Seeing the forest, oh, and the trees
In The Art Spirit, my pal Bob Henri talks about the importance of that original intention which sparks one to make a drawing or a painting. What caught my interest? And, all critically, how do I hold on to that intention so my art is infused with that interest? It's not enough to decide to draw a tree, one must feel something about that tree and have that feeling right in front of one's eyes and one observes. His advice is to work fast and furiously, blocking in the big masses while the flame is still burning.
My usual technique is to move slowly, with a blank mind. I enter a meditative state and let my eyes cruise around the contours, laying down every line with equal weight until I have explored the whole object. I rarely try to feel anything as I do this but I must be. I choose certain subjects over others because I like them or am curious about them. So I decided to be more aware and to explore some other ways of looking at a tree a few blocks from my hotel.
I spent a good long time working in ink first. I was very into the carbuncles and folds of the tree's skin. As I drew, I became increasingly aware of the tree's colors: it was quite yellow but cloaked in purple, two complimentary colors. I kept thinking about how these colors inter-played and then I painted over my line with watercolors. I was using my new paper, this Yupo pad I picked up on the weekend. The ink went down very smoothly on it but had a tendency to smear. As I painted I was pretty aware of how unnaturally the paint went down, pooling on the paper instead of soaking in. The colors remained pretty vivid, undimmed by the fibers, but it all felt temporary somehow. I couldn't really let go, worrying that the whole thing would wipe of the page when I was done. I also felt like I had a long lens on — I was only looking at each square inch of the tree but had little sense of the whole as I drew.
While the pad lay drying in the afternoon sun, I decided to have another go and grabbed my trusty Japanese journal with its 100+lb paper ( intended for drawing but it'll take watercolor pretty well) and
my Faber-Castell PITT bold brown brush marker. In three minutes, I knocked out a sketch, thinking all the while about the flow and energy of the tree. I did a caricature of the yellow and violet and capped my pen.
Next I took a black PITT pen and thought about the tree's architecture, how it anchored into the ground and how the limbs were bolted onto the spine of the creature. I bore down harder on my pen, drawing firmer lines and painting in more defined shapes of color.
Finally I took my cheap Sheaffer italic pen, loaded with dark brown non-waterproof ink and this time I thought about the movement of the trees, how the carbunckly growth flowed like water or vomit from the trees crotch, how the limbs pulled in different directions and how that tension held the tree together and propelled it into the sky. Now the tree seemed almost serpentine to me, writhing out of the soil, phallic, twisting, alive. The watercolors dulled the lines but it felt okay, as if the fusing the whole thing together.
I look at these four drawings and I'm not sure yet what conclusion to draw about them. I like the earthy energy of my last drawing (as if it was made by a goat or a mole) but there's still something lovely and light about the first bird-like one. Each has something to say in its way, like the varied members of a string quartet, the ingredients of a cassoulet.
One conclusion is clear: Drawing never fails to amaze me; how it can rip open the doors into your head, how it can transform the world and your place in it. Nobody but me can see this process, this unfolding, as it happens to me. All that's left for others to see are the pages in my journal, the ass wipings on paper — but never the feast.
A record of my exploration into all aspects of drawing, illustrated journaling, creativity, and the inspiring aspects of art. By the author of "Everyday Matters," "The Creative License", and "An Illustrated Life" and other books.
Comments
Danny, I agree all four drawings provide a different way of seeing the same object. Personally, I like the first drawing - that tree reminds me of the gnarly eucalypts (aka gum trees) here in Australia.
Posted by: Detlef | March 28, 2005 10:15 PM
Wow. You seem to be back to daily posting again - what a treat!
Your notes on process are very helpful. I think the last drawing is the most interesting, but maybe you needed to learn what you could from the other three to make that energy possible?
I've read about Yupo - interesting to see your response to it as you worked.
Posted by: Liz | March 28, 2005 11:14 PM
Interesting. I have to say I am drawn more (no pun intended) to the last illustration.
Interesting as well to me in that a couple of my recent posts have also been on the subject of trees and here is someonelse doing the same, all be it in a very different style.
Posted by: Charlie | March 29, 2005 08:09 AM
I think it's fantastic that you've taken the time to do multiple executions of a vision while trying different elements each time.
No doubt you'll get four very different offerings.
(the first one on Yupo is my Fav....)
P.S. - Daily post's rock. Thank you.
Harry from Virginia
Posted by: Big Harry H | March 29, 2005 08:39 AM
The first drawing I see an Ent with Ringo's sad face...
Posted by: Maggie Wallace | March 29, 2005 10:12 AM
ah the sound (and sight) of doors ripping open in Danny's head...what a privilege...
Posted by: fern | March 29, 2005 11:02 AM
These are terrific. You've inspired me to do a study with sketching which is something I often to with photography. I like the ass wipings very much. Yes, they are indeed Inspirational Ass Wipings! ;-)
Thank you for sharing your process so freely, Danny. I am grateful.
Posted by: Kymberlee | March 29, 2005 12:19 PM
Your site is the most inspirational thing I read on a regular basis. Can you open up your art bag for us one day--take a photo? I'd love to see what you carry around when you draw.
Posted by: L | March 29, 2005 12:20 PM
I just tried watercolor on Yupo. It IS different but I quite like it. I like the velvety finish and the spontaneous aspect of it.
Like your site too, thanks.
J
Posted by: juliette | March 29, 2005 12:35 PM
danny, 'just had a question for you. when you draw things that are intricate (lots of overlap) do you sketch these parts, or the whole drawing for that matter, in pencil first? i'm trying to come up with a set method. thanks, and keep up the great work. brian dilorenzo
Posted by: brian d | March 29, 2005 02:51 PM
Brian:
I never draw in pencil. I never erase. I never sketch beforehand. What I see is what you see.
Your pal,
Danny
Posted by: Danny | March 29, 2005 03:07 PM
Yupo always surprises! You have a little tree creature within that wanted to be immortalized! :))) wonderful
Posted by: jade | March 29, 2005 05:14 PM
I really enjoyed this post, and your sketches. Have you ever checked out the Painter's Keys website by Robert Genn, http://www.painterskeys.com/? He's this Canadian artist and he writes these newsletter type things twice a week and emails them to you. Genn writes about all kind of art related topics, including Robert Henri, and your post reminded me of a type of essay he would write.
Posted by: Carolyn Pappas | March 29, 2005 05:52 PM
Danny, you said of the Yupo "it all felt temporary somehow". Well, it is unless you fix it somehow. If you run water over your drawing it'll wash right down the drain! I've only used it a bit and don't like it at all but I'm very impressed by the drawing you did on it... that big hunk of a tree is almost fairy-like. You inspire me to draw, draw, draw. some days I do.
Jo
Posted by: Jo | March 30, 2005 01:11 PM
Danny,
I was wondering what type of pen/ink/nib thickness you used for the first tree - the lines came out beautifully!
Posted by: Anna | March 30, 2005 03:48 PM
Danny, I love yupo's slick surface and know it can be a challenge to work but your painting is wonderful. I love the colors and airyness of it, the same time it has dimension.
I like all the other paintings too and think it's fun that you posted them all. It helps us all think about what kind of effects we want and which materials to reach for.
I also think when we do series like this with different tools we force ourselves to look anew each time so we can cope with the different properties of the different tools. All that looking results in more knowing, which we can use in other drawing sessions.
Thanks for such a fun and thought provoking piece.
Roz
Posted by: Roz | April 1, 2005 03:15 PM