Portrait of the artist as a spotty, callow youth

I was fifteen. Had just rid myself of the meager mustache and the cracking voice, acquired a pussful of pimples. I was a curious combination of know-it-all and trembling violet; sure I was smarter and more tuned in than any adult but also terrified of most of my classmates, especially the girls. This was before Facebook and MySpace, and our only TV was a small black and white unit in my parents’ bedroom. So I had plenty of time on my hands, plenty of opportunity to write stories, build models, read “grownup” novels, and make art.

Recently I came across a sleeve of slides in a box in a drawer.  I haven’t seen the images or the originals in decades but they are still so familiar. I worked pretty long and hard on these paintings, balancing stretched canvases on my bedside chair or struggling with the compressor and airbrush that always clogged and spat up on my nascent work.

I think I was very self-conscious about the coolness of these images and how daring they might seem to my peers. I liked to think of myself as an artist, but there were much better artists than me, like my pal, Eric Drooker, or the super cool Ed Weiss. Still, I managed to get drawings in the school paper (this became easier when I became the editor) and the school yearbook. The big painting of the foot hung in our school library for a while. It looked like it was crashing through the ceiling onto the heads of unsuspecting readers.

(Click on one of the thumbnails to open a gallery of images)

Cindy

Cindy WoodsCindy Woods has long been one of my favorite sketchbook artists. I love the quality of her line, the clarity of her observation. And she is a strong exemplar of the fact that no matter what one’s situation, drawing makes it better. She recorded her life at the Virginia Home, a nursing home for Disabled people, with grace, humor, and warmth.
I was fortunate enough to convince Cindy to include some pages from her sketchbook in my new book, An Illustrated Life: Drawing Inspiration From The Private Sketchbooks Of Artists, Illustrators And Designers. We planned to have a chat for the book’s podcast, but time ran away from us this summer. I began to regret that more than ever when Cindy told me she had developed a form of cancer that was effecting her ability to speak and that she was not sure what her prognosis would be. Then this fall, she told me that she was worried that she might not get a chance to see the final book, because the publication date was still weeks away and she was about to enter a hospice. In shock, I called my editor, Amy, and asked her to rush the very first copy to Cindy’s bedside. She had it in her hands before I even saw a copy and was so happy to see her drawings among those of so many people that she knew and admired.
Cindy passed away last night. Her close friend Ronda called to tell me that it was peaceful and Cindy was comfortable and surrounded by family to the end.

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Here is the text of my interview with Cindy in full as it appears in the book:

My journey to drawing has been a very very slow one. I don’t remember drawing much as a kid and my efforts in high school were rather timid, no more than doodles. Though I was constantly looking through children’s and art books that love of pictures didn’t translate into making many of my own until I moved away from home. It was the inspiration from Paul Hogarth’s book “Drawing People” and moving into a nursing home full of people willing to be drawn that finally got me started. There was a chess club that met with the residents here on a weekly basis and because they were so focused on their game it provided a safe way to observe people without them taking much notice of me. I gained confidence in drawing this way and started to ask folks to pose for me. These introductions through drawing are how I came to know many of the people here. Since I’ve lived here over 30 years most of these folks are deceased now, making these early drawings all the more precious to me. That’s how I began to draw and though there’ve been periods of inactivity it has in one form or another been a consistent part of my life ever since. The one odd thing is that in all that time I’d never kept a sketchbook. That’s a recent development and now that I’ve started I regret it’s not something I began early on. Even though keeping a sketchbook was encouraged in art school for some reason I just never took to it. I don’t know. Drawing in a sketchbook is sometimes a scary thing. The internet made a big difference in finally getting me started. Seeing so many beautiful pages on websites made me regret that I wasn’t able to flip through pages of my own. I liked the sense of progression through time that felt so much stronger in a book then with the loose single sheets I’d always used. And I regretted even more that as I began to explore illustration I had stopped drawing from life, drawing my friends, and that there was a huge gap of years and people that had gone unrecorded. So, with a building full of folks still willing to act as models, I began filling the pages of my very first sketchbook with their portraits. I started a second small sketchbook for travel, keeping it always at the ready in my shoulder bag and learning to scribble quick whenever there was an opportunity. I joined a figure drawing group and keep a sketchbook of just those drawings. Blogging all these sketches has made a difference in keeping me committed to the task. I’ve never drawn so consistently before over such a long period of time and the rewards of that practice have been fantastic. I notice more, always on the lookout for something interesting to draw or that I want to remember. I can look back in my books, especially my travel sketchbooks, and recall bits and pieces of a day I’d otherwise have forgotten. I’m more confident with my drawing and can capture a scene more quickly. Even when there’s barely any time I’ve started to dash off the most scribbly notes and use them to work on a sketchbook of scenes from memory. I’ve come a long way but I’ve still periods of fear, of messing up the pages, that will keep me from working in my books. I also, because of my disability, have a hard time holding some sketchbooks. I don’t want to lose this momentum I’ve gained so in addition to a sketchbook I always make sure I’ve got a cheap pad of paper from the drugstore with me so at least I have something I can switch to for when I’m feeling less confident and intimidated about using my book. I’m also still finding and am constantly inspired to try new things by the examples I find on the web. I’m curious what keeping a set time and place for sketching would feel like. Or drawing a whole book just out of my imagination. I want to try collage. Work more on composition and lettering. If I could remember them an illustrated dream journal might be neat. I’ve been slow in starting and developing this sketchbook habit but now I can’t imagine stopping.

