Recently, I’ve taken a pretty “circuitous” route along my drawing path. I’ve struggled with the sketches I’ve begun, as well as with drawing as regularly as I’d like. What’s more, I’ve produced few coherent results to show for my efforts. I’m coming to realize that artistic growth is simply not a “linear” process. Occasionally, I might “luck out” by producing a more or less complete sketch on my first take. But, more often, my first (and sometimes second or third) try simply reveals the direction I “should” have gone.
For instance, I kept trying to freehand-draw a forlorn, defunct gas station that sits anonymously downtown. Visually, this subject really appeals to me; its run-down, solitary appearance evokes a sense of an entity “left behind” by progress.
So I keep returning to try and draw it. Twice, I worked for nearly two hours at a stretch, but I produced little more than rough outlines of this deceptively “simple” structure. Those four frustrating hours just reinforced for me a couple hard-won truths: I simply could not “freehand” the building and achieve some semblance of perspective (at least not to my satisfaction). Moreover, if I wanted to render it realistically, I’d need to re-acquaint myself with the fundamentals of perspective drawing.
So, I “went back to the books” (actually, some helpful Web tutorials) to relearn how to set up multiple “vanishing points,” and use them to outline geometric objects in perspective. This process proved decidedly “mechanical” —not exactly the “freed-up” drawing style I’m aiming for. But I simply haven’t overcome my desire to achieve a general realism in my work. Even if I ultimately do develop a freer, more spontaneous drawing style, I simply prefer realism; it’s “my thing.” And really, at this stage of restoring my drawing skill, there’s nothing wrong with focusing on the fundamentals.
Once I’d familiarized myself with the basics of perspective drawing, I went back to the old gas station. This time, I came equipped with an oversized sheet of illustration board clipped to my drawing surface. That extra surface gave me room to establish those key “vanishing points” outside the frame where I’d actually draw. Using a ruler, I then fairly quickly drew the general outlines of the structure (with the perspective lines converging much more convincingly). Now with my perspective established, I’ll be able to freehand-draw most of fine details.
Along with beginning that project, I’ve still been intermittently sketching subjects I select from everyday objects and scenes:
Securing regular time for this basic but essential practice remains a surprisingly thorny challenge. I guess I shouldn’t be too surprised, since drawing vies for my time (and attention) with many daily responsibilities. But, I’m going to keep tweaking this time-management thing–and get back to my original four days-per-week commitment to drawing practice.