My musings. Possibly, background information about my life and some over sharing.
| 17 September, 2014 20:38
If you choose, this life is yours
It's anyone's life
One life has
contained in it ALL
the masterpieces contained in all the museums ever
you have to let it unfold
Just like when you visit those museums
you enter different rooms and parts
you are inundated with new visuals
and therafter thoughts and feelings
You allowed inundation
don't go home thinking
art belongs on the walls there
because art lives in your blood
feeding your body oxygen
waiting for the opportunity to do it
Your art is you
whatever it may be
if you spend enough time
on your things
you will see yourself
turning into a museum
and the world will begin to throw itself
wishing to be produced
wishing you would touch it into life
irrespective of its outcome
wishing for oxygen
to be announced in paint
or dirt or glue or stuff from the trash.....
announce YOUR life is ART!
| 13 July, 2014 22:17
EXERCISE: Your Stuff
Take ALL of your stuff
dump it on your bed
YOU cannot go to bed unless you have decided something
for ALL that stuff to go
So you can sleep comfortably.....
EVEN if your stuff is imaginary
*****don't forget to put ALL your imaginary stuff on the bed too
HURRY! it is time for bed!
Maybe you get bored of trying to place stuff
go to bed on your stuff
SOme of that stuff will hurt
you may find yourself surprised
how comfy it is to sleep with a toothbrush
by your side
BUT you don't really want to wake up
saying you slept with your toothbrush
by your side
Change your mind about this exercise
and decide that now...
you will lay down
on ALL your stuff
and maybe you kick some of it onto the floor
I mean, it might be uncomfortable
to sleep atop your sewing machine
or samuri swords
But, at least you will understand
what things you actually kick to the floor
with no remorse
uncaring of the consequence
and then, understand the things
you get up out of your bed
so you can find a safe place
for those things
those you wouldn't want to see damaged
by your sleepy disregard
| 25 June, 2014 21:15
what have you made today?
Dear art gods,
Today I did stuff. LOTS!
lots of a whole lot of nothing for the art gods.
I did me....if that counts?
and then I did a bunch of shit I didn't feel like doing...but sometimes I don't feel like doing much...
and i think back to Bukowski and he said that art was bloated. it's a bloated whore that deserves to be thrown on the street.
bouncing on the sidewalk
she kept telling herself
that EVERYTHING is art
and she walked that line
the fine one between
trash and art
and she tried to put it in her head
that trash was where it started
it's what we rose from
AND in an attempt to ...to be of service...
i studied up on old thought
I offered my multi-tasking to this
my peripheral moments
consumed by philosophy
Oh! art gods! she says
please admit my sorry ass
i am just a whore
looking for a lick
I AM BLOATED
and filled to the brim
discipline is not the answer
Does this really mean....
I can't have my vice and eat it too?
I have certainly pushed this envelope
but it is true...
you can't always have the spin
you can't always pretend invisibility
Dear art whore,
don't be such a bitch...
remember your potential and stop invisible
obviously, we, the art gods are concerned with that which is visible. you do us no service when you live only in your imagination. You must share.
again, stop being a bitch.
THE art gods
| 08 May, 2014 23:49
There is a blank piece of paper
staring at me
pleading for me to make it mine
Look at that thing with the same eyes
That it uses to stare at you
Remember those stares
those who misunderstood your thoughts
that spilled ....that time
and tell that mutherfucker
You ARE NOT scared of it's blank stare
| 06 May, 2014 23:43
Remember that it is difficult to see
Until you can
And you can't see until you try
Sometimes you miss the mark
and draw somewhere you weren't supposed to
And sometimes you take the 'weren't supposed to'
and make it right
MORE right than had you not done the 'weren't supposed to'
Please take these words
the words that are meant to be be put before you
so that you can see them come out of my smiling mouth
Whilst you make marks that make you feel stupid
those damn 'weren't supposed to'[e} s
and I was there to remind you
the thing you fret over is actually nothing
to worry about
You won't be able to see right
until you decide
and maybe you will never SEE all of it
but your attempt to put it down on paper
on earth....outside of you
is worthy of celebration
Take a few minutes to scribble something out
something you see or feel
It's your right
| 30 April, 2014 23:08
that it is ok to scribble
that it is ok to not know what is
remember that moving your hands
is what's essential
SCRIBBLE an entire page
Feel that scribble
for 15 minutes.....1, 2, 3.......14 and, so on.....
