I think my digital scans are way sharper than they should be....but that comes with the territory of cheap things
Okay... I think as I was trying to do this, I kind of came to an understanding. Or something..kind of clicked?
For the first one (and now I wish I would have scanned it before doing the second half of the first exercise)
What I did was to take your suggestion about the fly buzzing around the sides of the objects. It really wasn't easy, but I kind of got a feel. I started falling back on my theatrical training as well as some old high school meditation exercises to help me. When I stopped, I let it buzz around like it was irritated or curious about something. Flight patterns of moths, flies, and mosquito kind of always entranced me, so I used that methodology.
On the second half, I took up my Conte---I don't have any other form of crayon. I chose the square block first because it is squat and heavy, and I started in the center and built on it outward like a white dwarf waiting to explode. Then I moved to the cylinder and used more vertical strokes because it was more pole-like. I let them connect together. Just, when I thought about it in those terms, the cylinder was a good conduit for the energy of the square.
Does...any of that makes sense? Or am I just sounding like a weirdo? Probably
the regular line drawing I did in pen, going around the object and drawing each panel of the square as I came to that section. Then I did the cylinder in a similar way, focusing on the parts that were in my vision. By the way---I suck at drawing in unforgiving pen I went over it in my calligraphy pen later to make the main lines more visible since I couldn't get it right on the first try to save my life.
Okay, and the gesture---this was the eleven minute one.
A minor note. After I tried this form exercise, I did the gesture exercise and I found myself following some of the same techniques for the really quick ones. It has been niggling at the back of my head---your description and what I have done so far, I have read somewhere... Maybe Vilppu? Not exactly the same, but similar enough that it sparked a recognition. I think that time, wherever it was, I had a lot more trouble following the exercise so I gave it up and hopeless. I think I might get it eventually this time.
Your description of the forms is truthful. I didn't think of doing the perspective one the way you did it, first I completely draw one of the blocks sight size then I walk around and relate the other blocks to that one. It's really important that you have multiple blocks there, not just two, and are relating them all together. The drawings are more interesting than I expected them to be, you need to build up your appreciation of space, your sense of the physical presence of the objects isn't bad. Also your drawing has changed a lot in only a month, has punch.
This exercise is derived from Nicolaides, I've improved it and made it functional, he only talks about mass and never fuses that feeling with the appearance. Vilppu's approach is analytical and overly stylized, and ignores way to much, his students learn to draw in his style. You haven't realized it but what we're doing here is rendering - creating a feeling of reality, all the steps are there, the only thing missing is the illusion of light. The only way to render is to cover the page with marks, we're marking up the page now, covering all the parts of the page with the medium but not lighting, eventually you have to fuse that feeling of reality with the technical skill of lighting. Also every medium is suited for the expression of different ideas, so the exercise is split into a different medium per idea, also makes the sequence easier to see.
I didn't do it here but it's a good exercise to put a glass of juice/soda/etc and ice next to the blocks, and draw it, feel the coldness and the liquid, every object you see is frozen like the ice. It may sound like bs but the temperature is important, the warmth of bodies is a big deal, think about it.
Drilling a problem I saw. Will finish it tomorrow.(abandoned project, it was finished enough, nothing was left to learn from it)
Last edited by armando; July 5th, 2014 at 01:21 AM.
That is what it is! I am starting to see the flow in lines I could never emulate before. Somehow, these exercises match up with how I learn and are really helping me break some nasty, stiff habits I gained. The interaction and feedback is helpful, too.
So this is rendering. For all my studies/readings and whinings, I have never been able to grasp this concept. Maybe I just wasn't ready before. Maybe it just wasn't presented to me correctly. I admit, I am a little anxious to see how this will translate into a full piece rather than exercises. I don't want to do a full composition yet for a little longer, just to make sure I got rid of some of my more robotic habits. I will have to see if I can find and read Nicolaides. I have heard of him and seen some snippets, but like most books, it has been out of my reach. I may have to be resourceful....Tokyo, maybe....
