Last time we discussed the idea of switching up art practice techniques. The concept was that, while repetition builds skills, change keeps the mind sharp and the work lively.
I’ve been thinking about ways I personally switch up techniques. The first I think of is variation in mark-making. Consider these two drawings. Both are from the same life-drawing workshop. The first is a 40-minute pose, and the second is a 20-minute pose. In the first figure drawing, I followed my ordinary practice – the one I use for repetitive skill-building. This practice involves tight drawing, line work as accurate as I can make it, and a patient building up of light and dark values. I have a ways to go with this practice, but getting even this far has been a work of years. These kinds of drawings were really not very good at all when I started.
|Two drawings of Piera, 10/6/11.|
The practice uses subtle marks and focuses on details. It promotes a narrow vision of parts. So I decided to change my mark-making for the next pose. Instead of tight rendering of individual structures, I aimed for catching the entire figure. Accuracy was a lower priority – I wanted to get the feeling of dynamic tension, the overall play of light, and the energy of the model. The pencil marks were correspondingly rougher, larger, and more visible.
As you can see, I’m nowhere near as good at that as I am at the tighter mode of drawing.
But the purpose of these kinds of exercises isn’t necessarily to make a presentable finished piece. It’s to force your mind, your eye, and your hand to tackle the problem of picture-making differently. By zooming back to the entire figure, I train myself to see the entire figure even in the tighter drawings. By focusing the marks on energy, I import energy back into my native drawing practice.
This is one of several ways to shock the system, to encourage yourself to grow faster and stronger than repetition alone allows.