The drawing club
INTERVIEW FOR THE UPCOMING THE DRAWING CLUB BOOK
BOB: Why do you like to draw?
FRED: Well, it is quite simple really: I cannot stop myself! Sometimes I look at things and move my eyes like I would move my pencil
and try to imagine a drawing; I try to not do that while I am driving through!
Drawing is where I can express myself without exterior interferences and focus on what is before me.
BOB: In your opinion, what makes a drawing cool, interesting or original?
FRED: When I see somebody's mind in action; the drawing being the trace of his or her thinking. When I see solutions to some problems that I would not have found myself, I become interested!
BOB: What is originality in your opinion?
FRED: A dangerous word "originality"...so much overrated work has been done shielded with it to my opinion. I like old recipes recreated, revamped with a new twist. When I think that an old idea is definitely obsolete, someone invariably proves me wrong.
BOB: Is skill important? Why?
FRED: Yes it is, but the term needs clarifying. To any man or woman who has slaved to acquire skills in his or her art, it is irritating to have this ability referred as a "gift.” There is something at the beginning we cannot explain and we can see he or she has something special, but nothing can be achieved without sweat and hard work. Knowledge will refine what was there at the beginning. Education will make skill reach its full potential.
BOB: Is design important in your drawing? Why?
FRED: Yes and no. I like the Japanese design concept of Notan, when opposite things complete each other, like light and shade, but I try to not think about it when I draw. I try to be "in the moment" to go with the flow, with the music that Bob plays during the workshop. Design will happen naturally after I have digested the lessons of masters of the past and draw many, many hours. I am not there yet!
BOB: Do you like to design the page or just the character?
FRED: I appreciate a good placement on the page and when I feel things are placed where they should be, but I try to not think about "design" in the moment (which I feel is too precious for thinking about artificial, maybe affected, details). Design might happen but I will not force it.
BOB: What influences your drawing the most?
FRED: The moment. Sometimes I think: oh tonight will be a good night for drawing, and it is not. Sometimes I think: I am tired, no use to go... and I go, and I do good work. So I am not sure. Otherwise, I cherish and love some illustrators and painters from the past like Franklin Booth, Joseph Clement Coll, Robert Fawcett, Bernie Fuchs, and so many others. Unconsciously or not, I try to emulate them, remember their lessons, eventually fail... and find my own way.
BOB: What do you look for when you observe the model?
FRED: First and foremost, a story. I look for something that sets my imagination in motion. A frozen moment in time when I feel there is a before and after. Secondly, I look for something to start with like a particular wrist position or twist of a foot maybe, or how a light source defines some detail from its’ face or costume, and I can build around it.
BOB: How important is storytelling in your drawing?
FRED: I want to feel the moment when I draw, so I try to concentrate on what I see and the let the atmosphere infuse my drawing. Sometimes I try to not always think about "legs", "velvet" or "ringmaster" but only black/white or light/dark or abstract planes, whatever works!
BOB: Do you like to know what you are going to do when you start a drawing or do like to figure things out as you go?
FRED: I never check Bob's website before coming as I do not want to presume and anticipate things like: hmmmmm… I have drawn this costume already, I do not want to do it again. This is a bad attitude! I come to the workshop, climb the stairs, enjoy the surprise, sit down on a front row bench and try again.
BOB: What makes a drawing funny in your opinion?
FRED: Unexpected variations around the theme, like when Daniel Rios adds funny lines to his drawings for example!
Or perhaps when the model is seated on a plain chair and an artist will replace it with something unexpected. The best is when the model him or herself is surprised.
BOB: What kinds of materials do you like to use? Does it matter? Why?
FRED: I love charcoals of every size, and life is too short to draw small, so I use big chunks of charcoal on large pieces of paper. I have a special affinity with smooth newsprint but I know I should try different paper quality to not repeat myself. "Tools" and "materials" have a mind of their own! I am aware of this and so this is my goal for the immediate future—to try new.
BOB: Why do you like to draw in a sketchbook? How is it special? How does it help you?
FRED: I always have a sketchbook or notebook with me just because I never know. Something may not happen again, may never happen in front of me again, and I want to keep it. A thought might vanish if not immediately noted. This is very important. Keep a trace of a moment that I have experienced, which is gone but I can reminisce if I look at the drawing or notes I have taken.
BOB: Is your sketchbook more of a personal space or a practice space?
FRED: Both. I usually note a practical solution for a personal problem.
BOB: How important is drawing mileage?
FRED: Very important. As Aristotle said 2500 years ago, "You are what you repeatedly do. Excellence is not an event - it is a habit.” I try to not forget his quote.
BOB: What advise do have for anyone who wants to get good at drawing?
FRED: You learn how to draw by drawing, as the famous art instructor Andrew Loomis said. However, I think that you (and I) need guidance. We do not go very far alone and we need others to help us to get better and to help others as well. To study past masters or study under the guidance of modern ones, or maybe just feel that we are not alone; that's why I go drawing classes and particularly Bob's workshop. I find like-minded people and feel the friendship.
BOB: any drawing tips about mileage? Design?
FRED: Draw every day. My father always told me to draw in front of the TV, such good advice. Personally, I would say: "Do not think about outline, think volume. A thick outline makes a drawing flat, so "design" perhaps.” This is my take on it, others will have different approaches, of course.
BOB: Anything else you want to add about what you think about drawing, etc.?