I only did two that time so I could be sure that I was on the right track. Now that I know that I am, I can adjust and use more with a bit more confidence. I also thought it would help you see what I was doing with less distractions. I set up all my wooden stuff now--the block, cylinder, triangle, and rectangle. This is probably going to take me some time to get used to to get it right....
Can't wait to see the finished product...Is it a plane thing you are working on? Meh, just a guess because that is what I recognize anyway.
Okay, my gesture today. I think this weekend, I am going to set aside a time to do one of the longer sessions. Been itching to do that, but just haven't had the chance.
That wonderful moment when you check the kindle site and see over half the art books you have been waiting years for. Bout damn time! I am going to finally check out Nicolaides! (made sense since the exercises are somewhat based on him)
"anxious to see how this will translate ", take a couple days off the exercises and work on a dsg per day, try to get it as finished as you can. For Nicolaides you can check my sketch thread for a break down, I think the only part I was missing was the rendering of mass I told you about which I didn't appreciate a few months ago. Most people don't understand it, pretty much all anyone does is take the gesture part because it's easy to fake and it sound mysterious and impressive. The abstract thing I was doing was about dividing planes and using close values and getting used to full page figures.
Todays DSG Plot Takeover. Use what you've learned so far. The hardest part is building up an idea from the almost useless description you're given.
This would have been an easier choice, set the camera low show part of his face but cover most of it with hair and have the hands close up in perspective.
Will update with whatever it turns out like later.
I was kind of the same---but it was more because I couldn't wrap my mind around the concept. Math was the same for me---during school years, I couldn't really grasp the more complex things (fractions were so frustrating!) But then, when I went back to college in my mid-twenties, it suddenly made sense. Maturation and all that, right
Forgive me...but what does DSG stand for?
And what description are we using? I will still probably do the "scribble exercise" (my term) because it is starting to make a little sense.
Ah, it is so nice to relax a bit. I took this opportunity to re-work a sketch-swap I had done just before jumping into this. I did a terrible job so I feel obligated to redo it for the person. I got this much done today and will probably continue digitally to take it further through the week.
I may not do these weekly, probably start back up on that sketchswap group on DA monthly. I usually do that digitally, but that will be both a good break and test of transfer. Thinking of doing a portrait soon (traditionally), too, when I actually have a free weekend (so maybe...next month? )
Ready for those exercises again tomorrow! Perfect timing! Things have *finally* calmed down.
Basically, the requester asked for Apollo and Athena and indicated that she wanted them to look "modern." I figured, since they were twins, they would be pretty playful and according to the legends, they are both a bit competitive. To make the Greek connection, I went with a very stylistic Greek profile.
Last edited by anjyil; June 13th, 2014 at 09:34 AM.
Nice. That composition looks awesome and freaky. It reminds me a bit of Dune, but with water.
Okay, my scribble. I put the cup of cold water. I think you can tell how I feel about cold based on this. It makes me curl up and cringe away from it. I am not good with cold. I don't like it, and winter is a horrible time for me.
My gestures for today. In my weekends, I am going to do the longer ones. But on the weekdays, I am going to focus on male-only models. I am always uncomfortable drawing males. They are so...straight and angular. I always avoided them when I was younger, so time to make up for that lost practice!
Tomorrow, I plan to finally crack open Nicolaides---but I must admit, I finally understand this "scribble exercise." It popped up automatically in my faster gestures of 30 secs to a minute. It really does help define form and movement and give a feeling of mass and flow. I found the form becoming more defined even within that limited time-frame. It was really cool. I can understand why people would fake this...but then, I can't. This is invaluable.
What's important is the mystery of existence, reality and being.
I did this one with a glass of coke and ice. Pick something you like to drink, so that it's actually hard for you to draw because you keep wanting to reach for the drink, you keep anticipating reaching out through space then grabbing the glass then drinking. Anticipation is imagining something in the future that can be real.