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To see more of Cindy’s work, visit her blog.

Teaching

post-it-party-thumbFor the first time, I am teaching a regular class on sketchbook journaling and, it is some thing I really look forward to each week. I have an awful lot of students (25 or so) and our classroom is a less than inspiring place, but each Tuesday night we talk about drawing and journaling and the wide world of art, then we draw and write together for a couple of hours. Many of the folks in class are new to drawing but all are plunging in with courage and enthusiasm. Some have become instant sketchbook addicts, while others are still hanging around the shallow end, getting their bearings. This week, one of our exercises was to break an object into abstract parts and explore each one deeply. I then combined all of the individual drawings and revealed what we had been looking at collectively: a picture of our new President-elect. There was wild applause and excitement when the group mind came together. Teaching a class is forcing me to really think about what drawing is and how to communicate what I have taught myself over the years. It is is very challenging but the support and pleasure of my students inspires me mightily.

ImageIronically, this morning I was called out by a professional art teacher, here on my blog, who questioned whether I was disrespectful of art education. I hastened to explain:
Hi Danny. The book looks great, but I have to admit, upon viewing the little videomercial, despite the beautiful imagery, I was a bit turned off by what I perceived as a slight jab to my profession . As an art educator, I work my butt off day in day out turning kids onto art. The smiles on their faces when they enter the art room say it all. Their work says even more. I know too many good folks who are on the same boat as me who would feel the same. Am I overreacting here, or being slightly too sensitive? Maybe so. Still, in these trying times, when school budgets are getting cut left and right, and art educators (or,as we called them back in the day, art teachers) are either finding themselves out of a job, or not being able to find a job, the last thing we need is someone dissing art education. I’ll certainly buy the book – how could I resist something this good? Still, please talk me down and tell me why I’m getting my panties in a bundle over a tiny, little sentence (or don’t waste your time on me at all).
Steve

Dear Steve:
I hear you. Let me unravel my thoughts. First of all, I believe art education is vital to both children and adults. My son goes to a high school that specializes in art education and he takes two hours a day (!) of drawing classes. We have put him in several summer and after-school classes to develop his love of art too. So, I am all for art education … when it is done well.
I was deeply scarred by my art teacher’s abusive and derisive comments when I was a boy. I receive so many emails and letters form people who had similarly traumatic experiences when they were young too, dismissive or overly rigid teachers who made them feel they could never draw, would never amount to anything. These teachers are the exceptions in a profession that takes a lot of self-sacrifice and commitment, besieged from all sides by budgets and support for the football team.
So, while I do not diss art education in general, there are without question times when it is poorly taught. A bad teacher might be careless with comments, or overly programatic and rigid, or create a negative environment. There are people who are second rate in all professions but the ones who are incompetent or indifferent at art education can have long and deep impact on the very people who come to my site and books looking for a way to repair their creative instincts.
I realize that this may not be the answer you sought. But please know that a) my book contains work from fantastic several art educators (Rama Hughes, Roz Stendahl, Kate Johnson, Brody Neunschwander, Kurt Hollomon, Gay Kraeger, Christina Lopp, and more) and b) that I consider much of my mission to teach people to teach themselves art so I am also a sort of an art educator ( In fact, I am currently teaching a class here in New York).
And finally, Steve, I am often careless myself in the way I express myself here and elsewhere. I appreciate the rebuke, gentle though it was, and the opportunity to clarify.
I hope you enjoy An Illustrated Life: and that it brings ideas and inspiration to you and your students.