call it a night
scribble dee da do dodo....ah
maybe make sense of it
with a PEN
if you care to
and if not
dance that tonight you did your duty
you called the gods and said
| 26 April, 2014 23:14
Draw everyday for 30 days....
Do not tell anyone that you are taking up this exercise, though...
Make up your mind that you will emerge from this month with 30 drawings
good or bad
They say we are usually afraid of success
We think success will suck the life from the struggle
the struggle that allowed you to create what you did
BUT they say that to tell people you plan to accomplish something
is, actually, the dumbest thing you could do
to speak it makes your brain think you already did it
when you didn't really
NOT at ALL
you just imagined it so wonderfully that the pleasure center of your brain
became so saturated with accomplishment
that you forgot to remember to accomplish it in real life
So, TODAY decide that you will not go to bed
YOU WILL NOT go to bed unless you draw something first
it doesn't matter what it looks like
YOU MUST spend 15 minutes drawing
Every fucking damn day
30 of 'em
it's just the same as I have been preaching since the beginning
You better be making those pictures in your head REAL
Does a devout christian go to bed without saying thanks to god?
Does Hitler go to bed without plotting his next move?
Does Walt Disney go to bed without putting in a mickey?
Don't just imagine yourself an artist
and, then, think that the shitty habits you picked up in its name
are just a result of the fact you 'see pictures in your head'
no body gives a fuck about the pictures in your head
they give a fuck about the pictures you DRAW
so, all's i gotta say, fool, is you better get drawing
DO NOT sleep tonight unless you draw something first
you let the art gods know you didn't waste their love
AND after you draw you can behave with no need for recompensence
because you can show them your ID
I am because I AM
| 09 April, 2014 23:25
Your set of colors
the option for NO light; or the least possible
1. Grab an item from your kitchen
2. Take it to where you plan to draw--the space with the light and the option for none
3. The space must have favorable light for drawing-hopefully you know your space
4. Take all of your colors and throw them on the floor; out of the container they are in; dissarray them on the floor.
5. Turn all of the lights off
6. Allow your eyes to see in the dark....and pick the colors you think will represent the thing you grabbed from the kitchen. You can only choose 8.
7. Arrange them from lightest to dark - in the dark
8. I assume you have a kitchen....if you don't just grab something from somewhere; something you want to draw.
9. Turn the lights back on and get in your drawing position.
10. Don't cheat. I hope you set the 8 colors aside. If not, you HAVE to turn the lights off, allow yourself to be accustomed to the dark-enough to see the gradients. AND pick AGAIN.
11. DO NOT START THIS EXERCISE WITH FULL COLOR KNOWLEDGE/FULL LIGHT....YOUR RESULTS WILL, then, TEACH YOU NOTHING!
12. I am done shouting.
13. Turn your drawing lights on.
14. Begin to draw using those colors you chose in the dark.
15. Try to remember only their respective value that you gave them when choosing them in the dark.
16. Arrange them, if need be, in the way you saw them in the dark...if you can remember. Do your best to recreate.
17. It might serve you to turn the lights off again.
18. Look at the object you chose in the dark. Allow your eyes to adjust. Do not be surprised if it takes a a few minutes, if not 20 minutes, to adjust.
19. Maybe now you can rearrange your colors the way you saw them before --in the dark.
20. Turn the lights back on and decide you are going to draw this thing you chose with those colors.
21. Draw a line with the lightest color from the 8.
22. Use your eyes to trace the object and draw the entire form with the lightest color from the 8.
23. Throw in some background bits too. Trace their form by moving your hand while you move your eyes along the lines of their shape.
