a game controller resting on a bed, snacks and a glass on a striped cloth Sketchbook 42 spread: inked fantasy landscape — a cypress and tower at left, windswept trees with ribboning branches at right, and two small girls standing beneath them Sketchbook 42b: charcoal study from the cast or original of a standing classical nude — torso and legs of an Apollo, drapery falling behind the extended arm Sketchbook 42b: dark charcoal study of the Belvedere Torso from behind, the muscled back twisting above the truncated thighs against heavy hatching Sketchbook 42b: second charcoal study of the Belvedere Torso, seen from the front with the chest collapsing toward the cut thighs, a small profile sketched above Sketchbook 42b spread: soft pencil studies of sculpted horse heads in the Vatican, one bridled head in profile at right, a second head and neck emerging at left Cover of sketchbook 43: white gessoed cloth painted with a large marbled sphere in red, gold and green, a small silver moon circle set into its lower edge Sketchbook 43 dedication, Ghent, 18 March 2012: a night-blue gouache of star wheels over rooftops, facing Lucretius's invocation to life-stirring Venus copied in red-brown ink Sketchbook 43 spread: peonies in a ribbed vase in silvery graphite at left; loose pink colored-pencil peonies at right with notes on Keats, Rousseau, and looking deeper Sketchbook 43 spread: pencil lilies in a glass jar — 'Nature is organized. It's like all my life I've been worshipping the wrong goddess' — facing faint studies of hands and feet Sketchbook 43 spread from a hospital room, 1 June 2012: pencil studies of the draped bedside table, IV drip lines, a faucet, and a hand cradling a heart-rate clip — 'Oh Venus, where did I go wrong?' Sketchbook 43 spread: graphite studies of a bent leg and hand holding a pen, and on the right page feet dragged mid-stride, toes trailing across shaded ground Sketchbook 43 spread titled '5 still lives': graphite studies of a sleeping spaniel, a looming foreshortened face, a crouched nude, and a girl in a skirt standing with a bag Sketchbook 43: the June 2012 transit of Venus painted as an ochre-gold sun disc with the planet a small dark dot near its lower edge Sketchbook 43 spread: two soft graphite studies of the same seated bald model over faint journal writing — from behind at left, from the side with folded hands at right Sketchbook 43 spread: a real pressed pansy taped over pencil pansies in a vase; opposite, a portrait of an older man in a tank top and a note on seeing the work of Steven Assael, 26 May 2012 Cover of sketchbook 44: a red 19th-century publisher's binding stamped in gold, titled 'Feu et Flamme', the author's name blacked out — an antique book altered into a sketchbook Sketchbook 44 spread from the Imagining the Future symposium, Neuchâtel, 10 July 2012: ballpoint portraits of speakers with a microphone, and a watercolor of the Alps over the lake with a sailboat Sketchbook 44 spread, 2 October 2012, Boeing 747 to Las Vegas: red ballpoint sleeping passengers under a painted blanket, with a swatched palette of 'colors for a trip to California' Sketchbook 44 spread: airplane cabin interior in red ballpoint — seat backs, tray tables and curtains in crosshatch, a sleeping passenger's hand curled at upper left Sketchbook 44 spread: pencil studies after ceiling figures — a flying woman with wind-blown drapery carrying an infant, and a second tumbling figure seen from below Sketchbook 44 spread: ballpoint plane trees and a mossy fountain, with scribbled motion studies of dancers noted from Les Ballets C de la B's 'Oude King' — 'human range of motion', 'over pain madness' Sketchbook 44, drawn over the printed page 'Chapitre Premier' of Feu et Flamme: a faint pencil portrait of a girl with tousled hair, one eye darkly shaded Sketchbook 44 spread over the printed chapter headings of Feu et Flamme: a tonal graphite nude curled around his knees, hands clasped over his feet Sketchbook 44 page: ballpoint masked figures in hooded robes labeled Beauty, Wit, Virtue and Grace — 'the fairies are not your friends, they are old magic' — with a crowned tragic mask at center Sketchbook 44 spread, 27 December 2012: colored-pencil studies of bare feet, a potted seedling and a small tree, beside dense game-design notes on