Exciting beginnings: my self-taught art journey, week 1

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For the past seven years, I’ve been creating art without a clear direction—exploring different media, following tutorials, and experimenting, but always feeling like I was wandering without a map. I even tried selling my work online but it didn’t go anywhere. I lacked the motivation and confidence to really turn it into anything. Still, I couldn’t ignore the urge to create; art is a calling I can’t shake, even when I’m unsure of where it might lead.

I wondered, “What would I do if I were starting over with a new career?” The answer seemed obvious: I’d go back to school. But being older, retired, and not interested in pursuing another degree, I decided instead to take a self-taught route.

Last week I set out to learn on my own terms, hoping to find not just technical skills, but a deeper purpose for my creativity—something that helps me grow and benefits others, too.

And now, with curiosity as my compass, I begin this new adventure…

Gathering supplies (and allies)

But every quest needs trusted guides and essential tools. Before I set out on this path of self-education, I knew I needed both. I’ve got my art materials—my weapons of choice for the journey ahead, but I needed guidance to navigate the unfamiliar terrain.

In a previous post, I talked about the subjects I wanted to learn and the four that I felt would make good starting points. This week I made final decisions about the texts.

For my Drawing I course, I turned to a classic guide, “The Natural Way to Draw: A Working Plan for Art Study” by Kimon Nicolaïdes. First published in 1941, this book is a timeless companion, offering a foundational approach to drawing that remains unchanged by time. Its structured exercises will be my daily practice, helping me build the skills that every artist needs.

To explore 2D Design, I chose “Principles of Two-Dimensional Design” by Wucius Wong—a straightforward map to understanding composition, form, and the essentials of visual structure.

For Art History, I’m following the path laid out in “Gardner’s Art Through the Ages: A Global History” by Fred S. Kleiner. This book serves as my compass, pointing me toward the masters and movements that have shaped art throughout time.

When it came to my Introductory Illustration course, I wanted something different. I began reading “The Education of an Illustrator” by Steven Heller and Marshall Arisman. Though currently out of print, it offers a fascinating perspective on the state of illustration at the turn of the century, just as the internet was rising to prominence. I’m also planning to dive into Heller’s “The Business of Illustration” to gain an overview of the field today.

Each of these texts will serve as a guide, showing me the way forward as I learn, practice, and discover new horizons in the world of illustration. With these allies by my side, I feel ready to face the challenges that lie ahead.

First trials and challenges

The first week of my “Illustration Quest” brought its share of trials, and none were more challenging than finding the time for all the practice. Nicolaïdes set a clear path with a rigorous schedule: three hours of drawing practice every day. Just drawing. The exercises ranged from slow, intense contour drawings to rapid, furious gesture sketches.

This was the wrong way to do this kind of contour practice. I was more concerned with shapes and where my pencil was than concentrating on the feel of the form.

I found myself tiring quickly, especially with the contour work. Yet, despite the exhaustion, there was something almost meditative about it. Contour drawing reminds me of zazen, a form of meditation—only with a sharper focus. Instead of simply observing my thoughts, I was making my mind follow the movements of my hand. It felt like progress, and I credit my meditation practice for getting me there quickly.

The right way to do this kind of contour practice is to not look at the paper at all. Focus on feeling the form and let the pencil go where it will.

2D Design, however, felt like a dry desert in comparison. This week was all about defining design terms—a necessary step, perhaps, but hardly exciting. I’ve read so much on design over the years that there was little new to discover…yet.

Art History provided a refreshing change of pace. I discovered that studying art history is quite different from typical history. It’s about placing art within the context of its creation—understanding why an artwork was made, who made it, and what influenced it. One fascinating takeaway from Gardner’s first chapter was how artists, separated by geography but united by their era, often produced works with striking similarities. For instance, two cathedrals built around the same time in different parts of Europe shared structural elements like Gothic arches but conveyed vastly different “feelings” due to the cultural influences of their respective communities.

The most intriguing part of my week was what I’m calling “Intro to Illustration”. I started reading The Education of an Illustrator and found it hard to put down. Steven Heller’s and Marshall Arisman’s words, written at a time when the shift from hand-wrought illustration to digital tools was still in its infancy, feel surprisingly relevant today. Just as their thoughts reflected on the transition from traditional illustration to photography, we now face another pivotal change—from human-crafted illustrations, even with digital tools, to those generated by artificial intelligence. Their insights resonate across these changes, revealing timeless truths about creativity and the essence of art.

