I wish I have 48 hours a day.

Have just started my master classes. For this semester, I am taking my subjects locally instead of doing it in Sydney due to many many commitments.

So, my classes are on Saturdays and Sundays, in super intensive mode. That means my weekends are burned. I am surrounded by designers from different design industries. Most of my classmates are interior designers who have been in the industries for at least 8 years. Being the youngest one in class, I felt that I have limited “life experiences” to share. But good thing is, I am absorbing like a sponge!

My lecturer flew in from Sydney for a weekend. Hearing her talking in full-blown Aussie accent really brought back good memories. I was so happy.

Have lots of readings to do for my first assignment. I am seriously thinking if I could juggle my work and studies at the same time.

In fact, I am also an ART STUDENT now! I came across this European artist’s profile once and was very interested in her practices. My colleague and I took up a drawing course from her twice a week.

This is where we draw.

The art studio

Our first and second lesson. It took us 3 hours to draw 2 cones and a sphere (left); and 4 hours for 3 cubes (right)

Though we were trained in drawing, this is a whole new experience for us. Each artist has his/her principles and practices. Ours believes in absolute technical and precise drawing which requires sharp observation.

“Squint your eyes, Cherry!!” That’s her catch phrase, and repeat X times in one class.

But I like that. She shared about “drawing on the right side of your brain” to us. (the theory was published by Betty Edwards in 1980). Instead of letting our creative brain goes wild, She trains us to draw lines in precise angles and dimensions. (Note: Left brain – analytical; Right – intuitive and visual)

Her way: Technical first, then abstract. Build the foundation first, then you go wild.

You see, our brains sometimes “trick” us with our existing images and perceptions in mind. For example, Our brains tells us how the cup would look like even before we are given a cup as reference to draw from; A gap may seem wider than it should be because our brain tell us to believe so and etc..

So most of the times, the object that we draw is either too fat or too thin compared to the reference. It requires 100% focus, patience and discipline which I think are very important for an artist/painter.

Each time we completed a drawing, she will paste our drawings above the reference. Then she measures each line and angle to make sure they are “precise” and a complete “replica” of the objects. This process also repeat X times until we get them right.

We are only drawing primitive shapes. I wonder how it would be when it comes to organic shapes.

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