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There Couldn’t Be A Better Time To Be An Artist—A Week-Long Celebration, Part 4

March 5, 2015

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Left: Pentel fine-tipped pigment ink brush pen sketch on Japanese Lined journal; with washes from a Pentel dye-based brush pen, and color from a 15 mm tipped Montana Marker. A little bit of white poster paint pen on the cheek where a shadow got away from me.

Sometimes it's the beard you don't grow that tells the most about you. Lately everywhere I look there are men who are sporting the early beginnings of a beard, but like Don Johnson in the 80s they have their electric razors set for 3-day stubble.

Often those men do something interesting with their hair. Hey, it's fun to draw so I say OK. Today's sketch is a contestant on "Framework" who does something to make his hair stand straight up and conform into curls throughout the "build" which is hours of shop work.

I think he deserves some credit for that, and the stubble, even if the judges keep beating him up in critique.

Common is the host of "Framework" and he comes to play with a very elegant beard. (I haven't tried to sketch him yet because he's so symmetrical.) I think it's a Van Dyke. That's a high maintenance beard. He wears it well—it's worth every moment he spends on it.

Sometimes it's difficult to categorize a beard. Errol Flynn in "The Adventures of Robin Hood" has a thin moustache and a goatee, but not the connecting bits that would make it a Van Dyke. This seems to be a favorite with him. In "Kim," as Mahbub Ali, he returns to this style but with a fuller moustache. In "The Private Lives of Elizabeth and Essex" Flynn slims down the moustache and makes the chin hair much more sculpted.

Clearly I spent too much of my childhood attention on Errol Flynn's facial hair.

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