The Habitual Rules of Drawing.

Because we don't look.

Look.

You must draw what you see, not what you think you see.

I look inside. I open the eye inside.

Find the first line, the first word.

The first word is Look.

Eyes are never usually used to take in information. Sight is used only to survive.

Smell is seen as the most evocative sense.

 Lines are drawn to process visual information. Writing is drawing from memory.

Drawing sometimes works in space, sometimes works in time.

Why is that made? It is made because I read that.

Because I saw that.

Because now I heard you say

You loved me.

Because that affected me.

Because that music played at that time.

Do you see my love?

Why is that drawn? It is drawn because that is the best way of processing that information.

It is drawn because that is beautiful.

Senses in tune. Writing is of course drawing. Photography is drawing. Dancing together is drawing.

Processing visual information. Using experience to make sense of the information presented to your senses in the most appropriate manner.

Using memories that are trained to look. How? By using other memories.

Open.

Sometimes it becomes too much.

The bird lays bright blue offspring, matching the sky.

All of Monet’s paintings in one day of the cathedral facade at Rouen.

The sandblown strand, the waves and beyond, the mountains.

The water falling through the clouds from a silver mountain.

 Two Shorteared Owls flying silently across the snow.

The first flight and kill of my eyass falcon.

 From swerve of bend to curve of shore. He wrote that.

A ride on my chestnut mare through an English sunset.

The horses, the bulls and the flamingos running, fly through wine coloured water.

The first time I touched your face from far away.

Senses are not enough. The mind creates ghost colours when saturated.

Draw what you have seen, and write what you think you have seen.

 

Author's Note

Why do I draw?
Eyass is a falcon bred for falconry. Monet painted more than thirty canvasses of the facade of Rouen cathedral at everytime of day. Who is the he who I say wrote that line? You tell me. The painting is mine and is called Cully. Collection of the Artist.

Reviews

[Ken Simm.]

There is such a difference to really "look" or to "see" and in this lesson Ken, you explain so well how to draw. I recognize so much in your words, and visions, or call it ways "you" see it. As it's familiar to me.
maybe also "I" see it that way. (makes another think deeper into art). Your ending is exactly how an high sensitive artist really looks at it, or did imagined it, almost as if it is real. Just a wonderful piece. Thank you Ken, also it's art to draw with words. ;)

- Elisa Laura

[Ken Simm.]

Thank you so much Elisa. you percieve so much. I'm sorry about the late answer.

Oh this piece was so good.... no worries Ken, thank you too, I hope to be back in a bit to read more of you.

[Marie Anzalone]

I always called it, "drawing what you see when your eyes are closed." Draw how it makes you feel. Put emotions into color; and then, reverse the process, putting colors and textures into words. Make your lines into steps that walk you through mountain passes. Don't tell me the wind is blowing; make me feel it on your skin. Don't tell me you love me; show me how I affect you. Don;t tell me what to think; show me what you see so that I amy form my own opinion. It's like a primer on how to be a connected member of the human race.

[Ken Simm.]

One of the first things I taught my students was Draw what you see, not what you think you see. It is only when you can draw what is there in front of you and you know the language that you can begin to say what you want to say and to whom you want to say it. Drawing is learning to use your senses. Normally senses are only used for survival and to stop yourself walking into lamposts. Thank you for looking Marie.

[Marie Anzalone]

I don't know any other way to be. Do you, Ken?

[Ken Simm.]

You mean you habitully walk into lamposts:)?.
No I still remember a drawing I did when I was 5, of a Dysck, (duck). Still wanted to know what it looked like. Don't still have the drawing, my ex wife burned all my drawings, photographs and canvasses during the divorce. So I did them again. Have to draw. No other way. Have to.

[Marie Anzalone]

Habitually? No. Only when a Latino has my eye. Or when soemthing else is on my mind. Or I am watching a bird, or a crippled male dog lusting hopelessly after a b***h in heat. Or a shiny piece of obsidian gets my attention. Or I am wathcing the sunset. Etc. Ok, maybe habitually. Never been too good at that whole survial mode thing. :-)

My kitchen table is covered with jewelry making projects. There is a half-finished erotica pastel in my living room. 5 open books on the shelf above my bed. We work and sleep around my creativity- it inhabits space like a living thing, sometimes. I can understand an ex's fear of that power, even if I can despise the act of destroying such a huge part of someone's soul. Kudos to you for having the fortitude to redo.

I also learned to draw at age 5. :-)

[FJ Davis]

This amazing piece can only be classified as a major accomplishment--a virtual work of art.
And, while I know almost nothing about art, I certainly now know what you like.
Also, that last line clearly imparts wisdom--although, I must confess, Ken, my favorite writing approach is to write what I wish I'd seen.
"Cully" is quite striking; conveying just a hint of "friendliness."

[Ken Simm.]

Oh both my Cully's were anything but friendly. I've still got the scars. Mjor accomplishment. Wow! I'm honoured and humbled Frank.

[Gobinder Singh Dhindsa]

Your writing is so Good. Well Done! Keep Writing Friend!

Do u read mine 2 "Why?, Who is a Poet, Time and Anguish "

If possible then give your reviews..

Regards,
Lucky

[Marc Marlon Villaflor]

I love how the senses used in this piece, this a vibrant and engaging poem. Love the details of vivid imagery to illustrate the rich context of this piece. Thanks for sharing.

[Ken Simm.]

No ,thank you for giving such great words back when you read my piece.

[Marc Marlon Villaflor]

Always welcome Ken you are one of the promising writer here :) keep writing.

[J. J. Nightingale]

Thanks for the lines, colors and drawing-lessons ...

Cully is Beautiful ...

Just Me.

[Ken Simm.]

I should be thanking you Jazz. Thank you.

[J. J. Nightingale]

Aww .. You r welcome ... J.

[Tate Morgan]

I FIND MY LIFE DOES BEST SHARING WHAT I DREAM

[Ken Simm.]

Thank you Tate for looking , much appreciated.

[Tate Morgan]

you are welcome

[roarke]

As Jacques Louis David once told his student Jean Auguste Dominique Ingres,

"Lines, Jean, draw many lines" or something to that effect, French translations are so .... French....

[Ken Simm.]

Whereas Seurat attempted to draw none, yet some were created.

[Ken Simm.]

But then lines have character. A line could be a poem. Now there is an idea for a piece.

[roarke]

One day while in college, during my print making class, a guest artist was working on a litho stone, he did photo-realistic prints of things like a close-up of a rip in vinyl upholstery or a package of BIC pens... the thing that made his renderings so unique was that he scribbled billions of lines until the desired tone was achieved. His technique was something I had never witnessed in drawing before, it was vibrant, alive and fascinating that something so random and chaotic could be manipulated to emulate photo realism. Unashamedly I confess to pirating that same rendering technique for my own imagery and brought life to my drawing skills. Here is a link to my ARTDOXA page where you can see some of my digital art: http://www.artdoxa.com/williamcalkins/large?page=1#44042

[Ken Simm.]

Had a brief look. It/they deserve more so I will look again when I am fresher. getting to my bedtime over here. Thank you so much for sending me the link. Please feel free to visit my website if you have not already done so.
Regards Ken

[Tree]

There is much that the writer/artist can draw upon here, make it their own. It is always a treat for me to hear and read how other creative people view the creative process. You "draw'' connections and paint an expansive landscape depicting how that works. An excellent write, Ken. Whose last three verses I found haunting, and beautiful; and will stick with me for quite some time.

[Ken Simm.]

It always pleases me when friends can see the connections I attempt to make. You are very kind Diego and I really appreciate your words.