(Added the shadow color before the cookie was dry, and the yellow bled. Whoops!)
Saturday night, as I’ve mentioned, is one of the best parts of my week. My boys go to bed early these days—7:30, ever since the time change. (Ahhh…) Rose and Beanie watched S.H.I.E.L.D. with Scott. And Rilla and I cozy up on my bed to listening to our current audiobook—right now we’re midway through Matilda, having had such a delightful time with The BFG—and our sketchbooks.
Sometimes we start off with a few short art videos on YouTube for warmups. Lately we’ve had some of our most fun bouts of clip-watching yet, because we have discovered Koosje Koene’sDraw Tip Tuesday. Koosje is a Dutch artist who teaches online art classes at Sketchbook Skool and via her own site. Her clips are clear, fun, and super helpful. Rilla and I are having the best time making our way through all of them. I’m learning a lot!
I’ll share only a few here. It was hard to choose which ones! You can click through to see the whole series. We have subscribed to Koosje’s Youtube channel so we won’t miss anything.
“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”
Such a good point. It’s because you can recognize what good art (writing, music, etc) is that you know yours isn’t good…yet. And so the daily habit becomes almost an imperative, if you want to improve. My writing is best when I’m writing every day. If I keep up the sketchbook habit for eight or nine years, I just might be able to draw the way I want to.
The Basic Line Drawing class at Creativebug led me to the blog of its instructor, illustrator Lisa Congdon. Lisa and her work have galvanized our artistic pursuits around here, especially Rilla’s and mine. Something she said in one of her videos really grabbed me: a while back, she decided she needed to improve her hand-lettering skills and decided to practice lettering every day for a year. Now her illustrated quote prints seem to be among her most popular creations. Her work is quite wonderful, and I love the idea that an already accomplished artist challenged herself to develop new talents by committing to practice every day for a year. This ties in perfectly to the habits posts I’ve been working on. Daily practice, even if some days what you produce falls flat.
Just like the actor who yearns to be in a band, I’m a writer who wishes I could draw. Draw really well, I mean. I have so many artist friends whose work knocks my socks off. Watching them at work—oh, that’s the best, witnessing their command of line, the rapid unfolding of story on the page. My own work is so internal. All the color and life it possesses comes from within, from a store of words, ideas, memories, experiences—like Frederick the Mouse in winter, calling up the colors and stories and sun-warmth he stored away during the rich seasons. I love this process, I wouldn’t be me without it; but there are times I yearn to grab those colors and pour them directly onto the page without having to first simmer them in the crucible of my own mind for so long.
Not that I don’t think visual artists transfigure experience in crucibles of their own—I don’t mean that at all, and perhaps my metaphor is running away from me. What I mean is, there can be an immediacy in drawing and painting—you see it, you sketch it, you have it—that is wholly unlike the way writing happens for me. I suppose the place I find immediacy in writing is right here, on the blog, where, as I’ve said, I try to write more rapidly, in what I’ve come to think of as a kind of mental freehand. And the thing I love about drawing, clumsy as my skills are, is that the words part of my mind is actually silenced for a time. I think drawing may be the only thing I do where that is the case. I think in words, I see them scrolling across the screen of my mind always, always—when you speak to me, I see the transcript of our conversation. While things are happening, I’m searching for the words to recount the experience—it happens automatically, I can’t not do it. I first became aware of it on a plane headed for Germany when I was fourteen years old. I was frustrated that I couldn’t just be IN that moment, living it—I was already writing it up in my head.
I remember once telling another writer friend, as she described a similar experience: Oh, you’re like me, you think in narrative. I don’t know what it’s like to live in a mind that doesn’t work this way—except for those brief flashes of silence that come while I’m sketching. And yet I’ll go years without drawing. My skills are elementary (I can go a bit beyond the stick figures I was joking about the other day, but not far) but I know that, like all skills, regular practice would improve them. And so (to come back to my point at last) I was charmed by Lisa Congdon’s determination to hone an aspect of her work by doggedly doing it every day for a year. It’s a simple and even obvious notion, but how rarely such persistence occurs to us! Or occurs in practice, even after we’ve made the resolution.
