For
decades I have tried to teach myself to draw. For the entire time, I have used a stupid and relatively unproductive technique that goes like this:
- Buy book
- Try to do what books says
- Associate drawing with failure and frustration
- Quit
I have some very good books, and I've had some that instruct you to simply draw things one step at a time, one, two, three, four, until you have drawn what the artist has drawn - easy! Except that you can't just skip the grinding and steady application of (even if enjoyable) discipline, effort and learning of technique that the acquisition of this skill requires (unless you're naturally gifted, in which case forget what I said because I hate you for it anyway).
Not so much admitting to the fact as succumbing to it, I surrendered to the suspicion that working with someone more skilled than myself might actually make sense, and I contacted local artist
John Turnbeaugh who offers classes. We sat down recently at a local coffee shop and discussed what I liked, what my goals were, and what I had done so far.
We flipped through my sketch book, and he was mildly-yet-pleasantly surprised at the abilities I have cobbled together so far. I'm embarrassed to admit what thrills ran though me when he complimented the things I have done correctly. He has some encounters where aspiring artists are at a pretty remedial level, and he was relieved at some of the heavy lifting he wouldn't have to slog through with me. It's encouraging to find that after bashing my head against the Walls of That Which I Cannot Yet Do, I have absorbed some sensible ideas of space and perspective. Still, having someone acknowledge that and mean it - I could have hugged him for it.
It wasn't all a love-fest though, thankfully. We moved on to the areas that need improvement, and God knows that they are vast and numerous. Among the things I learned or otherwise gathered:
- Try to see objects as they are, rather than the generify (made up word "generify" Copyright 2011, Liberated Pachyderm Productions) them as they are in your mind's eye. For example, John produced an apple and instantly became the apple's Chief Advocate: "Don't see this as just any ordinary apple. See this apple for the unique apple that it is. This apple has its own character, its own dents and color patterns and shape. Draw the apple as it is, not as you imagine it to be." I'm paraphrasing, but that was the gist.
- All pencils are not made equal. While I tend to favor mechanical pencils, that's okay, but I should embrace the use of the "B" pencils for their softness and use in shading. I need more practice and understanding among the tools I would use.
- Shading - we discussed cross-hatching, and its alternative which we dubbed the "traditional" or "other" type of shading, where you apply pencil to an area and skillfully smear it in from there. This is my biggest area of improvement, and I knew it. Still, we went over the apple and my representation of it. I was reassured that my lines and shape were generally strong (although deserving of some correction), but my ability to shade and imply form was nearly void. I actually sat and stared at the page when it came time to shade my apple-of-singular-identity, waiting for my brain to find the right gear and propel my hands to do something intelligent. It never happened. But, with some instruction and prodding from my new instructor, I started timidly adding more graphite here and there and I ended up with a pretty fair apple when we were done.
- Other artists to investigate: Alex Ross; John Romita, Jr.; Vincent Van Gogh; Frank Frazetta.
I am really glad that I allowed myself to move in a positive direction with this. What a wonderful thing it would be to be able to draw with skill.
