Reasons to Learn to Draw

#13 in the series “Thoughtful Thursdays”

Reasons to Learn to Draw

Drawing is a skill that can be both taught and learned. If you compare it to typing, this makes sense: some people top out at 25 words per minute and others can become as fast as 90 words per minute. All are indisputably typing.

Why should a person learn to draw? Back in the “olden days”, it was considered a necessary life skill and was a regular subject in school. Now that we have easy and accessible photography and even easier and accessible internet, drawing has fallen into the categories of hobby or talent. Why draw if you can take a photo?

A few years ago there was a retired gentleman in Three Rivers who had trouble filling his days. We became acquainted at various art shows, and we would discuss drawing. After several conversations, he approached me and asked, “Do you really think you could teach me how to draw?” I responded in the affirmative and asked him why he wanted to learn. His answer still cracks me up: “I don’t really care about art; I just want to meet women!”

Besides the social aspect of taking drawing lessons with a small group, drawing helps us to look carefully at the places and items in our lives. It teaches how to see what is really in front of us, not what we assume is there, or think we see. A number of my drawing students have told me that after a few weeks of lessons, they begin to observe the world around them differently. Details, light and shadow, shapes, and ideas for drawings are all suddenly visible as never before.

Some people choose to take drawing lessons out of curiosity. They’ve heard me say I can teach anyone how to draw, with the qualifier that he can listen to instructions. These folks wonder if they are the exceptions and decide to just give it a try. The only ones who haven’t learned are those who quit too soon!

Other students come to me because they are painters who are dissatisfied with their paintings. Still others want to become painters and they know that drawing comes before painting. By learning to draw in pencil, a person will learn to see shapes, proportions,  perspective, and learn about values. Values are the darks and the lights, and without them, a picture gets described as being “flat”.

Several people have asked me for help because at some time in their past an art teacher crushed their spirits. If someone thinks he might have an artistic bent and his work is thoughtlessly dismissed, it can really damage his confidence. I have spent time listening to people’s stories, looking at their work, showing them new ways to do things, and watching them blossom into people who can draw.

Some of my drawing students draw better than I do! Although I thoroughly enjoy the time together, I ask them why they think they still need lessons. The answer is usually that if they haven’t reserved a spot in their week specifically for drawing, they won’t ever draw at all in spite of good intentions.

The man who just wanted to meet women did make some friends, and before he succumbed to cancer, he completed 2 beautiful pencil drawings. He just kept repeating, “I can’t believe I did this!” Rejoicing with him over his accomplishments is one of my happiest memories in all the years of teaching private drawing lessons.

What you want to see

After I got over the thrill of drawing what was really in front of my eyes, I began to want to make better pictures. Real life is messy; artists get to clean it up. It takes practice to draw what isn’t really there, to make up a tree that you didn’t see, to show the edge of the porch that was previously hidden, to work from multiple photos taken from slightly different angles. It is almost impossible to work from photos taken at different times of day from different distances and at different angles. This often requires the skill of a mind reader, and I have learned to say no to some of these requests. But to a certain degree, I can create what we prefer was there.

When someone asks me to draw a house and provides a perfect photo, I have been known to ask why they want a drawing when the photo says it all. The answer is usually that pencil is so beautiful. This is a thrill to my little pencil-loving heart!

Here is the main photo of Farewell Gap again:

Here is a painting in which I scooted things ever so slightly to suit myself.

If you are standing on the bridge at the end of the road in Mineral King, you are probably just in awe of the view. Your brain knows there is a stream underfoot, a cabin sort of close, and Farewell Gap in the distance. Not very many people outside of careful photographers ever realize that there is no place to stand where all three line up for a complete photo! So, when I draw or paint this scene now, I make the necessary adjustments. Until this blog posting, I have never admitted such treachery and deception in recordable form!

And here it is in pencil from 2005 when I really started becoming bold about deceiving the world! (yes, I exaggerate to make a point – try not to get all worked up here!)

What You Really See

As we learn to put on paper what we really see instead of our symbols, it is shocking to learn how much is really there and how it is really shaped or sized. Drawing upside down is one tool; tracing the basic elements and only looking at the tracing instead of the photo is another tool. Another way to simplify what is in front of our eyes is to squint, and the detail fades.

You saw an example of Farewell Gap as it was interpreted by someone who didn’t see or chose to ignore reality. Here is a drawing I did of Farewell Gap a long time ago when I was still bound to photos. It was such a thrill to put on paper exactly what I saw that I didn’t have any interest in editing or creating. I was lost in the joy of “I CAN DO THIS!”

This is not the actual photo from which I worked – 1994 is too long ago for me to be able to put my hands on that exact piece of paper! However, here is the photo of Farewell Gap for comparison purposes:

What we think we see

When we are beginning to make art, we depend on symbols more than visual information. The symbols come from our memory, from what we know. The visual information comes from what is in front of our eyes, regardless of what we know. You may know that a table has a round top, but what your eyes are telling you is that it looks like an oval. How can this be?? What do I trust? It takes a leap of faith to ignore what is in your mind and draw what is in front of your eyes. The first time someone tries this and it looks “real! it looks like a photo! I can draw!”, it is a thrill!

At the risk of annoying or offending (always a risk – why are folks so spring-loaded these days??), I want you to see a mural in downtown Visalia. I don’t know who painted it and I don’t know their instructions. I also don’t know their intentions. What I do know is it appears to sort of be Farewell Gap, sort of, maybe, kind of. This is an example of someone looking at a photo and painting from symbols in their heads. Those of you who are spring-loaded in the defensive position may be thinking that the artist(s) were being creative, not bound to the photo, and simply expressing themselves with a derivative work, using the photo for reference, et cetera. That’s fine, but I am trying to show examples here, and this fits, so just take a deep breath and try to follow along.