Your pal,
Danny Gregory

ImageI hope this seems like a fair and valid answer. I really don’t want to add art educators to the long list of people I piss off.

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jack-shoes.jpg Speaking of insanely great art teachers and students, here’s a drawing Jack did in class last week. ImageSeveral of the students in the class have been blogging about their experiences on Tuesday evenings. Check out Seth’s first hand reports.

An Illustrated Life Podcast 013: Christine Castro Hughes

Christine-Castro08.jpg

My editor tell me that in a week or two, I will be getting the first advanced copy of my new book, An Illustrated Life: Drawing Inspiration From The Private Sketchbooks Of Artists, Illustrators And Designers. As you can imagine, I’m thrilled.
I’m also excited to be starting up my podcast of interviews with the contributors to the book again after an inexcusably long hiatus.
Today we will be talking to Christine Castro Hughes in Los Angeles. Christine is a wonderful designer and an avid illustrated journalista. She and her husband Rama are the hosts of the Portrait Party, among many other creative endeavors. I hope you enjoy our chat as much as I did.
To see more of Christine’s work, visit her site.
And listen to our conversation here. The episode is 33 minutes long; perfect to listen to as you draw in your own journal.
I am very happy that Christine will be represented in my upcoming book due out in a month or so from HOW books ( though you can pre-order it today).

Please stay tuned and consider subscribing via RSS or iTunes* to this weekly feature until the book comes out this Fall.
See all previous episodes on my podcast home page.

Childhood memories

map.jpg
(click images to magnify)When I was a boy, I travelled a great deal. My family wasn’t in the Armed or Diplomatic services. I guess they were just adventurers, peripatetic wanderers, refugees, gypsies.

These are pages of random memories, without any real conclusions, just snapshots of stuff. I drew them from old family albums with a dip pen and india ink, painted them with watercolors. If you can bothered, click to enlarge the pages and read the captions.

fascist.jpg
My maternal grandparents (Gran and Ninny) were German refugees and were married in Rome. Mussolini threw them out in the mid 1930s.

1940.jpgThen they escaped to the part of India that became Pakistan (after World War II and Partition). My grandparents were doctors and they remained in Lahore for thirty-five years. My great-grandparents had also fled Germany and joined them in India, but later moved to Palestine. My mother (Pipsi from Püppchen or ‘little doll’ in German) and my uncle grew up in Pakistan, then went to boarding school and university in England.

baba.jpgI was born in London and first went to Pakistan when I was two. Of all the places I’d lived till I came to America, I always thought of Pakistan as home.

landing.jpgThe long voyage to Lahore, via plane or ship, was always an event.

wallah.jpgSnake charmers and bear trainers came to our house to perform for me.

tongas.jpgLahore was always bustling.

girls.jpgWe moved to Pittsburgh when I was five, then Canberra, Australia when I was six.

danny.jpgAt nine, I moved back to Pakistan alone and lived with my granparents for a year and a half.

oranges.jpgThen we moved to a kibbutz in Israel.

abatoir.jpgI went to a public school and became fluent in Hebrew. I also got my first job, at a slaughterhouse. When I was thirteen, a week before the Yom Kipur War, we moved to Broooklyn.

Another Sunday Drawing with Jack

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(Click images to enlarge)
Back for another go at life drawing. I un-retired my dip pen and was glad of it; it’s so much more organic and expressive than the Rapidograph. I also decided to tackled the entire form and try to concentrate on values as much as accuracy.

JackModel.jpg
Jack blew me away, as usual. He and his pastels muscled their way to a beautiful, surreal, Incredible Hulk sort of thing. Because he wanted to do something with the model’s blank stare, he put her in an imaginary train and drew in the view. I think he still has plans to fill in the top part of the page.

