It is not my intention to dismiss other forms of drawing; they have their place, particularly in design.
They are also very useful when one has not got the benefit of having the subject matter at hand. Also one may wish to alter a drawing with a twist or turn here, or an elongation or foreshortening there, and in these cases certain drawing disciplines can be very valuable tools.
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I hope you have found this page helpful and encouraging.
If you do not agree with the ideas I have put forth contemplate them, and develop your own. There are no rights or wrongs in art.
To a degree we are all abstract artists, portraying thoughts, ideas, and emotions through marks and forms.
If you do not like your drawing do another one, but do not disreguard the old one in haste. Sleep on it, even from bad drawing a great idea can blossom!
A word about the Ego.
There are those who's philosophy would have it that one should seek to destroy one's ego. My question to them is, even if this were possible, why?
Your ego is a part of you, it is your child, why would you seek to destroy such a wondrous part of yourself?
A well behaved and conscientious child is a delight to be around. They have a purity of vision and idea that are spontaneous and original. Ask yourself, where would the world be without artistic temperament and its ego? It certainly would not be such a beautiful nor interesting place.
But, as with even the most well behaved child, there is a time when that child needs to go to bed.
I put it to you that the ego is there to be mastered, not destroyed.
Drawing, is most important practice for an artist/designer to develop.
If one applies oneself it can be instilled into the brain as a reflect; coming via the eye, along the arm, through the hand and pencil (or whatever you like to draw with) and onto the paper/canvas/or whatever.
Most importantly you bypass the Ego!
In The Zen of Seeing my late mentor, Frederick Franck, writes about a farm scene he once drew. When he was finished he was most surprised to see a well and bucket in his drawing that he had no reckonision of. However when he observed the farm before him, there it was.
This drawing of my father was a similar experience for myself. It was only when I stepped back I realized, for the first time, that his dementia was now visible in his eyes.
When I was first working with Frederick Franck my ego held me back. I already drew quite well and the hopeless squalls I perceived before me seemed like a pointless back-step, virtually artistic illiteracy.
However, once I gave myself to the process, in other words put the ego to bed, my skills grow in leaps and bounds.
To be honest, although my drawing was good when I met Frederick, it had not progressed at all for a very long time. I had become complacent; complacency is artistic suicide, avoid it at all costs.