The Quicksketch System

Art builds integrative minds.

The Quicksketch System

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Muscle Memory "Feel"

Remember these exercises?  From there we went on to learn cursive handwriting.  We will explore carrying these skills further and with endless potential variety.
 
Everyone has extensive experience training their muscle memory.  Usually, once we can do what ever we are trying to do we forget about it and "just do it".  This is definitely where we are going, but we can get there faster with visual expression if we pay attention to the feel of the process.  We mirror the expressions of others with special mirror neurons in our brains.  This skill of mimicry and other abilities can be expanded with attention and exploration.  A variety of repetition matching what we see by exploring a variety of marks will refine our existing ability to match the shape and expressive quality of what we see and/or our reaction to it.  
 
There are many skills and their derivatives that are maligned by our almost exclusively conceptual education.  I will point out some of these as we go along.  Our visual and spacial capacities work similarly in many ways to our conceptual patterns of thought but are different in others. One of the best ways to quickly train eye to hand coordination and connect it to spontaneous muscle memory is systematic development of tracing abilities.  It is very fast and gives instant feedback to the brain concerning what adjustments need to be made.  Fine tuning occurs faster with tracing than any other method I have found.  Even Michael Angelo traced his images onto the Sistine Chapel.
 
Tracing with various intentions will gradually perfect our ability to see something and convert that image spontaneously to a corresponding group of marks on a surface.  There are many elements involved in the process but several of them can be habituated using tracing.

We will start with simple straight line pattern tracing which will automatically develop more awareness of visual context and build confidence in making decisions on the fly.  Remember, with each new step, conscientiously maintain previous steps.  This is what integrates the elements in your subconscious so that they are not separated.  This makes them available for fluid mix and match as needed.
 
These are simple exercises and don't take very long to get comfortable with.  Feel free to invent new patterns.  Change the rules to suit the needs encountered.  The exact pattern isn't important.  There are an endless number of possibilities.  Gradually increase the complexity.  Any time in the future, when moves that are awkward or difficult are encountered, design a tracing exercise to make it familiar. When sketching, simply do dry runs on  piece of scratch paper until you are confident.  Still life and potted plants are good to start since they don't run off while you are practicing.
 
At all times and with all exercises pay close attention to how the lines 'feel' when they are what you want. 
 
After many years I still return to pattern tracing for warm-ups.  Try to plan routs that will use all lines more or less equally and use all possible decisions.  Try to trace every possibility in both directions.  Backtracking is fine.
 
Anticipation will quickly and naturally occur.  The target will register subconsciously prior to arrival, giving you time to decide on which choice to pursue.  Stops will sometimes become near instantaneous or non-existent.  Learning to compensate for overshoots and refining the ability to avoid rounded corners will both happen if you stay relaxed and maintain clear intent. 
 
Start large and as complexity increases some of the iterations will become small.  Conscientiously use the large shoulder and chest muscles even on the shortest segments.  This develops fine control and the 'feel' of relaxed spontaneity. Accuracy will develop if clear intent is maintained and each unexpected variation is accepted as part of the 'zeroing in' process and not as a mistake.
 
Visual context is of necessity registering and sharpening your awareness of spacial relationships.  The Arts are not linear.  Everything is importantly related to everything else.  This sensibility is gradually developing with the complexity of these exercises.

Copyright © Charles D. Quigley, All rights reserved.  1990 - 2018

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