24. It is not necessary to add blackground. But do so; if you choose.
25. After you have lined out the form---fill it in.
26. Fill it in with the colors you chose in the dark and arranged in the way that you did from dark to light.
27. Use that information to guide you on how you must use these colors to delineate 3-dimensionality.
28. Remember that if you put the colors in order according to how YOU saw their magnitude of brightness you will be able to color anything!
29. Remember that the darkest color is the same as the pencil marks in the tonal or monochromatice pieces you executed --those pencil marks you repeatedly covered over.
30. The spaces you repeatedly covered over will eventually have all of the colors in order for you to portray darkness with this pallette.
| 28 January, 2014 21:32
Color is a direct way to express emotion in artmaking. The expressionists are known as the first to reject realism and embrace emotion in the way they used color. They used colors that 'felt right' and not the colors that are supposed or typically used to portray, say, an apple, for instance.
It is sometimes said that the self-trained artist uses color naively or intutitively and I am slightly offended by this supposition. I believe that we are all self-trained artists. You don't go to school forever nor do you always have someone over your shoulder watching and instructing you throughout you art career. At some point you take your coloring mechanism in your own hands and check it out--for yourself. This is the time to do that-take color in your own hands.
This lesson is fairly free flowing and I will not make you study the color wheel just yet and I may never even bring it up again (fat chance) but I request only one thing before you practice this introduction lesson. Buy yourself a 24 pack of colors--either colored pencils or oil pastels.
24 pack of colored pencils
Large piece of paper
a room where you can turn the lights down but not all the way off
Take your package of colors and dump them out of the container they are in. Try not to let them roll all over the place and/or get lost. You will need each one of them.
there are three terms that you will need to understand:
1. Hue - the name given to a color: blue, green, yellow
2. Value - the lightness or darkness of a color
3. Intensity - the saturation, strength or purity of a color
These are each important terms that play a part individually allowing us to speak about color effectively with one another. But the most important for an introduction lesson in color is VALUE.
Your exercise for this lesson is to arrange the 24 colors by value. Let me put this into persepctive for you. We all know of ROYGBV but ROYGBV is a very general arrangement of the intensity of color. It is difficult to separate value and intensity at times, but, for this exercise you must. You will need to arrange the colors from light to dark.
First, throw out the black and the white if there is one in the pack.
Second, go by the color of the actual material (colored pencil or oil pastels) and not the color of the wrapper or coating on the outside. You can test the color on the large piece of paper to see the color if it is unclear or if you are too distracted by the outside wrapping.
Third, sometimes it is easier to have ambient light while doing this exercise. Turn down the lights so that color seems to be removed from the coloring utensils and rather you can see its value, how light or dark each one is.
Arrange these colors from light to dark. There is no right or wrong answer but the answer is not ROYGBV especially not in a 24 pack of colors. This exercise should have you really thinking through whether brown has a darker or lighter value than navy blue AND whether pale pink is the first on the lightest end of the spectrum or is it yellow. Ponder these, use the large paper as scratch paper to test your assumptions.
Once you have moved the colors around until you are satisfied that you have them arranged from the lightest to the darkest and there is very little resemblance of the ROYGBV order in the arrangement give yourself a pat on the back.
Now draw something; anything. Maybe draw a rainbow delineating the lightest to darkest order you have created.
| 03 January, 2014 22:27
Before you decide that I am a tyrannt
Please see this post
oh darn! I think I left the time too long
you prolly already read it
i want you to think about something
before you finish the painting
i want you to think about
why you painted it
it could have turned out amazing
you don't even want to touch it
It is so AMAZING!
if you put paint to that canvas again
mess it up--erk!?
touch it once more
take your time deciding
how that next stroke
pick a color
take a look
a looong look
and think about
the third color
where it goes
add how it can add to
there's prolly no painting...
I could have pushed you there
ALL that outrage!
[make sure you are drawing]
| 03 December, 2013 22:33
They say, 'those who teach
they can't do.'