ditching the open world and unrolling the world in chapters Sketchbook 44: a printed page of Feu et Flamme overdrawn with a large sanguine foot seen from the sole and a violet pencil profile rising along the margin Sketchbook 44: pencil drawing of the ruined castle of Fenouillet on its rocky hilltop, drawn as an outline map of boulders with touches of violet ink Sketchbook 44 spread from GDC Europe 2012: ballpoint figures of attendees, and Thomas Grip saying 'Keep systems simple, rely on imagination' beside his eight numbered design principles Sketchbook 44 spread, IndieCade day one: blue ballpoint portraits of Ian Dallas, Chris Bell, Amy Hennig, Jenova Chen, Christine Love, Anna Anthropy, and Steve Russell with John Romero at the mic Sketchbook 44 spread, IndieCade: blue ballpoint portraits of Anna Anthropy speaking, Dan Pinchbeck in an Amnesia t-shirt, and Natalie Pozzi in profile Sketchbook 44 spread: Mary Flanagan's IndieCade keynote — her full-length portrait beside her list from Jacquard to Gygax — facing notes from Richard Lemarchand's USC class with studies of clasped hands and a wire tangle Sketchbook 44 spread: pencil profiles of faces and a hand with a ring, facing a faint mapped reconstruction of Alchemilla Hospital from Silent Hill — elevators, kids' room, kitchen — labeled 'SH1 endgame' Sketchbook 44: the altered title pages of Zénaïde Fleuriot's 1888 novel Feu et Flamme — author struck through and replaced with 'Mvr A. Samyn', dated 1888–2012, ringed by the year's cities from Neuchâtel to Las Vegas Sketchbook 44 spread labeled 'Murillo': blue and graphite studies of standing nudes and women with 1960s bouffant hair, one gaunt figure gazing down at right — noted 'Battle of the Frigids, Slovenia' Sketchbook 44 spread, 'Slightly lost': ballpoint sketch of the Heusden bus stop en route to a driving exam, a reclining graphite nude below, and watercolor figure studies in grey and burnt orange opposite Sketchbook 44: a magenta orchid painted in gouache and colored pencil against a smoky black-brown ground, buds above and a fainter penciled bloom emerging below Sketchbook 44 spread: pale watercolor notation of the Pacific coast — green scrub hills, scattered trees, and an ochre bluff washed over faint pencil beneath Sketchbook 44 spread from a private model session: pencil crouching nudes at left; at right three heads on a grey gouache ground — a pink-cheeked profile facing a bald man, a shaved nape beyond Sketchbook 44 spread, 3 September, model session: soft pencil sketches of the same nude bending, kneeling and seen from the back, poses overlapping across the gutter Sketchbook 44 spread: graphite studies of a standing male nude in two overlapping stances at left, and at right the model reclining, legs extended toward the corner Sketchbook 44, 'Summer, Jun 27': iris and leaves in vivid colored pencil growing past a shaded skull, journal notes on color and the Book of 8 project, over a printed Feu et Flamme page describing Parc Monceau Sketchbook 44 spread: charcoal studies of a male nude from behind and a thigh, with a handwritten list of the ten sibyls — Persian, Libyan, Delphic, Cumaean — and their legends Sketchbook 44 spread: ballpoint portraits drawn during video calls — faces labeled 'cyberkati', a bearded man smiling, a profile in glasses, hands, sleeping cats, and a red-pencil profile Sketchbook 44, 'Things that happen at night', last night in Fenouillet, 27 July 2012: four ballpoint vignettes — a hill against storm light, wind through a dark window, a man in darkness, a figure day-for-night Sketchbook 44: graphite copy after Velázquez — a short-haired boy with a white collar glancing over his shoulder, a hand below him raising a small glass Sketchbook 45: tonal pencil drawing of the back of Martha's head, loose blonde hair falling over an embroidered blouse against a dark shaded ground Sketchbook 45 spread: ballpoint analysis of Michelangelo's Battle of the Centaurs relief — figures blocked into boxy volumes at left, the writhing knot of bodies drawn organically at right Cover of sketchbook 45: a small oil painting glued to the black cloth board — two extracted molar teeth painted thickly in ivory against a deep teal ground Sketchbook 45 spread: sanguine and watercolor study after a baroque abduction scene — bare