This is important.
From the "Unbored" website: Drawing tips from the great GARY PANTER!
Get a book-size (or paperback-size)d sketchbook. Write your name and date on an early page and maybe think of a name for it — and if you want, write the book’s name there at the front. Make it into your little painful pal. The pain goes away slowly page by page. Fill it up and do another one. It can be hard to get started. Don’t flunk yourself before you get the ball rolling.
You might want to draw more realistically or in perspective or so it looks slick — that’s is possible and there are tricks and procedures for drawing with more realism if you desire it. But drawing very realistically with great finesse can sometimes produce dead uninteresting drawings — relative, that is, to a drawing with heart and charm and effort but no great finesse.
You can make all kinds of rules for your art making, but for starting in a sketchbook, you need to jump in and get over the intimidation part — by messing up a few pages, ripping them out if need be. Waste all the pages you want by drawing a tic tac toe schematic or something, painting them black, just doodle. Every drawing will make you a little better. Every little attempt is a step in the direction of drawing becoming a part of your life.
1. Quickly subdivide a page into a bunch of boxes by drawing a set of generally equidistant vertical lines, then a set of horizontal lines so that you have between 6 and 12 boxes or so on the page. In each box, in turn, in the simplest way possible, name every object you can think of and draw each thing in a box, not repeating. If it is fun, keep doing this on following pages until you get tired or can’t think of more nouns. Now you see that you have some kind of ability to typify the objects in your world and that in some sense you can draw anything.
2. Choose one of the objects that came to mind that you drew and devote one page to drawing that object with your eyes closed, starting at the “nose” of the object (in outline or silhouette might be good) and following the contour you see in your mind’s eye, describing to yourself in minute detail what you know about the object. You can use your free hand to keep track of the edge of the paper and ideally your starting point so that you can work your way back to the designated nose. Don’t worry about proportion or good drawing this is all about memory and moving your hand to find the shapes you are remembering. The drawing will be a mess, but if you take your time, you will see that you know a lot more about the object than you thought.
3. Trace some drawings you like to see better what the artist’s pencil or pen is doing. Tracing helps you observe closer. Copy art you like — it can’t hurt.
4. Most people (even your favorite artists) don’t like their drawings as much as they want to. Why? Because it is easy to imagine something better. This is only ambition, which is not a bad thing — but if you can accept what you are doing, of course you will progress quicker to a more satisfying level and also accidentally make perfectly charming drawings even if they embarrass you.
5. Draw a bunch more boxes and walk down a sidewalk or two documenting where the cracks and gum and splotches and leaves and mowed grass bits are on the square. Do a bunch of those. That is how nature arranges and composes stuff. Remember these ideas — they are in your sketchbook.
6. Sit somewhere and draw fast little drawings of people who are far away enough that you can only see the big simple shapes of their coats and bags and arms and hats and feet. Draw a lot of them. People are alike yet not — reduce them to simple and achievable shapes.
7. To get better with figure drawing, get someone to pose — or use photos — and do slow drawing of hands, feet, elbows, knees, and ankles. Drawing all the bones in a skeleton is also good, because it will help you see how the bones in the arms and legs cross each other and affect the arms’ and legs’ exterior shapes. When you draw a head from the side make sure you indicate enough room behind the ears for the brain case.
8. Do line drawings looking for the big shapes, and tonal drawing observing the light situation of your subject — that is, where the light is coming from and where it makes shapes in shade on the form, and where light reflects back onto the dark areas sometimes.
9. To draw the scene in front of you, choose the middle thing in your drawing and put it in the middle of your page — then add on to the drawing from the center of the page out.
10. Don’t worry about a style. It will creep up on you and eventually you will have to undo it in order to go further. Be like a river and accept everything.
Thanks to our pal, M.A.G. for bringing this to our attention
[Um, would’ve simply reblogged this, but happened onto the PG link before heading to Tumblr … ]
This reminds me of the time I was in walmart, and the guy ahead of me in line was asking for “camouflage spray-paint” and he thought you could get all the different colors out of one can.
The Prepared Aeolian Harp is going to be a series of modifications - like the 3rd bridge post. This modification was inspired by the harp picking up a tornado warning siren by sympathetic vibration…
The daxophone, invented by Hans Reichel, is an experimental musical instrument of the friction idiophones category. It consists of a thin wooden blade fixed in a wooden block (often attached to a tripod), which holds one or more contact microphones. Normally, it is played by bowing the free end, but it can also be struck or plucked, which propagates sound in the same way a ruler halfway off a table does. These vibrations then continue to the wooden-block base, which in turn is amplified by the contact microphone(s) therein. A wide range of voice-like timbres can be produced, depending on the shape of the instrument, the type of wood, where it is bowed, and where along its length it is stopped with a separate block of wood (fretted on one side) called the “dax”.
File under (Sound Creation) Architecture as Idiom & vice versa. Likewise [Lost &] Found In Action. As well as Go Along To Play Along. And so on, no need to stop …
From the link (found via Dataisnature):
The German philosopher Martin Heidegger thought that this absorbed, non-theoretical mode of activity offers a way of understanding the world that is more fundamental than detached and theoretical analysis. Heidegger argues that the privileging of detached theoretical reflection over absorbed activity is a fundamental error at the origin of Western thought, one that casts a shadow over Western society and culture.
I think the circuit bending movement shows an emphasis on absorbed activity over detached theoretical reflection, and a preference for active, perhaps unpredictable systems, not the subservient machines dreamt of by Thomas Dolby.
Oh, hail yeah, ibid. & out of sequence in a slapdash heyhere’shopingyoureadthiswhenthetimepresentsitself way:
If we accept Latour’s position, and in the light of Heidegger’s standpoint, we can see Phuture’s encounter with the 303 not as one driven by error, confusion or breakdown, but as an absorbed exploration, and a series of ‘what if?’ questions that lead to a non-theoretical understanding of the system. Here, decisions are not made in resistance to what is encountered, but in response to it.
Maybe, I’ll read it now.
Uncle Doug describes the construction and functioning of his homemade DeArmond-style electromechanical tremolo unit.
From the link:
i had a yamaha PSS-170 laying around, so i figured i would just have some fun with that. the initial plan was to keep it simple. an echo circuit, a filter, a sequencer, and so on. i figured this would be a quick little project that i could crank out in a couple of weeks, but it ended up taking about a month to finish.