always thought of a painter's drawings or pencil sketches as his or her diary.
A finished painting is the confident, public face shown to the world, but
sketch drawings read like journal entries, where you can see an artist's
preoccupations, struggles, moments of exploration, and sense of play.
||Peggy Holding Her Leg by Sherrie McGraw,
charcoal and conte drawing, 17 1/4 x 14 1/2.
Historically, learning and executing sketching techniques was an integral part
of an artist's creative process. Preparing compositions, architectural designs,
executing still lifes and studies of the figure, musculature, gesture, and stance--all of these
were the domain of pencil and paper. For some the pursuit is out of favor, but
many of us are interested in learning how to sketch for its own sake, in
addition to the opportunities sketching affords for refining our other art.
allows you to decipher the world and understand what you are seeing
structurally," says Sherrie McGraw, one of my favorite artists and workshop
instructors. "It is learning how to see and interpret reality through line. You
really can't get this ability any other way. It develops a whole side of an
Many students come to McGraw's workshops thinking they will learn anatomy and
proportions, but McGraw stresses that the world of sketching and drawing is
much more than that. "There are so many things that all good draftsmen
know--even if they don't know they know them," she says. "Like giving something
the illusion of weight; how to discern planes; making a model look balanced and
not like he or she is falling over; and how to foreshorten."
Freehand sketching proficiency gives artists confidence in the ability to edit
what they see and make conscious choices about composition and detail. I
mentioned to McGraw that my early experiences with drawing were ones of feeling
overwhelmed by all the things that I "should" depict. Only with time did I
realize that editing and making choices are crucial to success.
|Profile of Benjamin by Sherrie McGraw,
charcoal and conte drawing, 14 1/2 x 11 1/2.
McGraw notes that many beginning draftsmen
face similar challenges, and she acknowledges that constantly working one's
skills is the only way they can be overcome. "With practice, you come to
realize you aren't a slave to nature," she says. "You take what you need in
order to do what you want. Drawing sets up a whole mindset of being active, not
passive, in the process."
We all deserve that feeling of being active and engaged in our own creative
processes. Talking to McGraw definitely strengthened my belief in the power to
be had in drawing sketches. Likewise in Sherrie McGraw's instructional DVD, Visual Concepts in Still Life
, there is
a concentration of attention paid to those crucial steps of an artwork--from sketching
out a visual concept to staying true to it with every brushstroke. McGraw shows
you how to develop strong, thoughtful ideas and how to articulate them in
painting-or sketching--with the sensitivity and effortlessness she is known for.