legs kicking free of red drapery at left, the rest of the group in faint red outline at right Sketchbook 45 opening: a grisaille gouache self-portrait, eyes glancing sideways under a dark fringe, facing a black brushstroke and the inscription '45, Mars Black, 13 Nov 2012' Sketchbook 45 spread: pencil copy of a church sculpture — a bearded God the Father flying with billowing drapery, arm outstretched — beside studies of trousered legs kneeling on a cushion Sketchbook 45 spread: a close brown-toned gouache portrait of a woman's face, facing a red ink-and-wash figure curled inside an egg-like ring with notes on love, fragments and ruins in technological art Sketchbook 45 spread: graphite anatomy studies — a foot and lower leg, a hand resting on a shaded knee, and a seated nude's knees with a fist hanging over one of them Sketchbook 45 spread: graphite life studies of a seated male nude torso with crossed legs at left, and a slumped figure with an arm swung out along a dark bolster at right Sketchbook 45 spread: graphite portraits of dying flowers — a drooping daisy over collapsed petals at left, a closed rose bending on its stem beside a tulip at right Sketchbook 45 spread from the Vrije Academie Wednesday-evening session: graphite studies of legs — a pair bent at the knee in profile, and a standing pair from mid-torso down Sketchbook 45 spread: graphite still life of a clementine with a dried curling leaf on its stem, and a separate leafy twig floating on the facing page Sketchbook 45 spread: pencil drawings of Martha from above — stockinged legs crossed at left; at right her long hair falling over a white blouse and dark skirt as she sits curled Sketchbook 45 spread dated 2013: Martha's head bent over drawing at left in graphite; at center her wavy hair drawn entirely in red pencil; a fainter study with red handprint at right Sketchbook 45: a white rose in graphite against a dark hatched ground, its stem crossing two curled leaves — dated notes opposite mention Bientôt l'été and Anne Carson Sketchbook 46 opening: 'This book begins on a plane. The Crystal Ship is being filled' — a painted airplane window on orange paper with budget notes ('learn to drive, NOT OPTIONAL'), facing a watercolor of Michaël asleep in a blue shirt Sketchbook 46 spread: loose watercolor peonies in rose and magenta with sap-green leaves, blooming across the gutter of the tan pages Sketchbook 46 spread: flowers in black ballpoint on the tan page — an open peony, a bud, a dark rose — continuing onto blue-white paper as chrysanthemums tinted violet, orange and a pink rose in colored pencil Sketchbook 46 spread: 'Frequently I am quite torn apart by anger' — a ballpoint figure collapsing amid scribbled darkness beside an up-flung arm drawn in graphite, a bare foot planted below Sketchbook 46 spread: sanguine life studies — bent legs and a standing torso on the white page; on the orange page a sprawled male nude heightened with white chalk, legs splayed Sketchbook 46 spread of Metropolitan Museum notes: Egyptian scarab rings and a blue-scarab necklace in colored pencil, notes on the Hudson River School, Church's Heart of the Andes and Tiepolo, with Eros, Pothos and Himeros listed Sketchbook 46 spread: a museum cast of a male torso from behind, modeled in charcoal and white on orange paper, beside a lighter sketch of a spiraling sculptural group Sketchbook 46 spread: charcoal study of a man hauling himself up a ladder into shadow, and opposite, a white-faced ram's head peering past an ornately carved cabinet Sketchbook 46 spread, Easter 2013: a smoky charcoal portrait of a long-haired girl doubled across both pages, with planetary notes — Mars blood and bone, Saturn teeth, Mercury brain — for a game about the body Sketchbook 46 spread, mid-May: a painted self-portrait head balancing a cherry, a red heart, and pages of seed, fruit and flower studies — strawberry, plum, wheels and pods — over notes on thinking decoratively Sketchbook 46 spread: notes on Viktor Shklovsky's 'Making Strange' and estrangement in art, a small self-portrait with twisted locs, and a nude holding dark lilies drawn in pencil and sanguine Sketchbook 46 spread: life-drawing session painted over a violet watercolor ground — standing, bending and cross-legged nudes reserved in white, one small