A few years ago, I had great fun making a series of Sketchbook Films with my old pal and genius, Tommy Kane. After bugging him for months, I finally got Tom to join me in making a brand-new film about Marcy Singer.
I first met Marcy when I taught a class at the Open Center in New York and apparently I gave her an idea that led to an enormous project. I said, “why not draw while you watch TV? Just use the DVR to freeze the frame and sketch what’s on the screen.”
An ardent hockey fan, she decided to draw every single game the NY Rangers play and has now filled many sketchbook with wonderful drawings and watercolors. It’s a great story about how drawing changes how you see things and deepens your experience and your passion.
What with this, that, and lots of the other, I haven’t gotten around to telling you about a brand new klass I am teaching in the new Kourse at Sketchbook Skool. So I shall. But first, let me show you a little film about the kourse and its fakulty.
I also wanted to tell you what I was thinking in putting it together. This has actually been harder to do than I thought (the telling, not the putting together). In fact, this is the third film I’ve made on the subject this week and I hated the first two. So this time I shall just turn on the camera and see what comes out. If it’s boring, don’t worry. Polishing, I assure you, is not.
I hope to see you in klass. It begins on April 15th and you can learn more about it here.
Recently Tommy Kane showed me this incredible video of a flip-through tour through James Jean‘s latest sketchbook.
It’s awesome but what it inspired Tommy to do is greater still: a tour of his sketchbook from this past summer. I have seen this book and I have watched him draw several of these drawings and it is amazing. Obsessive, imaginative, hilarious and moving. Just like my old pal, Tommy Kane.
I hope it sets your week off in the right direction.
So many people seemed interested in my recollections about old typewriters that I thought I’d share this dusty relic, a three-part conversation between Tommy Kane and me in which we discuss all the old technologies that used to be part of our work in advertising. If you’ve had a long career in design or what you used to be called ‘Madison Avenue,’ it’ll ring some ancient bells.
We recorded it about four years ago. It’s sort of pathetic how unreliable our memories were already.
Playwrights say that if a gun appears on stage, somebody will use it before the curtain falls. Photographers say that the best camera is the one you have with you. The New York Lottery says “You gotta be in it to win it.”
I just spent ten days in a car with a journal on my lap. As result, I did a lot of drawing. Not that drawing in a car is ideal. I am prey to carsickness so jolting highways and juddering views are usually not the ideal environment for the delicate stomach of my muse. Nonetheless, as I looked out the windshield four thousand miles, I was constantly drawn to draw.
Aphorists say when you have a hammer, everything looks like a nail. And as I spent my whole day with a pen lightly gripped in my hand, everything looked like a drawing. The only effort required to start a drawing was to shrug off the cap and, whenever I wasn’t at the helm, I seized every excuse to draw (thank you, Tommy Kane).
The unfolding miles inspired me to use the pen which in turn defined the journey we were on. I saw connections between things, I saw unusual shapes, I saw common things suddenly looking very uncommon. I was hyperaware of the light, of the weather, of the ravages of time. Holding a pen can be like donning polarizing sunglasses, sharpening everything in your field of vision.
Now I am back on terra firma, I want to hold on to that urge and habit. To keep recording all the days that pass under my feet, to keep seeing even the most familiar landscape with the fresh eyes and open mind of a traveler.
My pal, Tommy Kane and his wife Yun just spent a few days with us in California. It was so good to have them with us and we spent a lot of time eating in good restaurants, wandering through Venice and, of course, drawing.
I have known Tom for thirty years and we have drawn together for the last ten. Despite how close we are, when it comes to drawing we are quite different. Tommy is an illustrator, an artist who works toward beautiful finished pages, every one suitable for framing. His journals are immaculate, and each page is perfect from corner to corner. He just put out a lovely book of his work and it is a treat to have all that perfection in one place. The experience of looking at his journals is like looking at a final, published book—so immaculate, so rich.