Wood isn't just space and weight, it's a colorful fibrous substance. When it rots it seems to be a kind of cardboard, roots are stubborn fingers that dig into and grip the ground unwilling to give up there place, when you break an old board it cracks and splinters, it's flexible yet it's rigid this is very noticeable when you are up in the air walking on scaffolding, different woods make different sounds.
Do the gestures with something reddish, then model them with something dark.
I only have what I want to drink around. It has been very hot, so naturally I want something cold---but that doesn't change my reaction to the thought of cold in general. ^_^
Today, I put an empty mug that had something hot in it. Hot and sweet It was empty, but the residue of the drink and the fact that I wanted seconds was enough, I think. I find it interesting how I have somehow determined a certain flow for the interior mass of the objects. It generally goes with the direction of the cut and grain flow of the wood, but also the shape. Triangles let the movement flow down them. Squares bundle up the movement. Cylinders stretch it.
Wood is fascinating, not just because of its fibrous nature---but also because it tends to absorb. It takes in the sunlight, the rainwater, the molecules from the very air itself. I think that is what I am tapping in to when I do this kind of exercise because that is how I see wood, or specifically trees (where wood comes from).
My gesture---this time, I did the hour long session! so I am only posting the final product. Kind of was disappointed to get something so engulfed in shadow yet again and struggled in bring the two mediums together. My conte crayon kept scratching the paper for the deeper shadows. :/ It took me a while to figure out the gesture in red and model in dark. I can see the benefit, but I don't like it yet. It may just take time to get used to and get it right as I usually stick to one medium or do everything first in pencil.
It looks different than other things you've done, that means you are thinking differently, that's good. Place a weight on top of a cylinder and it's a pillar, turn it on it's side and roll it and it's a wheel, the meaning changes with the use. I like your observations, absorbancy however it's spelled, these personal meanings are good to know. The primary reality here is substantiality, solid wood. The geometrical precision of the blocks makes the contemplation of the substance easier, and reveals the idiosyncrasies of the forms. The weight and mass of the substance determines the actions of the forms, a lack of appreciation for these facts is one(are two?, grammar I don't know) of the reasons that people can't use the forms, thought experiment: Imagine you are out in a space station that is absolutely stationary but has artificial gravity, now imagine an object that has no weight and no mass but you can touch it, now try to throw this object. Try it in a vacuum and a room with air. What happens? Or imagine a ball with no weight and no mass, now try to roll this ball. What happens?
Thanks, either I didn't see the red line, or spell check didn't catch that.
Finding our own interpretations of the reality around us one of those things the exercises seem to draw out of us. It is very interesting. Before you let me jump into the thread, I had been thinking about teaching myself to think that way---start breaking things down into the most basic shapes and go from there.
I admit, I know little of physics or quantum mechanics to even guess what would happen with a mass-less weightless object in any circumstances. My first thought is of a hologram or ghostly figure, and that any attempt to move it would be through some kind of telekinesis or something.
Okay, for this exercise, I decided to make good on my interpretation and arrange them in a semi-pattern that reflects this. Drawing on previous exercises, this could be a waterfall or a flower in a vase with a small item like a box or teddy bear next to it. I noticed that I didn't have to look at my paper as much, but my hand still went to the appropriate place on the drawing that matched where I was looking. That was kind of cool
I am going to keep using the red pencil I found for my gestures, but only due the full modelling on the last one. Seeing your examples gives me a better idea of what to aim for as far as techniques. Even in the initial sketching phase, I always go light because I am mentally prepared to need to erase and fix. I need to change that thinking and have more confidence in what I create.
I was looking at your drawings---it looks like you used red pen and maybe charcoal or crayon? And it looks like you used it only to add shadow more than outline or like you did the "scribble" with the red and then went over in the dark.. I tried that but it turned out horrible..so I wasn't doing it right! I didn't scan that result. Do you have a recommendation on the best kind of material and way to use it? Right now, I am using a red (sanguine?) Carbon pencil I have. I have a Sanguine red conte--they are very similar in shade. I have tried my pencils (I have different brands all with ugly results), black conte (block and pencil), charcoal and crayon. All of them literally look ugly to me. Your look awesome, so I am guessing it is how I am doing it. In spite f my pride, I am going to post the five minutes, elevens, and the final product.
