8/03/2014

brief comment on the Steinberg video commentary

I'm going to try to describe what I hear him saying, translating into my own language and thus into the mess of metaphors I use when thinking about these things. 

Steinberg of course says it all very simply and elegantly. I suffer from a tendency toward a formal and pedantic style, at which, trust me, sometimes even I am rolling my eyes, even as I'm typing the very words!

If you find my commentary to be over-complicating and obscuring the whole matter, please don't mind me and just stick to the video. My goal with the commentary is first to think through all this for myself and by spending time writing it all out, to really deepen my own practice. The "waking up" I talk about in Part I is what I'm after, and right now these notes are doing it for me. The reason I'm putting it on this blog in order to bring some attention to ideas in the video that I think others will find useful and illuminating. Also, by putting it on the blog I hope to give myself more reason to stick with the project.

Please send in your comments, corrections, etc. 


Commentary on Saul Steinberg Talks (1967) Part I (second draft)

(see previous post for video)
__________________________________________________

0:00-0:29

I. WAKING UP

“In the morning, they get up and they work.”

-What follows is a description of S.’s morning routine. The simple wisdom of what he is going to talk about is how to arrange the conditions of mind and materials so that one can avoid a lot of complications and friction and frustrations and instead one can simply wake up and begin to work.

“It’s a necessity to work a few hours.”

Artists/writers/etc. often talk about working in the morning because there is a special kind of state of mind in the morning which is conducive to work. But this sentence holds a more general sense too. For "them," what is necessary is to work a few hours. That's the whole point, that's the first thought of the day—"it is necessary to work a few hours." Not all day, but definitely for a few hours.

“And drawing is my way of, um, explaining to myself what goes on in my mind.”

-The drawing is a method of introspection, of seeing into his own mind. (Drawings can also have other functions, such as looking more deeply at the external visual world, or expressing emotions, etc.) So for S. the world of the drawing is like a mental world, his own mental world. It’s not merely the visual world of depth and shadow and texture. Or we could say his mental world will be given depth and shadow and texture. His mental world and "shadows" and "forms" are all being brought together, given the qualities of each other: “drawing is a way of thinking.” This is obviously evident in S.'s drawings and work.

But why feel the need to "explain to myself what goes on in my mind?" It's not just idle curiosity, an intellectual exercise. Nor is it vanity or narcissism or psychoanalysis, etc. Artists, like most people, start the day somewhat bewildered: "what am I doing? what should I do? what's going on?" 

For the artist, the work itself is the place to go to wake up. For S. the drawing—both the activity and the thing itself—is, like meditation, a “mirror” for his mind. A way to figure out what's going on in there. 

Like meditation, S. wants the activity of drawing to reflect his mind in "real time." One can only do it by doing it right now. Later, one can look back at the drawing as a kind of record, or map of the mind, but this isn't really the point. It's best not to worry about "does this drawing reflect my mind, or not?" or how good a job you are doing. One should clear one's mind and make a drawing. The drawing itself will teach you. The activity itself, of making the drawing, of getting the mind and the hand working together, interested in each other, is the point, its own reward.

“I start with the idea of a drawing. I have an appetite to make a drawing.”

-The right conditions for drawing/working are twofold. The "appetite" is first.

I think it's best here to interpret what S calls "the idea of a drawing" and the appetite as basically the same thing. It would be wrong to say S. already has an idea before he starts, in the fully-formed sense of "a drawing of x in the style of y using the material z," something like that. I think it's best to interpret these two sentences together, as describing the same thing. He's really saying, "I start with the idea of [doing] a drawing."

It's hard to know where to start. Without some basic idea/form to start with, you have nothing. The possibilities of form and content are endless. Some people might want, in the abstract, to do a drawing, but when they're faced with endless possibilities of what to do first they might grow weary and give up here and not begin at all. They lose their appetite.

So there must be an intention to create some form, to stay with some form as it unfolds. In other words an appetite to enjoy watching and participating in the unfolding of something, some drawing. To open oneself to the process, and be ready to stick with it. A good way to stick with something is to enjoy sticking with it, and a good way to begin something is to anticipate the enjoyment one will get from sticking with it. 

Another way to think of this would be that one needs to have a desire to carry out the actual physical actions of sitting, breathing, concentrating, moving the pen, creating the drawing, and to anticipate all this with pleasure. You shouldn't just force yourself to work. 

“I have everything looking at me: paper, ink, pencil, and so on.”

-The other pre-condition of the working day is having the materials ready-to-hand. Appetite is the mental half, materials is the other. S.'s paper, ink, pencil, and so on "look at him," greet him like friends. There is no conflict or struggle with the materials. This should already be taken care of. If it isn’t, the desire to draw will be frustrated.

Maybe you have a hard time getting to work because you really haven't taken the time to figure out what materials you need, and you don't have them ready-to-hand. They shouldn't be "organized" in the sense of "visually organized." One's studio should be definitely be "messy," but only in the sense that everything is where it's most useful. If papers everywhere on the floor makes working easier right now, because you need to constantly refer to them, then they should stay there. So you need first to get the material conditions in place, before you can work. So that you can begin drawing without having too much friction, too much frustration: “where is this, where is the…?” etc. The working area should be organized according to the logic of ready-to-hand. One shouldn't have to stand up and walk around the house looking for every little thing one needs, interrupting the flow of concentration. This is crucial because the pleasure of concentration, of "flow," which is the fuel that keeps the work going day to day, week to week, keeps it worthwhile. If distractions and interruptions are constantly frustrating the flow and pleasure of concentration, work starts to seem like "homework." It is very difficult to sustain an "appetite" to do homework.

