"The institute of higher...unlearning?
Thank you for tuning in to Living Sketchbook™, a dynamic journal drawn from years of observation, trial and error, sweat, and the occasional nervous breakdown! Here, as we learn to unlearn, we shall ponder a synthesis of the practical, the theoretical, and the mythical.
Organic in structure, this experiment will involve a holistic method of drawing in particular and a non-linear approach to the creative process in general.
One of our goals is to reach a higher degree of confidence—especially when it comes to drawing dynamically and rhythmically, from memory, and with little or no reference images!
And if all goes according to plan, driven by unabashed spontaneity tempered with discipline, the right and left parts of the brain will work together. Thus, and in a perfect world, passionate artists everywhere would develop a keen business sense and ruthless corporate tycoons would fight to save the Amazon Forest!
"That's great, but draw without reference images? Are we in the right place?"
Ever since we've launched the Virtual Pose ® (VP) series in 1998, it has come to my attention that some artists use the poses—literally—"as is." However, unless a specific pose is made available to them, improvising a solution is a real challenge.
Others use VP as a means to refine their figure drawing by way of inference. They first improvise—draw from within—then finesse. They take chances and often stumble and fall (in a manner of speaking) and their initial sketches often look messy. While they may not find the exact pose to match their needs—and let's face it, the odds are slim that a pose will match something created from within—they study many relevant poses, noting the common threads, then formulate a unique solution that transcends reality.
They effortlessly glide over their creation, constantly tapping into a visual reference library stored deep in their subconscious.
In my experience, this radical approach to drawing hinges on a rite of passage which can be daunting to some. For example, no discussion about acquiring "the right stuff" can exclude subject matters such as perspective (one-point, two-point, etc.) and paraline (dimetric, isometric, etc.) drawing.
And before you jump through the escape hatch, let me assure you that a concept such as foreshortening is easy to grasp—when presented the right way!
And, since I'm on a roll here, I don't mean to say that those who can only "sight draw" are slackers! Again, it is about "finding your bliss."
Thus, if you are frustrated with the results you are getting based on some traditional doctrine, then "welcome, we've been expecting you!"
Whatever the nature of your creative quest may be—from art therapy to protecting the planet, or simply to impress your neighbors—rest assured that the "Holistic Drawing Method is for you!"
You might be a tad skeptical and that's to be expected.
In this context, "drawing" is not necessarily limited to "sketching with a pencil on paper."
A writer can draw characters using words. Drawing is about formulating and extracting the essence. So when we say "The Ultimate Visual Reference Series for Drawing the Human Figure" we're also including: painters and sculptors. And while a sculptor working in clay might not create—in real time—at the same rate of speed as a sketcher or a painter, the Holistic Drawing Method is always at play.
It's all in the approach—a state of mind.
Drawing holistically means you attempt to draw on every portion of the page at the same time —at least in your mind—and not linger too much in one spot. You will constantly be moving up and down, left and right, diagonally, and curvilinearly. In addition, you would also need to apply your keen sense of timing and rhythm. Otherwise, you might metaphorically trip and fall over. But let's get back to this business of "drawing on every portion of the page at the same time " :
However, it can be close, and the mind provides that bridge.
The following movie is an example of holistic drawing: Looking at the first few seconds of the footage, one might say: "what on Earth is this technique all about?" But then, the lines begin to converge on a solution. In this case, I was drawing the pose on page sixteen in the Virtual Pose ® Children and Teens book—from memory. In this short segment, I stopped short of beginning the process of slowing down and "sculpting the form" (yes, even on a flat surface one can sculpt—it is all in the mind).
Let the Trek begin!
VIEW MOVIE
ONE
"Analysis Mister Chakkour"
By definition, something holistic contains parts whose sum is bigger than the whole.
Imagine listening to a song by a rock trio super-group, such as Cream, Rush, The Police (those too young to remember, please ask your parents), typically featuring an electric guitar, bass guitar, vocals, and drums. Sure, a sitar, tabla, and sarangi work just as well…
If we were to listen to the bass, drums, electric guitar, and vocals separately and sequentially, it is without doubt possible to form an idea of the song. The vocals will paint the melody. The drums would give us a taste of the rhythm. The bass would express the soul of the song, while the guitar alone might even bring tears to our eyes. But, there would be still something missing—that extra "magic" which occurs when all the elements are fused seamlessly. Only then would we would typically experience a latent dimension that can only be unleashed when the right sets of components and circumstances collide.
And, here's the clincher: like attempting to define "time" or "information," you can only describe holism with regards of the effect it has on you. In other words, it has neither mass, volume, taste, or sound. None of the senses can feel it. However, your whole being can be affected by it.
When something feels holistic, we are swept away in its current and no longer see, hear, or feel the individual parts. Next time you are enjoying great sushi, watch the master chef behind the counter. Not one movement is wasted.
Try teaching someone how to walk using formulae and charts. There is so much going on with respect to motor function, synchronization, and coordination that by the time the information is absorbed and processed, both of you would have been too old to walk anyway!
In the case of gymnastics—oddly teachable despite it being a lot more difficult than walking—some exercises develop grace and poise (the art) while others focus on coordination and endurance (the science). At first, these exercises may seem mutually exclusive. Eventually, looking at the seasoned gymnast, the lines between art and science will be blurred.
And just as it applies to gymnastics—or anything a human being does that requires skill to complement or perfect a built-in ability —"use it or lose it" should be the mantra.
"Aha! So, there is a catch!"
Luckily, you don't have to risk breaking bones or tearing muscles where drawing is concerned! However, to become a better "anything," one has to practice—a lot—and drawing is no exception. The good news is that one can become a better drawer faster, if the right combination of exercises are performed, each on its own, diligently and patiently.
The same way a gymnast has to learn dance as well as how to lift weights, the drawer must learn to draw the same subject using different techniques, some relying mainly on the left side of the brain, others on the right. These techniques are often mutually exclusive as well. However, it has been my experience that they will eventually "blend" and the result is nothing short of a miracle.
Please note that I am not saying your work will be considered great art. I don't even know what constitutes great art for that matter. Regardless, you would have reached a new comfort level with your drawing; there is a lot to be said for feeling confident when we draw—and showing it.
So, how do we go from fearing the first step to attacking the page with graceful impunity?
What follows summarizes my decades of work:
We must reach a state of being where we clear our minds while remaining focused.
That is why, it is best to walk away from the drawing board (or the hammer and chisel) after absorbing a lot of information, or simply experiencing numerous and successive failures.
We are wired to draw as much as we are to speak.
How often do we resort to "drawing a picture"—or attempt to do so anyway—when words escape us? And need I evoke the image of the cave dwellers drawing long before language and clichés were invented? As children, we loved to draw and our instinctive ability to express ourselves visually (yes, waving arms and stomping feet counts) would overshadow our capacity (or desire for that matter) to form sentences. However, and for many of us, as we grew older, we developed the "self-conscious gene" and we decided we were no good at it—thanks to some critic!
So, may I ask you to indulge me a little bit more and view the following movie? In it, I present you with a streamlined sketching vocabulary made of simple, everyday concepts, and apply them rhythmically to create a holistic drawing of the pose featured on page sixteen in the Virtual Pose ® Children and Teens book.
VIEW MOVIE TWO
(Please Click the arrows only! Otherwise your browser will be catapulted to YouTube!)
We look forward to your feedback!
All rights reserved. Unauthorized duplication is a violation of applicable laws.
Content, narration, and music by Mario Henri Chakkour.
Developmental editing by Sandrine Altchoukian.