JackSarah.jpg
On Saturday night, Jack rushed in with this lovely portrait of the hopefully-not-next-Vice-President-of-the-United-States, Sarah Palin. I see his future in Stalinist propaganda.

A Little Portrait

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Sean: ink and color pencil 7″x10″
Jack and I haven’t been to life drawing together for ages so we dropped by for a few hours of portrait drawing at the Spring Street studio. We had two models, a woman we’d drawn earlier in the year, and Sean, a little person and an interesting challenge. We both were fairly frustrated by our first few efforts but finally settled into a groove.
SeanByJack.jpg
Jack’s pastel work is pretty great and he is aching to get into some oil painting. I can’t wait to see what he does with that medium. His drawing has leaped forward in the past few months and he is so self assured and able to concentrate like a laser.
I was a little bored with my piece — I find it hard to focus on the same drawing for over an hour and our class lasted three and a half — so I started messing around with colored pencils. It was okay. We will probably go back for another go in the next few weeks.

Oregon and Back

Outside Joseph

Jack and I just spent a week driving 1,000 miles or so (a crazy distance for New Yorkers) across Oregon and back to visit our pal, d.price. It was the first time Jack has seen the huge scale of things in the West and the first time we’ve done and dad-and-boy epic drawing trip.

My Oregon journal

My journaling skills were a little rusty. I haven’t been doing bona-fied illustrated journaling in awhile; over the past few months, I’ve been drawing various things in various books in various ways. So I decided to take a long two drawing books, one larger for ink and such, the other a smaller one made by Roz Stendahl. It’s 3 and 3/16 inches by 3 and 3/4 with Fabriano Artistico 90 lb. cold press paper, palm-sized and very handy.

OJournal1 Jack's Passport

We began the trip a little spasmodically as you can read above. We had to wake up at 4:30 a.m. and then double back to get Jack’s passport (which turned out to be completely unnecessary — kids under 18 don’t need ID to fly).

Fake Lewis & Clark journals

In Portland, we rented an SUV (a very odd vehicle for me, the non-car owner) and headed east. Jack is a very able navigator and we used the Google maps function on my Blackberry. We took our time ( on my last trip to Oregon, I got my first and very expensive speeding ticket; this time, I relied on my cruise control to keep us legal) and stopped at interesting stuff along the way. Looking for lunch, we stumbled into the Bonneville Dam and its sturgeon hatchery. We learned about fish ladders and saw the most enormous fishies ever — critters a dozen feet long placidly floated past the hatchery window like prehistoric aquatic cattle. As its near the end of their trail, replicas of Lewis and Clark’s journals were also on display.

OJournal CharBurger

We found lunch at the politically incorrect CharBurger and then continued east.

OJournal3 Pendelton

The weather had been overcast and intermittently rainy since we’d left Portland but midday things started to heat up.We were pretty knackered from the long day and decided to make camp midway, pulling into Pendleton to find a motel. We decided to look for one where we could swim and ended up at the Travelers’ Inn which boasted a pool with the dimensions and sanitary status of a New York urinal. After paying for the night, we discovered our room was similarly fragrant; clearly the former resident had developed some sort of kidney disorder and was forced to use the thick shag rug as a bedpan.

Sold out show in Pendeleton

Eschewing a dip and a nap but still anxious to escape the rain, Jack and I headed to the town cinema. A triplex, it proved to be sparsely attended. In fact, we were the only audience for the 4:40 show of ‘Tropic Thunder’, the sole patrons of all three screens. We returned to the Inn and found our next door neighbors were burning hot dogs on a propane grill outside our door.

We miss her

Early the next morning, we had a hearty breakfast ( we miss Patti!) and finished the last leg of the journey. We pulled into Joseph and met up with D.Price. Dan gave Jack a tour of his meadow, pointing out the various tiny buildings he has built by hand.

d.price's studio

There’s the studio where he writes and prints his magazines.

Sweat lodge

The sweat lodge where we would spend evenings having mystical conversations then plunging into the river.

outside the kiva

The Kiva, Dan’s hobbit house. Inside it’s about seven feet wide in diameter, wooden walls, carpeted, low ceiling with a sky light, snug as a bug.

OJournal Kiva

Here’s my impression of what it looks like inside.

Jack in the shower room

Dan has a little shower room, with a gravity shower. River water is loaded into the cistern by the bucketload and then heated electrically.