…I decided to do a painting a day for the month. I didn’t put any restrictions on myself and I ended up spending hours each day on them. I finished out the month, but it was stressful. In May I did it again but my rules were that I would limit it to 1 hour and I would only paint food. I finished that challenge as well but I felt too tied down to that theme and I didn’t experiment enough. I picked up the sketchbook I’m using now last October and I started painting in it. Something clicked and I really liked how the paint went onto the paper, its size, the fact that it wasn’t a gorgeous sketchbook. I kept painting in it so when January came it just flowed that this would be my daily project. I decided to post them all on Instagram to hold myself accountable to painting everyday.
When I went to Jennifer’s Instagram account (@augustwren), I was blown away. I think what I like best is that she posts a snapshot of the day’s painting alongside the paints and brushes she used to make it.
Kotor Montenegro by Jennifer Orkin Lewis. Image source: Instagram.
“I’m in Venice, these are some things I saw in shop windows.” Image source: Instagram.
Scottish Sheep by Jennifer Orkin Lewis. Image source: Instagram.
“I’ve never really thought of myself as particularly disciplined, so I have surprised myself. I have loads of 1/2 finished sketchbooks on my shelves. A great result from the practice is I now have hundreds of pages of personal reference material. I’ve gone into it to look for color combinations for projects, for the shape of a flower, a technique.”
The obvious conclusion to this post is a resolution to work in my art journal every day for a year, but do you know, I’m terrified to make such an avowal? I always feel like announcing a plan on the blog is a surefire way to stall it. So no public declarations. Just a tiny, quiet—resolve is too binding a word. A notion. A hope. Last night after the boys were in bed, while Scott and the girls were watching a movie, Rilla and I worked in our journals. We used the Lisa Congdon piece at the top of this page as our inspiration. I’ve got Lisa’s 20 Ways to Draw a Tulip book and right now I’m in the copying stage, just trying to improve my own command of line. Got a long way to go. I added a fern to my sketch, though, figured it out all by myself using photo reference, and I’m pleased as punch with it (while simultaneously nitpicking its flaws). My writerly affection for circular structure demands its inclusion at the end of this post, but you that terrifies me too! Well, I once posted a story I wrote when I was five years old. My mother saved it for me and now I look at the fledging handwriting and nonsensical dialogue (“We will have to take care of it. If we don’t it will die.” “OK. Let’s go to the store and buy a big Ice-Cream.”) with real affection. Maybe in a year or ten I can feel the same way about this.
A different kind of copywork. Rilla likes to work in miniature and I like to eat up the page.
November 25, 2013 @ 7:20 am | Filed under: Art, Books
“Mommy,” asked Rilla, “how do illustrators make books?”
She knows how the writing part happens, or at least the part of it that involves someone stalking down the hall into the kitchen, muttering, staring abstractedly into the open fridge, oblivious to questions, and then disappearing back behind a closed door in a room with books piled all over the place. She wants to know about the important part, the pictures.
I start to answer with words, as is my way, but I think better of it and, on a hunch, Google “Eric Carle interview video.” As I hoped, treasure awaited us at the other end of the search button.
ThingsI didn’t know: that Bill Martin Jr (author of Brown Bear, Brown Bear, What Do You See?) couldn’t read until he was twenty! And he wrote the rhythm of his stories first, then put in the words? Astonishing.
Eric Carle speaks of his own struggles in school under a strict disciplinarian teacher. “Back then, they didn’t recognize whether you were learning disabled or whatever. But I’m sure I was.”
And all the while we’re watching him make a bear in collage. I love how he cuts out circles for the bear’s eyes and turns them into ears.
There are many more videos of Mr. Carle at work. Rilla liked this one about her favorite book, The Artist Who Painted a Blue Horse.
