A study in form

[Jeff Fuchs]

A study in form

[Steven Sweeney]

Jeff, everyone here who is called an

[Linda Brandon]

Nice drawing, Jeff, and ditto to what Steven is saying. Your mission in learning to draw - okay, my mission, and probably yours, too - is to make an object look 3-dimensional. This is what makes it "real"; what makes it distinguished from a photo; what gives it drama; what makes it come alive and grab the unsuspecting viewer. It's all about pulling some parts forward and pushing some parts back. (I'd put this in all caps here if I could, but then it would sound as if I'm shouting.) This is best thought of in terms of value changes, though color, temperature and edge control also help.

By the way, Tony Ryder sets forth slightly different terms for the gradiations of light and shade, and I find them a little easier for my mind to grasp. I'll try to find his book and post them here when I get the chance.

[John Zeissig]

Hi Jeff,

I know you've heard a lot from me lately, but I can't resist adding a little bit more of my gastro-acidity. I'm in a bit of a "back to basics" mode right now myself.

I think your program makes sense, especially with the added input of forum members like Steven and Linda. One thing that I notice is that you put a lot of burden on yourself. Art is a two-way street. There's you, and there's your audience. Your own estimate of your progress will change even as you reach the goals you set for yourself: it's always there, but it's never completely trustworthy. It's necessary to close the loop by exposing your work to the audience and seeing how it plays.

The audience is made up of two somewhat artificially divided parts. There's the technical audience, like the forum members, other artists, teachers, critics, etc. You're starting to make use of this resource by doing these posts. Then there's the broader audience, that responds to your work in undefined ways. I think Linda (Linda from the office, not Linda Brandon!) falls into the latter category. I want to make a point about that broader audience.

I'm guessing that Linda (from the office) has seen some of your drawings and now she wants one of them. She likes and appreciates your work as it is. I'm guessing this because the same thing has happened to me. I don't know what arrangement you've made with her, but I would suggest that, as soon as possible, you get in the habit of putting a monetary value on your work, even if it's only $5 a drawing to start. Others will see the drawing of Linda and they will want one of themselves. That's how it works. Deliver your drawings in an inexpensive but adequate mat and frame, ready to hang. Cover your costs. Everybody understands and respects this arrangement. In fact, they feel more comfortable with it: value for value.

None of this has to interfere with your personal progress toward internal artistic goals. It's just a matter of accepting that the audience has a certain sovereignty in judgement that may not coincide with your own. If things go well you'll look around one day and realize that you're a pro.

[Jeff Fuchs]

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Jeff,

I know what you mean about setting a course of study for yourself. Bravo! It's all worth it (though I wouldn't have believed that at 20).

I mostly wanted to write to say I liked the cat! So, I like the cat. Nice expression; easy, confident, casual line, and just enough shading to be arty. You should submit it in the show for sure!

[John Zeissig]

Hmmmm..... Animals In Art. Sponsored by the LSU Veterinary College, you say. Jeff, check out the prospectus carefully. Nowadays that may mean the animals are the artists rather than the subjects!

Seriously, I did three "Fin, Fur, and Feathers" shows back when I used to enter competitions. I sold pieces in two of the three shows, which is an order of magnitude better than I've ever done in any other kind of show. My "hook" was to do invertebrates (think bugs, lobsters, that kind of thing). It kind of takes the jurors by surprise when they see a cockroach among all the dogs, cats, bunnies and marine mammals. But for sales, the all-time champ is snakes. It might not work for painting and drawing, but in sculpture snakes are hot! I'll post a picture of my cat with my first snake below. This was taken back in 1991. Note that the cat is missing his left hind leg. He's still around though (the cat, not the snake), 14 years old and still going. One of my last two snakes sold for $ 650 in an auction at the San Jose Museum of Art, and the other won $1000 prize money from LG Industries of Korea in a national competition. So if you're considering doing multiple entries, consider a snake.

Nice kitty drawing. I don

[Jeff Fuchs]

[Linda Brandon]

John,

We should really start a thread on drawing portraits for friends. The real hazard is that they might not like it "as is" and then you have to spend a lot of (unpaid) time fixing it up to please them. It may not be worth the five dollars. My solution is to get a drawing where I like it to be and then give a photo of it to the person. Very few people seem to care that it's not an original drawing.

Congratulations on your snake sales, by the way!

Jeff,

That's a wonderful cat drawing!

I found the Tony Ryder diagram. I like his discussion of what he terms "light - light" and "dark - light", which to me is more descriptive than "halftone".

[Kimberly Dow]

Jeff,

Great determination! I admire your committment to drawing. I hardly ever draw from life anymore (people that is) and I have recently decided I need to re-commit to learning that. I used to be so fast at getting a likeness. I am not sure if I still am, I doubt it.