Burua-eskua. Marrazki "ona" = Cabeza-mano. El "buen" dibujo
Kandinsky. Concerning the Spiritual in Art. Dover Publications, 1977, p. 56
Kandinsky’s consideration about drawing is correct. Drawing is basically the act of freedom that rests in need. A need for solving or thoughts. The stroke walks next to a thoughts line that sets the pace where the presentation is based. The stroke and gesture are like a base-line in music. The figurative attempts are fast thoughts, consummates, sharp ornaments superimposed to base, like a keyboard or a guitar.
Hands are more slow than heads, and heads are more free. What excesses freedom, is what hand’s thought rests to the speed of mental thoughts. That slow think of hands, has the potential of making any movement automatic, intuitive or intentionally, a drawing. The repetitive persistence of hands turns any drawing into a “good drawing”.
This is what “good drawing” is about: take craving to limits. Overflowing that limit assuming our errors and overtaking them by traps or schemes, with the only purpose of continuing, of not stopping till the sentences is completed, or till the drawing breathes, gets up, claps on your back or laughs at you.
With time, errors, deficiencies and lies of your drawings, turn into your personal style and the way of ordering and interpreting them in your technique. In this manner, although you had never drawn a tree, a home or a face, you put yourself in a “good” place where you will breed hundreds of “good drawings”.
And when someone that you admire tells you “that” drawing is a such a “good” art, you will start to understand all you art-works. Those that are not art, will end up in the trash-can. You will know how to distinguish them, because you will already be an artist.
You will have turned into an artist, because you learned to think in that way, on those hours of drawing and getting to know your hand.