Instead of summarizing what I learned, I’ll let the words of Heller and Arisman speak for themselves. Here are some quotes that struck a chord with me:

"Developing a personal voice is still a process of risk-taking and learning fundamentals."

Marshall Arisman- Illustrator

"Beware of mentors that tell you how to market your work. Beware of mentors that ask you to change your artistic voice for profit."

Marshall Arisman- Illustrator

"Illustration is best when the ideas, skills and styles are seamlessly woven into one entity. Style alone is empty."

Steven Heller- Art Director

"The vocabulary of the illustrator has to be expanded into authorship. Contemporary illustration in our current marketplace is reflecting the machine and not the personal viewpoint of the illustrator."

Marshall Arisman- Illustrator

"If nothing stands behind an image or drawing, then we are left with surface skill as the selling point of illustration. Decoration is a craft and not an art form."

Marshall Arisman- Illustrator

"The Naturalist movement died with the invention of the camera. They saw it coming…Illustrators see it coming. The ones who are decorators will slowly vanish from the printed page. The students who can draw will get work…"

Marshall Arisman- Illustrator

"Drawing is not an end in itself. The process of drawing can unlock the entire creative process for an artist…Each new drawing we do contains the memories of our past drawings until we die. That is what separates drawing from photography and creating an image in Photoshop on the computer. The tool has no personal memory that is not programmed in."

Marshall Arisman- Illustrator

Reflections from the Path

That last quote really struck home. I like the idea that my drawing, no matter how bad it is, still contains everything that is “me”. In fact, from a Buddhist perspective, it is actually a manifestation of my Self because everything that is “Anni”, my memories, experiences, and thought processes, went into making the line on the page.

And yet, what surprised me most this week was realizing that this drawing time is actually what I needed. The drawings themselves? They’re terrible. They don’t look like anything recognizable, but that’s not the point of this practice. The real purpose is to establish a relationship between the eye and the hand, learning when to let the brain step aside and let the body take over. That is what I’m practicing.

It’s a mental-physical flow that feels good. My brain is still busy, but it’s observing more than directing. During contour drawing, it’s narrating: “The form goes along here, then moves back, then up, then over…” With gesture drawing, it’s more about the energy: “The energy is in the leg that’s holding the body, this arm is softer, oh, look—the mouth is tense, so much energy there…”

Gesture practice is about focusing on the energy. I could feel the model putting all his energy into holding his legs up, while his weight was pushing down on his hands. I never even saw his head. Model courtesy of quickposes.com.

While drawing brought its own surprises, my exploration into the theory of art and design also revealed new insights. I’m finding myself motivated to learn more. I want to keep exploring these new skills and see where they take me. The best part is, I’m not following anyone’s rulebook. In that sense, I feel a bit like a child again—full of wonder, learning something new, and immediately thinking of all the ways I could use it. There’s no need to look to someone else for guidance or approval. I’m charting my own course, and I’m loving every moment of it.

Looking ahead, I’m ready to face more complicated drawing practices, but I understand that this stage is all about the time put in, not the quality of the work. That’s why these are foundational skills; they need time to grow. Still, this doesn’t mean I won’t pursue my own work outside of this quest. For instance, I’m using SketchAwesome to complement my learning: playing, but within some structure. It’s like wandering down a side path for a short bit while staying true to the spirit of exploration.

I feel that this journey is right for me. This isn’t a productive path yet, but I believe that, eventually, things will start to click and all this knowledge will help me create work that is meaningful to me and to others. I just have to give it time and trust the process.

Now where have I heard that before?

Charting the course ahead

This first week of my Illustration Quest has been full of challenges and discoveries. From finding unexpected benefits in the most difficult drawing exercises to feeling a renewed sense of freedom in creating my own path, I’ve already learned so much. My journey is just beginning, and I’m excited to see where it leads. I’m looking forward to diving deeper into the art-making process, facing new trials, and discovering how my art can create a meaningful impact on others.

I invite you to join me on this adventure. Share your own stories of learning, experimentation, or finding your creative path. Let’s inspire each other along the way.

As I take these first steps, I’m reminded that every quest has its uncertainties. But it’s in those moments of doubt and discovery that the most meaningful growth happens. So, here’s to the journey ahead—wherever it may take us.

"Illustration is not dead—in fact, it may just be giving birth to itself."

Marshall Arisman

If you’re on your own creative journey, or considering starting one, I’d love to hear from you. What challenges or discoveries have you made along the way?

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