Your morning routine should be a good routine, a routine you enjoy, a routine that frictionlessly wakes you up to the enjoyment of concentration, the unity of mind and activity, and frictionlessly transfers you into the working part of the day.

Once you're concentrated, in the sense that your mind and your body and what you are doing are unified, and you're happy to stay there, then the rest can take care of itself.

next:
II. THE WORK

2/15/2014

Visual Scripts and Scrivener

Some interesting posts about ways to write comics using "visual scripts" in InDesign, and also another post about using Scrivener to write fictional comics at J. Abel's blog. I used Scrivener to write Ganges 5, and it went great. I highly recommend this program if you think it's the kind of thing you need. You can download a trial and use it for 30 days. Work through the tutorial that comes with it and you'll see how well-crafted an application it is. But it might be more than you need. If you're already writing a lot but your problem is organization and flow, then look at Scrivener. If you problem is you're not writing anything, you can probably just use a simple text app and get to work.

9/27/2013

Too Many Things at Once

Trying to work on too many projects in one day can be bad. There's a line I always think about (I forget where I read it): "Context switching is expensive." Expensive in terms of energy burned trying to get back "in gear" after switching contexts. Comics work involves many levels of nested problems and projects and it gives the brain a good workout to keep track of all the levels of tasks and problems. So don't make it worse by switching out whole projects/contexts too often or you'll get mentally tired quickly, and begin to feel exhausted and cranky.

Having a Routine

If you are feeling anxious, you should sit down and ask yourself why. If the answer is "I don't know what I should be doing right now," maybe you should think about having a daily routine. Then the answer to the question is simple: you should do whatever comes next in the routine. Do whatever comes next, and don't let your anxious mind fool you into coming up with new things to worry about to distract you from your routine. You might start to think "No, the real problem is I don't know what I should be doing with my life!" This is probably not true. You probably do know. Go back to the routine and laugh at yourself. But if you really don't know what you should do with your life, you should sit down right now and figure that out.

10/27/2012

Some sketches








These are from 2010 or so -- pretty sure I drew 
while these at the coffee shop with Dan Z and the STL drawing club. 
I don't think these are great sketches or anything, but it's been a while since
I put anything up on the blog.


9/03/2012

John P



John Porcellino process posts: One, Two, Three

7/23/2012

Pomodoro Technique



Read about it here. Try it and see if it helps you. Works for me. Keep it simple.

6/12/2012

Wrong How

What also helps is realizing that it's not that "someone is wrong on the Internet," it's that most of the time they're not even wrong. After remembering that, somehow it's easier to just get back to your work, which is the right response anyways to whatever it was that riled you up in the first place.



6/10/2012

The Most Greef


...for me anyways. Followed by postpro and finding mistake after mistake after after ∞. Haven't got practical systems for these yet is the problem, I guess?

6/06/2012

sketch


This is a sketch for a 6 foot tall Glenn Ganges, which is the last thing the world needs.

3/05/2012

Body of Work Thumbs




These are the layout pages for "Body of Work." (You can read it here.) 

I'm in-between projects right now and trying to clean up the studio (AKA the living room), so I may as well post some junk like this.

I had a hard time with this assignment (for an exhibition at Parsons about polymath cartoonists) but I eventually figured something out I was happy with. Here's some tricks I learned about how to approach assignments that work for me personally:

1) start building the story around whatever emotion you're currently feeling in your life (annoyance, frustration, hostility, etc.)
2) make it recursive
3) "death"

2/13/2012

12/13/2011

Layout Templates

It used to be that whenever I tried to figure out a page directly onto the big sheet of paper, there was so much erasing and so much daunting, expensive white space that I would get psyched out. But then I figured out this system of using these 8.5x11 copy-paper templates, and then there was less pressure to get it right the first time. It was easier to dive and do the "shitty first draft." 

This is one of the page templates I use to figure out a page of comics. I draw most of my comics -- the "Ganges" stories, especially -- with 4 rows. When I'm starting a new story I usually print a few of these out on copy paper and sketch on them. Sometimes I figure out a page pretty much exactly right the first time, but often it takes a few tries. Or I'll just sketch scenes and characters in the boxes and not worry about where each panel is going to go until later. For a few years now I've worked this way and it's become second nature.





****  This link will take you to a .pdf of the file, ready to print out and get started.  ****
(You can make your own 3 row, or whatever, templates for yourself, obviously.)


Here are some older examples of this:


I have tons of these. Here's some from the "Jeepers" era:


But this created a NEW PROBLEM, which was the tedium of translating the thumbnails* onto the large piece of paper to do the final drawing. Then only about a year ago I figured out a trick:

Scan these layout pages back into the computer, and then enlarge them to the right size (for me, a row is 10cm tall, 30cm wide). Print them out again. You can only fit 1/4 of the page on an 8.5x11 sheet of paper, so you have to use 4 sheets of paper. 

So you get something like:

Then you use that to lightly trace the big, basic shapes and placement of elements on the large sheet of paper. And then I ink in the panel borders and lettering, and now all that's left is getting the drawings right.

Now, I realize that this seems like more work than just looking at the thumbnails and sketching in the shapes! Maybe that works for you. But for me it's somehow less daunting to do all this, and do the tracing. Because all of the computer stuff is so easy for me at this point, it takes less brainpower than eye-balling it. There's less erasing and mistake-making, and thus fewer chances to get frustrated.

(Looking back, I'm embarrassed that I didn't figure this out more quickly.)

There's still a lot of erasing and re-drawing and fixing to do before I have pencils that are ready to be inked, but this trick gets me quickly through stages of layout that use to give me a lot of trouble. 

You may not have the same troubles.



*I call these 8.5x11 copy paper layouts "thumbnails" even though they're obviously bigger than the thumbnails of any known mammal.