The Habitual Rules of Drawing.

Because we don't look.

Look.

You must draw what you see, not what you think you see.

I look inside. I open the eye inside.

Find the first line, the first word.

The first word is Look.

Eyes are never usually used to take in information. Sight is used only to survive.

Smell is seen as the most evocative sense.

 Lines are drawn to process visual information. Writing is drawing from memory.

Drawing sometimes works in space, sometimes works in time.

Why is that made? It is made because I read that.

Because I saw that.

Because now I heard you say

You loved me.

Because that affected me.

Because that music played at that time.

Do you see my love?

Why is that drawn? It is drawn because that is the best way of processing that information.

It is drawn because that is beautiful.

Senses in tune. Writing is of course drawing. Photography is drawing. Dancing together is drawing.

Processing visual information. Using experience to make sense of the information presented to your senses in the most appropriate manner.

Using memories that are trained to look. How? By using other memories.

Open.

Sometimes it becomes too much.

The bird lays bright blue offspring, matching the sky.

All of Monet’s paintings in one day of the cathedral facade at Rouen.

The sandblown strand, the waves and beyond, the mountains.

The water falling through the clouds from a silver mountain.

 Two Shorteared Owls flying silently across the snow.

The first flight and kill of my eyass falcon.

 From swerve of bend to curve of shore. He wrote that.

A ride on my chestnut mare through an English sunset.

The horses, the bulls and the flamingos running, fly through wine coloured water.

The first time I touched your face from far away.

Senses are not enough. The mind creates ghost colours when saturated.

Draw what you have seen, and write what you think you have seen.

 

Author's Note

Why do I draw?
Eyass is a falcon bred for falconry. Monet painted more than thirty canvasses of the facade of Rouen cathedral at everytime of day. Who is the he who I say wrote that line? You tell me. The painting is mine and is called Cully. Collection of the Artist.

Reviews

[Ken Simm.]

There is such a difference to really "look" or to "see" and in this lesson Ken, you explain so well how to draw. I recognize so much in your words, and visions, or call it ways "you" see it. As it's familiar to me.
maybe also "I" see it that way. (makes another think deeper into art). Your ending is exactly how an high sensitive artist really looks at it, or did imagined it, almost as if it is real. Just a wonderful piece. Thank you Ken, also it's art to draw with words. ;)

- Elisa Laura

[Ken Simm.]

Thank you so much Elisa. you percieve so much. I'm sorry about the late answer.

Oh this piece was so good.... no worries Ken, thank you too, I hope to be back in a bit to read more of you.

[Frieda P]

I can always 'see' your love in each and every word you write, and Monet is my absolute favorite so you won my heart on both counts Ken. Your painting is as lovely as your words ascribed here, always a pleasure to read you, you are an artiste in the very truest sense of the word!

[Ken Simm.]

Thank you so much Frieda. I am honoured by your words.

[Frieda P]

Always my pleasure Ken, I find you truly fascinating....

[Ed Hart]

the life of the artist is his (or her) art...the extensions, the exercises of skill that take the forms of word or the application of line and color or the sounds of music are the echoes of the artist's passing...again, the artist is the art, and in your case it follows you into the mountains and down to the sea, and is remarkably on display at the cafe

[Ken Simm.]

The artist is the art. As I've said I look for a method that would incorporate all the expressions of my art. What I don't see is that is me.

[Ed Hart]

like we can never call ourselves good, we can never see the consummate artist in ourselves; we depend on others to make that evaluation

[Ken Simm.]

What can I say other than I am blessed with friends.

[Ed Hart]

a gaggle, if i count correctly

[emmajoy]

Not only is the poem an extreme journey into more than what's there, but the exchanges between writer and reviewers are like sitting in a room of the most thought.orientated WC members - overwhelmed and thrilled I am.

Meantime thank you, Ken, you make the smallest dot on the landscape the most precious scene to study. Have learned more about painting what one sees and feels than in all previous lectures heard and books read

[Ken Simm.]

