Looking back over past posts I have not really dealt with drawing. Not techniques more the whys and wherefores. In some ways I write this blog to sort out my own opinions on things. All too often once your words look back at you from the screen you think, “I’m not sure that I really agree with myself!” Indeed reading back there are more than a few of my own posts I would not entirely agree with. Not that I will change them I would not like to develop a reputation for intellectual consistency.
So, drawing, what exactly do I think about it? Firstly I suppose I need to ask: What is drawing? Making a mark on a surface that can be interpreted by others is a fairly catch all definition. This implies an actual transfer via the medium of information from one individual to another. So abstract squiggles and random mark making are out I’m afraid. They may be beautiful but not in my view drawing. So writing is drawing. Not the information contained in the writing but the information that identifies the character. So the individual letters are drawn. Plans and schematics are drawings. Indeed we perhaps need to arrange the types of drawing by what cargo of information they carry.
So a drawing can carry abstract information as letter shapes do. Symbols perform a similar function.
A drawing can carry information about a three dimensional object such as building or a planet as in a map.
Drawings can plan a two dimensional image such as a painting or a poster.
Here of course as with all art subjects we run into boggy ground. Drawing is both a noun and a verb. Is a finished painting a drawing? Certainly drawing is used in its creation. Is that drawing somehow different to the drawing that was used in the same painting’s planning? Are cave paintings drawings? Can finished things be drawings or only the preparatory work?
Perhaps we might say that only preparatory drawings should be given the noun a “drawing”. Does that mean my pen and inks aren’t drawings? There is no doubt in my mind that the meaning for the noun is muddy indeed and I haven’t even mentioned sketches!
So perhaps the verb will be more helpful. Making a mark to convey information. Once that mark is made then it is something else. A painting, a drawing, letter, a plan, all these things can be made by the act. This line of reasoning makes me also feel that the act means making marks that can in general be consistently interpreted by others. So if you were to show the item to a panel of viewers you would get a fair degree of congruency in the replies.
From there it is a small step to grade our results in the success of transferring information with our mark making. So if we draw a girl and our panel only replies that it is a girl we plainly haven’t been as capable as if the panel reports that it was a sad young girl. If we got the report back that it was a sad young girl by using a thousand marks it plainly would not be as efficient as if we got the same result by only using ten. Of course some moods might be conveyed by using many marks in groups, what we call shading or hatching, but perhaps they might be considered as a composite rather than individual marks.
Now to move on to what might make a good drawing. I tentatively might say brevity of means. I think this is best illustrated by the sort of atelier drawing where every nuance of shade is noted down. They are an attempt to convey the full visual experience of seeing a body in tone. However they fail miserably to convey any information about moving or breathing let alone sadness or joy. Despite the claims of the Atelier system of roots back to the past none of the so called old masters draw in such a constipated manner. The 18th 19th century history painters are the ones really to blame.
So how do we learn to draw as best we may? The secret, if such there is, is in training the brain to do most of the work in the background. If we are struggling in placing things, controlling our medium etc then the battle is lost before it has begun. We might manage a creditable drawing of a building or still life, but drawing a person would be a step past that and likely not a success. Many artists I talk to scorn accuracy, to my mind this just means they cannot be bothered with the sometimes frustrating business of learning. The art establishment’s unfounded ideas that such skills are irrelevant don’t help either.
Whether you like it or not the first steps will be tight and more of a graph than a drawing. That is necessary however to train the brain to do all the measuring unconsciously. Inexperienced artists see an experienced draughts person knocking in a figure whilst seeming not to measure, but that is because they have spent so many years measuring that the process has become internalised. The same is true for the assessment of tone etc.
This is why life drawing is so important. It is the mixture of long and short poses that forces us to quickly select the key elements in a pose. At first it seems impossible, but as we practice more and more of the process is taken over by the unconscious. Once that happens then the whole thing becomes more manageable. So the message is predictable I’m afraid, practice, practice, practice!
So a few life drawings to show that I’ve got a long way to go too. However good you get, a good life session will cut you down to size and deflate the ego!
15min here I drew deliberately slowly, trying not to make a mark unless I had a purpose for it. It is very easy with life drawing to scribble and hope. Get into the rhythm of, observe, assess, make a mark, observe assess, make a mark etc. You so often see people only occasionally lifting their heads to observe. You should spend longer observing than drawing.
In comparison a 3 minute effort. Again I will be pausing between each mark or set of marks.
More very quick ones. I am using 2 ingredients only here. The flat of the conte for tonal blocks and the end for delineation. You can vary these ingredients but easier to just stick to one or two. Just doing the while thing in tonal blocks without line is a very good exercise.
Here all the tonal areas were drawn first and the few key lines added only in the last minute or two of the 15min we had.
I regularly change medium. Here I have just used tonal areas with no line at all. 20min
Here is a 5 min one done the same way. There are only two layers, a dilute first shape then a darker to reinforce and correct.
A whole half hour!! I try to start a longer pose in exactly the same way as a shorter one. I then lay repeated layers of observations down on top of each other, each one getting more defined. Whenever you stop a drawing it should look finished. To help with that it is a good idea to do sets of poses where the model just changes pose randomly. Whenever the model changed however long or short the pose was your drawing should look finished.
Two 2 minute ones. At first it will seem impossible to get anything worthwhile down in that sort of time. Mostly it won’t be of course and many efforts will go in the bin. What you lose in accuracy you gain in vivacity. These brief splashes say more in my opinion about a living breathing being than any atelier drawing laboured over for a week.
Here is one that is perhaps unfinished, I was miles away and not following how the 15 min was passing. I literally jumped when the timer went off! Now though it is incomplete it is not to my mind unfinished.
Here is one where I stopped before the end of the pose. It would have been a better drawing if I had stopped earlier! You should always keep an eye out for when a drawing is complete, that will only rarely be when time is called. I often spend the last 5 min doing a lot of looking and very little mark making.
Last one, have started to introduce pen. Adding an ingredient like an extra medium always raises new problems.
