Tuesday, November 23, 2010

Marathon

So on Sunday I went for the full 9 yards.  9 hours of life drawing, with about 2 hours break in there for food.  The morning was a variety of poses, the afternoon was 3 hours of the same pose with two different models and the evening was another variety of poses.


I can see myself progressing somewhat, which is always encouraging.  I had seen someone in the class last week doing shadow studies with a grey brush pen, so I got one and tried it out.  It turned out to be a fabulous way to study form, as I really have to hone in on where the forms curve and change planes to get accurate shadows with only one tone.  I soon graduated from this to 3, or even 4, tones.  darks, mid-tones and white for highlights.  I am particularly happy with these.

Also, my gestures, working with a china marker and glossy newsprint, and focusing on flow of force and form, is taking more shape, as can be seen in some of the drawings.  It is so hard to capture form and energy at once, with as few lines as possible.  Each line must speak, must communicate, clearly and cleanly.  You can see where I second guess, as my line hesitates, it stutters or stammers.

I feel like I am just learning to spell. I have backwards R's and K's, my grammar is atrocious, but I can at least form coherent sentences that communicate.  Simplifying line is probably the hardest part.  It is easy to communicate with lots of words, but real poetry comes in the finesse of simplicity, each word or line charged with meaning.

So here are the pictures which resulted from this marathon.  By the last hour I was mentally and physically exhausted.



















Thursday, November 18, 2010

Back to the ol' drawing board

I haven't posted in a while. My whole life has been super hectic.  My whole routine was broken up by a 3 day Bardo retreat and a 5 day Dzogchen retreat- for those who are unfamiliar with these terms, they refer to teachings contained in Vajrayana Buddhism ( "Tibetan Buddhism" as it has been called.)

My whole life exploded, and I am sifting through it all and making sense again of whatever was left at the end. Now that I am back at art again, my aspirations and desires are getting stronger and clearer- though i can honestly say I almost wanted to run off, learn to translate tibetan and become a monk.  The tradition is just that strong.

No worries though. I will not abandon my calling. Not yet.  I had went to the National Portfolio Day last saturday and found out that my work is good enough to get me in to sheridan, if I apply it to my portfolio when the time comes.

Of course, I still have much to do.  Perspective and Character Design are two of my weakest areas, which are my next task to learn a bit about and get decent at.  This part I am most intimidated by so far, as character Design requires such an intensive use of the creative imagination, a thing I am terrified of and also feel inadequate with.  I am intimidated by it, especially when i see the wonders that come out of other peoples imaginations.  I have so much longing to tap into it that i feel estranged from it.

There have been many  internal battles, emotional struggles and also revelations.  I will get to these soon enough, now that i am back and rolling again.  For now, here are my life drawings from this evening.

I noticed tonight that my skills seems to have taken a massive improvement.  Whatever I have been doing seems to be working.  I am looser, and my lines are getting more confident.  So much of this really seems to be about letting go of tension, and feeling energy flow.  This is very hard, as we are so used to being tense.

So, enjoy for now.  I will update in the next few days with a little bit of food for thought.


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Thursday, October 21, 2010

More life drawing

Just some updates from tonights life drawing session.  The few I am happy with.










Wednesday, October 20, 2010

The Fall, the serpent and the magician

Brief post today.  Just got back from this weeks tarot card.  The magician.  The Transparent Intelligence. This card depicts the ideal state of consciousness for creation to occur.  its number is 1, symbolizing focus, concentration, creativity.  It is also observation, necessary for any progression of any kind.  We can not make progress without first observing the conditions within which we are working, or trying to effect change.



I have been down on myself.  Old patterns die hard.  Impossible, i say to myself.  I feel despondent at all the time I have wasted not drawing.  I look at people 10 years younger than me and think that I will never be that good.  Why bother?

Of course, these voices or internal dialog are just bad programming.  Everyone has learned what they do, through toil and work and repetition.  That is one big lesson- repetition.  And time.  It all takes time.  Thus the old alchemical saying "festina lente" which, for the non Latin inclined, means "make haste slowly." (And just for the record, I am one of those non-Latin inclined.  However, reading lots of alchemical literature, one gets accustomed to certain phrases.)