"start breaking things down into the most basic shapes and go from there" But that isn't what we did. The scribbles were and are about improvisation and appreciation of the emotional qualities of the medium and the abstractions. The grids jumped straight into composition, the verbal descriptions freed us from the technical difficulties of drawing the things we described. Plus other stuff of course.
Don't need to know anything about science to do the experiment. If you take away weight and mass the impossible object wouldn't be held by gravity and would go passing by at thousands of miles per hour out of orbit. In the space station the impossible object would be blown around by the smallest draft like a bubble. In the vacuum the ball couldn't be thrown or rolled, it would stop at the tips of your fingers. A knife with no mass couldn't cut, because force couldn't be applied to it's edge. Substance precedes form historically and in the understanding of the individual, and in the objects we see. Someone had to take the substance of wood and then work it into those blocks, give them form. What we see in this exercise is objects knocking into each other.
Nicolaides isn't teaching a method of drawing without looking, the no look instruction has to do with the value he places on observation, and the desire to have the observation and the action of drawing in exact correspondence, it should be interpreted as the use of exaggeration to make a point.
How to use a medium? You wrote about the absorbency, looked up the spelling this time, of wood. This is an emotional and poetic quality that it has for you. Every medium, which is a substance like the wood, has a poetic quality. The challenge is to become sensitive to these qualities and to let them be what they want to be. Not everything will have a pretty look, the roughness of a medium can be exciting when used correctly. Different mediums work best at different sizes.
The mediums were chosen pretty much arbitrarily: faber castell pitt artist pen from the terra set, crimson red prismacolor, conte a paris sanguine medicis.
Last edited by armando; June 16th, 2014 at 11:06 PM.
｛"start breaking things down into the most basic shapes and go from there" But that isn't what we did.｝
We kind of are, in an...abstract sense. XD Anyway, this will boil down to interpretation. Shapes are the surface, this is the stuff below the surface but I still consider it part of shapes. We are learning to see it on a different level, using more senses than our eyes.
For some reason, I equate mass and weight with the ability for an object to move and how it reacts to the environment around it. I guess that is inaccurate, as Light does not have mass nor weight and still interacts with the environment around it ,but not in a physical sense like floating or even moving in the sense that we think of it. So I thought of a hologram. You can't really toss light, but you can re-direct it using the environment and tools (at least to my understanding). So if something is weightless and without mass, then drafts of air and such would not affect it just like drafts of air do not seem to affect light. An object in the space station would still have mass if the air could direct it.
Substance preceding form is something that I can wrap my head around.
I am reading through Nicolaides now. I need a feel for it so I can work out my schedule around it. Everything I do is between work and on my free time, which is very sporadic. At least pre-reading it will help me figure out how to work it in..
Okay, so yours is skill and that whole POV thing coming in to play as well. I don't like things that..."hurt my eyes" as I put it. There are a lot of cartoons that fall into that area. I need flow and "beauty" as I interpret it. Actually, I think it is something that always held me back. Bye-bye stubborn eye!
Okay, I threw in a new object today. Just for fun and play. I think I am getting this. I am not seeing them as objects, per say...more like...hm...something to mold. Something to play with. That doesn't fit right. The objects are there, but on a different level. It isn't just what I see but what I pick up with it. If I arrange the objects just so, the feeling is different. The concentration of the light scribble line also changes---it follows where strong emphasis can be place. The crayon shows how the object interact with each other whether they are touching or not, it puts energy into the gaps and just kind of begs a story to be told. It also gives a feeling of...texture. Like, you can kind of "feel" the hardness of the wood as the pencil or crayon hits that outline, and you can feel the air as you turn the pencil or crayon in areas of not-wood.
Does that make *any* sense? Maybe just babbling.
I am starting to get comfortable with how to combine these. It is easier on the sketch paper, that is for sure. But something else is clicking. Maybe a few more times and I will understand it. As a thumbnail, it does look really cool. Maybe I am just needing to change my perspective.
