COURTHOUSE GALLERY HOURS
Tuesday 12:30-5:30
Saturday/Sunday 10-4
If you would like to see the completed piece shown in progress here, come to the student art show!
Start with simple things.
Get help on big things.
Good tools make a job easier.
Learn from others who know how.
A second set of eyes is helpful.
Sometimes you just have to do the work, no matter how tedious.
Sometimes you have to walk away and wait for your head to clear so you can get a new perspective on a project.
Good planning pays off.
Not everything can be fixed.
Ignorant gushing praise feels good; experienced honesty is helpful.
You can see this drawing at the upcoming student art show.
Because a show for my students is coming up soon, I’d like to share with you some of the things learned when taking drawing lessons from me.
How to see, really see.
How to break down a complicated picture into manageable parts.
Lots of little steps add up to something good.
Not everything is worth messing with.
Little tiny things do make a difference.
How to take criticism.
How to give criticism.
How to be honest and kind at the same time.
Age differences make no difference in many settings.
There are many different styles of drawing.
There are many different ways to tackle a problem.
If you procrastinate on a difficult problem, over time more will be revealed.
Cabinart – making art of cabins, using pencil. That is my roots. Now that I oil paint, when a commission drawing for a cabin comes along, I am thrilled. Thrilled, I say!
The defining characteristic of this cabin is the group of massive trees in the front yard. The truth is that I sort of wanted to draw it in a vertical format, focusing on the trees with just a hint of the cabin peeking through. That’s not why people want their cabins drawn, so I provided several sketches and this was the winner. I’m happy when my customers are happy!
When I was growing up in Tulare County, I thought the only real beach, the beachest of all beaches, was Newport in Orange County. In fourth grade, we took a field trip to Mission San Miguel and then went to Pismo Beach. It was flat, had giant clam shells, the sand was fine and sort of muddy, and there were no noticeable waves. I was also stunned, just stunned I tell you, to learn there is another Morro Rock! Of course it is spelled incorrectly – the Moro Rock I first knew (and climbed at age 3 I’m told) has only 1 R in its Moro. And isn’t it odd they are both in California, within driving distance of one another? Most convenient for this California artist!
My maternal grandfather, Eugene B. Maise was a maintenance foreman for the Santa Fe Railroad working in the mountains of San Bernardino. In the late 1940s, he was approached by a photographer who requested help taking photos of the trains as they climbed through Cajon Pass. Note the coal burning engine pulling the passenger cars; the new diesel engines couldn’t quite make the grade. I drew this from a photo from Uncle Frank. That was before I had totally cemented my resolve to work only from my own photos. Besides, I needed a gift for Mom! (Thanks Mom, for rearing me here so I can be a California artist.)
In case you are a new reader of this blog and are wondering how to find the earlier chapters of Learning to Draw, here is a convenient clickable list of the first eight.
If you want to click on all these but get tired of going back to this page, just right-click on each one and open in a new tab. Then you can go through them sequentially without wearing out your Back button. How did a California artist become so computer savvy? By asking people and trying stuff!
Ever say a word so often that it ceases to make sense? I just destroyed the word “chapter” for myself!
#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.
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!)
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: