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Your recent R-mode drawings, on the other hand, are more complex, more linked to actual perceptual information from out there, drawn from the present moment, not from memorized symbols of the past. These drawings are therefore more realistic. A friend might remark upon looking at your drawings that you had uncovered a hidden talent. In a way, I believe this is true, although I am convinced that this talent is not confined to a few, but instead is as widespread as, say, talent for reading.
One further complication of seeing needs mentioning. The eyes gather visual information by constantly scanning the environment. But visual data from out there, gathered by sight, is not the end of the story. At least part, and perhaps much of what we see is changed, interpreted, or conceptualized in ways that depend on a person's training, mind-set, and past experiences. We tend to see what we expect to see or what we decide we have seen. This expectation or decision, however, often is not a conscious process. Instead, the brain frequently does the expecting and the deciding, without our conscious awareness, and then alters or rearranges or even simply disregards the raw data of vision that hits the retina. Learning perception through drawing seems to change this process and to allow a different, more direct kind of seeing. The brain's editing is somehow put on hold, thereby permitting one to see more fully and perhaps more realistically.
Drawing is not really very difficult. Seeing is the problem, or, to be more specific, shifting to a particular way of seeing. You may not believe me at this moment. You may feel that you are seeing things just fine and that it's the drawing that is hard. But the opposite is true, and the exercises in this book are designed to help you make the mental shift and gain a twofold advantage. First, to open access by conscious volition to the visual, perceptual mode of thinking in order to experience a focus in your awareness, and second, to see things in a different way. Both will enable you to draw well.
This book will enlighten you on how to see and explore the power of force through drawing. You will draw with thought and opinions that will strengthen your originality and decisiveness. This will also develop your awareness of the stories our bodies communicate, through the actions we perform.
As we move into the three projective techniques that will be reviewed in this chapter, it is important to stress that central to the belief of projective testing is the process of projection. Without this core conviction no projective test will satisfy the critic. Laughlin (1970) offers this definition of projection Projection is an ego defense or mental mechanism operating outside of and beyond conscious awareness through which consciously
It would seem certain that the primitive mind has not precisely the same conception of time as we have. We conceive of time as a kind of continued linear extent which is unlimited both before and after the present moment. But it would appear that to minds not given to abstract reflection discrimination between past, present, and future does not take place with anything like the same precision as with us. For them life is a vague intermingling of the human and the spiritual, past things are still present to-day on the future they reflect but little. The scheme of causality, which is to us so evident, is to them almost non-existent. The ' primitive' but rarely seeks the cause of a phenomenon, the cause is always to him evident the intervention of spirits, whether it be in the matter of cutting his finger or in a wished-for rainfall. The ideas of cause and effect sequence are strictly bound up with those of the sequence of time. The cause and effect sequence has little or no raison...
By following the method outlined in this book, in less than a day's time, a beginner with no previous art experience can easily gain enough understanding of the basics to be able to draw recognizable objects and give them the illusion of dimension. You don't have to be a fast learner to achieve that goal. It's simply an indication of how close to the surface of your conscious awareness the drawing skill lies.
Away to the earliest being of our race. What we realize with so much difficulty is that c primitive ' art is a very real thing that it is not only palaeolithic, but that it is the artistic manifestation of many millions of human beings alive at the present moment. The Paris Salons, the London picture shows are by no manner of means representative of the total human desire for beauty, for aesthetic expression. By what right does the aesthetician ignore a branch of his subject which has persisted on firmly-established lines for thousands of years, and which may be looked on as often having attained to the culminating point of its development
I take this Opportunity to impress upon you, my reader, how important you really are in the whole of art procedure. You, your personality, your individuality come first. Your pictures are your by-product. Everything about your pictures is, and should be, a little of you. They will be a reflection of your knowledge, your experience, your observation, your likes and dislikes, your good taste, and your thinking. So the real concentration is centered on vou, and vour work follows along in the wake of what mental self-improvement you are making. It has taken me a lifetime to realize that. So before we talk at all about drawing, it is important to sell you strongly on yourself, to plant that urge so definitely in your consciousness that you-must know at once that most of it comes from the other end of your pencil rather than the business end.
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