Tents in the meadow

Later, we were joined by Ryan White from Portland. He is a soil engineer who also likes to draw and camp. Jack and I spent the first night in tents and then we and Dan sopped places each night so we all had different sleeping experiences.

OJournal 4 Horsies

We drive around Joseph, stopping to draw. Here are pack horses that climb up the mountain trails that surround the town.

OJournal 5 Lake

The lake is lovely and huge, filled with boats but few swimmers. Last week it was over 100 degrees but the rain has arrived and cooled everything dramatically.

OJournal 6 Joseph

Dan’s a master of improvisation and craft. He turns old bikes into fence rails, and recycles driftwood, paving stones, and old wooden signs.

Jack in the outhouse

Jack checks out the gallery walls of the outhouse.

OJournal Trial and Lake2

Dan had some court business with his ex-wife and then we went back to drawing.

Drawn by Jack

Jack’s drawing has been transformed in the past six months, since he fell in love with drawing from life. His summer arts camp helped him develop the most amazing ability to concentrate. While Dan would dash off a drawing in minutes, Jack could sit in full meditation for an hour, until he was forced to abandon his drawing midway and come with the annoying grownups. Here’s a bunch of the drawings he made on our trip.

Drawn by Jack

Drawn by Jack

Drawn by Jack

Drawn by Jack

Drawn by Jack

I’m admittedly biased, but I think he’s scary good.

OJournal Teepee

Dan spent years living in a teepee like this, back when dinosaurs roamed Joseph.

Jack on 1948 tractor

One of the wonderful thing about hanging out with a bunch of fellow artists, is the opportunity to compare visions. Here for example are the ways we all approached a bunch of old tractors we found in Enterprise, OR.

Ryan's tractor

Tractor by Ryan White

Dan's tractor

Tractor by Dan Price

Drawn by Jack

Tractor by Jack Tea Gregory

My tractor

Tractor by Danny Gregory

Drunk driving

Personally, if I had to spend more than a couple of days in a small town like Joseph, I would blow my brains our from boredom. However, there are endless lovely things to draw there, as there are in every corner of the world.

OJournal 10 Barn

A tornado whacked this barn a while back. Rather than fix it, the owners are waiting for Ron Paul.

Drawn by Jack

Jack’s version.

Redesigning d.price's website

One of our projects in Oregon was to help d.price to set up an online version of his ‘zine, Moonlight Chronicles. The first few pages are up and I urge you to visit his new site regularly for updates. He will continue to publish on paper but is scaling back to minimize the environmental impact of tree killing. If you like his work as much as I do, consider buying some back issues (or even the first 50 in a lovely hand-painted box).

OJournal 11 Truck

Our drawings of an old train were constantly interrupted by the fact that the crew moved it up and down the rails.

Squished coins

So instead, I put some coins on the rail and the train squished them flat:

OJournal 12 Road Back

At week’s end, we drove back across Oregon. It was a super trip — one we plan to make a regular summer tradition.

Jack & Ryan draw the train

I guess normal men do this sort of thing regularly, except they go fishing or hunting or play golf. We weirdoes prefer to just sit around, pen in hand, seizing the moment.

ImageP.S. For this and probably future posts, I shall be putting my images on flicker where you can see them larger (just click on the blog image you like and it will take you to the flickr page). I have also posted a couple of hundred other pictures up there from our trip.

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An Illustrated Life Podcast 012: Melanie Ford Wilson


Melanie is a wonderful illustrator and designer based in Ontario, Canada. I first encountered her work through her blog and was enchanted by the sweetness of her perspective and by the lively way she writes.
We had a length chat about all sorts of things but I was particularly intrigued by our conversation about the ups and downs of being a popular blogger and the group of women illustrator/designer/bloggers of which Melanie has been a part for the past few years.
See Melanie’s work here and her blog here.
And listen to our conversation here. The episode is 63 minutes long; perfect to listen to as you draw in your own journal.
I am very happy that Melanie will be represented in my upcoming book, An Illustrated Life: drawing inspiration from the private sketchbooks of artists, illustrators and designers due out in October from HOW books ( though you can pre-order it today).

Please stay tuned and consider subscribing via RSS or iTunes* to this weekly feature until the book comes out this Fall.
See all previous episodes on my podcast home page.