Everything There Is To Say About Making Art

OK, first thing, the title’s a fib. This isn’t everything there is to say about making art. That would be two or even three whole essays, at 700 to 900 words per kilogram. But I already wrote the title down and it’s pretty snappy as it is and “One-Half or Even One-Third Of Everything There Is To Say About Making Art” reads as wimpy. And not in the good ways.

Also I don’t want to talk about making real art. Real art is too hard. It’s hard enough getting agreement on what “art” even is. “Art” is anything that, when you call it “art”, gets you into an argument about what “art” is. And that’s all great stuff. If you’re willing to get into the argument you get to seriously looking at 2,038 coats of paint brushed onto some wood salvaged from the Demolishing All The Buildings With Character Neighborhood-Revitalization Project and then gouged by a putty knife so you see about half of the colors. If you’re not willing to get into the argument, then you get to point and laugh at the people who’re seriously looking at the scraped over-painted rubble that some creamer-potato of an MFA has titled Renewal. Everybody gets something they enjoy! A “Building With Character” is one that has chipped asbestos and exposed live electrical wires and in each stairway at least two duct-taped steps.

Don’t tell me how to art.

I’m thinking more about low-argument kinds of deployed creativity. Stuff like painting, for example, drawing. Drawing is great because even without specialized tools you can get great responses. Right near you this moment there should be a decent pencil and a clean sheet of paper that you could draw on right this moment. There’s not. Everyone agrees there should be. The closest to either of this is a notepad from that Knights Inn Express Deluxe you stayed at overnight eight months ago. You know. When you were having too much fun in Findlay, Ohio, to get back home that night. The one with four sheets of paper, each dogeared somehow a different amount and bearing coffee stains. The only writing tool is one of those pens with the spring-loaded button up top that, when pressed, makes the pen fall apart. The writing stylus will roll under the heaviest furniture you have.

But you can imagine all the stuff you need to draw on hand. This takes one trip to an art supply store, where you can get a 60-page sketchpad. This will last you fourteen years and survive four major moves, one to another part of the country, and six garage sales. Also get a mechanical pencil with lead so soft that it feels like butter. It feels so comfortable and smooth that you have to be restrained from brushing it on your skin or rolling in a big pile of it.

Amateurs think that drawing is a matter of imagining something and then putting down lines that represent it. This is needlessly hard. I mean, you can sympathize with someone figuring they can’t draw a cool-looking basilisk by looking at a basilisk and then sketching really quickly before your death sets in. But most any drawing is done better with references. With references, you find a thing and look at it, and then you don’t draw that. To make it cool, add sunglasses and a confident attitude. This is expressed by thumbs up.

Like, suppose you want to draw a chair. Why is your business; I don’t judge. Take an example chair. Look hard at it. Then sketch in some rectangular boxes. I mean on your paper. Maybe add a circular box for the curvey part. There’s no boxes in the chair. Unless you’re using it as storage space which I would totally do if my love let me get away with it. But. If you draw the boxes that you don’t see in the chair, and then keep adding more lines, you get a drawing of the chair. It’s as simple as that!

(Yes yes, this simplicity comes with a cost. If you want to draw a box, you have to start out by drawing bunches of chairs. And now you know why you could never convince your friend who does art but for real to draw a box for you!)

I’m sorry, this essay is about arting drawings. Arting books is a different essay.

Putting in those lines that turn boxes into chairs takes experience, yes. But that’s no reason to be shy about trying. The wonderful thing about drawing is in lines. The more lines a drawing has, the better it is. So keep on putting in lines until it looks like what you want. Or until pressing the button to make more lead come out of the mechanical pencil causes the pencil to fall apart. This lets you learn what your heaviest furniture is now, after the garage sale. What’s important is how much fun it is to get to this point. It is about 58 units of fun. 62 if the chair looks cool which, again, you do by adding sunglasses and thumbs up.

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