The
Quest and Search for Inspiration:
[This is a journal where I gather theories and methods and concepts about art-drawing and do my best to solve the creative problems plaguing me...
It's not easy to find
inspiration, energy, and enthusiasm when you're older. Not inside yourself
anyway. You must turn to people, places and things outside yourself and your
current surroundings for inspiration: The right drawing, the right music, the
right software and art supplies. The right TV shows and movies, the right
online videos, the right DVD, and the right location. Inspiration will not seek
you. You must seek inspiration. You must find those hidden treasures, in your
room, on your desk, in your libraries and collections, that makes you WANT to
draw. The things and people that build up that creative desire. The bohemian
desire for self expression. Everytime you look at a piece of paper and can't
think of something to put down, you must mark the occasion. Write block where
the blocked creativity on the page happened. Maybe you're not looking at a
potent enough spot to draw channeling energy from. Maybe there's no spiritual
creative visionary pathway there, so you look elsewhere. Keep that up and
going. And don't leave your best drawings out. If you want to keep drawing, you
must use reverse psychology and TRICK yourself into drawing by convincing
yourself you're drawing "terribly" by leaving really crappy artwork
out. That way topping yourself won't feel as challenging, even when it is!
My technique is
improving. Layering, full page compositions (fully layered page details) is
getting easier. The answer is simple. When I draw, I keep drawing until my hand
hurts. No quitting on the drawing or session. It's a spiritual exercise. I know
drawing draws from the bank of my soul, as yes I am channeling my art
spiritually with visionary energy, but that's why I need to keep persevering in
my studies. Do I really have that much soul to give? I only use a small amount
of my true mojo and soul and spiritual energy and power in my drawing because a
little goes a long way.
But back to my point.
I'm filling up entire pages with
composition that covers the entire gridded page, without even thinking about
it. I'm not leaving as much white space on each page. I'm progressing in a
draftsmanship fashion similar to Hiroaki Samura. Now his art looks amazing, but
even he admits his art looked simple at the very beginning of his career, and
that he left a lot of white space, and was embarrassed by it. Not that that
matters now. It doesn't really affect or influence how people view his art now.
Now, when people think Samura, they think realism and violent, well
choreographed and filmed-&-edited Edo-Samurai action on the page.
The Gridded Page works
wonders for proportion and detail and cities and architecture. Gridded paper
can add structure to a full page composition that might otherwise not be there.
Best part is, Gridding Increases detail power and soul. And the blue lines
organizing its composition are invisible to scanners. It never picks the
grid-lines up. From now on, I'm doing EVERY sketch on bluegrid proportion
paper.
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