Chapter Five66 | EXPRESSIONSWhen we look at another person, we usually look first at his or herface. Not only is it how we identify that person, but it is also howwe try to determine whether he or she is angry, sad, elated, disgustedor mischievous. It will show in facial expressions.Chapter Six78 | BODY LANGUAGEDrawings begin to take on a life of their ownwhen a figure begins to act out emotions.Chapter Seven90 | STAGINGFor a visual artist, choosing howto depict an event—what parts areemphasized and what are downplayed,the angle the scene is depicted from,how close the viewer is brought to theaction—is done through staging.Chapter Eight110 | VALUELight’s vibrant energy is what creates the subtleshades on a form for our eyes to see.122 | Gallery127 | Index
INTRODUCTIONEvery artist dreams of sitting in a café, opening a sketchbookand being able to capture the characters and beauty weexperience in everyday life. For the visual artist, a sketchbookcan become a personal journal that not only depicts his or herexperiences but also is a private place to produce new ideasand develop technical skill. Unfortunately, sketchbook drawingcan be a frustrating experience without a logical procedurefor capturing a world that is constantly in motion.While practicing drawing in an art studio has the advantageof a controlled environment, giving the artist the ability to reinin the subject to his or her desire, drawing from life requiresa more reflexive approach to quickly capture and interpretthe real world. It requires a spontaneity that only comes froman ingrained mastery of fundamental drawing skills.The sketchbook is a perfect medium to improve yourdrawing ability because its portability allows you to draw anywhereand at any time with interesting subjects everywhereyou are. The basic principles of drawing are the same nomatter where you’re working. Principles of line, form, shade,color and composition don’t change. However, because youdon’t have control over your subjects outside of the studioenvironment, you will have to sharpen certain skills thatare otherwise easily downplayed. For example, you cannotdictate how long a couple in an airport holds an embrace,and you’ll have to capture their gesture very quickly or frommemory. In contrast, while working from a model or aphotograph, you might be tempted to skip the critical gesturephase and jump straight to copying contours and shapes.Drawing from life sharpens your skill because it requiresa true understanding of the fundamentals of drawing.Keeping a sketchbook is also fun. You are free to followyour whims to explore where they may lead. However,drawing can be frustrating at times when pushing the limitsof your abilities. There will be days when you feel that notone single drawing was worthwhile and your growth hascome to a halt. Be aware that as you tackle more difficultconcepts, the incubation stage between acquiring a piece ofknowledge and making it ingrained through practice growslonger. Hitting a plateau in your growth is a time of integratingnew ideas, not a dead space between growth spurts.Rest assured that under the pressure of consistent practice,the difficulty will eventually disappear. If you do begin to loseyour motivation while attempting something challenging,remember that simple subjects can be rewarding, too.Draw for at least thirty minutes every day. By practicingevery day your mind will become more accustomed to solvingthose types of problems. Just be sure to have fun. Playaround with ideas and techniques to make them your own.Just because you’re acquiring new skills doesn’t mean it hasto be a serious endeavor. I am constantly laughing or otherwisereacting at the sometimes unexpected final results ofa drawing—an unintended juxtaposition, an expression thatreally captures a character’s attitude or a drawing that justwent south. The emotion you have about drawing will comeacross in your work.Ultimately, a sketchbook is a private workbook. It is ahome for unrefined ideas and vignettes from your experiences.Some drawings may never develop beyond a fewinitial gesture lines, and may not need to because you’veconveyed the subject’s essence or the drawing has inspireda new thought. The important part is to capture whateverinterests you, be it a person’s body language, a certainmood or a skill you’re practicing. In that way, each drawingis intentional, attempting to achieve a specific effect, yet stillyou’re not concerned with creating a finished piece for publicdisplay. This allows you to approach sketchbook drawingwith a freshness and without fear because there is not anexpectation that every drawing has to look “good.”Initially, drawing in public may cause you a great deal ofanxiety because people will look at you as a performanceartist. They will look over your shoulder as you are drawingand even make comments (though usually supportive). Thisis something you’ll just have to get used to. Some of thebest places to draw are those where groups come togetherto have fun, like malls, zoos, fairs, etc., and while you’re thereto draw, they will see you as part of the entertainment. Theyaren’t judging you; they’re just enjoying seeing you work.One time, when I had first started venturing out of thestudio with my sketchbook, I suddenly found myself surroundedby fifty or more young schoolchildren who cameto the zoo on a field trip.You can try to hide in some private niche, but I guaranteesomeone will find you. You will be much better off choosinga spot so you can best observe your subject than pickingit for its privacy. The faster you put yourself out there, thequicker you will become accustomed to being observedby the very subjects you are observing.
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