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The third piece in a series of Ink and Marker drawings titled “The Principalities of the Seasons”, inspired by a desire to address attitudes towards male nudity. Male nude subjects tend to be rarer than female nudes in galleries and exhibitions, and are often assumed to be vulgar, hyper-masculine, or crassly humorous.
“The Prince of Autumn” counters these assumptions by personifying the season as a classically mythical provider. The Cornucopia he bears is filled with Autumnal fruit and vegetables and is mirrored in shape by the Prince’s long and wild hair. His fiery locks are swept up in the same wind that scatters the brittle leaves from his hand, all symbols of the lengthening year. The Prince himself is depicted as a transmasculine man, not only as an allegory for the transitive and changing nature of the season but also a tribute to the many transmasc friends who have helped the artist in his career. Gentle rolls of belly fat convey both the concept of the harvest bounty, and the comfort and cosiness traditionally sought as the days become cooler. Beneath the Prince, a scattering of fruits, tree seeds and fungi mingle with the decaying leaf litter to drive the palette of ruddy crimsons, sunset oranges, and cool mossy yellows.
The drawing follows the artist’s experience in comic art and illustration. Pencils are laid down on Bristol board, and pigment ink pen is drawn over the top. A second, thicker pigment ink pen is used to contour the images, providing depth. The guide pencils are then erased, but some are retained to provide muted fine line detail. Finally, alcohol markers are used in three layers to provide colour – a warm colour layer to impart highlights; a neutral colour layer to set base tone and hue for the piece; and a cool colour layer to provide shade.
