A breakthrough portrait class

[Lon Haverly]

I am teaching a class on "line first" drawing.

It was the first such class, and all prior classes I have taught were dedicated to correction and critiquing of work done. This class, I restrained myself from critiquing. It was amazing when the lights went on in their heads towards the end of the second class.

These are mostly experienced artists, one who has had several degrees in art, and has taken many portrait drawing classes. The class was nearly over when they all seemed to realize that they were all frustrated with their drawing for some reason or another.

I called them around and did some simple exercises with the lead using a sanding block and a chiseled point. I began to tell them of how I draw each line with intent, and with passion. Each line has its own dynamic, its own length, angle, value and speed. And yet, each line is connected to the rest in a very important way in its flow and contour.

They were awestruck, and inspired. It was like a light went on in their minds. They wanted to go home and learn all over again to draw lines that are beautiful. That was a turning point in the class. I had convinced them and inspired them. Not because I corrected their work. I somehow couldn

[Michele Rushworth]

Thanks for posting this, Lon. I think what you wrote about line could also apply to each painting stroke of the brush:

I began to tell them of how I draw each line with intent, and with passion. Each line has its own dynamic, its own length, angle, value and speed. And yet, each line is connected to the rest in a very important way in its flow and contour.

[Karin Wells]

Lines are indeed important. For sheer beauty of line, I cannot help but think of the drawings of Ingres.

I have found that many people who wish to draw well struggle with exactly where to put that line - often a tough decision. "Fudging it" and blurring the lines when you cannot decide where something belongs seldom works.