I learn so much too Emma. From all the words people write about my work. I am surprised and honoured by those words. Especially from someone who reads me as well as you do.

[emmajoy]

:) all i can do is try - and there's no need to say the obvious!

[Ken Simm.]

What? what? That I can see you are trying?

[Mrs Edith Hat]

Exceptional. That is all I need state.

[Ken Simm.]

And thts all I need Mrs Hat. Many, many thanks.

[Donald Meikle]

senses are not enough? To be lost in thought while watching a blackbird peck at the ground as a hawk slams into it just outside my bathroom window. Reality saying hello what was I thinking? The picture of that clutched bird pecking up at death. and those red eyes glaring at my looking before he bent to tear his prey apart. Senses are enough when wakened properly Ken. Memorable enough to draw with as few small words as possible (sketch)
Thanks for the lesson

[Ken Simm.]

Its the waking that is the important bit. (Without the heart stopping that is) Thanks so much Donald.

[Clayton Bardwell]

Could it be James Joyce? Beautiful painting.

[Ken Simm.]

Got it in one. Now what book? Thank you for the words on the painting Clayton.

[Clayton Bardwell]

Finnegans Wake

[Ken Simm.]

Right again .You are good.

[Clayton Bardwell]

Thank you, thank you very much. From Elvis Presley.

[Ken Simm.]

Stephen Deadalus has now left the building.

[Clayton Bardwell]

Ah, the alter ego.

[Larry Dyson]

I truly love the sketch/painting of your falcon..and ty for describing to Me your experiences with sight and what accompanies it...each person defines and expresses in ones own way..truly.

[Ken Simm.]

This is why I fell strongly that everyone can draw. And drawing is more than just paper and pencil. Thank you so much for the erudite thoughts my friend.

[Gerald Parker]

For me, both a traditionalist and a piss-taker, this is a riot of lines arranged in the form of poetry, some of them gems of observation, some of them reflections, some of them lecture notes - there several elements in this that would make poems to stand alone, ruminations on Rouen cathedral, for instance. Pardonne-moi.

[Ken Simm.]

Those are the elements I go back to when I think of writing or drawing a poem, Gerald. I couldn't hope to ruminate on Rouen as well as the master however. Sur le motif.

[Ken Simm.]

Many, many thanks my friend for reading so throughly. Much appreciated.

[Gerald Parker]

I reckon there's a poem there, on the flightless facade of Rouen cathedral, all that shifting movement of light, the petits noirs and the gauloises, the creaking easle, the ridges in the backside, the ants up the legs, the butterfly getting stuck in the paint, the smell of bread on the back of a jolie fille's bike and, of course, the bells.

[Ken Simm.]

I reckon you've just written it Gerald. And exceptionlly well I may add.

[Ken Simm.]

My piece was about seeing the paintings altogether for the first time during a retrospective in London some years ago. Although I did cast my mind back to the memories I had of the cathedral itself when I saw it on a very rainy Autumn day years ago and I considered how Monet must have felt standing there painting over several days.
The colours, the forms in all the paintings altogether were too much for me to take in, once I had opened myself to them and I cried.

[Gerald Parker]

No, I'd need an intimate knowledge of Monet's thought processes. Did he keep a diary?

[Ken Simm.]

I love the phrase flightless facade by the way. Wish I had written it.

[Ken Simm.]

I think the diary is in the paintings. The changing light, the colours, the tones and the forms.

[Gerald Parker]

Is it different from an ordinary facade, or is there a flighted or flying facade - cemented to the flying buttress perhaps?

[Ken Simm.]

Have you seen it? It does look as if it is flying. Moreso in the various paintings Monet did whilst standing in front of it at various times of day. So perhaps flighted facade would be a better description. Doesn't seem to fit as well though.

[jacob erin-cilberto]

this is beautiful, you show that there is such art in life and that life reflects art.


wonderful words here.

jacob

[Ken Simm.]

That is exactly what I hoped to do Jacob. I'm glad you saw that, thank you.