figure in full dark wash Cover of sketchbook 46: plain grey-green linen with a black elastic band, unadorned Sketchbook 46, 8 March at the Met: graphite and watercolor study of the Crouching Aphrodite marble, wine-red shadows at her hip, a rainbow of paint swatches down the page edge Sketchbook 46 frontispiece on orange paper: A. E. Stallings's poem 'The Island of Skyros' copied out under a painted title, with a ballpoint still life in the corner — Ghent, NYC, Indianapolis, Belgrade, March–August 2013 Sketchbook 46: soft pencil drawing of a crowned Madonna statue with hands pressed in prayer, ringed by a halo of roses Sketchbook 46: graphite study on orange paper of a marble male torso from behind, headless and armless on its museum mount Sketchbook 46 spread: orchid buds barely open, purple and green against a brown wash — 'things that are not, that cannot, but must be' — beside a chalk study of a weathered column and rooftop Sketchbook 46: watercolor self-portrait in a grey tank top cradling a skull, with a note wondering whether to stop this book early before the vacation Sketchbook 46 spread: pencil study of wind-shaped trees in the Sint-Pietersabdij garden in Ghent, with a black frigatebird with scarlet throat painted on the facing page Sketchbook 46 spread titled 'The Audience': overlapping colored-pencil studies of a group of nudes in graphite, brown and wine red — standing, crouching and turning as if watching something Sketchbook 46 spread: two graphite dancers pressed back to front, one gripping the other's hip, beside a black gouache figure with a raised brush-stroke arm Sketchbook 46 spread on orange paper: pencil study of a pedimented baroque facade beyond a staircase, its sky filled in blue with white chalk clouds, beside a watercolor houseplant in a black vase Sketchbook 47 spread in ballpoint: the sea stacks of Baia delle Sirene rising from calm water, rocky shore in loose outline across the foreground Sketchbook 47 spread: two graphite studies of a curly-headed marble Venus, with notes on Fetti's 'Melancholy', Thomas Boudin, and Coysevox's 'Crouching Venus' — 'she's looking heavenward, sitting on a tortoise' Sketchbook 47 spread in sanguine pencil: tumbling stacks of blocky ruins and scattered figures with beams, captioned 'Adult parties w/ wine & fire' Sketchbook 47 spread: ballpoint life drawings — a bald man in profile, a bending figure with hanging hair, and overlapping reclining and seated nudes Sketchbook 47 spread at Vienna's Kunsthistorisches Museum: sketches after Titian's Danae and a baroque portrait head, with notes on the Kunstkammer bezoar, Bruegel the Elder, and Vermeer's 'The Art of Painting' Sketchbook 47 Vienna spread: blue-pencil study after Correggio's 'Jupiter and Io', museum sketchers at easels, Klimt ornament motifs, and notes on the Secession's Beethoven Frieze and the Leopold Museum Sketchbook 47 Rome spread: full-page graphite study of a sprawling classical nude with an arm flung overhead, beside grotteschi from Palazzo Doria, a Pietro da Cortona sketch, and notes on feeling at home in Rome Sketchbook 47 spread: Tivoli notes on Villa d'Este's Hercules frescoes, and a watercolor of the artist's bare feet propped against the blue Bay of Naples with Vesuvius and Capri beyond — Sorrento and Pompeii notes around it Sketchbook 47 Rome spread: colored-pencil study of legs against blue 'DIVO IOANNI' lettering, and a dense ballpoint drawing made standing at Bernini's Fountain of the Four Rivers — 'ROME III' Sketchbook 47: watercolor of Vesuvius smoking above a band of blue sea, with Ovid's Fasti IV quoted below — the prayer of Romulus for Rome, written within sight of Vesuvio, 2 Aug 2013 Sketchbook 47 Naples spread: pencil studies after Caravaggio's 'Seven Acts of Mercy', two anguished theater masks, and a winged sphinx — 'Misericordias Domini in aeternum cantabo' Sketchbook 47 Cologne spread in ballpoint: Kölner Dom interior with a red-robed cleric, a Madonna ringed by votive crosses, an octagonal labyrinth and gothic tracery — 'to draw is to confess?' Sketchbook 47 spread at Cologne's Wallraf museum: notes on Stefan Lochner and International Gothic, a sketch of the Virgin with a tower, and a study of Falconet's female bather Sketchbook 47 spread at the Musée de Flandre, Cassel: notes on Flemish