If you’re following along at home, week two of my experimental creativity course is underway. I’m titling this week’s theme “Brain/Play,” because we will be learning about the brain and doing exercises that call on us to be playful and let go of expectations.
A paradox I’ve noticed, as I design this course, is that I am attempting to teach two different art forms at the same time. The first is Lynda Barry’s speciality: cartooning. The second reflects my own developing interest: drawing from life, or realistic drawing.
Cartooning relies on symbolic representations: what is the essential form (there will be variations, of course) that says CAT or CAR or CASTLE? What says TREE? It always surprised me how easily my children, from a very young age, could identify a representation of a tree—any representation of any tree—in their picture books. Tree, sun, boy, girl. They could point out any of these forms, and it amazed me, because every tree in real life is a unique tree, every boy a unique boy, every girl a unique girl; and all real things are constantly changing. Not to mention that the real sun in the real sky looks nothing like its symbolic representation.
I finally understand: these symbols, and our ability to recognize them from infancy, are evidence of our brain at work, busily categorizing and simplifying, so as to make the world and all of its unique things comprehensible to us.
So that is cartooning. Learning to cartoon is learning how to make use of the symbols that represent things, in ways that are creative and yet easily grasped by the observer/reader.
Drawing from real life is a totally different undertaking: here, we are representing a figure that looks real and three-dimensional despite being nothing more than scratches on a flat page. In order to draw realistically, you have to see the uniqueness of the form you are attempting to recreate. Instead of drawing an eye, you draw the unique lines and shadows that will make an eye seem to appear on the page. In fact, in order to make an eye appear on the page, you can’t think about it being an eye that you are drawing at all. Instead, you have to look past the symbol of EYE and let yourself see purely in shapes and lines. Further, the eye you reproduce will be a very particular eye, a recognizably individual eye. It is a mind-boggling and mind-blowing experience to discover one’s capacity to see (and reproduce) shapes and lines rather than symbols. (If you already know how to draw from real life, this will come as no big revelation at all; but to those of us who believed we couldn’t draw, it is a positively exhilarating discovery.)
Now, the question is: will learning two paradoxically different art forms at the same time help or hinder our exploration of creativity? (An irrelevant question at present, as the experiment is in motion.)
Ultimately, the coursework is aimed toward creating a short book that combines text and illustration, and my sense is that some of us will choose cartooning for our final project, while others may choose more realistic drawing: our individual styles will emerge. That’s the hope.