Thoughts on Drawing

I believe drawing is the single more important skill for any visual artist to acquire, whether they are a painter, illustrator, graphic designer, or fashion designer. It is simply the act of "seeing" made visual. When one learns how to draw, what there are really learning is the ability to see more clearly and communicate what they see or can imagine. Essentially, drawing is a tool for study before it is a tool for making art.

I honestly believe that everyone can draw - some people might just be better than others. I am happy that I took this class because not only did I get to practice my drawing skills and enhance my abilities, but I was able to learn from my peers. Drawing in class forced me to draw things out of my element and in ways I had never tried before. I've practiced drawing from observation and I usually draw from photos; however, I had never drawn an empirical view or played with positive/negative space.  I had always believed that drawing was relaxing, but when taken out of the classroom setting - to draw things on bigger paper than I was used to - it became something that frustrated me.

In the end, this class taught me that drawing/doodling is a necessary skill to have. Drawing is a tool that is stress-free and constantly changing. It is a skill that will help you, not hurt you. I will continue to use the tools and techniques I've learned in class for my other work in or out of a classroom.

Drawing isn't for Everyone

I wish I could say that at the end of these 14 (?) weeks that I find my soul set on fire by drawing. But alas, I cannot. I won’t say that I regret taking Drawing 101—it isn’t the worst thing I’ve ever done—but I can’t say that I feel particularly enlightened by the knowledge and skills that it brought me.

I think I came into this course pretty naïve. I knew that I was, at best, a mediocre artist. I also knew that I had very little interest in changing that. There are some things in life that you just have to accept—and I accepted a long time ago that I would always be fairly mediocre at drawing. Am I better than the average person at drawing? Sure. Am I better than a single person in my drawing class? Not by a long shot! I can appreciate the skills that the people in my drawing class possess and I can appreciate their love of their craft but I, however, will probably never share that love and passion.

Throughout this semester, I’ve learned a lot about drawing skills that I didn’t know before. And I think I’ve grown in skills that I didn’t previously possess. The biggest change I’ve seen, however, is in my attention to the architecture on Duke’s campus. I can’t even walk to class without noticing the patterns of bricks on the many buildings around Duke’s campus or the shape of the leaves on the varying types of trees. While I never again in my life wish to draw a single brick or struggle to draw another tree, I think my life is much more enhanced now that I can notice and appreciate the details in the things around me.

I think the reason that I don’t enjoy drawing is because it is a skill—a talent. You know what I’m good at? Math. I’m as good at math as most of my classmates are at drawing—better, even. But drawing isn’t systematic. It’s fluid. There is no set way to draw—no exact way to move or place your hand. No clear-cut answer or formula to get there. Some people find beauty in that—I find frustration. In high school I played varsity basketball and I also played violin in the symphony orchestra. I was better than average at both. These are both skills that are less systematic than math, but still ones that follow rules—they’re more fluid but can still be taught precisely. There’s a beauty in systems and conventions. A beauty that I, for one, appreciate.

Who knows, though? Maybe if I had picked up drawing at the same age that I picked up basketball (age 10) or even the violin (age 11) then my story would be different. Honestly, second grade me would be so proud that I took a drawing class—all I wanted to be was an author/illustrator back then—but sophomore in college me is pretty glad this over.

Thoughts on Drawing

In high school, I took every art class my school offered. I have always loved to draw, as I found it enjoyable and relaxing and a way to express my interests. However, as time went on, I found myself enjoying art less and less as I found myself constrained by assignment specifics and obligations. While drawing used to be a hobby that I would use to relax, it has became somewhat stressful. In this class, I enjoyed the in-class assignments because they were challenging and we were made to practice different techniques. However, I often felt stressed and didn't enjoy the assignments out of class because I never had the time to put as much effort into them as I wanted to.
As for the subjects of our drawing assignments, I did like drawing some parts of Duke because they were beautiful and challenging. However, I felt like I couldn't be very creative and was forced to only draw certain things, which took the fun out of it. While the assignments were challenging and made me think, I didn't find them very enjoyable and viewed them more as an annoying obligation than relaxing. For me, whenever a drawing is for an assignment rather than for fun, I get almost no enjoyment out of making it, no matter what the subject. In addition to this, I find myself having less and less time to draw for fun as I get older, and it's a hobby that I wish I could go back to but can never seem to find the time.
I'm glad I took this class, because I did learn new techniques and how to apply them to different types of drawings. I hope to be able to draw more in the future, and will definitely keep in mind the skills I learned here.