Afterward, we found this nice video for an easy Eric Carle-style collage butterfly project.
So much of my role with Rilla is staying out of her way. Giving her vast stretches of time to draw and play, giving her space to get messy in. (Actually, she’s kind of a type A artist—very precise about her materials and workspace.) And of course strewing, strewing, strewing, the good old Sandra Dodd coinage* that captures the essence of my approach to family life: leave neat stuff where the kids can find it—and be around to talk about it when they’re ready.
She spent half the evening working away at this owl. Yesterday it was a pair of goldfinches, because they’ve been delighting us at our feeders.
Here’s the book that has captured her fancy: Drawing Birds with Colored Pencils. Amazon tells me I bought it in August, 2011. It saw a brief period of use then, with Beanie I think, and has mostly lived on the field guide shelf until now. I don’t know if it was chicken or egg—whether Rilla found the book and decided to dive in, or went hunting for help because she wanted to draw birds. I’ll ask her tomorrow, if I remember. All our drawing and nature books are stashed on shelves in our dining area, right behind Beanie’s chair and directly in Rilla’s line of sight.
*Sandra’s strewing page begins with a quote, “I just strew their paths with interesting things,” captioned “long ago, AOL homeschooling boards.” I was there, reading along, nursing infant Jane, when she wrote it! And now, many strewn paths later, Jane’s preparing to head off to college. We made the first big dorm shopping expedition today. I can still see those early AOL conversations scrolling across my screen—I got my first modem and my first baby in the same month—and thinking, Ohhh, this homeschooling thing has possibilities, I’ve gotta talk to Scott. Amazing.
The parent panel was surprisingly united on several points. “Makers gotta make, so if you can’t get their stuff (maker treasure) under control just find a way to live with it.” “Kudos for letting your kids disassemble, repurpose, void warranties, and explore fearlessly!” “Allow projects to take time and make room for play and exploration–even if it means lots of projects are in progress at once (if you aren’t going to work on it in the next six months maybe it can hang out in the back of the closet for now.)”
Whenever I speak to homeschooling groups, I urge something similar. Never underestimate the importance of freedom to be messy. Creativity is a messy, messy business. Art is messy. Writing is messy. Sewing, woodworking, robotics, cooking, all these awesome pursuits we want our kids to dive into, all these handcrafts and skills we love to see them develop—they require room to get sloppy. The paint-spattered corner, the room abandoned to fabric scraps and bits of Sculpey, the table overtaken by wires and circuit boards…
I know it isn’t always easy, especially for type-A parents, to live with the clutter and chaos that so often surrounds a creative mind, but there are ways to compromise. For us, it means keeping the front of the house reasonably tidy, one main room where people can count on an uncluttered space, and letting the rest of the house wear a jumble of raw materials with abandon and zest. The girls’ room is overrun right now with wand-making supplies. The house smells like hot glue. Every time Scott looks at me he finds another piece of glitter on my face—I don’t even know where it’s coming from; it’s in the air.
Along with Freedom to Be Messy goes Lots and Lots of Down Time…that’s part two of my refrain: give ’em time to be bored, time to stare into space, time to tinker, time to obsess. So much of my work as a writer happens when I’m far from my keyboard…I’m writing while I’m gardening, while I’m doing dishes, while I’m curled up under a blanket doing a crossword puzzle. I may look idle, but I’m not. Things are churning in my head. Scott used to do his best writing on the walk home from the subway. Now, far from NYC, sans commute, he stands in the backyard, his mind working while Huck runs circles around him. Our kids know that we’re absent sometimes—lost in our thoughts, working something out—and they understand, they know we try to make up for it by being extra-present, fully engaged, in other parts of the day. But also by giving them that same kind of mind-space in return: big chunks of the day unscheduled, unspoken for. Let me get out of your hair so you can put glitter in it.
Companion to last month’s Galloping Horse. She’s still working hard on getting those legs just so, as you see. I’m loving this chance to watch a young artist hone her skills. She’s made big strides (so to speak) already.