Shitty fucking saying!
I will admit I started these instructions
and I wasn't practising what I preach
I was drawing, sometimes
and leaning on the fact that I knew I had it
I spent time thinking-- 'drinking' about it
Drinking because I am so deep I need to think about my art
whilst spinning motionless
spin myself into a land where I might be able to feel like a stranger to myself
As an artist you can never see your own work as a stranger
and to me that fucking sucks ass!
but as a narcissist craving estrangement from myself
it is my attempt at being a stranger to my art
because I believe I can-- perfectly
be a stranger if I am fucked out of my mind
on cheap beer
So those who teach
so they can see their art as a stranger
AND I will be goddamned
if you aren't drawing like you should
AND maybe now it is time for you to buy a white canvas
AND paint one of the drawings you did recently
AND do it only in two colors
so you can finally understand that blankness
paint that stupid ass drawing out of your sketch pad
and think about it hanging in a museum
Don't be stupid about it
you are not allowed to be Duchamp or Koons
you don't have that kind of money or clout
and if you do you probably haven't read this far
You HAVE to think about 100 years from now
Will that stupid ass drawing you just put on that canvas stand up?
500 years from now?
will it stand against Duchamp? Koons?
If you are a peasant, like me, like a true artist--
You draw your brains out
Until it fucking hurts and you have to settle yourself down
I don't give a fuck what you draw
You BETTER be fucking drawing!
You BETTER grab yourself a fucking canvas
AND two colors of paint and paint that dumb ass drawing you love
you should wake up to that painting
it staring at you
looking like that piece of shit that was 'supposed' to be wonderful
that ....really isn't
and you wake up and spend some time making it right...
| 29 October, 2013 19:43
In order to understand one life
One must, first, swallow the world
it might, actually, be
How would one go about swallowing the world?
What is step One?
is time linear?
in the human mind
time is 3-dimensional
I hate 'romance' for this very reason
It's so linear
You did X
I did Y
back and forth
i live in 3-dimensions
we sew up the time
we sew them together
with other times
Imagine I am making a dress
This dress is smooth
hugging the body
from the breast to the back of the knee
below the back of the knee
before the ruffles were ruffles
they were simply
of flat fabric sewn together
edge to edge
In essence, I am usually alone when sewing
I add a ruffle when you come around
It actually occurs after you leave
I sit and stitch
thinking of all those times
I gather them
they curl and furl
I am drawing our time with one thread
and starting again
until the next time
In the meantime
you will find me straight stitching
but this very thing is straight stitching me up
me attempting to put it together
----could be futile
though, swallowing the world
could seem the same
what do you see when you read this?
can you let your imagination draw?
There is no picture for you to look at besides the one in your head. Draw it. If you have been practising all this time, as diligently as required, you have to trust that you have some skills in your tool box. You have drawn all of these things that went before. You participated in all of these exercises and had some good results. There are lines you have drawn that have probably surprised the shit out of you. You should have already sat back admiring yourself as if you were someone else completely; available to your own praise given as a person who has no idea who you are. It is very certain that this paragraph will make no sense to you and IN time you may even come back to re-read it. In fact, this is a paragraph you should probably read to yourself every day after you get out of the shower.
If you have to close your eyes and run your pencil on the page in the shapes that are in your mind do that.
If looking at your work while you are drawing creates tension you should absolutely close your eyes. This should be a relaxing exercise.
If you need some prompts I have provided some imagery from the poem below:
swallow the world
-- use the tangible objects to embody the verbs.
| 29 September, 2013 18:48
This is an important topic and a little less about drawing than about being an artist in general. It has some implications with regards to psychological phenomenon as well. Please read through and then there will be an exercise at the end.
There are a number of different ways a human being can manifest attachment. Typically, this psychological theory, which was first exposed or publicly theorized was done so by John Bowlby, is discerned through human relationships. I want to use this psychological phenomenon to expose/expound upon a part of the creative process.