Drawing at Duke

I love art, but I have found that I dislike drawing. I have always had the best of relationships with painting, and considered myself most creative, expressive, and liberated when working with paints and a canvas. I took Drawing 199 because I thought having a drawing background would give my paintings more strength and character. I think the main reason that I have a distaste for drawing is that I find it infinitely more difficult to express myself. For me, art has always been about originality and freedom of expression; I have found I simply cannot do that with pencil or charcoal. I think this disparity between drawing and painting arises from lack of patience and movement of the medium. With acrylic paints, the medium dries very quickly and forces the painter to blend and adapt to the paint as it dries. I love working with paints because it is fluid and organic, the paint brush becomes almost an extension of my arm and I find myself lost in the blending of colors and shapes. Drawing is so much more precise and meticulous in comparison to acrylic paints.

I have found Drawing 199 difficult for me because, as my first Visual Arts class at Duke, it is much more restrictive than any other art class I have taken before. In high school, I had the same art teacher for all 4 years. He taught me from studio art to painting to AP Drawing, and he had a profound impact on my work. He preached that art takes time, art has no deadlines, and art should be a reflection of what and who you love. I know this same lax environment cannot be replicated at Duke, and of course I understand that there must be deadlines in this course for students to receive a grade that reflects their work and effort; however, this was my first class where art had strict deadlines, and the deadlines came before creative expression. I was also surprised by the number of still-lifes and little room we had for artistic independence in the beginning of the semester.

Overall, I have found my experience with drawing at Duke helpful. Although I cannot indulge and lose myself in my work the way I can with paints, I have come to appreciate the patience and precision that drawing demands. I think that this course will help me in my future endeavors with art at Duke and in the distant future because I have gained valuable skills about persistence, endurance, attention to detail, and patience. I think the beautiful thing about any art class- whether you enjoy it or not- is that you will always walk away from the class with invaluable new skills and abilities that will help you in not only your art, but also in your academic and social life.

A Relaxing Chore

I have a very clear love-hate relationship with drawing. On one hand, drawing relaxes me and does not feel like work. I can draw for hours at a time while sitting in front of the tv or listening to a good podcast or some music. I have done this already for this class many times, mainly on Saturdays or Sundays when I am playing catch up on that week's assignment. On the other hand, drawing can be very stressful when burdened by deadlines and grades, something inevitable in college. When pressured to produce quality drawings week after week, drawing becomes stressful and unenjoyable in a sense. However, it would be unfair to blame this on being enrolled in a drawing class, because the truth is I probably would not be drawing as much if it was not for the class. College just is not an ideal time for me to draw. With so many things available here at Duke and so much work and activities to keep up with, taking the time to draw seems to be too costly.

After placing drawing in such a bad light, I should clarify: drawing is still enjoyable, just not always practical. The engineer in me wants to be the most productive and efficient person possible, and that inevitably involves prioritizing tasks and leisure time. Unfortunately, in a college setting, that optimization pushes drawing out of the picture.

At the end of the day, however, I will continue to draw. I used to draw when I was younger and freer from responsibilities and I know I will keep drawing when I am older, but for now, in this very fast paced and stressful part of my life, I must take a short break.

Emma Gabay - Walt Disney

While Walt Disney made his way to New York City, his backer, Charlie Mintz, was going behind his back. Mintz saw little value in the Disney Brothers because Walt could hardly draw. Mintz set out to create his own studio, convincing the entire Disney crew of animators to join him. Stunned by the betrayal of Mintz and his employees, Walt vowed never again to work for anyone but himself in August 1927. This was a defining moment not only in the history of Walt Disney Studios, but in the history of American entertainment.

Riding back to California, Walt sketched almost every type of character that was already used by other cartoon makers. His mind alternated between his friend backstabbing him, terrified by the need to start all over, and drawing an entirely new character. Inspired by Charles Lindbergh’s solo flight across the Atlantic, Walt drew a story about a mouse that builds a plane to gain the attention of a girl. His name was to become Mickey Mouse.

