“The trap exists because of the fish; once you’ve gotten the fish, you can forget the trap…. Words exist because of the meaning; once you’ve gotten the meaning, you can forget the words.”1 Chuang-tzu, Chinese philosopher
This used to be how I felt about writing. Even when I took up creative writing, I thought it was all about the content… and it’s not.
Getting to the meaning of one’s words is not the only reason why we listen.
We create to bring form to ideas, and this, I believe, is all about style.
I understand there’s a major difference between linguistic expression and visual expression. The first uses symbols (letters of the alphabet and the words they make) to guide you to conjuring up the ideas in mind, while the latter provides a physical structure to show you an idea at play.
But both can show how one sees the world.
I’m going to focus now on visual expression… and use a recent drawing to illustrate what I mean.
Initially, I got lost in the details and tried to copy this more precisely, but I stepped away for a day and when I looked at it again, I realized I had smoothed over all the nuances. It was static like a rock.
I often tell myself to “always know what you’re looking at,” but in this case, I decided to refer to a thumbnail of the original, so I could see again what initially made me decide to choose the image. I decided the goal is not to draw a poppy, per se, but to get ideas about what is a “good line.” Or, overall, when looking at a model, I am not drawing the model, I am making note of what makes the model pretty.
This approach is especially useful when thinking about auto-drawing, because with auto-drawing, the challenge is to maintain variation, to avoid making it look like patterns on wall paper. Looking all around me, I see “pretty lines” and beautiful color compositions everywhere and realize I can use almost everything as a resource. I just have to like what I see.
When I picked up drawing in 2008, I was mesmerized by a “pretty line.” It was a gateway into the visual arts, and a year later I wanted to utilize more color, but I couldn’t see where other artists were getting there ideas (color schemes) from.
Intuitively, I knew that you have to enjoy something to bring it into your work… or I should say you have to know what you like to gauge the progress of your work… to know that you’re achieving what you want to achieve.
Okay, it’s not simple. But creative work doesn’t need to be precise.
I made a sketchbook for the purpose of experimenting with color schemes, and discovered the joys of working with Marie’s watercolor tubes, particularly 511 (bright blue green) and 451 (looks like Prussian blue)
Here’s a picture of a poppy I painted.
1 This is from the introduction of Jerome Silbergeld’s Chinese Painting Style, and Silbergeld is using a translation taken from Burton Watson’s The Complete Works of Chuang Tzu, published in 1970 by Columbia University Press, p 302.