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
Your parents probably told you to hang out with friends who will influence you in positive ways. It is important to find the right crowd for sharing new experiences together as well as helping you grow as an individual.
This advice holds especially true when looking for people to learn how to draw with. Continue reading Drawing With the Right Crowd
Creating the illusion of three-dimensional form on a flat piece of paper is one of the biggest challenges in observational drawing. If only we could wave a sorcerer’s wand to instantly make our drawings look three-dimensional. Like magicians, we would be able to create dramatically modeled shadows, realistic contours, and brilliant highlights without effort. But even the greatest drawing illusionists in history agree: the true magic of realistic form begins with a keen eye for accuracy and deliberate practice. Continue reading The Magic of Realistic Form
Showing off our finished drawings to family and friends can be gratifying. Enthusiastic viewers appreciate your techniques and may even understand that you spend many hours improving your skills. But hidden to their eyes is your dedication to doing studies—a most misunderstood aspect of learning to draw from observation.
Studying composition is where the serious fun begins for Level 3 Drawing Lab students. We’re learning to arrange objects on the page, measure accurate proportions, and depict tonal value masses.
After blocking in several basic shapes, then sketching contour edges, Scout (above pic) used a brush to blend lighter and darker tonal values in charcoal. Continue reading Stepping Up to Composition
It’s summer in Santa Cruz and drawing classes at the Scribbles Institute are heating up. Adult and youth students continue to make great strides in drawing from observation and imagination. The drawings of one adult student, in particular, blazed consistently. And to keep the heat on we’re getting a booth in the Church Street Fair during the Cabrillo Music Festival in August. Scroll down for the latest SI Currents: Continue reading SI Currents: Street Fair; Student Highlights; Girl On Fire
Gianna Goodpaster is a Santa Cruz teenager who doodles, draws, and paints. What sets Gianna apart from other students is her quiet, self-determined journey of creative exploration. After viewing the extreme variety of media she experiments with, we’re compelled to jump on board just to see where her extraordinary journey will lead in the future.
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In fact, Gianna is a daring shapeshifter when it comes to artistic styles. During the past couple of years, having her as a Draw to Learn student required me to keep a wide assortment of tools and subject matter on hand. Whether doing study sketches in charcoal, highly detailed ink renderings, or vivid pastel compositions, she shifts creative gears effortlessly. Gianna’s impulse to create is apparent the moment she walks into the classroom. Quickly choosing her materials, she sets her iPod; then explodes with unpredictable, irresistibley cool drawings. Continue reading Gianna Goodpaster Draws Her Future