Law of Attraction Subconscious Mind Power
As you work the drawings throughout the rest of this book, you can use any, all, or none of the guides, from your plastic picture plane to your viewfinder frame. It all depends on how confident you feel. If you are not actually using the guides, it's because you are using them automatically, in your mind's eye (or is it your eye's mind it's so hard to keep them straight ).
Good drawing does not come just from having a skilled or trained hand, but also from your ability to observe your subject matter. In fact, one of the things we love most about art is being able to see how each artist interprets a subject. What is it that gives someone the ability to draw well It is a matter of learning basic principles, applying them consistently and training the eye to observe the subject. Observing invovles noticing the basic shapes, proportions and values of objects rather than thinking of them as buildings, trees or people. Once you have an understanding of the principles and have trained yourself to observe, it is then only a matter of telling your hand to draw what your eye sees, not what your mind thinks the subject should look like.
Most importantly, zoning boundaries for solar access have meaning beyond energy conversion. They have benefits for designer and dweller alike. The zoning necessary for solar access must be understood not as restricting but as liberating. It must be seen as expanding choice both inside and outside our buildings, as celebrating, not overriding nature and differences of place. The solar envelope, an alternative to zoning by either fixed buildingline or unlimited building-height (FAR), could be a powerful tool to accomplish these goals while still supporting the urban densities essential to the fundamental building blocks of prosperity.
You have been rushed through a number of exercises in what may seem a very short time. I realize that it has been impossible for you to go deeply enough into any one exercise, but it is necessary in the beginning to avoid the great danger of monotony. At this point we are going to take up in turn each of the four long exercises you have already begun, attempting to carry each one a step further along. In Schedule 7 we return to contour and you are asked once again to fix your mind on the basic idea of touching the edge of the form.
All over the world, people are abandoning farms and villages for the opportunities offered in cities. Huge numbers of people were not born in the cities they now occupy. Today in Sao Paulo, a 3000-plus square mile area (7770-plus sq km) of 18 million people, half the population was born somewhere else. Still, the trend seems inevitable. Marc Weiss, chairman of the Prague Institute for Global Urban Development observes There's the crazy notion that the way to deal with a city's problems is to keep people out of them . . . but cities are the fundamental building blocks of prosperity. 9 It is clear that the quality of life for most people will be determined by the quality of life in cities.
THE drawing opposite by Jean-Baptiste Greuze is a good example of fore-shortening and on page 43 I have posed a model somewhat similarly, but in about as difficult a pose as you could imagine. Almost every part of her is foreshortened or distorted in some way. This is done to show you one of those occasions when your brain and your eye have a head-on clash. Your mind, with its knowledge of what happens when the model stands up and the foreshortening disappears, confuses your eye, which is only trying to draw what it sees at the moment. There's very little point in worrying yourself about what these bones are called unless you want to impress your friends or take a first aid course. It will help if you just get the rough idea of their shape in your mind.
Ix ok about at the kinds of work you see displayed everywhere. What kind of work do yon want to do Once you make up your mind, practice that kind of drawing with brush or pencil. Yon arc going to need mental equipment as well as skill with your hand. Try to know more about your subject than the other fellow. Remember you can borrow only a little most of your knowledge must come from your own observation, your determination, and your plain courage.
Learning to see clearly through drawing can surely enhance your capacity to take a clear look at problems and to be better able to see things in perspective. In the next chapter, we'll take up the perception of relationships, a skill you can put to use in as many directions as your mind can take you.
To draw realistically, you must first learn to see realistically. Be aware of what is really there. What you see when you look is visual reality. Being real, everything has three dimensions height, width, and depth. Visual reality is anything which exists that you see. Examples are trees, rocks, clouds, air effects, and light. Your mind becomes so accustomed to daily surroundings that you overlook what is actually there. When you draw these subjects, you suddenly realize you are not sure of what is there or how to draw the subject accurately. Motivation, time, and observation skills will help to overcome this visual pacifism. Once overcome, you will be on the road to visual accuracy (fig 2-1). (2) Symbols interfere with your progress through drawing. They tell your mind that a subject looks a certain way in spite of how it really looks. These symbolic drawings take away the subjects' subtleties that make them appear real. These subtleties could be a line quality, tone, form, or a...