In alchemy, the matter being worked on had to decay before it could be worked with.  The Masters called this process putrefaction.  The matter would break down into its component parts, an almost black tarry sludge.  It was from this that the elements of the philosophers stone would be built; and the putrefaction was a means of breaking up the matter to get at the various parts.

This process is symbolized by Scorpio, which rules, as it so happens, the reproductive organs.  This is where the creative force tends to reside in man.  It is the libido, the creative force from which all forms spring.  In the human machine, it can be directed outwards in the production of offspring, or external reproduction, or it can be internally directed, up the spine to the head, where the force finds expression in the mental faculties of creativity.

This force is symbolized in various ways in tarot.  In the fool, last weeks card, the sun in the top corner is situated in the corner of the scorpion (on keys 10 and 21) which of course corresponds to Scorpio. It is the infinite life energy, chi or prajna, the Ruach.  Its physical manifestation and symbol is the sun.  This same energy is in us and expresses itself through us.

What does this have to do with the magician?  Well, the "magician" is a master of creative expression.  The life power flows through the magician, as the magician has rendered himself into a clear and fit channel for the one life.  He is a healthy symbol for the ego, the "I" in us, which is a point of focus for this infinite energy, and which the magician directs to create works of change, of art- he is a mediator between this Infinite Force ("God") and the environment.

As well, we see a serpent on the magician, a serpent biting its own tail.  Traditionally this is called the Ouroboros, and represents eternity, infinity, creation, infinite energy.  The serpent force, which we will come to eventually, is about the magicians waste, and holds on his white robe, symbol of his being clothed with the pure perception of reality. As well, the sign scorpio, related to the tarot card death, is associated with the Hebrew letter Nun, which literally means "a serpent." (and on an interesting side note, the season related to Scorpio is fall, and of course contains Halloween in its turnings...)


Thus we see the roses and lilies, both creations of human intervention, "cultivated" flowers.  They rise up from the ground, which is symbolic of the subconsciousness.  The magician using his wand (paint-brush or pencil perhaps?) channels the creative force downwards through himself, and thus out through to the environment.  His tools are his means by which proper change is effected.

Care of Alex Grey

I bring all this up because this card, and this day, was a nice little recharge.  I put down the pen, and just was today.  I pondered, i reflected.  I try so hard, and I get myself down.  But through focus, concentration, and observation, one can learn.  Anything can be learned.  though one must not be afraid to fail.

If one persists at something, it is inevitable that the current conditions of ones self and life will have to be broken down.  There are always habits we have picked up which will resist our attempts at change.  Any desire we formulate will be other than where we are, thus the conditions within which we find ourselves in at the time that we formulate the desire must be broken down. We must change ourselves, which takes on the energy of a small death.

The Tarot are a means by which we can begin to reformulate the image of ourselves, and our capabilities.  As we learn their symbols, we are giving instructions to our subconsciousness to change parts of ourselves.  The images are clear and clean suggestions of different parts of ourselves; 22 facets of our consciousness, as well as the consciousness of God.  By them we align ourselves with the force which created us; we make the inner like the outer, the microcosm like the macrocosm.  The cards are a magical alphabet of sorts.  They are to magick what the periodic table is to chemistry; and as the periodic table defines the elements of the outer world, so to do the tarot define the elements of inner consciousness.

It would seem that this blog is becoming progressively more aligned with my esoteric pursuits as it is about my artistic pursuits; which does not really surprise me, as I am now viewing these two as one.  Most of the great Masters I admire and aspire to were devoted to the mystical and creative life- being such as Michaelangelo, Raphael, Titian, Leonardo, many nameless alchemical artists, Van Gogh, Alex Grey... art can be a vessel for Divine Revelation.

So perhaps I will blog more about my esoteric pursuits here as well, as I learn to integrate them into my artistic path.  I will bring in more later.  For now, shower and some more tarot work.

Tuesday, October 19, 2010

Life drawing

Just got back from life drawing. New location. Artists 25 studio.  Small, very nice, good lighting and a good deal (2.5 hours for $8.)

a few 2 minute or so gestures.

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Been having a lot of struggle today. I knew that getting back to my art would open a lot and be hard, but I hadn't realized how hard.  I have so much energy that I am on the brink of bursting.  It is almost painful.  So much judgement, so much self criticism. Badly programmed brain.  