Mannerism and 'The Flood' by Matthijs Cock, sketches of a jester and the Struganoff Madonna's snake-like sleeve Sketchbook 47 spread on the 'Rubens in Europe' exhibition: écorché studies, notes on Van Dyck's Charles I and Rubens's Leda and the Swan copy after Michelangelo — 'bursting out of this rectangle, but so still' Cover of sketchbook 47: a graphite study of the Farnese Hercules from behind set into the gilt-framed panel of a worn red book cover Four loose cards from sketchbook 47: a candlestick still life, the Farnese Hercules from behind, an ecstatic upturned face with raised arm, and a light gestural nude stepping forward Sketchbook 48 spread in pencil: a draped baroque saint clasping a bundle against dark shading, an orange domed chapel on the horizon, and a soft study of figures on rocks Sketchbook 48 Paris spread: Louvre notes on the Marie de Médicis cycle and Musée Rodin — 'La Lumière de l'Antique', the Belvedere Torso's influence, sketches of headless draped figures Sketchbook 48 Musée Rodin spread in ballpoint: Gates of Hell figures, a crouching nude, and notes on Camille Claudel's 'L'Âge Mûr' — 'marble so often looks like soft skin, like butter' Sketchbook 48 spread in ballpoint: three studies after Rodin marbles — a kneeling nude from behind, a bending clothed figure, and the fallen caryatid carrying her stone — 'they live, they breathe' Sketchbook 48 spread dated Dec 12 at the Petit Palais: graphite nude after Jordaens's wife from behind, notes on 'Jordaens et le réalisme flamand', Carpeaux's Three Graces and Daumier Sketchbook 48 Paris spread: Sainte-Chapelle Christmas concert — a sculpted angel spreading wings, a soprano mid-note, sprawled legs of listeners, and the music list: Mozart, Purcell, Pergolesi Sketchbook 48 atelier spread: notes on light value and planar orientation with a shaded sphere diagram, facing a seated female nude annotated with trochanter, shadow side, and 'GRANDEUR — carve into the largeness of things' Sketchbook 48 spread: art-history lecture notes from the Académie Royale on the Three Graces, Mantegna and Titian, facing a tender graphite study of a seated faun with a Santayana quote on Americans and junk Sketchbook 48 spread: notes on the paragone and the Carracci academy beside a large soft-pencil study after Guido Reni — a bearded face in profile with a pointing hand — 'looking at a photo I only see the camera' Sketchbook 48 spread in pencil: a bowl of fruit rendered in soft graphite, a week's copying schedule (Centaur, Diana, Rivers, Tiber), and a dark bowed head — 'let go of the photographic eye, see the form' Sketchbook 48 spread: atelier maxims on block-in and contour — 'no straight lines in anything ever', 'limbs start turning before the joint' — facing a faint gesture sketch of a striding horse Sketchbook 48 spread: ballpoint portrait of a bald speaker and a colored-pencil portrait in mint-green shirt, with notes on the aesthetics of play coming from action, not objects — 'don't let a day go by' Sketchbook 48 spread: delicate graphite study of a downcast female nude leaning forward, ringed by spiraling notes on block-in, shadow pattern and 'draw contour last' Sketchbook 48 spread: reclining foreshortened nude in graphite, and an ink-and-wash seated woman with one green-stockinged leg — questions in red on using energy lines for invention and composition Sketchbook 48 spread: notes on Bernini and Poussin at a dinner party, Michelle's advice on chalk drawing, Subleyras and the 1740s turn to Neoclassicism — 'David, the father of us all' Sketchbook 48 spread: two graphite studies — a close-up of a hand gripping drapery at a nude's hip, and a rising écorché-like figure with arms flung upward, 'in the presence of others on the last day of class' Sketchbook 48 spread: 'The lesson of Raphael — you stand on the dragon, your sword is lighter than air', with a pencil study of a standing putto reaching upward — 'transform the hours of your life into art' Sketchbook 48 spread: pink-pencil dancer with raised arm over notes on the Musée Carnavalet — 'Paris explained by Parisians, collected by a madman' — and the Musée Cognacq-Jay's Boucher pastels Sketchbook 48 spread in pink and sanguine pencil: two soft studies of portrait busts in the Louvre's shadows, notes on Marie Antoinette-era hand fans — 