For comparison, here again is the photograph of Farewell Gap:

Workshop in Porterville

What a strikingly beautiful weekend! This type of day is why February is my favorite month. This is the depot where the workshop was held:

This is the mirror so I could show the massive crowds my work and they could watch me produce it. Nice idea, but there were about 9 folks who braved the storm Friday night, so I was able to pass around my examples and let each person examine them closely.

These are the folks who decided to return on Saturday for the hands-on workshop. There could have been a crowd of 30, so this small group was almost just like my regular drawing lessons. It was a real  treat to get to know each person a little bit and spend more time helping each one.

Baxter was my host on Friday night. Terrific dog!

Words Mean Things

Sixth in the series “Thoughtful Thursdays”

When teaching people how to draw, sometimes it is difficult to articulate my thoughts. A picture is worth a thousand words, and sometimes a thousand words still can’t explain the picture. Often, I can’t find the right word, so I will make one up. The funny part is that my students understand the meaning!

A woman was working on some boulders but something wasn’t looking believable. The problem was that she had inadvertently drawn potatoes and an oversized pinto bean! We figured out how to turn them in to rocks, and then she asked how to draw some grass behind the boulders. I was trying to keep her from making a lot of little lines all in a perfect row. Remember the bird “Woodstock” in the comic strip Snoopy? His word bubble had a lot of little vertical lines. To help her not make Woodstock word marks, the instructions came out, “You need to sort of bounce your clumpage along – that’s it, just horizontalize it a bit more”. She got it.

Some folks have taken lessons so long that I have become a habit to them. I tell them they don’t need lessons because they know how to draw. They tell me that unless they pay their monthly fee, they will not carve out time in their lives to draw. While they draw, we talk about art, drawing and life.

Truthfully, I love my students – we become friends, comrades, buddies in the artworld. I show them my art and give them the freedom to tell me anything they think about it, good or bad. We speak truth to one another and try to use known English words.  It is helpful and refreshing and sometimes, it can be hilarious!

Swirls – 11×14″ – pencil

Professor 6B

Diane commented on my post “The Rules” about Professor 6B and it was funny. Made me realize I had lapsed into a bit of jargon, so here is some clarity for you all. And here is a weird thing – not a single art teacher taught me any of these basics. I learned about them from digging around on my own. Sure, a person can draw without knowing all this stuff, but it is better to know about one’s tools than to just bumble along, particularly if one calls herself a professional!

First, I no longer have all those mugs of pencils on my desk. The colored pencils are in a basket on a shelf overhead. Every so often I have a Clutter Attack, and stuff starts flying out the door. Having unused things, no space, too much stuff in general just bugs me. I’ve mentioned before that I may have whatever is the opposite of that Hoarding problem.

Pencils are not made of lead but the writing part is still called a “lead”. They are made of a combination of graphite and clay: the more graphite, the blacker and softer the lead; the more clay, the lighter in color and the harder the lead. Differing manufacturers combine these things in different percentages, but they all use the same rating system. B = black, H = hard. The higher the number with the letter, the stronger that particular quality is. So, a 6B is blacker than a 4B. A 5H is harder than a 2H. HB is dead center – I’m guessing 50% graphite and 50% clay. If it has only H on it, that is the equivalent of 1H. They assume we will figure that out. (Ditto for B.)

Pretty straightforward, but then some of those manufacturers have to throw a monkey wrench in the simplicity of the system with a pencil called “F”. Excuse me?? I used to think it stood for “funky” because it didn’t fit into the rating system. Turns out it stands for “fine” because it can be sharpened to a fine point. So can every other pencil, so I fail to see the point. Oops, a pun. It seems to be about the same hardness as an H.

The softer/blacker pencils get used up much more quickly than the harder ones. I still have my original 6H from a college art class, although the lettering is worn off the casing. If you drop one of the softer pencils on concrete, you might as well put it in the trash, because it will be broken all the way through and the lead will fall out in little pieces every time you sharpen it. I can hear the collective “aha” as you all realize you have experienced this annoying phenomenon.

One last piece of trivia – those #2 pencils required by test givers to fill in the bubbles are the same as HB. If you look closely at the words on the casing you might even find “HB” written there. It remains a mystery to me why there are 2 rating systems for pencils.

Perhaps next time I will write about erasers (and the lack of them on drawing pencils).

Learning to draw, Chapter Twenty

Could you draw like this when you were in 7th grade? I couldn’t!

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Maleah can, and she did! The center of the flower was a bit worrisome, so we handled it the way I do the more difficult parts. When working on a difficult texture, practice different techniques on another piece of paper until it looks right.

Learning to draw, Chapter Nineteen

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A black and white copy helps see the values; a color photo has better detail.  The order of difficulty in drawing from easiest to hardest is this:  1. other people’s drawings 2. black and white photos 3. color photos 4. real life. When using other people’s drawings, all the decisions about texture and value have been made. A black and white photo has all the value decisions right there for you. A color photo requires decisions about texture and value, but it is still a 2-dimensional image. Real life won’t hold still, doesn’t have any boundaries, is full color and changes each time you slouch a little lower!

Learning to draw, Chapter Eighteen

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When drawing a portrait, the most important part is the eyes. If the person isn’t recognizable from the eyes, there is more work to be done. John Singer Sargent was probably the best portrait artist from the USA (turn of the last century). He said “A portrait is a painting with something wrong with the mouth”.  Apparently, one can have the mouth a little bit off, but my experience is that the eyes must be accurate. Then, if your subject is eating watermelon, the rest is a cake walk! (sorry – i think it is dinnertime at the time of this writing)