In the opening scene of the classic comedy What About Bob, we see a perplexed Bob Wiley, played by Bill Murray, contemplating his fate of stepping outside the door of his apartment and onto the streets of New York. He quickly becomes overwhelmed by his fears of just about everything and everyone in the world.
As Bob finally meets with Dr. Leo Marvin, played by Richard Dreyfuss, he sits in awe of the prominent psychiatrist’s suggestion to start with reasonable goals. “Don’t think of everything you have to do to get out of the building, Bob. Think about what you have to do to get out of this room,” says Dr. Marvin as he hands Bob a copy of his book Baby Steps. Comedic escapades ensue as Bob applies life-transforming small habits to the bigger complexities of life.
If it’s difficult for you to set—and maintain—your goal to draw regularly, try the advice given to Bob and take baby steps toward an easy and satisfying drawing habit.
While paging through Charles Bargue’s Drawing course book, Scout’s eyes lit up as we came upon the print of the plaster cast torso.
“It even has block-in lines!” she said enthusiastically, referring to the angled directional lines that would help her depict weight distribution of the figure’s muscles. We promptly bookmarked the page as the subject for her drawing session.
Choosing a subject to draw is an important aspect of the drawing experience. Your subject should strike an emotional chord that stimulates your eye, builds your skills, and fits your purpose for drawing.
The world can be a crazy place these days. Ignoring the disturbing news of cultural upheaval and catastrophic disasters can be difficult, to say the least. Times like these make me think back to when I was a kid, and how easy it was to escape the world’s problems by hiding out in my bedroom and drawing pictures all day. Continue reading Drawing Out Your Inner Child→
As we welcome new Level 1 students to Drawing Lab sessions, our courageous Level 3 sketchers continue to lead the way, forging ahead to explore the possibilities of realistic and abstract drawing.
In the above drawing of a sand dune, youth student Jesse ventures out of his comfort zone to learn blending techniques of colorful Tombow pens. The realistic ridge of the dune is defined by a curved contour edge. Bold highlights and richly layered shadows show 3-dimensional form of the massive dune.
But we also become intrigued with Jesse’s experimental process of blending ink colors. We begin to share his fascination with orange, yellow, and black ink commingling with the paper’s surface. The line between realism and abstract drawing is blurred, and we are enthralled with Jesse’s subjective experience with materials as much as the image of the sand dune itself. Continue reading Realism or Abstract? You Decide→
The mountains of Santa Cruz are a great place to practice drawing fast. While on a mountain bike ride, I completed the ink study shown above in just a few minutes. Being able to draw anything, anywhere—fast or slow—is how I like to roll. Continue reading Fast & Furious or Slow & Curious?→
From our earliest days in school we learned that copying other students’ work could result in serious consequences, sometimes even a failing grade. But if you are a drawing artist, copying the other guy is a necessary virtue for improving your skills. Continue reading It’s Okay to Copy the Other Guy’s Drawing→
Much is written about the obvious connection between seeing and drawing. A lot of my time spent with students concerns training their sense of sight. Consistency in vision is an essential component in learning to draw. But what if there is another sense that is equally important in guiding you while drawing from observation? Continue reading There’s More to Drawing Than Meets the Eye→