Drawing Pictures of Dogs

 

When I was in graduate school for fiction writing, one of my teachers complained that my work was too “heady” and not placed enough in down to earth details. She wanted descriptions of rooms, clothing, weather, anything to make it more believable that these scenes were happening somewhere outside of my loopy brain.

I had a lot of respect for that teacher, so during the summer I signed up for a local adult education class in drawing. I had hopes that I would immediately be able to capture scenes and squeeze depths of emotion from stale memories. I would suddenly understand color and shading, and line and texture, and I could design the clothes I always wanted to wear, and draw complicated murals on my walls.

The adult education art teacher was a little bit ethereal and not quite as down to earth as I’d hoped. Even her white hair seemed to be reaching up to the sky, unwilling to stay tacked down with barrettes. But I bought my supplies anyway: pencils and chalk and paper and erasers. I sat in the classroom and listened to lectures about shading, and perspective, and complementary colors. It was all a struggle, though. I had to push myself to go to class, and push myself to practice at home. My brain resisted each lesson with a ferocity I had not expected.

After six weeks of drawing lessons, it was time to move on to painting. I thought I would be excited, instead I was tense and short tempered when Mom and I went to the art store and scoured the aisles for all of the new items on the syllabus. I was uncomfortable with all of the money I was spending on supplies, but that did not really explain the panic rising up in me.

The night of the next class, Mom had to drive me, because otherwise I would not have been able to even start the car. The bag of art supplies felt like heavy bricks, and the school building cast a shadow like a haunted castle. When I reached the door of the classroom, where I’d safely entered six times before, I could not go in. I could barely even breathe. My body felt like it was filled with poison darts. I raced out of the building to the safety of the car and I couldn’t explain any of it to Mom as she dutifully drove me home. I couldn’t even tolerate keeping the paints – it all had to go back to the store. I never went back to the class.

I spent the rest of the summer working on the revisions for my novel, and deepening and dressing up the interior of the scenes as best I could, but I felt sick, and guilty, for having failed, inexplicably, to finish the adult education class.

I am prone to panic. Usually, if I feel twinges of that whirlwind going off in my head, it’s a sign that something is buried in that particular corner of my brain that needs to be excavated. Over the years I’ve been able to excavate a lot of those corners and draw off the panic, but certain land mines remain potent, and unexplained, no matter how many times I’ve tried to clean them out. And painting is one of those land mines. Maybe it’s just that I’m not talented in this particular area and, being a perfectionist, I hate that. Or maybe there’s something deeper and I’m not ready to see it yet. I don’t know.

I would love to be able to paint a picture of Butterfly’s eyes, and capture her moods more thoroughly than I can manage with a camera. I want to put Cricket down on paper, though she’s unlikely to actually stay there.

Butterfly’s eyes speak volumes.

Cricket is a blur.

I spent a lot of time last year just coloring, with pencils, working on a brain coloring book because it made me feel slightly less silly than the Little Mermaid coloring book I really wanted. Maybe what I should really do is print out pictures of Cricket and Butterfly in black and white and try to color them in. Cricket would look great in orange, with a blue Mohawk. And Butterfly could really come to life with a few touches of pink!

My coloring book.

Cricket!

Butterfly!

Maybe drawing pictures of the dogs would be a safe place to start.