'it's easier to draw what you can touch' Sketchbook 48 spread in graphite: self-portrait with full hair and hand at chest, legs in patterned tights on heeled sandals, a coffee mug, and tiny thumbnails noting 'The Moon' and a black dog Sketchbook 48 spread in graphite: a walnut hanging from its twig with one leaf, and a softly modeled human skull turned three-quarter into darkness, with small sigil-like doodles above Sketchbook 48 atelier spread 'Studio Escalier + Florentine Renaissance': two curving figure studies wrapped in notes on disegno, CHARIS (gift, elegance, love), Degas and 'the fury of the figure' Sketchbook 48 atelier spread 'searching for a flashlight in the dark': boxy construction figures and a sanguine nude with hand on hip, with notes on Poussin vs. Rubens and Couture's 'line properly understood is color' Sketchbook 48 spread, first day drawing in the Louvre: boxy graphite block-in of a seated nude, ink brush sketches, and the assignment 'Draw all the River Gods!' Sketchbook 48 spread: figures reduced to stacked boxes ('a lot of talk about magic'), facing a blocked-in standing nude with red construction lines and notes on EROS, thrust and 'the boxes are a placeholder for the space the body takes' Sketchbook 48 spread: sanguine and red nude leaning on one knee beside notes on contour as 3D horizon and mise en page, facing a graphite figure bending into shadow Back cover of sketchbook 48: green and brown marbled paper over worn boards with dark leather corners and a red cloth spine Cover of sketchbook 48: an old ledger bound in red leather and swirled brown marbled paper, scuffed white at the edges Sketchbook 49 endpapers: ex libris page with a photo of an Egyptian harpist relief at the Met and three blue Met admission tags (Feb 16–18), facing studies after Rubens nudes — Ghent, Paris, Dec 2013–June 2014 Sketchbook 49 spread: graphite study of a mannerist pose with arm raised, and a sanguine drawing of two intertwined nudes dated 30 Dec 2013, 17:45, at the Louvre Sketchbook 49 spread: faint layered crowd studies in graphite and ochre — faces, lips, and a staring woman — with the note 'if you think this is over then you're wrong' Sketchbook 49 spread: graphite drawing of wilting amaryllis blooms, facing a close study of a nude's hip and a small sanguine figure climbing into shadow Sketchbook 49 spread: pale blue-pencil studies of draped figures with a shield-like disc, beside a graphite arm and a slender standing nude with raised arm Sketchbook 49 spread: three charcoal-grey figure studies — a heavy nude bending with hands on knee, a striding draped figure with sword strap, and a fainter climbing figure Sketchbook 49 spread: a horse-headed nude man beside a red bowl with whisk, and an Anubis-like figure draped in red over a large sphere, dated 1st April — a dream-like Egyptian pairing Sketchbook 49 spread: a red-and-graphite banner-waving nude atop struggling fallen figures, facing a putto's face, a study of a nude's hip and thigh in pink, and a keychain shaped like an 8 Sketchbook 49 spread: two soft graphite studies of entwined wrestling nudes, limbs arched and knotted around each other's torsos Sketchbook 49 spread: ballpoint portraits of long-haired conference-goers, a face with heavy eyes, and notes — 'board games as narrative devices', 'dice as the devil's bones', 'gamification is where capitalism wants to go' Sketchbook 49 spread at the Met's Raphael drawings: graphite nude from behind, quoting 'keep one's compass in one's eyes and not in the hand, for the hands execute, but the eye judges' Sketchbook 49 page in sanguine: a nude pulling drapery from her shoulders with arm raised over her head, a lighter blocked-in figure beside her Sketchbook 49 spread on 'Renaissance and Baroque Bronzes from the Hill Collection': notes on the Sleeping Venus's winged-skull memento mori and gilt bronze, with two twisting figure sketches — 'the twist' Sketchbook 49 spread: gestural line studies of tumbling bronze figures, with notes on Veronese's Hercules at the Crossroads and a seven-headed French Hercules-and-Hydra bronze Sketchbook 49 spread: a single faint gesture drawing of curling, flame-like figures rising up the page fold, the rest of the spread blank Sketchbook 49 spread of café and subway sketches: a hooded figure asleep