There are two basic types of attachment: 1. Secure attachment; and 2. Insecure aatachment. Insecure attachment has a bunch of different subcategories of types of insecure attachments. It seems, though, that secure attachment simply is just that; and there doesn't seem to be subcategories of secure attachment types.
Let's say, for now, that there are subcategories or different types of secure attachment an artist has with his/her work. We will say, for the sake of argument, that there are no insecure attachments in art making. I think to say that you have an insecure attachment to your work would mean that you are not making art. And we know you are here making art, right?
First, I will say that you have a secure attachment to your work; meaning you esteem your work--you hold it in high regard. You put time into making it just right. You don't want to see anything bad happen to it. You want other people to like it. You want other people to see it and like it as well.
Then you have your process. You have your way that you set up, draw, do your thing and then show it off. You also have your particular level of obssession with your work.
Let's break it down:
Secure attachment includes:
1. esteem- a feeling of high regard for your work
2. time spent on your work
3. protectiveness of your work
4. desire to show others your work
5. an art making process
6. a level of obssessiveness
We will take each one in turn:
1. esteem- a feeling of high regard for your work
Take some time today to look back at some of your things and realize how much you like certain things you have made. Spend some time deciding that you made the marks you did for a reason. You made those marks because that is what you saw in your mind's eye.
It's easy to get wrapped up thinking that your work is either GOOD or BAD compared to someone else or against the image you are attempting to produce. For the purpose of this exercise put this out of your mind. Put it out of your mind in a way where you know there is always room for improvement and that is what you plan to do--improve. But put out any comparison now. Look at your drawing for exactly what it is. There is no way to undo it unless you do it again--better.
Enjoy it for exactly and only what it is. Revisit some of your feelings you had during that drawing and realize which of your feelings were productive and which of your feelings were not. Try to remember which lines you were drawing when you felt productive opposed to unproductive.
Remember these thoughts and keep paging through your work. Spend time on the ones you don't usually look at often or the ones you don't really show to people.
2. time spent on your work
By now you should have already implemented drawing into a part of your daily or weekly routine. Better daily than weekly. But, weekly, used here, is used loosely; being that 4-5 times per week is your weekly routine.
Make sure you are spending time drawing. If you are not spending time drawing you aren't going to improve.
3. protectiveness of your work
This is where you must be careful. You need criticism. Seek it out. Ask people to, please, tell you what they really think. Ask people whom you care about; the people whose opinions matter to you.
Take what they say and do not make argument. Realize that there are things that you could improve.
4. desire to show others your work
See number 3. Also, plan to frame some of your works, if not the ones you have in your sketch pad now--but in the future plan to have a BIG ASS show of your amazing work. This also lends into number 1 (above) having a high regard for your work.
5. an art making process
Here is where you need to strech yourself for the purposes of this exercise. If there is a habit that you have or if there are many, decide today that you are going to take that habit and throw it out of the window.
You have paged through your work and maybe you have decided to work on a particular one that you have neglected. Take a pen or some other mark making instrument and draw and unexpected or emotional line through it. Put in a shadow but do it uncontrolled with feeling.
If there is a piece that you are struggling with that you would love to throw away---take it now and do this very thing to it. WAIT! Don't use hate emotion. Don't get a piece of work and play with hate. Play instead with ART. Bring happiness into that bitch. Show that drawing where it was supposed to go with your lines; politely.
Next, take a drawing you love and remember those HATE feelings. Imagine destroying that piece of work. In actuality, I came here today to tell you to take a piece of your work that you believe is amazing and DESTROY IT!
Expel all your art angst onto that thing. Realize that no matter what; you can do it again if you tried. Throw it in the trash! Burn it! Destroy it...make sure you take a picture of it first---or don't take a picture if you want to feel the true void. I recommend true void avenue but I am an artist with either a severe secure attachment or an artist with no conscience.....
Realize how upsetting it would feel to not have that drawing any more.
