Drawing moving things is hard. You have to be really fast and accurate, or you have to be aiming for a more reportage style (a la Greg Betza or Veronica Lawlor, who are excellent at it), or both. And frankly, that’s not my thing. I can make a good image if I take it slow and really work at it, and nothing short of a full effort will do the trick, at least in my own eyes.

Drawing scenery is also hard. Even if it’s geometric architecture, it’s difficult to pull in an entire scene in a convincing way (like Paul Heaston or Pete Scully). That’s the other end of the spectrum, where you need to just commit hours of time to get it right. Or at least I would. And frankly, I don’t ever have that kind of time.

Drawing objects, however, is actually not that bad. You can decide how complex it needs to be, how much detail to show, you can decide on cross-hatching, or ink, or different paints. They won’t run away, they won’t demand too much time, you can compose your page however you want, etc. This is just my opinion on the subject—I’m sure any number of other sketchers have a differing view—but when I want to make a quality page in my sketchbook, I’ll find whatever interesting object I have around.

And that’s great, but it doesn’t take long for me to want to stretch out. I want to be the guy who can draw a scene, or animals, or my kids. And so there’s this tension between wanting quality and wanting to grow.

Practice is probably a key component of it.

Scattered thoughts, I know, and no real satisfying conclusion. Consider this another step in the process of improving, which I’m trying to document throughout the Easter season.



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