FRED: No time to answer, I have to leave for Bob's workshop now if I want to get a good spot!
BOB: Why do you like to draw?
FRED: Well, it is quite simple really: I cannot stop myself! Sometimes I look at things and move my eyes like I would move my pencil
and try to imagine a drawing; I try to not do that while I am driving through!
Drawing is where I can express myself without exterior interferences and focus on what is before me.
BOB: In your opinion, what makes a drawing cool, interesting or original?
FRED: When I see somebody's mind in action; the drawing being the trace of his or her thinking. When I see solutions to some problems that I would not have found myself, I become interested!
BOB: What is originality in your opinion?
FRED: A dangerous word "originality"...so much overrated work has been done shielded with it to my opinion. I like old recipes recreated, revamped with a new twist. When I think that an old idea is definitely obsolete, someone invariably proves me wrong.
BOB: Is skill important? Why?
FRED: Yes it is, but the term needs clarifying. To any man or woman who has slaved to acquire skills in his or her art, it is irritating to have this ability referred as a "gift.” There is something at the beginning we cannot explain and we can see he or she has something special, but nothing can be achieved without sweat and hard work. Knowledge will refine what was there at the beginning. Education will make skill reach its full potential.
BOB: Is design important in your drawing? Why?
FRED: Yes and no. I like the Japanese design concept of Notan, when opposite things complete each other, like light and shade, but I try to not think about it when I draw. I try to be "in the moment" to go with the flow, with the music that Bob plays during the workshop. Design will happen naturally after I have digested the lessons of masters of the past and draw many, many hours. I am not there yet!
BOB: Do you like to design the page or just the character?
FRED: I appreciate a good placement on the page and when I feel things are placed where they should be, but I try to not think about "design" in the moment (which I feel is too precious for thinking about artificial, maybe affected, details). Design might happen but I will not force it.
BOB: What influences your drawing the most?
FRED: The moment. Sometimes I think: oh tonight will be a good night for drawing, and it is not. Sometimes I think: I am tired, no use to go... and I go, and I do good work. So I am not sure. Otherwise, I cherish and love some illustrators and painters from the past like Franklin Booth, Joseph Clement Coll, Robert Fawcett, Bernie Fuchs, and so many others. Unconsciously or not, I try to emulate them, remember their lessons, eventually fail... and find my own way.
BOB: What do you look for when you observe the model?
FRED: First and foremost, a story. I look for something that sets my imagination in motion. A frozen moment in time when I feel there is a before and after. Secondly, I look for something to start with like a particular wrist position or twist of a foot maybe, or how a light source defines some detail from its’ face or costume, and I can build around it.
BOB: How important is storytelling in your drawing?
FRED: I want to feel the moment when I draw, so I try to concentrate on what I see and the let the atmosphere infuse my drawing. Sometimes I try to not always think about "legs", "velvet" or "ringmaster" but only black/white or light/dark or abstract planes, whatever works!
BOB: Do you like to know what you are going to do when you start a drawing or do like to figure things out as you go?
FRED: I never check Bob's website before coming as I do not want to presume and anticipate things like: hmmmmm… I have drawn this costume already, I do not want to do it again. This is a bad attitude! I come to the workshop, climb the stairs, enjoy the surprise, sit down on a front row bench and try again.
BOB: What makes a drawing funny in your opinion?
FRED: Unexpected variations around the theme, like when Daniel Rios adds funny lines to his drawings for example!
Or perhaps when the model is seated on a plain chair and an artist will replace it with something unexpected. The best is when the model him or herself is surprised.
BOB: What kinds of materials do you like to use? Does it matter? Why?
FRED: I love charcoals of every size, and life is too short to draw small, so I use big chunks of charcoal on large pieces of paper. I have a special affinity with smooth newsprint but I know I should try different paper quality to not repeat myself. "Tools" and "materials" have a mind of their own! I am aware of this and so this is my goal for the immediate future—to try new.
BOB: Why do you like to draw in a sketchbook? How is it special? How does it help you?
FRED: I always have a sketchbook or notebook with me just because I never know. Something may not happen again, may never happen in front of me again, and I want to keep it. A thought might vanish if not immediately noted. This is very important. Keep a trace of a moment that I have experienced, which is gone but I can reminisce if I look at the drawing or notes I have taken.
BOB: Is your sketchbook more of a personal space or a practice space?
FRED: Both. I usually note a practical solution for a personal problem.
BOB: How important is drawing mileage?
FRED: Very important. As Aristotle said 2500 years ago, "You are what you repeatedly do. Excellence is not an event - it is a habit.” I try to not forget his quote.
BOB: What advise do have for anyone who wants to get good at drawing?
FRED: You learn how to draw by drawing, as the famous art instructor Andrew Loomis said. However, I think that you (and I) need guidance. We do not go very far alone and we need others to help us to get better and to help others as well. To study past masters or study under the guidance of modern ones, or maybe just feel that we are not alone; that's why I go drawing classes and particularly Bob's workshop. I find like-minded people and feel the friendship.
BOB: any drawing tips about mileage? Design?
FRED: Draw every day. My father always told me to draw in front of the TV, such good advice. Personally, I would say: "Do not think about outline, think volume. A thick outline makes a drawing flat, so "design" perhaps.” This is my take on it, others will have different approaches, of course.
BOB: Anything else you want to add about what you think about drawing, etc.?
FRED: No time to answer, I have to leave for Bob's workshop now if I want to get a good spot!