top 10 ways to be That Guy in art class

the one who you see walk in, and you inwardly cringe and slump a bit, hoping that your dread and resignation aren't visible on your face.... habitually show up late, forcing everyone to rearrange themselves, their easels, and their materials to accommodate you.... never speak to any of the other students in a friendly way, but instead be aloof and keep everyone at a distance.

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comic-con portfolio and Resistance

it's all of those things; the butterflies in the stomach you get from an interview, and the highly personal rejection of a bad date, and being able to see the other candidates for the job that you see at an audition, all together.... some years at comic-con, i got really excited because i thought my work might get picked up, and i was naïve enough to think that the vague encouragement at the portfolio review tables meant something.... and because it was there, the current painting, in its blue underpainting stage where it looks like not much at all: it's hard to tell, unless you're familiar with my studio and that table easel, but the canvas is huger than anything i've ever done before (24 x 30).

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self-induced feature creep, portraits, and whores

it's something that should be simple: paint some stained 2x4s that the client supplied, to make a sign for the Bell, the whorehouse at the southern california renaissance pleasure faire (RPFS), with the words: "Bell Expansion courtesy of the Earl of Southampton / your tax coin at work!"... but because i know i'm not good at this type of work, i try to think of how i can use my other skills to make this sign look cool, as a few thousand people will see it once it's up; maybe even tens of thousands.... after getting the obvious visual puns out of the way (the letters 'o', 'p', 'and 'x' all had some very entertaining modifications to them), i settle on making the B from a whore standing; her left arm curves to her hip and forms the top loop of the B; her skirt, which she's pulling up, forms the larger bottom ellipse of the B.

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