(wow, just realized this is my first afternoon post in a long time. I usually can't get these up until just before bed!)
When I saw "breaking down" I immediately thought of analysis, but what we've been doing is synthesis, but I get what you were saying now.
The object is motionless, that is exactly the right interpretation. I used magic in my imagination in order to touch the absurd object, in order try to move it around like any normal object as a way to appreciate the difference, that a real object has momentum and can impact things and balances etc. There is pleasure in movement, in touchability. You kept saying "flow", but I wanted you to see the solidity, the way things knock around. You need to be able to imagine substances, feel the way they move, and from there you can begin to understand the body. The body is a bag of bones, tethered rocks. The substance must must must precede the form.
Skip Nicolaides for now.
"something to mold" something to form. The emotional value is in the bodies, we prize and value people and things, drama is in the spaces "begs a story to be told". When you arrange the blocks, their surface limits or contains the core of substance - holds it in a way, the spaces between those surfaces are complementary forms. There is the form of the solid substance, and the form of the space which surrounds it. The air you mentioned is new to me too, that's something that dawned on me while doing these, you can see in the newer images that I started rendering the air.
There's definitely a bit of a breakthrough in your last drawing.
Actually, it was a good thing I read Nicolaides because now I see what you are trying to say about "knocking them together". And your exercises helped me understand what I couldn't get when I read similar things quoted from Nicolaides. And Nicolaides made me see why my two tone gestures are so different from yours.
Too much. I devoured the book yesterday as soon as I got past the first chapter. I definitely want to explore at least the gesture and contour exercises to help me break my dependency on line and drawing what I see and not what I "SEE". Amazing how the two work together so well.
I am at least going to do the first schedule or two along side these. Later, it gets more complex and requires items I simply can not get, but I think it will help me with these and my gestures ( and vice versa).
Okay... Gotta get to work on those studies today. Yesterday was a rare free day. Today..not so much.
Okay, got in the work today. After reading Nicolaides and thinking about what you have been saying, I took a new approach to the scribble exercise.
First, I made an arrangement not just based on flow, but based on "Knocking" I wanted them touching and not touching at the same time so I could get a sense of the weight in them and the pressure where they touch as well as where they don't. With the light scribble, I combined it with what I came to understand of the Gesture (something I haven't really be understanding correctly and I see why now). I kept with the idea of flow and energy, but I allowed the pattern that I had created to influence that flow as well. It became a kind of vortex, sucking in the air and fly around it.
Then I took my Conte crayon and began filling it in, this time focusing on the weight---where I felt it was distributed more than the flow. I tried to feel the sides pressing against each other, so I darkened those areas more where they touch and in the center of the triangle and square. The Rectangle felt more bottom heavy---probably because of the length--and the cylinder felt like the greatest mass would be in the center, which contributes to its rolling. I tried to focus on those attributes of the items, why I felt that heaviness or pressure. It became the framework for the vortex I had created earlier.
I did try the first contour drawing today Well, not my first first ever. But for the book. It is weird--I couldn't get the full 30 mins..and not really because I went too fast, but because the object I chose was waaay too simple. Mostly round. The second one was better, but then I made the mistake of using a vertical surface so my arm tired before I could finish. It was my remote control for my PS3. I think doing the actual figure would be more beneficial, but he seems really adamant to not use photos so I will see if I can find something a bit more challenging. A few other things I noticed--my eyes were dry lol. Oh, and I felt more like my eyes were trying to catch up with the pencil than the pencil was trying to catch up with the eye. Grooves were easier to feel than other points.
Looking forward to the new exercises! Oh, and hunting around for color stuff.
I didn't expect you to read through the book so fast, and I thought you where planning to do the whole 3 hours a day routine which I'm not convinced is necessary.
That's a good little composition. It looks like a bandit who was shot through the chest and there are a bunch of flies buzzing around his body.
