observation

Ruskin believed that everyone had visual as well as verbal capacities that needed to be developed in order to become a complete human being, and that the apprehension of truth depended on the power of observation. – Robert Hewison

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 John Ruskin was an art critic of the Victorian era. He was an art patron, a draftsman, and a prominent social thinker of his time. I use this quote because we had an interesting conversation about observation, the truth and the illusion of truth. A lesson in drawing sometimes becomes a lesson in life.

I want to tell you we begin with line but more accurately what we begin is a practice in observation. I teach drawing students how to see, and I direct them to put down what they see. I acknowledge the challenge in this exercise considering it is their first long assignment and it is also complex subject matter. The group took on the challenge with no resistance and overall did a great job.

We discuss quality and variety of line. We talk about developing patience. A number of students share they didn’t know they could draw a complicated object like a pine cone. I see the satisfaction in their faces as they share process and result.

One student brings up the idea of a true line and a not so true (stylized) line. The discussion is a good one considering this is only the beginning. We are off to a fine start.

Here are a few examples of the completed studies.

Close Withering by Alfredo

Citrus by Alejandra

Complex pinecones by Ryan

Step 1, Pinecone by Kiria

Cracked by Daniela

Observation: Pinecone by Casey

Chili Pepper by Mat

Red Onion Vertical Bisect, Casey

Susan ↓ is an advanced student. Her work includes contour study (the assignment) she also uses other elements of design.

The Water Sun by Susan

about the line – inner and outer contour study

New semester. New group.  After the first day of drawing, one student notes the work is like meditating. It is, I respond. I organize my drawing class like I might organize a Yoga class, it’s an excellent observation.

I really, really want to get this, another student tells me. You will, have patience. But I want to get it now! I have to smile – You’re ambitious, I say.

A returning student tells me quietly, I am so glad to be back in your class. Life is so busy, I just want to slow down. Welcome back, you know you’re in the right place then Cassidy.

It takes this group 2 days (6 hours) to complete this first assignments in careful and slow observation of a complex – natural object. They are nervous to start working with marker As they get going, they do just fine.

Below are some examples of their completed drawing. A few of these students have never drawn before and a few are experienced. I won’t say who is who. I suspect it will be a very good semester.

Drawing 1↓

Heather’s Pinecone

Terry’s Bell Pepper

Cory’s Citrus

Julio’s Onion

Andrea’s Citrus

Drawing 2 ↓

Robert’s Pinecone

 

Cassidy’s detail drawing of a Magnolia Seed Pod

Charles’ Stem and Seeds

 

a fine line

Line is a rich metaphor for the artist. It denotes not only boundary, edge or contour, but is an agent for location, energy, and growth. It is literally movement and change – life itself. (Lance Esplund)

….and we’re off.

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New semester, new students, new contour studies.

The first critique went the entire 2 hours and 45 minutes. They did get a short break. It was productive and energy was high and maybe tense now and again.  Most everyone had something to say about the process, the marker, the pine cone, and / or my directions. I know I’ll miss some stuff but it went something like this…

It was not easy.
It was so hard.
I thought I wouldn’t be able to do this.
I loved it.
I didn’t like any of it.
I have no patience.
I was surprised by my patience.
I am happy with the drawing.
I like it…yeah.
I’ve never done something like this.
I usually have more…you know…not so many rules..

I especially appreciate that last comment.

The first assignment is a contour study of a complex object. Some students do more than inner and outer contour. They start to add texture.  I don’t believe in stopping progress so I let it them go a bit. The nervousness for the majority of the class comes from the complexity of the subject-matter and the use of marker.

The assignment is such a valuable lesson, working slow and careful and developing patience. Learning to see the edge and translate it into a smooth flowing line and finally creating a flowing composition.

Here are a few samples of some of the completed works.

Kristine’s Pinecone

Manny’s Stepping Stones

Melissa’s Rejuvenated Pinecone

Ale’s Focusing

Sergio’s Pinecone

Kyle’s Calibration

The second semester students have other concerns, though they still have to emphasize contour lines.

Isi’s Delicatus

If they’re inclined they can take the general lesson out into the world –  slow down, think carefully, do mindfully.

“the pine-cone doesn’t lie”

Art is the lie that enables us to realize the truth.
Pablo Picasso

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New semester, first critique. Students put up one wall of very good renderings of a natural object.

I quote Jose, a Drawing 1 student, in this post title.  He says during critique, The pine-cone doesn’t lie.  It always tells the truth. I came back to it over and over and it never changed, it was always the same. I’m the one that changed. I was the one that was lying.

I consider calling it a day, so the class can go home and meditate on that one single thought, it’s pretty wonderful. Jose also notes how he had drawn and redrawn, and because he was not at all familiar with a pine-cone, he was forced to look and then look again, and again. He titles one of the studies CSI because, he explains, if his pine-cone was killed or went missing he would recognize its DNA, because of all the intense observation.

Excellent!

His last (and 4th study) drawing is below.  He only had to complete one, but obviously, he wanted to get it right. Here is a simple (though not so easy) and well observed contour study of his one unique pine-cone.

Pine-Cone Sunrise by Jose

The drawings that follow are all Drawing 1 student’s work.  Some of them have never drawn before. And though the assignment is a focus on inner and outer contour, a few do include texture. Clearly, this group is already paying attention. For the record, they work 18″ x 24 and use a Sharpie Marker…no erasing, forcing them to work slowly and really consider what they put down. It’s not effortless, but they sure make it look that way.  I know better though.

Androa by Alexis

Pine-Cone Slam by Bri

Ultima by Eddie

by Michelle

Recognition by Alberto

Cono del Pino by Kyle

Pillars of a Pine-Cone by Andres

Below are a couple of the Drawing and Composition II students. Crystal (working in oil pastel) and Kim (working with charcoal and conté) have studied with me before. They pick up right where they left off in Drawing 1.

Seed-Pod by Crystal

Pine Cone by Kim

As the students are working they talk about the spiral form that they begin to note in their pine-cone.  During critique when they are commenting on the accuracy of other student’s work they bring up this spiral pattern again. It helps them identify if what the work we are discussing is real (based on what the student sees) or imaginary (based on the imagination). We really are off to a great start.

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…and here is an explanation of the Fibonacci Spiral seen in pine-cones…as well as many other things in nature.

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