I have second guessed myself multiple times today, wondering whether I can really do it, if I have the ability. It is so frustrating have so much I want to express and yet not being able to.  Hand just doesn't respond, doesn't follow.  I don't have the tools yet. I struggle.

I won't give up however. I don't have anything left except this, and I won't let this go.  i will struggle on.

festina lente.

need a hand?

As I said earlier, I am working on hands, and I would post my explorations soon.  So here they are.  I have been looking at a variety of references, though the main book I am working from is "Figure Drawing: Design and Invention" by Michael Hampton. It present an excellent system for building up form from simpler structures.  It is also really helping me to think in terms of basic forms.

Hands are great practice at this, as they are essentially many simple forms organized in a dynamic and complex relationship.  They are also highly expressive and show many variations.  The other great things about hands is that you carry them around with you.  You always have a model hand to draw if there is nothing else.

This happens to me a lot, thinking I have nothing to draw.  This is of course stupid, and also just an excuse; as there is ALWAYS something to draw.  However. having a hand on me just means that I have really no excuse, as they are fun, expressive and challenging.

So here are some hands I have done this past week or so.  I'll post more as I do them.

Structural studies from the above mentioned book.

The basic form of the palm area. A modified rectangle.

Finger forms.  Built up from lines and sphere to cylinders, and then joints and flesh.

More joint studies.

Applying what I have learned.

 More application.

 A few more polished off drawings showing volume and form.

Such are a few hands.

Thursday, October 14, 2010

May suffer from over sensitivity

Just got back from Life drawing at the Toronto School of Art.  This is great life drawing.  Excellent models, 3 solid hours of drawing, and only $10.  They run them 3 days a week, with 3 separate sessions on Sunday alone.  That is 9 hours of life drawing.  Soon I will do this- sadly most of my Sundays this month are booked solid.

Today was pretty good.  Gestures are still too uptight.  I am finding that my internal dialog is not vibrant enough, nor am I loose enough.  I suppose being out of practice for so long will do that to you.

I think the biggest thing I learned today was about sensitivity.  When I am open, I can be a very sensitive person- sensitive to images, sounds, emotions; especially when it comes to the human form.  It is just so beautiful! Over the years I have created many defenses for this, for a number of a reasons.  The bottom line, though, is that for an artist, having walls up is bad.

As soon as I found myself being more open, more accepting, and more sensitive- basically "trying" less, and "feeling" more, my drawing began to open up.  There is some intangible essence or power that comes through when we open.

Thomas Aquinas said "Our whole business in this life is to restore to health the eye of the heart whereby God may be seen."

It is a long practice, life long; but each moment, each new experience, gives us an opportunity to open more- to look, and to SEE.  To see into a thing, to pierce its external shell, and to really know it form the inside.  The only way we can do this, however, is by opening up ourselves.  Our heart is the means by which we perceive this inner essence.  No heart, no sight.

"Art does not reproduce the visible; rather, it makes visible." - Paul Klee

What we see with our eyes is a veil, a covering.  It lies to us.  Real sight is had with the whole being, the Eye of the Soul.  The only way to get there is by being sensitive.  Being sensitive to each line, each movement, each nuance.

I found that if I relaxed, this opened me up more.  Relaxed my line, removed pressure, exhaled and surrendered.  This is hard however.  We have so much tension most of the time, and so many internal dialogs.  Besides training in the tools, it is just as essential to train in ways to release, and to be sensitive to everything around us.  When we are judgmental, when we enter with preconceptions, we are closed off.  We must let go.

This, I know, will be an ongoing process.  To get that out, to get out of my own way, is the first big hurdle.  To learn how to stop the train of judgmental thoughts.  Otherwise, progress will be slow.  I need to push myself.

Okay, here are some photos from the session. I am hoping to get my real camera online and start getting better pictures of these- so bare with me...


warm up doodle


5 minutes.  This is where I started being a little more sensitive to my line-work.

5 minutes.  Proportions are a bit off, but I like the form.

10 minutes.

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 Thats it for now.  I am working on Hands a lot recently.  Ill post up some thoughts and sketches soon.