Some would say that Mickey Mouse was much like Walt himself – he often failed, but always bounced back. When faced with a setback, he would get up, dust himself off, and start all over again. Turning Mickey Mouse into a success was to become a test of perseverance and faith. Trusting in his own creative judgment, Walt had his team work on a third Mickey Mouse cartoon called “Steamboat Willie,” which was influenced by Charlie Chaplin. He needed a way for his cartoons to stand out among all other cartoons. Walt wanted more than just sound and music to the cartoon. He insisted on music match-up. His creation made history.

I grew up around everything Disney. Walt Disney may not have been able to draw much, but he is an “artist” to me. His ideas and sketches are what brought Disney characters to life. Walt Disney created much of the early animation himself and realized he needed Ub Iwerk to help him clean up his final designs. In the end, Walt Disney was able to make Mickey Mouse entertaining as well as educational. 

Walt Disney’s entire industry all started with a dream to carry the wonder of childhood to people of all ages. Walt’s dream fueled a great comeback:

“I only hope that we don’t lose sight of one thing – that is was all started by a mouse.”

References

Barrier, Michael. The Animated Man: A Life of Walt Disney. University of California Press, Ltd.,

2007.

Landry, Robert J., et al. A Mickey Mouse. Edited by Garry Apgar, University Press of Mississippi,

2014.

Susanin, Timothy S. Walt before Mickey: Disney’s early years, 1919-1928. University Press of

Mississippi, 2011.

“That It Was All Started By a Mouse.” Youtube. Uploaded by, Julianna Bove, February 22, 2016, https://www.youtube.com/watch?v=zBNXOvTJmwA.

Philippe Vandenberg, by Jahaan Mukhi

Philippe Vandenberg, by Jahaan Mukhi

“During my youth, I was forced into a system I didn’t believe in,” Philippe Vandenberg

    The above quote by Phillippe Vanderberg came from an interview with fellow artist Ronny Delrue, regarding his upbringing in Belgium.  It stands to illustrate the philosophy behind much of his work and was part of his unyielding spirit that made him a cult favorite among so many. "At the heart of the Philippe Vandenberg's work is a primal poetry, one that emerges both from the images he brought to life and from his formal invention".

    I chose this artist, not only because his art really spoke to me, both stylistically and metaphorically, but because I relate to his ideologies and upbringing. In India, I was raised in a society and school bound heavily in rules, and love the idea of setting free on a canvas, unconstrained by style or theme. Each of his works is unique in that he almost goes out of his way to make sure he isn't conforming to any particular style or practice, and the results are truly spectacular. 

SELECTED WORK

Philippe Vandenberg, De ogen (The Eyes), 1994

"A key aspect of Vanderberg's paintings is his treatment of surface--his emphasis on accretions, accidents, and reworkings--is of equal importance". This is especially seen in the below painting. His work seems to be covered with grubby, muddy strokes, representing the organic process of painting and repainting. This leaves the surface of his paintings almost as rough, primitive and violent as the imagery they represent.

Philippe Vandenberg, La Notte (The Night), 1990.

In this next work, we see the artists signature style of starting with an abstract composition. After which he layers onto it cartoon figures, depicting everything from bizarre acts, like what appears to be a man drilling into another's head or a couple in bed. A key aspect to draw from this shows how unconstrained by themes or styles this artist is, as he seems to go wherever his mind takes him. He could go from depicting cheerful picnics to a lunatic asylum. 

Philippe Vandenberg, detail of No title (From the book Il pleut des bites [It’s Raining Penises]), 2000

Once again we see how this sketch not only refuses to conform to a particular style but also just shows the artists sheer lack of care, regarding the rules or thoughts of others on his work. And although this drawing is different to his previous abstractions It is similar in its attitude and serves to demonstrate that the artist goes wherever his wits taken, unstoppable by anything.

'

WORKS CITED

https://search.proquest.com/docview/1328031065?pq-origsite=summon&http://www.nclive.org/cgi-bin/nclsm?rsrc=315

http://go.galegroup.com/ps/i.do?p=AONE&u=duke_perkins&id=GALE|A325892869&v=2.1&it=r&sid=summon

https://www.artsy.net/article/artsy-editorial-cult-artist-demanded-total-freedom-cost