Progression over Perfection - Breaking Down the Drawing Process
As artists, we get lost in the chase for “perfection”. Until we realize how unobtainable that is, will we have a better understanding of our technical abilities and improve in our craft. We caught up with resident artist Vince where he shares his thoughts on progression over perfection, his drawing process and how he’s stayed focused over lockdown.
Perfection is a nice idea, but I feel like when one orients themselves to achieve perfection they stiffen up. I’ve always loved people’s work that shows a lot of themselves within it, and that’s something you can’t replicate. Focusing on the craftsmanship will always be an important part of what we do, and with that comes a long journey of peaks and valleys, but trusting the process and growing with it organically is much more valuable.
From idea to composition, tell us about your drawing process.
The images I include in my work are references to the reoccurring motifs and symbols found in the history related to the subject matter I’m studying. Researching tattooing’s roots in artists like George Burchett and Ben Corday to Don Nolan and Zeke Owen has exposed me to a rich history of craft. On top of that, I’ve been looking at black and grey fine line tattooing, its history, and its current field to contribute to that conversation. For the most part, when looking to start larger work I break it into stages:
Mapping out ideas: Using the iPad, I’ll usually sketch out a rough composition. This allows me to see what shapes and flows will work best in accordance with each other. This stage often looks like scribbles, but later develop into the foundation.
Build a reference library: Using references to troubleshoot form, lighting or anything else I can’t fully comprehend in my mind.
Transfer of mediums: I’ll take the digital sketches and print them out to be used as a foundation to build a refined drawing upon. I’ll do this by putting a sheet of good quality paper over the printed sketch, where the analogue drawing starts to be built. Mostly, I’m using an artist quality black coloured pencil to refine and render each piece. I’ve always found drawing to come a lot more naturally to me than painting.
How do you find your drawing has progressed over lockdown? Biggest challenges you’ve overcome?
I’ve been lucky to have people around me that always push themselves to be better, and I’ve tried to apply that same energy that I would usually be putting into my tattoos into my drawing process. There has been a lot of emphasis on rendering, layout, composition and bridging my drawing technique to tattooing. Because of that shift in focus and the reps, I’ve seen a lot progress, thankfully.
The biggest challenges I face is probably pretty similar to most people in our lockdown situation: building a rigid schedule and sticking to it. Luckily, I get pretty antsy if I don’t make anything for a bit, so I know I’m not keeping pace when I feel that shift.
Are there any particular drawing techniques you find most applicable to tattooing?
I think the biggest hurdle I’ve been trying to tackle with tattooing is bridging my drawing and tattooing process. I feel like when the drawing process mimics or is referential to the way in which the tattoo is applied there is a smaller bridge to build. I’ve worked in tons of mediums trying to find the right one to inform my tattooing, and I don’t know if I’ve found the solution, but I’ve really been enjoying getting back to basics with pencil and paper. There have been so many benefits to slowing down and doing things in an honest way. I think the extra time and energy I’m able to spend on a drawing reflects in the tattoo, and that’s what it is all about in the end.
Tell us a little about your most recent piece you’re working on.
This particular sheet is an oversized flash sheet (16x20”) using the classic symbol of the Rose as a common thread throughout all the images. There are a total of 16 medium-sized flash pieces throughout the sheet that range in influence from American traditional, Chicano and religious imagery. Stylistically, everything running through the sheet is meticulously drawn black and grey fineline in nature, using an illustrative approach that at times borders on realism.
The rose has always been one of the most important images to me in tattooing for multiple reasons. Personally, I’ve always been drawn to roses because the city I was raised in, Windsor, Ontario, is historically called The Rose City, and growing up I associated that imagery to home. On top of all of that, there are infinite ways that single subject has been approached. Most can probably tell a Jack Rudy rose from a Tim Hendricks rose from a Freddy Corbin rose, and I guess I’m just trying to figure out my own approach without biting too much from those giants.
To see more of Vince’s work, be sure to follow him on Instagram.