6. a level of obssessiveness
We all know that art making requires a slightly obssessive personality trait. For this stage of the exercise I want you to think of your drawing as if it is the new guy/gal in your life that makes your heart flutter; the one you think of constantly. Your art should be something that you want to look at all the time.
| 08 September, 2013 22:19
2. printer paper
3. an image that fits the size of the paper in your sketch pad
4. ebony pencil, I belive it is prismacolor which makes the best one
Possibly a long awaited instruction
as my promises to be a weekly one
were not so
I want to use this instruction to delineate the importance of copying
I think as an artist you may find yourself without ideas; occassionally - or more than you want to admit
You want so badly to be ORIGINAL and unique
To be unique--so much so, copying seems completely OUT of the picture!
You are right to think that
If you are any kind of artist; in real terms--
copying is not the most attractive of exercises
For this exercise, please, put that notion aside
I am NOT in any shape or form saying to trace
But I am saying it is time....
Well, let's back up a minute....
You should already be keeping a drawing journal of your original works
that come from your memory
Start a new page and find a picture of something you love
Something you want to reproduce
that you wish was your original work
If you have a printer or have access to such
print it to the size that will fit in your sketch pad
Step by step: Drawing Instruction V
1. Print out a picture you would love to reproduce
2. Turn the paper over so the image is facing down
3. Take an ebony pencil in your hand
4. Shade the back of the image with your Ebony pencil evenly and light enough that you don't destroy the integrity of the printed image on the other side
5. Tape that image to your sketch pad; image up; printed side up
6. Draw over the lines on the print out with your pen; the lines you covet
7. Draw ALL of them....all of the lines you love
8. Once you are done
9. Take the tape off and remove the printed out image
10. There should be a slight transfer of the lines you drew on top of the printed image you drew in your sketch pad
11. Keep the original print-out for reference- but put it aside
12. Complete the drawing--reline the soft graphite looking image
13. Put yourself into the drawing; your passion and excitement
14. Get out some colors or use different mark making techniques to fill in the image
15. When you are finished-admire yourself
16. Tell yourself that sometimes it is good to pay respect to those who have mastered a technique enough that you felt compelled to copy
17. Realize that copying is the HIGHEST form of flattery
18. Realize that the art gods deserve a service; this your service--your church--your solemn moment this holy damn day!
19. It isn't the artist, who made that image, but it is the force of art making that requires respect and flattery.
20. Realize that it isn't the artist that requires flattery, as the artist has flattered him or herself 'out of his or her mind' making beautiful imagery, rather, the compulsion is that which requires flattery.
21. How does one flatter a compulsion? By doing something about it---in this case--make art
22. Make someone else's art and love yourself for it! Love art for it!
23. Remind yourself, that to be a true artist, it must be your religion--an art museum your church--your marks a tribute to the world that requires your existence.
It may seem to you that there are SO many artists doing shit that you think you could never do. People are always coming up with ideas that squash your ONE AMAZING idea that week! Get over it. This is normal to think this way. We all struggle there. But the place where you need to take the time to realize art and the art way is to pay respect. Pay respect to all of those that have given you inspiration. In the end, this will make you a better artist.
At the risk of sounding superstitious or authoritarian -- you must pay respect to the art gods. Once you realize it is a force outside of you--the same as the force that makes you breathe--which makes you want to draw, paint, etc. -- the sooner you will be able to get over yourself and make true art.
| 16 May, 2013 21:24
Let's take it back to the basics: Mark Making.
Today, for this lesson, you will need a pencil, a piece of paper; at least the following size:11"X14", a ruler or straight edge and yourself ready to draw.
You can use a mark making apparatus other than a pencil if you prefer. I prefer sharpies, sometimes, over a pencil as they have a certain sense of permanence which lends to the quality of this exercise. So, if you want to challenge yourself grab a sharpie because it exudes the requirement that you realize that you cannot erase any of the marks you made.
You are welcome to, first, do the warm up exercises explained in Instruction I, if you feel it necessary---it is a good practice to keep---
OR you can negate them in this lesson as the lesson will essentially be a warm up and rendering session in one.