on folded arms in red pencil, a child drawing at a table, and three bespectacled sleepers stacked in graphite Sketchbook 49 spread in wine-red pencil: sleeping subway riders, a heavy downcast face, and two men leaning close over something in their hands Sketchbook 49 spread of cast-hall studies: headless antique torsos, a winged Cupid stringing his bow, a standing putto seen in profile, and a muscular breastplate torso Sketchbook 49 spread in silverpoint-light graphite: a mustached man's face, a hand gripping a dark plum, a corked bottle, and a nude beside stacked studies of a bearded head and wing Sketchbook 49 spread at Chicago's Driehaus Museum: sanguine studies of Tiffany bronze candlesticks and a caryatid ('Renaissance + Japanese motifs combined'), facing graphite silhouettes of cinnabar lacquer and skyline finials Sketchbook 49 spread: dark graphite vignette of a seated figure with another curled beside it, facing a bending walking figure with bundled back, a lined older face, and scattered head studies Sketchbook 49 spread at the Sinebrychoff Museum, Helsinki: ink sketch of a St Anne 'protects against plague' painting holding Maria and Jesu, a light tangle of figures, and a shaded reaching hand Sketchbook 49 spread of Donatello studies: St George and the Dragon relief with a large horse head, the pointed-hatted profile of Saint Louis de Toulouse, and notes on Spiritelli and Brunelleschi vs. Ghiberti Sketchbook 49 spread: graphite sketches of conference speakers — a man in glasses folded into a chair with a microphone, a cross-legged panelist, and a bearded man in beanie and thick glasses Sketchbook 49 spread: ballpoint choir singers of the Berliner Domkantorei mid-phrase, with a pasted ticket for Bach's Matthäuspassion at the Berliner Dom, 12 April 2014 Sketchbook 49 spread: studies after Rembrandt's Man with the Golden Helmet at the Gemäldegalerie, and Géricault at Ghent's MSK — severed-head studies, phrenology marbles, and the 'head of a monomaniac' Sketchbook 49 spread of Louvre copies: a crouching satyr and standing nude pulling off her shift, facing a Daumier-like group of heads and a pensive figure resting chin on fist Sketchbook 49 page: finished graphite study of a lounging male nude with drapery across his thighs, one leg thrown wide, modeled against a dark ground Sketchbook 49 spread on Michaël Borremans at BOZAR: thumbnail sketches of 'The Avoider', 'The Garment', 'The Angel' and 'The Devil's Dress' with notes, facing ballpoint figures from 'The Storm' 35mm projection loop Sketchbook 49 spread: Zurbarán studies at BOZAR — Saint Gregory, the Agnus Dei bound lamb, a hooded San Francisco — facing Sevilla heads and 'Titian draws an Immortal, I draw but a girl', 6 May 2014 Sketchbook 49 spread in wine-red pencil: a laurel-crowned nude seated in thought with hand to chin, and a heavily draped figure gathering her robes as she steps forward Sketchbook 49 spread in red pencil: a nude curled on a block seat pressing both hands to her face, hair spilling over her fingers, with a faint rubbed-out figure on the facing page Sketchbook 49 spread at the Musée Jacquemart-André: notes on Vigée-Lebrun, Van Dyck and Lord Leighton's 'Antigone', facing a dense graphite copy of Aleijs Loir's sprawling satyr with pipes Sketchbook 49 spread: Louvre notes on Giulio Romano and Pannini's paired Views of Ancient and Modern Rome, a monk-robed figure, a wine-red crouching nude hiding her face, and a pietà study Sketchbook 49 spread on small baroque bronzes at the Louvre, 30 Dec 2013: tangled sketches of centaur battles and Ovidian groups, a red reclining figure, and two experiments in failed balance Sketchbook 49 spread on the Musée d'Orsay's 'Masculin/Masculin': notes on Guido Reni's Sebastian, the Barberini Faun, Ron Mueck and Mercié's David, with sketches of a lounging and seated male nudes Back cover of sketchbook 49: dark green cloth with a pasted photo of an open book — 'Relation du naufrage de la frégate La Méduse' — and an embossed rooster Cover of sketchbook 49: dark green cloth with a pasted photograph of a granite Egyptian head on its museum pedestal Cover of sketchbook 4: black leather-look book collaged with a blurred self-portrait photo in a fractal frame, lettered in green — 'Pseudo Quasi Real' and 'chaos is my life' Sketchbook 