The last of the four basic forms is the cone. Probably the first object that pops into your mind is an ice cream cone. But there are bottles, glasses, lampshades, bowls, and many other man-made objects with shapes based upon a cone. There are also countless creations of nature sea shells, flowers, and trees with conical shapes.
A setting of 12s (twice a second) was usually used, which meant that a beat came every 12 frames. This just happens to be the tempo of all marches, and offers a good alternative when no metronome is handy. Whistle any well-known march until the rhythm is well established in your mind, tap your foot and have a friend count the taps as you act out the scene. You will not be more than a frame off. Milt Kahl once proclaimed in a lecture, Everyone walks on 12s unless there's something wrong with them Walt Stanchfield immediately drew a sketch of a man at the doctor's office saying. Something's wrong
Going back to hierarchy, think about addressing larger structures first and then smaller ones. Understand the direction and form of the ribcage before you draw the muscles attached to it. I remember when I was first experiencing the enjoyment of seeing space, it was because of an instructor telling me to imagine I was an ant crawling over the surface of the model's body. Everything is large in comparison to you. It is a new landscape for you to explore. Hills, valleys, and plateaus will appear on your trip. Ride the rapids of force in the figure. The more you can believe what I tell you, open up your mind, and envelope what you see, the faster you will obtain awareness of space. Another exercise in drawing form is for you to act as if you are sculpting the model with your pencil. Draw as though you are caressing him her with the pencil's tip. Feel the f orms in your mind and express them on the page.
If you want to lighten the color of your line work when penciling, you'd normally open the Tool Options palette and adjust its opacity. However, if you notice, that setting is good for only the particular pencil you're working with if you want all your pencils to have the same opacity level, you need to go through each pencil type and set its corresponding opacity. Of course, if you change your mind and want a darker color, you have to go though each type again and I think you get the point.
The linework above took less than two minutes and is intentionally rough just to lay in general perspective and proportion. Make sure the linework is light on the paper so that you can erase most of it later. BE SPONTANEOUS Listen to good music, that always helps me. If you are getting stuck for ideas, it helps to alter an element of the process - maybe sketch with a different tool, try a completely different perspective, different paper, or even go to a different location and sketch. If you do the same thing repeatedly, your mind sometimes learns the process too well and things become automatic - new designs won't come to you unless you throw your brain something new to deal with. This is just my theory, but it seems to work for me. If you are drawing the same car over and over again, quit and move to a different company
I tell students to imagine the model's platform as the amusement park and the model as the roller coaster. Your first task is to get your mind's eye into the park, close to the model. I suggest to students that they think of themselves as being one inch high. This empowers them to envision the figure as gargantuan. The model's tremendous size guides the students into seeing more roundness and depth. This helps you see just how long an idea goes before it turns into an opposing force because the body's energy changes direction. This again will help you get closer to the top of the pyramid. Beware of drawing the spaghetti line we discussed earlier in the chapter.
Avoid identifying parts of the image in words. Just imagine what you see as made of wire. Think wire if it keeps your mind away from other words. Don't be concerned if what you produce is larger or smaller than the original. Any scale will do. If you happen to run off the page, it means your concentration is focused on line, which is fine. Forget about proportion, because you don't have the tools to deal with that yet. Since the original drawing is already out of proportion, yours will be too. Thinner, fatter, longer, smaller, or missing some line is fine.
With the point of your charcoal, make a slow, careful contour drawing of your subject. Include any edge, outside or inside (such as the grooves of a pumpkin) that can be turned into a contour line. Put specific character into your drawing by recording what you see, not a generalization. What you think is round may actually be somewhat bumpy, often angular. Slow down to get that in there. Note that stems have two sides, like miniature tubes. If there's some part that's particularly hard to draw, practice it with pen or pencil on scrap paper. If you don't like your contour drawing, wipe it out, lay in more ground, then smooth it over with a paper towel. Are you sure you want this subject You can change your mind
By simplifying the figure into blocks and cylinders you build up in your mind a conception of the figure as a three-dimensional object in space. By simplifying the figure into blocks and cylinders you build up in your mind a conception of the figure as a three-dimensional object in space. This practice session involves your simplifying the figure into blocks and cylinders so that you build up in your mind a conception of the body as a solid object. Once the basic gesture is jotted down, further refinements can be made the arms and legs can be fleshed out and the sex differences made evident. The purpose of this type of gesture drawing is to train yourself to establish the complete figure in your mind's eye to develop the ability to visualize clearly what you want to draw.
