Figure Demos

In line with recent supplemental posts as of late (pen & ink here and comics poetry here) I never have any of the originals as they are all rolled up and given to whoever is modeling, since they don't make nearly enough to do such a hard job. In a couple of these posted pics (the triptychs) there is a progression from quickest to most developed, value-wise. There's still significant residues of underlying pencil marks to show the initial attempts at dialing in the gesture. That expressive line-weight variation is the finesse I see lacking in the majority of digital drawings - with some notable exceptions (Peter Dunlap-Shohl and Fiona Staples), and it's been a growing concern and regular occurrence with students who want to work digitally in drawing classes. I had an epiphany recently to just limit all drawing students to analog in meatspace. There's something about the spatial experience and tactile aspect plus depth on the pictorial plane. The oft-repeated excuses "it's easier/faster/cheaper" is a profoundly ignorant thing to say to an art teacher by the way. That laziness is quite often reflected in the quality of their work. Similar lessons in focus is behind a peer in the department's exercise in limiting the number of exposures a student can take as opposed to the infinite number of digital snapshots available.

After cresting the 50-hour per week threshold it becomes a logistical impossibility to do my job as good as I should ie get everything done I have to do esp. paperwork, emails etc.), especially if you insist on adhering to the no-fly zone around the two days of the weekend reserved strictly for Significant Otter or my own work (including blogging/social media). Nevertheless the cliche that I am inspired by my student's work is at it's most evident when my tired ass still insists on getting up early as usual - more the cat's fault than my own personal morning habits - and making my own art. The most humbling of all is seeing folks so much more better than me, and/or accomplish more than I wish I could get to if I weren't so damn busy teaching. Also there's the humbling experience of seeing firsthand truly amazing art being made by someone who will in all likelihood never draw again after the class is over. Folks like athletes and science majors who the Beginning Drawing class is a three-credit requirement for the degree or as an elective. Paradoxically they are comparatively far less needy than an art major, and hockey players and volleyballers the like know the value and crucial importance of discipline & practice.

Some teachers don't do demos in front of everyone, maybe worried they'll undermine their authority by making some mistakes. Fortunately I have no shame, and think it's invaluable for them to see someone screw up. I often deliberately try to switch things up and experiment outside of my comfort zone ie using the normal tools of the trade. Even tricks like holding the pencil during doing 1-minute gestures in a different grip so as to effectively short-circuit the tendency to draw from the wrist + gripped tightly with fingers. It also enhances the extension of vision of pose to paper, working from the arms and shoulder, while standing on one's feet at an easel. Plus then grabbing a chunka charcoal and "see what happens" - the mantra I use more & more. Not caring anymore can be creatively liberating.