My style of drawing is far more hasty, slapdash and impatient. And that can be a problem when we draw together. Tom expects to spend hours and hours doing a single drawing. He has a very specific way of doing a page, starting with his uniball pen, putting in loads of careful hatching, then adding watercolors and finally a layer of bright pencil marks. He’d prefer to do the entire thing on location, perched on his little stool. He has a patient wife/traveling companion and has drawn this way all over the world.
When we sit down together, as we did on the Venice Boardwalk and on Lincoln Boulevard, I find myself adjusting to his pace and do horrible overdrawn pages that don’t look like my normal work. I find it impossible with the way I draw to spend hours on a single page, Tom also compromises when we’re together and usually only manages to finish his line drawing before I start squirming and pacing and has to color his picture later on, from a photo.
I don’t begrudge Tom his slow and careful pace. He manages to capture so much detail and observation and yet keep his work fresh and bright. I draw, like almost everything else, at a neurotic pace, and the luxury of time just stirs up the mud.
Everyone has their own speed. Our friend Butch draws at a glacial pace, thinking nothing of spending ten or twenty hours on a page, D.Price, on the other hand, can knock out a drawing in three minutes. We have all drawn together and it’s like a tap dancer, a heavy metal guitarist, a tuba player and a sitarist trying to jam.
Whenever I go on a sketchcrawl, I have to adjust to the group, moving toward the mean of all the people drawing together. And it’s good to challenge that someotimes, to go faster or slower to add variation and stretch. In the long run, though, the work I do with others is never my favorite. It’s more of a fun, communal, social experience than a satisfying artistic one.
I’m not antisocial and I love to hang out with my friends.
But I’d rather pee, nap and draw alone
In the process of my endless rearrangement of my apartment, I managed to reveal a completely bare wall in my living room, one of the few in my home, and realized it called out for a big square painting. I mentioned this emptiness to my pal, Tommy Kane, and yesterday he appeared with one of his masterpieces, a lovely canvas of the Lone Ranger. Tom even hung it, as perfectly as only such a talented art director could do.
It was a beastly hot day, so, once the ladders and hammers were put away, we decided to visit the NY Sanitation Department’s maintenance garage on the banks of the Hudson River. We set up our folding armchairs in the shadow of some especially fragrant trucks and unwrapped ham and cheese croissants. After lunch, we broke out the drawing gear and spent an hour or two drawing the grimy complexity of rows of ailing trucks.
Tom is capable of spending weeks drawing a single scene so I tend to take my time too whenever I draw with him. As a result, these drawings tend to be very thick with lines, dark, layered, probably overworked. But there’s nothing like sitting with an old buddy in a garbage garage parking lot on a sweltering day, pen in one hand, book in the other, croissant crumbs in one’s whiskers, cawing seagulls overhead. Try it sometime.
Jack is applying to the Summer Arts Institute, a fantastic program which allows him to study drawing and painting for eight or so hours a day through July. It has loads of dedicated teachers and visits with professional artists and, probably most importantly, the company of other teenagers who are committed to art.
He participated in the program two years ago and did some extraordinary work.
Admission is fairly competitive; applicants need to show a portfolio, complete a drawing assignment, and survive an interview and portfolio critique.
Jack’s portfolio is really diverse these days, oil and acrylic paintings, pastel, conté, various types of prints and the medium at which he truly excels: pen and ink drawing.
Early Saturday morning, Jack and I rode out to the Frank Sinatra School of the Arts, a beautiful new public school in Astoria. While he went off for his audition, my pal Tommy Kane drove up and we pulled our pens and drew next to the elevated subway overpass. I think this may be my first drawing in this borough.
An hour later, Jack appeared with a broad grin: “Interview went well. The teacher didn’t like my paintings but loved my drawings and sketchbooks. I think I’m in.” I’m sure his confidence isn’t misplaced, but then I’m his biggest fan. We hope to hear the verdict soon.
Next landmark event: next’s months audition for the Summer Outreach program at the famous Cooper Union School of Art.
This is Jack’s current portfolio.[click on any thumbnail to see the gallery]. Next time, I’ll share some of the work in his sketchbooks.