Draw your hand for the contours. Start practicing lines over hand with charcoal every day, go in every direction just to stretch and strengthen the muscles, basically a warm up. When you draw over hand the effort mostly travels through your index finger, when drawing in the writing position the effort mostly travels through the thumb.
visualize where it's going to be before drawing it
Reading is one of my strong suits, and the book really wasn't a thick read. In any case, I am re-reading and doing the exercises but only like thirty minutes a day, depending on my time. Three hours a day is really not realistic unless you are a full-time art student. Besides, between the book exercises and these, I get at least an hour each day.
Thanks! I really had fun putting that composition together
Tried my hand and an object from the room, attempting half an hour each. May try and mix it up like that more often.. This exercise is way too meditative. It is really easy to just let my arm move and my mind drift. Yet somehow, my arm and pencil still follow the general line for the object despite my not being focused on it mentally. Not good, I know. I have never been good at those kinds of intense focus exercises where you only focus on that one thing for such a long time--especially when that one thing is so monotonous. Tomorrow, I am going to try using my right hand. I am also allowing myself to take a minute to shake out my arm and relax my eyes a bit. That is probably the most painful--the eyes. I had the same problem with the sight-size exercises I did (those super intense ones a long time ago).
Yay! Random colors! Actually, yours doesn't look so bad at all. I love that off-center gradation of blue. And it looks like there is some kind of alien plant monster where that swirly line is on the opposite side of the gradation.
Okay, here are my pastels. I used black paper. I didn't realize how very similar many of my shades of pastel are... huh.
My flipping practice. This is maybe the next hardest--just after the contours. My mind just can't do this well. It got easier towards the end, so I think I will be doing tons of these haha. I am expecting great skill of mind from this exercise
Last edited by anjyil; June 19th, 2014 at 11:00 AM.
3 hours isn't realistic unless you go back in time and attend his class in person. About contours: basically a mark, a line, has to mean something and be compositionally unified.
I've been aiming to keep these doable within 1.5 hours.
I was feeling the light blue and the dark blue. I take it as a buffet of color, that's about the gist of the theory for now.
The hardest for me is flipping diagonally. Ideally should be able to flip the whole page. Also there is a tendency to grab either the dark shape or the light, usually one is easier, but the challenge is to flip the whole thing as a unit.
Man, that would be nice. What I wouldn't give to take an actual full-fledged art class. Just for the experience!
Yeah, I know the focus should be on the line. I scolded myself well afterwards. I have never had that kind of mental discipline. I have always been a multi-tasker, despite what some research says. I just can't seem to do one thing at a time ::shrugs::: I can say that when I do the contour, it feels like..hm.. like I am carving the image into the paper. I don't know if that makes sense. There is a time or two where I feel like I am running my finger on the edge of the subject, too. it is like the pencil became my finger or something. Tonight, the second one was easier to focus on. I started doing a mental dialogue with myself, describing the line and trying to "feel" it more. If I noticed my mind drifting, I stopped and focused on the spot I felt I left off at and then started from there again. At least I got the "not looking" at the paper down.
For the flipping, I have found a couple of visual techniques to work. If I am flipping left to right, I just imagine that I am flipped a page of a book and am seeing the printed image from the backside. Vertical to Horizontal, I imagine I am turning it like a dial. Vertical flipping is harder of me to find a technique for. I still try the book technique, but more like a vertical book...I don't use those much so it is harder.
I *could* turn the paper, but I have a feeling I am not supposed to so I don't Actually the turning the paper for each would be the easiest way, though lol.
Okay, abstract time! I originally was only going to do one after doing two contours---but then I really felt I needed to relax and the second pastel one really helped (first was watercolor). On the pastel, i tried to locate the "cool" colors, including traditional warm colors that had a cool tinge to it. Actually, most of the pastels seemed to have a kind of cool tint. Must be the pigment and mixing they use.
My graphs Despite the challenge, I am enjoying these as well and really getting into arranging them so they fall certain ways. Maybe that is cheating, though. It makes it easier to flip...