50 spread on grey paper: graphite-and-white studies of a kitten asleep on its back, paws curled, with separate sketches of its ears and toe pads Sketchbook 50 spread of dark thumbnail copies at the Mauritshuis, Den Haag: Rubens's Assumption sketch, Rembrandt's Andromeda, Vermeer's Diana and her Nymphs, Tityus and Sisyphus, and Rembrandt's Two Moors Cover of sketchbook 5 (1996): black spiral book chalked 'Pseudo Quasi Real — Auriea Sketchbook V' with a starburst doodle around a small photo of a torso Sketchbook 5: dense ballpoint drawing of a horse-like skull in profile, its teeth and cranial plates crosshatched into a black-and-white pattern Sketchbook 5 spread: Emily Dickinson's 'My life closed twice before its close' written out in violet, facing a green-toned acrylic nude torso with dark red nipples Sketchbook 5 fold-out scroll: collage of a torso photograph, a surgical-instruments catalog page, an Elric of Melniboné 'Stormbringer' text, film strip, comic panel and handwritten x-ray notes with red measurements Sketchbook 5: ballpoint self-portrait close-up, face filling the right of the page with lips parted, a chair and window line-drawn behind Sketchbook 5: layered ink drawing of Washington Square Park — the arch's shadow, globe lamps, fences and 'hushed stairs' woven into a dense patterned composition Cover of sketchbook 6 (1996): crumpled white spiral notebook inked 'Auriea Part 6' over a taped clipping reading 'sex, life, and the cosmos…', dated 8 May–20 Aug Sketchbook 6 page dated 24 June 1990: rows of an invented cipher alphabet in green ink, with framing notes for a black-metal-frame self-image piece and the word 'anorexia' in the margin Sketchbook 6 page: cipher key mapping invented circle-glyphs to English syllables — tha, the, thi, and, am, is, are, was, be, being, been, -ed, -ly Sketchbook 6 page dated 18 May 1990, 'The Story Link, Act 1 Scene 1': a teenage screenplay outline in colored markers about a killer car, organ donors, and a plot to 'take over the world', interrupted by a commercial announcement Sketchbook 6 page dated 19 June 1990: worldbuilding notes for 'The SPARE Corp.' — psycho-technics, pneumatics, servomechanics, the Fates as Atropos/Clotho/Lachesis — 'Think about the future' Cover of sketchbook 7 (1990): white spiral book covered in pink lipstick kisses, inked 'Auriea Sketchbook VII — chaos is my life — Pseudo Quasi Real', 20 Aug–26 Sept Cover of sketchbook 8 (1990s): silver paint scrawled with dense handwriting around a torn red 'FRAGILE' sticker split by a lightning crack, above a Vitruvian-style figure in a grid Cover of sketchbook 9: pink-washed board stamped 'ENCLOSED' in red, scratched with a circled monogram and penciled 'retro-sketch #IX Auriea L. Harvey — PROFOUND IDEAS' Louvre sketchbook study in pencil and white chalk on grey paper: two views of a headless draped Aphrodite torso, the cloth knotted at her hips Graphite study of the Borghese Gladiator's lunging leg and arm, annotated 'energy curve is inscribed on the body' Two graphite studies of the Louvre's Old Centaur teased by Cupid, seen from behind and from the front, the winged child perched on the centaur's back Chalk drawing on red-brown paper: two arms reaching upward and a tilted, smiling face — study of a straining Eros from the Louvre Three chalk studies on green-grey paper of a marble figure's crossed legs under gathered drapery, from full shading to bare outline Graphite study of a marble torso's thighs, a carved hand gathering the robe aside at the waist, with a smaller drapery sketch alongside Blue pencil sketch of a Louvre marine centaur group: a bearded triton reclining on a coiling fish tail, a slender youth seated against his back Academic pencil life drawing on cream paper: a nude woman with pinned-up hair seated with legs crossed, gazing off to the left, highlights in white chalk Bookbinding in progress: a hand steadies a cardboard book cover with a circular window cut out, exposed cords at the raw spine Notebook page 'The ultimate FINAL to do list' with nearly every line struck through in red, 'DONE!' scrawled at top Handbound felt-covered sketchbook with an iPod Touch bound in as a page, screen reading 'Sync in Progress' — three views of the book-with-battery

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