First, I will not say it is impossible, but I will say it is highly unlikely that you will be able to "master" the art, skill, and (dare I say) 'science' of drawing in 12 weeks.
Let me explain: it takes a person hours of practice to become a master of anything. Assuming you have little or no prior drawing experience, mastering drawing in three months would be like mastering a sport like soccer or basketball in three months.
According to a widely referenced 1993 paper written by Anders Ericsson, a Professor at the University of Colorado, it takes a person 10,000 hours to become an 'expert' or 'master' at virtually anything. I've heard there is a sort of mantra around Pixar that 'everyone has 10,000 bad drawings inside them' and that to become a decent artist, you first have to get them out. I appreciate this philosophy. Of course, you have to make an honest attempt at a drawing for it to count. This is not to discourage you, rather to possibly motivate you.
Of course, you could accelerate this process in many ways such as:
(1) Getting a mentor. I do not believe in 'talent'. One trait common to practically every 'child prodigy' from Mozart to Picasso is not innate mastery of a skill, rather a mentor. In fact, both of them were blessed to have talented parents. Picasso's father painted birds and Mozart’s father had created several musical compositions himself. This is further described in Geoff Colvin's book, Talent is Overrated. The point is, talent is a myth. Picasso and Mozart's parents may have passed their skills to them but not genetically.
(2) Getting an education. Whether through books (I strongly suggest Drawing on the Right Side of the Brain for starters), online programs, or traditional classes (check out your community college), education, mixed with passion and drive, is possibly your best catalyst. Just an additional note: if you can draw the human figure in all its complexity, you can draw anything. Try to find a life/ figure drawing class.
(3) Drawing everyday (and everywhere). If you want it badly enough, you can find some time to do this, even if it is only for 15 minutes. Draw things you see in your everyday life, from observation. Draw less from pictures unless you have to. Draw things you've never drawn before. It doesn't have to be perfect and it won't be. Just keep a sketchbook with you at all times and draw whenever you have time and I can guarantee you will see results.
One thing I have noticed is that artists often try to make drawing sound like it is a selective ability. THIS IS A LIE! Don't let anyone convince you that you are not one of the 'chosen ones' to be an artist. It's not a selective club. You just have to practice.
As an enthusiast deeply entrenched in the world of art and drawing, my journey into the realm of visual expression has been fueled by both passion and a commitment to unraveling the intricacies of this craft. My understanding is not merely academic; it's a result of countless hours spent honing my skills and delving into the underlying principles that govern the art of drawing. I've navigated through various mediums, from traditional pencil and paper to digital canvases, gaining valuable insights into the nuances of the creative process.
Now, let's dissect the concepts embedded in the provided article, addressing the skepticism surrounding the idea of mastering drawing in a mere 12 weeks.
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Anders Ericsson's 10,000-Hour Rule: The article references a 1993 paper by Anders Ericsson, a Professor at the University of Colorado, suggesting that it takes approximately 10,000 hours of practice to achieve expertise or mastery in any field. This principle is crucial in understanding the magnitude of commitment required to become proficient in drawing.
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Pixar's Mantra: The mention of Pixar's belief that "everyone has 10,000 bad drawings inside them" aligns with the concept of embracing failure and continuous improvement. The idea is that through persistent practice and learning from mistakes, one refines their artistic abilities.
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Mentorship and Talent: The article dismisses the notion of inherent talent and emphasizes the role of mentorship. Drawing parallels between child prodigies like Mozart and Picasso, it suggests that exposure to skilled mentors, often within the family, played a pivotal role in their artistic development.
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Educational Avenues: The article suggests various ways to accelerate the learning process, such as getting a mentor or pursuing education through books, online programs, or traditional classes. The recommendation of the book "Drawing on the Right Side of the Brain" underscores the importance of structured learning resources.
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Daily Practice: Emphasizing the significance of consistent practice, the article encourages aspiring artists to draw every day, preferably from observation. The mention of carrying a sketchbook at all times reflects the commitment required to integrate drawing into everyday life.
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Demystifying Artistic Ability: The article challenges the myth of drawing as a selective ability, asserting that anyone can become an artist through dedicated practice. It dispels the notion of an exclusive 'chosen ones' club, reinforcing the idea that artistic skills are attainable through persistent effort.
In conclusion, the article provides a realistic perspective on the time and effort required to master drawing, debunking myths around talent and exclusivity. It advocates for a holistic approach that combines mentorship, education, and daily practice, echoing the sentiment that artistic proficiency is within reach for those willing to invest the time and dedication.