On this page you will notice a series of doodles with the ballpoint pen. Starting in the top left hand corner I will describe the top line of marks, and explain the type of marks. However, bear in mind that many drawings done with this type of pen are from the subconscious mind and are really scribbles that are made whilst we should be focusing our attention elsewhere. We usually do these drawings in boring meetings or on the phone pad when we are having a long conversation with someone.
Don't let your mind (Old Lefty ) trick you into drawing anything differently because you're not on plastic anymore. Don't think just see and draw. Work lightly, and if you get lost, go back to the grid to see where you should be. It's fine to erase when necessary. Keep drawing the lines from the plastic.
Before you make a line you must have a clear conception of what you want to draw. In your mind it is necessary to have an idea of what the figure to be drawn is doing. Study the model from different angles. Sense the nature and condition of the action, or inaction. This conception is the real beginning of your drawing.
Take a look at Figure 11-1. The image on the left is a close up of a tone. Doesn't look like much, right Now, when you look at the image on the right, you can see that those dots produce shades of gray and gradients Your mind fills in the gaps and perceives the series of dots as shades of gray. You might be asking, Why bother with tones if all you need to do is print gray colors Again, it boils down to cost. It's much cheaper to print in one or two colors (in this case, black and white) than to print with 255 (or more) gray colors. If your mind can perceive thousands of tiny black dots as shades of gray, why not save a few bucks in production It saves the reader some money as well
You can make a tonal scale with different textural marks instead of solid tones. Try making a tonal chart that is made up of different textural marks, keeping them all the same for each tonal chart so you can see the range of tone easily. Eventually, you will be able to jump from tone to textural tone and back again while adding whatever tonal value you want because you will see them in your mind's eye.
Arrangement and composition are the first steps in making a good drawing out of your chosen objects. As you play around and change the combination and arrangement of your chosen objects (feel free to change your mind), take time to look at your choice through one of your viewfinder frames, picking the one that best frames your composition. Turn it horizontally or vertically to match your arrangement and your paper orientation.
Trying something else when you're stuck may sound like familiar advice. You know what you want to draw on the page or in the program. You visualize it perfectly in your mind. The problem is, what you have in your head won't translate to a doodle, let alone a final drawing.
After answering all these questions and getting some clear idea into your mind I usually ask if there us any role the sitter might like to play What historic figure does he or she admire the most The prospect of painting a man in a plain suit and tie or a woman in a business suit apalls me. Where is the joy in that Portraiture can have elements of narrative, tools of trade, costume etc. Anything is possible. Painting a portrait of a carpenter(workshop, tools, apron), airline pilot(plane, sky, uniform) or architect(building, drawing board, blueprints) is obvious, but think of the possibilities for an insurance salesman, banker, used car dealer or school teacher. There lies the greater challenge - and the greater rewards. This is where portraiture can, and should, and does transcend photography. The sitter must also be encouraged to imagine and believe.
In drawing, you will delve deeply into a part of your mind too often obscured by endless details of daily life. From this experience you will develop your ability to perceive things freshly in their totality, to see underlying patterns and possibilities for new combinations. Creative solutions to problems, whether personal or professional, will be accessible through new modes of thinking and new ways of using the power of your whole brain.
Don't spoil the beauty of a clean sheet of paper by a lot of scribble. Try and see in your mind's eye the drawing you mean to do, and then try and make your hand realise it, making the paper more beautiful by every touch you give instead of spoiling it by a slovenly manner of procedure. Look well at the model first try and be moved by something in the form that you feel is fine or interesting, and try and see in your mind's eye what sort of drawing you mean to do before touching your paper. In school studies be always unflinchingly honest to the impression the model gives you, but dismiss the camera idea of truth from your mind. Instead of converting yourself into a mechanical instrument for the copying of what is before you, let your drawing be an expression of truth perceived intelligently. Do not go labouring at a drawing when your mind is not working you are not doing any good, and probably are spoiling any good you have already done. Pull yourself together, and ask what it is you...
