Saturday, September 2, 2017

in praise of drawing while thinking and learning


These sketches weren't drawn for anyone else, they were a personal 'external hard drive'  bound in a cardboard cover- the black book that pre-dates the black box. They were a part of my own visual journey to learn some new skills. They are rough and quick, but in giving emphasis to them with wobbly drawn frames and accented edges they became memories in themselves and the process of doing this reinforced little discoveries and helped me figure out priorities.



My visual diary or journal from learning to make instruments is pretty similar to the books I kept through art school and beyond. I think one of the reasons they became important to me was that learning something new or making a difficult thing really excited me, so the doing could be re-lived in the drawing, and this had the advantage of reinforcing creative experiences and helping me remember stuff- giving me reminders to come back to. Of course sometimes the drawings happen before the doing, and this enables visual testing of several solutions to little problems before taking up the tools. 'Several solutions' implies lateral thinking and that is a wonderful problem solving skill to adopt. There is always  a multitude of ways to do anything and the art is in finding the most elegant and the most fit for purpose.

Ideas in the head get out more easily if they can be tested through drawing. Making bad drawings is cheaper than making bad objects and failure at some level is what creation is all about. Over and over, we can always do better by simply doing more -thoughtfully.


This sort of drawing is not about pretty pictures, it is visual communication of a more technical and maybe personal kind. I'm so grateful for the training I had all those years ago in life drawing and technical drawing- the opportunity to spend repeated sessions over four years just connecting my mind with my hands through exploratory lines. These things became a habit and a joy.


I suppose something similar happens now to the penless generations with CAD and all the Apps, but I'm suspicious that something very direct between hand and eye will be lost if hands can no longer draw communicative or exploratory lines (or even ordinary ones) that make some sort of sense. But I guess that only applies to the small group of people who make things...








9 comments:

  1. Love the journals. Also, and, works of art.

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  2. You are good with punctuation Barry! Lovely to hear from you and thanks!

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  3. Hi Robert,

    There's those blocks and linings with that joint that probably links so many violin makers! I don't hammer mine in though. That is an interesting touch. It is great seeing the different ways of doing almost the same thing. I really appreciate your blog. It is inspirational.
    All the best, Scott

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    1. Hey Scott, that little diagram made me think of you when I found it. It felt like being a pair of kids with a secret language when I first spotted your violin blocks on Flickr- that a few details could mean we both knew the same traditions.

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    2. inspirational, as always, Robert. Thank you

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  4. Robert- Love the sketches. I think there's something extremely valuable about the connection between sketching and problem solving. The tactile nature of having to work slowly to evaluate the project and its permutations lends itself more to thinking than just pushing a button or pulling a computer mouse. There's probably a fancy word for it, but I'll just call it beautiful. -Bruce

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    1. Bruce, I wonder if your life is also cluttered with little envelope/scrap/pad drawings scattered around? Some people are visual thinkers. That's my excuse and it works for me! Beautiful will do me too, cheers.
      Rob

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  5. Hi Robert,
    You made me think of some violin maker taking the top off of an unknown violin and seeing those lining/block joints and having that one more clue to who it was who made it... Your scroll drawings remind me of a Roger Hargrave article in an old Violin Society of America journal about seeing details of old violins.
    I remember my high school woodshop teacher Mr. Waddell, telling us "Write it down, that way it goes through your head twice." There is something joyous about drawing out an idea, figuring out the details, then drawing it again with the new changes. Joyous in creation, even just in the mind and on paper!
    I saw Michael Bogoger (Doryman) on my way to the boat ramp this afternoon and had a pleasant sail. If you ever get to Port Townsend, you've got a place to stay here.

    All the best, Scott

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    1. I used to enjoy reading what Hargrave had to say- he was (is?) very perceptive indeed. I loved exploring the emphasis of line as varied between makers. The left of the pic is a rather small sketch of a Bergonzi scroll...there was something about his stuff that I can still see quite clearly whenever I say his name. Strad was like the Raphael of violins, Bergonzi was more like El Greco. I always did favour the more emphatic shapes, the ones that seemed somehow struggling to be realised.
      Nice you saw Michael. I'd love to get together with you guys somehow too. Very kind of you.

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