What I Will Not Teach You to Draw

Anyone remember these guys in that little pamphlet from the 1990s?

I remember being so excited when I was a kid because I knew I could definitely draw that turtle, but no, I never did send in my sketch or take this course. But drawing cartoon characters is how a lot of kids get interested in art. It's easy to see why: the lines are already there for you to copy, and most of the guess work has been eliminated. The hardest part is usually where to place that first line on your paper, because it determines whether or not your whole drawing will fit when you've finished.

Darkwing Duck (Disney) drawn by me, circa ©1995.

So this drawing of Darkwing Duck was something I did a lot. I mean, A LOT. I was a nerd in high school and I was known for being able to draw just about anything Disney, but Darkwing was my go to cartoon. I can still draw him in any action pose I want - some 20 years later - because I'd studied him so much. I was even taking AP Art in high school but didn't listen to my teacher much on how important it was to study and draw from life because I thought I was already a great artist and liked drawing cartoons. I regret that deeply.

Flash forward to today, when I get requests for me to teach how to draw Manga or Disney characters, or any kind of animation/illustration. I simply say no. Manga, for those of you who are unfamiliar with the term, is a style of Japanese illustration used in comic books and graphic novels. Think hair every color of the rainbow and really big eyes. It's cool, engaging, colorful, and easy to see why people want to draw that way. I was hooked myself when I was a kid. (When are they ever going to make that Robotech movie??) It's a beautiful style of cartooning, but it is not what I teach, and honestly anyone who is a professional animator or illustrator - be it for Disney or Studio Ghibli - that person is a professional artist who has already mastered how to draw from life. Every single one of those illustrators had to take a load of art courses learning how to draw skeletons and every part of the human body, how to draw a bowl of fruit, how to properly shade a circle to make it look like a sphere, how to capture the texture of a feather, how to draw movement. Their illustrations look so easy and effortless to us because they have spent years studying every curve of the human face, the way hair falls, the way muscles change when we tense an arm or brace our legs for a race. Those artists practice again, and again, and again, much like a musician perfecting their musical tone. Then - and only then - will that artist's cartoon images look so good, because they've learned how to draw a realistic version of a person and can then boil those lines down to the essentials and create simplified cartoon characters that still convey personality, emotion, and natural human movement (or in the case of Darkwing, more duck-like movement).

3D Darkwing Duck study drawn by me, circa ©1995.

I'm sure there are always exceptions to the rule - there are plenty of self-taught artists who are successful and take a different path, and there is absolutely nothing wrong with that. But even for those artists - like ALL artists - we reach a point where we know something is missing in our arsenal of tools and we decide to fix that. When I was a teenager I never cared about drawing realistically because it was slow and boring. I only wanted to work with flashy colors and abstract ideas. But now at the age of 39, I'm obsessed with observing the world around myself and capturing it as accurately as possible, and I find that it thoroughly enriches all of my other artistic endeavors, abstract or not. It's like the old saying goes, once you know the rules you'll know how to break them.

So yes, I know how to draw Manga and Disney and pretty much anything like that but my focus is teaching the fundamentals - drawing realistically from life and from direct observation - because I firmly believe it'll give you more satisfaction as a budding artist than just copying the lines another artist laid down first.

Stress Relief for Adults: This is not your typical paint party - this is more like a BRAIN DUMP!

I came across this article at Huffpost talking about the obvious and significant role that art can play in reducing stress. Those of us that engage in some sort of hands-on hobby can relate. No matter what you do - play an instrument, paint, build furniture, knit - it brings a measure of self-satisfaction and peace of mind.

City Samba. (This was a fun, quick, loose scribbly session for me!)

That being said, I'd like to offer a weekly 2-hour session geared toward anyone who needs a break from their busy lives to just mess around, paint, create, and relax.

I will supply acrylic paints, brushes, and canvases. You supply the overworked brain that needs a break!

$15 covers one 9x12" canvas panel and supplies for a 2-hour session. $1 for each additional panel. This is not a class with instruction, but I will be there by your side offering tips and techniques to help keep your creativity flowing.

Contact me at rowena.artist@gmail.com for more information and to register! Minimum 5 people required to make the class, maximum 15 people. Invite your friends!

New Acrylic Painting Class Beginning!

I'm excited to announce that I'm starting a new Acrylic Painting class this month! Join me at The Art Studio and learn how to paint anything and everything using acrylics. They're a wonderful choice for those who are new to painting because they offer unparalleled flexibility and vibrancy. They are extremely forgiving when you make a mistake, and they are just plain wonderful to work with.

Golden Roses, copyright 2007, Rowena Federico Finn

We'll explore different kinds of paint, types of brushes and how to use them, and lots of techniques. Classes are self-guided for those who've already been painting for a while and just need advice now and then. Beginners will have my attention every step of the way as we work on projects together. As you grow more comfortable, you're welcome to work on subjects of your own choosing. 