First, take a moment to read this entry from Sophia.org which features many tutorials for all subjects. Specifically, you will need to read this tutorial before you begin: http://www.sophia.org/elements-of-art-line-tutorial
As an alternate to the warm up indicated in Drawing Instruction I, you can move your pencil around on a different piece of paper while reading the above tutorial.
You can stop reading before the heading "Expressive Qualities of Line" because, for now, I simply want you to focus on the types of lines that are possible.
Look at your paper and decide, first, how you will deal with 4 types of line making. You can divide the paper up into 4 separate boxes or you can randomly draw different lines around the entire surface of the paper.
The explanation in the tutorial about actual and implied lines is for informational purposes; background. Your first plan of action should be to make the following types of lines without a preconceived notion of how your drawing will eventually end up looking:
Types of Lines:
1. Geometric or, otherwise known as, in-organic lines.
a. Draw shapes: Circles, squares, triangles, simple lines
b. Take some time to realize a part of the tutorial - link copied above – explains that a line is what connects two points. Make points by drawing two dots and connect the dots using a ruler.
c. Also, take some time to realize that for the purposes of this exercise a point or dot is also considered an ‘in-organic line’. This notion will be useful after you read below.
d. Fill up the paper with as many in-organic lines until you feel satisfied.
Keep in MIND: We will come back to this and each succesive line (below) within this exercise, so, if you think of more lines to make later you can come back an fill them in. For now, keep your attention on each line I describe and make those lines until you feel satisfied.
2. Organic lines
a. Draw some spontaneous lines – close your eyes, even, and use your imagination of what you are drawing to guide you.
b. Think about nature: plants, the human figure, animals, etc
c. Use your thoughts of nature to also inspire your line making.
3. Horizontal, Vertical and Diagonal lines
a. Use your straight edge to fill in the paper with these types of lines.
b. Take a moment to reflect on the concept, as explained in the tutorial, that each of these types/directions of lines convey a different emotion.
c. Be mindful when drawing these lines of the respective concept outlined for each type :
i. Horizontal – a sense of peacefulness, vastness and constancy
ii. Vertical – Alert attentiveness
iii. Diagonal – Action. Dynamism and vitality
4. Descriptive Lines
a. These lines can essentially be considered organic lines when isolated, however, these lines are meant to give depth or to convey ornateness which signifies richness.
b. If you know how to shade, shading can essentially be considered descriptive line making because at the most rudimentary level this is a form of line making-essentially you are smearing a point/dot or even connecting them organically by shading.
c. Technicality: (this is simply meant as background for shading
i. Shading is considered rendering
ii. But rendering is a loose term that can mean:
(a). A drawing or other work requiring many marks
(b). Working a drawing
---Example: if I asked you to 'render' a drawing more: it means to put in more descriptive lines or marks. If I say, 'this is a beautiful rendering of flowers' it means a piece of art which has many marks.
By now you should have a pretty full piece of paper. Your paper should be filled with all of the above types of lines. Take 10 minutes and walk away from the drawing. Do something to take your mind off the drawing: play your candy crush or do a chore; something mundane for 10. Come back to your drawing and look at it without making any marks for a few minutes. Analyze the lines and the positions in which you placed them. Jog your memory about the kinds of lines each one is; see if you can remember what each kind is without looking at the tutorial or any of the above explanations. I am sure you will be able to remember them all with ease!
Go back through each type above and find 2 more places for each type of line. If you find that you want to make many more-be my guest!
It would be wonderful if you, whoever you are reading and following this or any other Instruction, to send me a picture of your drawings from these instructions. I would be honored to give you further advice and direction or simply encouragement. These instructions are posted on a weekly basis, at least that is the goal I attempt to attain, and if you follow them diligently I promise that you will become a better artist by simply doing something about drawing at least once every week.
-Please pay special attention to the vocabulary: rendering and mark making. This is a mark making exercise and always think of any drawing exercise as a mark making exercise.