On Talking to Yourself

Yesterday was the second session in my current 3-session Nature Sketching Workshop, and I must confess I am having fun with it. I think my favorite part is bringing home the importance of cognizant observation -- and the amazement (of my students) that mere looking is not the same as cognizant observation.

Here's what happens in the class: As part of the landscape sketching instruction, I include (and stress) sketching foreground items such as sticks, pinecones, shrubs, grasses, etc.

I show the students a sequoia cone, and go through the thinking-out-loud process of observing the cone: what is the shape (egg-shaped, with a flat end), how are the scales arranged (diagonal rows, at cross angles in a grid), what does the perimeter look like (very jagged, outlining the scales), and what does the end of each scale look like (a bumpy diamond, with a "kissy-lips" shape). They help select and create the verbal descriptions, and say them out loud.

Then, as an exercise, I ask the students to choose either a sequoia cone or a gnarly stick from my gnarly stick collection and draw it for about fifteen minutes. We don't describe the sticks out loud, as each one is different. As they draw, I go from student to student helping them get the shape right, applying shading, showing gnarliness and wood grain, etc. The results are generally good, and the students end up being reasonably pleased with the results (NOTE: artists are way too hard on themselves).

But then I remove the sticks or cones and I ask them to redraw their subject on a fresh page from memory, without reference to the stick or cone or the previous drawing.

Amazingly, the students sketching sticks they had just examined and drawn for fifteen minutes, often cannot remember the shape of the stick, where twigs protruded, which way the stick curved, or other major landmarks on the stick.

Students drawing a cone, however, can produce a creditable drawing, right down to the design on the ends of the scales. They have developed an internal "template" of a sequoia cone which they can use for later reference.

You'd think that the stick image would be deeply imprinted in one's brain after fifteen minutes of intense study, but I think there is something else going on here, and it has to do with our highly developed left brain, which uses words and symbols to operate.

Since we described the cone in highly descriptive words and related features to known shapes and symbols, then drawing the cone from memory is easily accomplished by applying those symbols and shapes to the paper.

The gnarly stick however, hasn't been "labeled," so it is difficult to remember its amorphous shape accurately. This also makes drawing the stick a challenging task since each line has to be drawn on its own merit instead of as part of, for instance, a "kissy-lips" shape.

The solution to the drawing problem of a loosely structured form like a gnarly stick is to keep up an internal (or if you're alone, an external) dialogue while drawing. For instance, to tell yourself that "this stick is an inch wide and six inches long" or "it is five times as long as it is wide," or "it's shaped like an open-mouthed whale." And to describe protruding twigs: "there are two twigs on top, three on the bottom, and the middle top one forks." Additionally, "twigs emerge at a 45 degree angle" and "the long crack extends from the first twig to the fourth, and has a triangular break in it." "Two knotholes, one is oval, the other is round and both look like volcanoes." Sometimes a negative shape (the shape around the subject) can be described instead: "the negative shape at the end of the stick resembles a dog's head." Descriptions like that.

If you have words to hang a scene on, it is easier to remember for later reference, and it is also far easier to draw it the first time than if you are simply trying to push your pencil in the direction a line seems to go in the scene.

Next time you draw, talk to yourself. You may find the conversation quite stimulating and educational ;o}

p.s. The Journal/Sketching workshop is proceeding quickly -- I'm on the journaling part now! And I'm into the Common Moorhen (used to be the Common Gallinule) page in the swamp book illustrations -- did you know that moorhen chicks have blue foreheads and lipstick red bills? And bright candy-pink skin showing through sparse black hairs on the top of the head? They're a hoot!

For Drawing Hawks and Eagles

Just a quick note: In a recent post I wrote on a raptor sketching workshop I gave, I mentioned the two booklets I prepared for the course. One was Raptor Anatomy for the Artistic Bird Watcher, the other was Sketching Raptors.

I've now put these together into a short book I have named How to Draw Raptors, a Sketching Workbook, and rather than take the time to describe it, I'll just copy the info from its web page for you here:

Written and illustrated for artists of all capabilities, this manual covers the anatomy of raptors from eyes, ears and beak to feet, talons, wings, tails, and feather construction, showing how and why they are unique and the part they play in making raptors the incredibly beautiful and functional predators they are.

Learn sketching techniques and how to get the best results when drawing a moving, living animal; how to indicate feathers with simple strokes; how to use feather markings to indicate the entire feather; the effective use of pencil strokes when shading, and many other details.

Created originally as a workshop manual for birders wanting to sketch live birds at a wildlife rehabilitation center, this 20 page manual is packed with essential information. Its comb binding allows it to lie flat for easy reference and the workbook format allows the user to draw right in the book if desired.

A section on right-brain techniques,with exercises on contour drawing and negative spaces, is included to warm up the intermediate or advanced artist and get the less experienced artist quickly up to speed.

For realistic results, a section on ways to achieve 3-dimensional effects is included. It covers shadows and how they can add shape to a flat drawing, shading with pencil and tortillon or soft stump, erasers and interesting techniques for their effective use.

Templates for drawing raptor heads and raptor talons will give you guidance on how to draw convincing eyes, beaks that would open properly, and translate important information from the shape and size of the skull to a feathered, living bird with fierce, lifelike eyes and glossy beak.

Advanced drawing methods are also addressed, featuring tips and techniques on other subjects as well as birds: hair direction for mammals, symmetry on such things as seashells (this applies to other symmetrical subjects as well, such as bird wings and tails), applying veins to leaves, and shading a furry animal.

If you enjoy drawing animals, birds in general, and raptors in particular, this would be a useful book to own.

The reason I'm putting this on my blog is that I've gotten emails from post readers asking if it's available. It is.

And now I'm back to working on The Green Anole illustration for The Southern Swamp Explorer. The book is supposed to be done by the end of the year and I'm wa-a-a-y behind schedule!

p.s. I'm hoping to get my first newsletter out this coming week. If you'd like to receive it, be sure to sign up for it in the column at right. It will list upcoming workshops and will have a section on sketching tips.