The planes of the head should l c memorized, for through them we have a foundation for rendering the head in light and shadow. Begin with the basic planes (top. left), and study them until they are fixed in your mind. Then take up the secondary planes. From these sets of planes almost any head can be built. The surface varies with the individual character, but with the planes shown here you can produce a well-proportioned, manly head.
Hamilton Luske was opening the door to a new. more refined approach in which everything one has is put into the first test. This requires an uninterrupted continuity of thought. It may take days to do the scene, but you must not lose the thread, change your mind, or lose your confidence you must be sure
These drawings represent the shape of the characters. Visualize the joint areas as spheres in your mind when drawing. A big part of drawing is visualizing the image in your mind. The same logic can be applied to drawing wrinkles. While there is no better way to hone your imaginative skills then practice, possessing an understanding of the fundamentals and taking these into consideration when drawing is the fastest way to improve your skills.
You can reason out why these bendings and twistings so consistently repeat themselves. Try it out on a piece of stiff cloth and you will find a familiar resemblance. It is this repetition that must be stored away in your mind so that you may check your knowledge with what you see on the model. Remember at all times that each fold has a character apart from every other fold. Remember that you will have a preference as to folds, that some folds will appeal to you more than others, making your drawings different from other drawings. Remember that the things you know and leave out are the things that give the power and simplicity to your drawings.
So, what is it that creates life Energy Energy with purpose, or force, is what we want to recognize in the world around us. I am going to lead you on a force full journey that will change the way you perceive the world you live in. This new perception will clear your mind of the fog of assumption. You will live in a new truth. This in turn will make you appreciate life to a new degree.
Wherever you're sitting now, check out contrasts in the values around you books on the shelf, furniture, the markings on your cat, the groceries on your counter. If you're people-watching, notice that each face has its own unique value scheme. Which has the darker value brunette or blond hair What about red hair When you discern that it fits between the two, you've already made a value scale in your mind.
There are two types of sketching life drawing, (i.e., you sketch what you see) or recall sketching (i.e sketching from memory). Sketching is a very complicated interactive process between the eyes and the hands. In the course of transforming real images into symbols, one goes through three distinct stages object identification, shape simplification, and finally image recording. Keep in mind that this is an oversimplified analysis of the sketching process. What really goes on in your mind and how you graphically express an image are complex and beyond our understanding. Sketching is a gradual learning process. You must learn how to draw before you can sketch. It is like learning how to walk before you can run. Being able to draw precisely. carefully, and realistically is a necessary discipline before attempting
If you once dccide on a pose, stick to it. Don't let yourself muddy up a subject by wondering if the arm might not have been better some other way. If you must change it, start over and so keep it fresh. The more clearly you have a drawing defined in your mind and in the preliminary sketches, the better the result will be. Many drawings will have to be changed to
When you have had some experience in drawing the human figure from life and have assimilated the basic information about the body's structure and operation, the prospect of creating imaginative figure drawings without a model becomes far less daunting. A great amount of information about human anatomy and movement is learned in the process of drawing the posed studio model and from sketching people as they go about their daily lives, but this is not the sole purpose of such exercises. Knowledge gained in this way is absorbed at an intuitive level, and as such contributes to the stock of experience available to feed your imagination and give scope to the expressive possibilities of your work. The human form is so subtle, its range of movement so wide and its expressiveness so profound that no artist can claim to have explored all its vast potential. Drawing from life keeps your mind open and liberates your imagination. If your work is to remain honest and alive and free from slick...
Nobody's perfect every artist makes mistakes. And most cartoonists change their mind at least once when they're sketching out an idea. The more you draw, the more you'll change your mind. When you do make a mistake or change your mind, don't panic. Although the easiest and fastest way to deal with a change is to start over with a fresh piece of paper, you're probably not interested in killing a small rainforest while sketching, right You don't have to throw your sketch away and start from scratch. Most mistakes usually have an easy solution.
The Reality Mindset
Reality is the beginning precept of personal growth. We mainly grow as humans by discovering new realities about ourselves and our world. You'll surely learn some crucial lessons regardless how you live, but you are able to speed up your growth hugely by consciously looking for truth and intentionally rejecting untruth and denial. This book will provide insight to the reality mindset.