Visit this page for more information. Classes meet Sundays 1:30-4:30pm beginning Sept. 11, 2016. Feel free to contact me with questions about the class and materials. Students are required to bring their own supplies.

Are You in a Drawing Rut?

We all go through dry spells. Sometimes we've studied a particular subject for so long we just need a break, but can't decide what to turn to next. Sometimes we keep experimenting with different subjects but still can't find anything to focus on passionately. Sometimes no matter what we attempt just doesn't seem to work out. Whatever the case, I like to turn to high school teachers. It seems like they all have that list of 25, 50, or 100 sketchbook prompts that no one really wants to do, but everyone ought to. Ideas often range from a beat up old pair of sneakers to a handful of shiny spoons, to the ubiquitous self-portrait. 

You can either take as long as you want an make a finished drawing, or you can set a timer and work quickly. I like to set a limit of 10, 20, or 40 minutes.

20 minute pencil sketch from a photo, June 2015

This list was borrowed from Matt Fussell at The Virtual Instructor.

101 Sketchbook Ideas

1. draw old shoes
2. draw a glass of water
3. draw a pile of unfolded laundry
4. draw your non-dominant hand
5. draw a scene in a restaurant
6. draw a stack of books
7. draw a view out of a window
8. draw your art supplies
9. draw wine bottles
10. draw children’s toys
11. draw a person laying down
12. draw a person sitting in a chair
13. design a typeface
14. draw different types of trees
15. draw objects in your pocket
16. draw game pieces
17. draw a caricature of yourself
18. draw the same object drawn with different techniques (hatching, cross hatching, stippling, etc.)
19. draw your favorite pet

20. draw a copy of your favorite Master’s painting...

Click here for the full list.

This is What Frustrates Me the Most...

"I can't draw."

I hear that a lot. Like, a lot. It comes out in conversation whenever I tell people I teach drawing. It comes up on my Facebook feed when I post about my classes. There are so many people convinced they cannot draw. This frustrates me to no end because It. Is. Not. True.

You write, right? Drawing is just an extension of writing. You take a mark-making instrument in your hand and you make specific marks to convey specific ideas. That's all that drawing is. The difference is that society (schools, peers, family) have no problem telling us directly or indirectly that we have no natural talent. Kids are shuffled pretty quickly into one of two categories: Can Draws, and Can'ts. Humans categorize to make life easier to process and that's cool, I get that. But when you want to draw, when you enjoy it, and you start to believe you aren't good at it, you stop and become too shy to show off your artwork. You box up your pencils and crayons and you move onto something else like clarinet or violin. But have you ever heard a kid beginning on a clarinet or a violin? They ALL sound awful! Squawk! Honk! Screech! They can't help it because it's hard to get a good sound when you first start. Same thing with learning to write. Toddlers scribble like crazy with crayons - on paper, on walls, on furniture, on themselves. They have no idea what they're doing and they don't care because there's this innate fascination and joy in watching the instrument you're holding do your bidding. Toddler scribbles are a precursor to learning to write AND draw. Control, discernment, style come with time. And practice. And dedication.

Dinner knife study in pencil, August 2015

These days, not as many people teach drawing as they do painting. Painting - at least beginning painting - is easier, so understandably it's more popular. Good results come sooner and most people finish a painting a lot faster than they can finish a drawing. That's why places offer showing you how to complete a painting in just two hours. But there's no instant gratification in drawing. After two hours some people barely have any marks on the page. It is a long hard slog but I love the challenge.

I love the meditative slowness of it (yet I do have students who work much more quickly than I). I love the level of attention to detail. I love that when I think my ability to observe has improved, there's suddenly a whole new level of detail that I didn't notice before. I love that one subject matter (like drawing glass or portraits) that didn't interest me before (or intimidated me) will later become an all-consuming passion. I see this in my students and it gives me immense satisfaction watching them grow as artists.

So the point of my writing is this: Don't ever tell me you can't draw, because you used to - all kids used to - and you can, you just don't. If you don't care to learn, that's one thing. You can say "I don't know how" rather than "I can't," because when you say you can't, what you're really saying is, "I don't want to learn." That's fine, too. I don't ever want to learn saxophone because I don't like saxophone. I choose to avoid it like the plague; it's not that I couldn't learn. I used to play piano. I miss it, but not enough to actually sit down at the one in my house and relearn a song or two.

I'm not on a mission to make people take my drawing class, but I am on a mission to suss out the ones who want to learn but are afraid they never will. I have total respect for anyone who just doesn't want to learn to draw, but if there's a tiny part of you that'd be interested in developing those long dormant skills, I'm here for you.