The focus should be on the meaning, the idea. The marks we make are conjuring symbols that open a door into a dream world. I know that you have trouble focusing because I read your compositions in the movie still exercise, and I've seen your pictures. Those are good observations about the exercises.
Ideally for me when flipping these shapes it's like I'm grabbing the shape with the pencil and turning it like that, I've gotten that feeling only a few times.
I was going to wait and I was worried that it isn't fine art enough but get some silhouettes, type in concept art silhouettes on google. Do silhouettes based on those, grab the shapes from them flip them and start a new design based on that, when your mind freezes up just do a copy of the silhouette you're looking at or just flip shapes until something starts up. Try to look through into the picture, like it's a real thing just blurry. I figure the thread will still be 66% "fine art".
Last edited by armando; June 21st, 2014 at 12:08 AM.
Hmm.. I am a verbal thinker. Even my images feel more verbal with some smatterings of impressions/feelings. I am also very analytical. Writing and drawing are my favorite hobbies and I do love to combine them. I find the verbal dialogue helps me focus, but I am looking for the proper dialogue I guess. As I said, I can feel myself shaping and cutting the form into the paper with the pencil. Not draw--actually shaping. It *feels* 3D somehow. And I can sometimes feel like I am touching it, but that verbal part of me needs something to do. If you have any suggestions that might help me smooth over the contour and do it "correctly" that would be great. Everyone processes things differently, though, so I may just have to keep trying and hope I am doing it right. I hate the exercises where you can't get feed back on doing it right because it is all internal. ( I know there isn't technically a correct way, but the ...proper? The way to do it in the way that it was intended and not randomly....um...you know what I mean, right?)
Okay, off to get started on thread exercises. I always understand new exercises better after I see an example.
Oh...are we doing the silhouettes on the graph paper or on a regular sheet?
Those are awesome silhouettes! Digital? Today is insane...in between classes and calls so I haven't had more than a minute to prep my graph paper and look at the silhouettes on Google--and read your responses. One more class, one more interview and then I am free to draw!
So, if I am understanding right..I need to believe and feel that I am actually coming in contact with the object with all my senses in whatever way I can accomplish that. To give each line meaning, weight, and a connection. Each line and wrinkle, curve and fold, is unique and has its own character. If I can touch that fully and continuously without drifting (regardless of how my brain touches it) then I am doing the exercise right?
I have yet to see a person "give up" how they process the world. A mathematical thinker will always see the world in numbers and sequences. They will not be able to change to a visual or linguistic thinking process, though they may be able to tap into that way of thinking at times. It won't be as effective for them as a person who does it all the time, though it will give them a new perspective briefly. At least, that is what my experience in teaching, psychological studies, and brain developmental training has shown me. (not taught, shown. I have a tendency to observe and analyze everything to death. I am a bit of a people watcher). I can make this exercise work, I just need to understand the end result I am to reach because I can change the goal of the exercise easily without meaning to. I know this exercise is extremely important for me. I am dead bent on acing it. I think I need to let that thinking go just a little bit...
Oh well, thanks for trying. It is just something I will have to figure out for myself.
Okay, my graph patterns.
My abstract. This time I tried to hunt down the "warm" colors.
And for the new exercise, I only did one to see if I could get the general idea before I launch full-throttle tomorrow. I included the original so you could see what I did. I also did it digital, but I can hunt down some pens and stuff and do it traditionally tomorrow when I go into it for real.
Hold out your hand and run the edges of the pencil along the edges of the contours you see, solved. Enclosing a line encloses a form. Your just going to get more confused as the book goes along, leave it alone for now.
Understanding stands on reality as it's foundation, verbalization is just a description not an understanding. Verbalizing is a thing that we do, drawing is a thing that we do. They are two separate things, the only way to understand a thing for what it is to experience that thing.
Don't just mirror.
Fill the page with color, don't be a miser. Throw it down and see what happens.
Grab individual abstract shapes. It's like the grids, but it's more complicated because you have to design at the same time and the shape relations are more complex. Look into the abstractions like in the grids.