Tuesday, January 03, 2006

Back To The Future Part IV

Forrest


Originally, I meant this long and tedious tirade as a comment to Jumpman, but it took a life of its own and since I have nothing else to rant about, here it is, make of it what you will:

Yes, the "New Year" usually means, a clean slate, a new beginning sort of thing, of course this is all in our heads, but so is everything else.

In reality, everything is in the past except for the future, which has already happened somewhere else but here. But even most future events -as with human behavior- can be affected, predicted and /or anticipated because most events are the direct results of consequences of previous actions, I have learned to work with the future in the rear view mirror sort of speak, as most of us artists do but few are cognizant of this, that is by being keenly aware of what's said and done (read the lines we put on paper when it comes to drawing) and how these actions (lines) relate to others and have an effect on what's to come, in fact, I subconsciously thought of this response and many responses to most potential logical commentaries generated by my initial post, whether in favor or against my view point, however I have no "prepared" responses for the unexpected, and for that I will improvise, this improvisation in drawing I call "Style", style then becomes the X factor, which is conditioned by and responds only to the unknown, to the need of the individual to explore that what he/she can not anticipate, to abandon the predictable, the logical, to go beyond the future to an unfamiliar place.

We all know we shape our future by the choices we have made in the past, the present then becomes transitory, inconsequential, nonexistent really. In terms of learning, only the past and the future are relevant (that sounded smart :p) In drawing I liken this to "observational thinking" every line you are drawing is past as soon as it is drawn, future lines will have to learn to co-exist in harmony with the past, poorly placed preliminary lines will cause subsequent lines to fail, only the careful observation of the placement and relationship of these lines and the constant adjustment of said lines in behalf of the whole enchilada can anticipate a successful outcome, because observation and relational thinking are more important than drawing, in fact, they ARE drawing.

If you analyze it deeply, like I have (sitting on the toilet bowl for hours) you'll arrive to the conclusion that every second is a new beginning, and (as Melinda so aptly put it) we don't need to wait for January to spring into action and shake things up and start a new "anything" or quit an old "whatever", we really don't need the fake renewal and the illusion of forgiveness offered by the ritualistically "new containment field", we can create the same "illusion" at any given time because up to this very moment, everything is history; departing from this concept it's OK to start anew and leave mistakes you've just made a few seconds ago, in the past, because THEY ARE the past, and since past failings are relegated to the past, how can you go wrong?. Well, you can actually go very wrong when you consider that those failings undoubtedly will have effects and consequences, hence past = future (only when the actions are consequential, it is quite possible to go through life without ever producing a memorable moment, though perhaps contributing to one), this teaches us one very important lesson in life as in Drawing: A few crappy lines drawn on a piece of paper won't affect our future or anybodies' for that matter, as they are inconsequential in the large scheme of things but lots of crappy lines drawn with conscious and careful observation and awareness of their place in space, their relationship to one another and their potential effect on the whole picture, WILL indeed make us better artists, which in turn can allow us to have a somewhat expected impact on other people and on our future as artists, as well as the anticipation to logical or illogical responses to our work, hence affecting the "global" future and the "larger picture" add the X factor to this mix and you have something that trascends time. It's kind of confusingly clear and as sharp as the evening fog in Skull Island, Do you know what I mean?

Phew! My head is spinning, you won't find this type of moronic reasoning and pseudo intellectual rubbish anywhere else but on this blog, of this I'm proud. . . I think.

Thank you for the kind words. Regarding the books, I do have a couple of titles available and I do ship to Australia at domestic (US) rates, it does take forever to arrive though, if you are interested click on the "Books and Things" link on the sidebar, located on the right hand side, under the "PERSONAL INFO" header. If you use Internet Explorer you might have to scroll all the way down, mention this blog and I'll send you a free sketch. Or you can just click HERE

I've given up on that "Marriage & Sex" fiasco, those two words should never appear together in the same sentence. :)

-A

6 comments:

Jumpman said...

In the words of Neo: 'Whoa!'

:)

You're right about much of it. The trick is being able to change your mindset until you can think like that. Sometimes we as humans get so good at wrapping failure and negativity around us like blankets. Too often we want to be further into the future (ie. better) than we are; or we remember only what we've done wrong in the past. Faith (in its fullest meaning), I suspect, has a lot to do with it. It's something I've lost a lot of recently. Something I plan on regaining.

I love your application of the concept to the line on the page. Freedom or confinement with every stroke. Hmmm... Gonna have to think some more about that one!

Cheers,

Process Junkie said...

I Think of it as "Controlled Freedom" heh, heh!
The truth is plain as the light of day: You need to have control over the medium, a deep understanding of the subject and a tremendous amount of control (manipulation) over the line (stroke) in order to make her do what you want, generally speaking, people who seem to have a natural and spontaneous flow as well as a superb economy of line in their strokes have arrived there by spending their whole lives mastering observational skills, it takes more time and energy to learn to depict something in a few lines than to render a subject with photographic accuracy.

Like I always say: "It takes me an hour to make something look like it was done in 30 seconds"

Thanks for your comments, very insightful indeed.

-A

sedyas said...

Cada dibujo que pones es una clase magistral de como dibujar a una chica.
Mi inglés no es muy bueno, así que me cuesta leer los textos tan largos que pones, pero pintan muy interesantes!
(Por cierto, yo también soy fan de Sokol, gracias por las galerias que pones)

Process Junkie said...

Sedyas: lo que es escribo son bobadas como decimos los sudamericanos o boberías como le llaman los cubanos, boludeces, tonterías, empanadas mentales, idioteces, cuentos chinos, etc., etc., etc. Nada que valga perder el sueño leyendo :) Asi es que no te pierdes nada interesante mi amigo, "diarrea del hocico" eso es todo.

Gracias por los comentarios. Buen Año!!

-Alberto

Kristen McCabe said...

Alberto, I'm obsessed with this drawing! There's something about her face. it's magical, it's like nothing I've ever seen.

Summer 2007 I'm going to comic-con and I'll be hovering over your shoulder watching you draw... possibly the whole day. it's true..it's true!

Process Junkie said...

2007?....207!! I don't know if I'll be alive in 2007!
what'swrong with 2006?

Anyways, thank you for stopping by, you superstar, you :))

-A