Through Concentrated Breath

the making of images from memory

The Rules of Doodling 4

14 November 2017 by Rey Armenteros

How do you transport the characteristics of doodles to a painting? How do you convert the loose dynamics and sharp lines of a pen to the deliberate strokes of paint? Is it even possible? It’s the age old question concerning drawing versus painting, how a drawing is always fresher, how the ideas just roll out in the lines. A drawing is more immediate, or so it has been argued ad infinitum. I believe there are exceptions.

In my world, I don’t need to touch drawing materials to make drawings. My pen and ink drawings of recent years are actually made of brush and paint. I thin my paint to a precise degree, and I employ brush techniques that mirror a certain type of hatching. I work on “plastic paper” (acrylic paint skins that I make). If the image on this synthetic paper is successful, I adhere it to a substrate, and the painting is finished. If not successful, I white it out and start again or keep it until I can make it work later. Working on this plastic paper first in order to later adhere to a panel helps me overcome the psychological factor related to painting. The psychological factor goes like this: If I put all that time in preparing a canvas or panel (either of which happen to be more expensive than a page of a sketchbook), I had better make a worthy picture. When you skip that step for later, you are releasing that feeling of commitment, and you embrace the freedom of doing whatever you want. It gives my drawn and painted work the throwaway attributes of a doodle.

In the end, I am emulating these drawing qualities with paint. Does that mean that it is the same thing? “It is never the same” is a dictum I have carried in my art for years, because as soon as you change something, it can never be the same. In my search for emulating certain things that can look like other things, I have to remind myself, even convince myself, that they can never be the same.

The sharp pen lines I can make with a brush won’t match that inherently scratchy quality of a pen line, no matter who you can fool after scrutiny.

It is never the same because as soon as you change something in the method, it can no longer have the exact same substance. It’s like changing the main part of a recipe and hoping to get the same flavors.

Nevertheless, though my painting is not a pen and ink drawing, it is still a drawing; it is a drawing I do with paint. And my doodles in acrylics are still doodles, even if I am limited to making them in the studio. I would never haul paint containers, a jar of cleaning water, and several brushes to draw out in public. That is why at a coffeehouse, I scrawl with a marker instead.


A man sharing his art with the world at large.

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