Tap, tap. That’s the first two taps of the keyboard. When I write I always hit return twice to make space between the document title bar and the first line I’m typing. I’m not completely sure why I do this because I always go back and delete the empty lines when I’m finished. It might be because I want a little visual space there. It might be because it’s knuckle cracking or finger stretching. It’s getting ready to sketch by winding the wrists with a pencil in hand. Hear the crackle of the old joints? My wrists need WD-40. “He said ‘Oil can.’” “Oil can what?” “Oil can? Oh! Here it is. Where do you want to be oiled first?”
My rusty fingers tippety-tapping away are not the problem. My overused index fingers can two-finger type like a thirteen year old texts. My thumbs are involved a bit, but any time I try to coax my other fingers into the game the play breaks up. I may as well stick my fingers into my brain and mash it all up like I’m preparing a meatloaf. I can’t type as fast as my creative brain moves, but if I did what I write might be even more incoherent.

An artist doesn’t always know what they’ll draw. I’m not talking about assigned artwork. We do that with specific parameters in mind. A writer might be doing the same thing. With an assignment there’s a framework of ideas that limits where to go. “Write an article about a blue box.” The writer looks into their experiences with blue boxes or Blue Box, the movie and talks about how a blue box affects the world. Or they talk about how Blue Box was much better than Green Box. The whole Box genre is taking over geometry, and we need more angular influence in the entertainment industry.
“When a creative mind looks at a blank page without the suggestion of the blue box the page is either viewed as a mocking void or an inviting space.”
When a creative mind looks at a blank page without the suggestion of the blue box the page is either viewed as a mocking void or an inviting space. That’s where I want to be. That’s where i find myself when I sit down to write. For me the empty page is an inviting space that calls out. It’s asking to be defined or put into focus. It’s asking for words. The blank page used to ask for a picture, but that’s not what I see anymore. I either never reached my potential as a visual artist or I lost my vision somewhere along the way.
My mind used to think in pictures. I had ideas in my head, and I found a fleeting image that represented that idea. That was what I put on paper. One still image from the whirlwind in my head. It’s like one of those cash grab booths. You’re standing in a chamber, and paper money is flying around you. A one hundred dollar bill whips past your eyes, and by the time your hand reaches that space it’s grabbing a dollar bill or a coupon for half off an oil change. You’re overwhelmed, and can’t grab what you want so you grab what you can. It’s too random. Satisfaction is elusive and you’re convince by the host that you’ve won something when you step out with twenty three bucks. There was a potential to come out with a thousand, but you’re supposed to feel good that you managed to get something.
That’s how I feel about my own experience with visual art. I make a living at it, but it’s just not fulfilling anymore. I’m not sure it’s been fulfilling since I was a kid. I was the artist growing up. I was lucky enough to have that nurtured, but what if it was the wrong talent to support. I found expression through praise, but maybe the praise was premature. I distinctly remember being asked what I wanted to be when I grew up. On all those occasions I said, among other things, “an artist.” All, but one, actually. I said the things we were expected to say, or what I thought we were expected to say: “Fireman, policeman, astronaut, veterinarian, artist.” “You’re definitely an artist,” they would say.
One day, I saw a story in Cricket Magazine. The cover image was a Trojan Horse drawn as a giant cricket in black in. The detail had me in awe. I could almost draw it from memory, but what really stood out to me was the credit on one of the stories. Who it was escapes me, but the artist also wrote the accompanying story. That’s what I want to be: An author/illustrator. I didn’t know then that I was making a compromise for all the adults in my life who thought I needed to be told I was going to be an artist. I don’t fault them. I was saying I wanted to be an author, but they didn’t hear it. I didn’t hear it either. Because I just didn’t have the experience of life and understanding and appreciation for story-telling.
I had ideas. I had vague stories. I had thoughts, and the way I expressed them was with pictures. So I drew and drew to get all the pictures out. It was impossible. All the pictures were flying around my face, and I couldn’t possibly step out of the chamber and show them all to the world.
Is that my excuse for not trying to be a better artist? I don’t think so. I don’t lose myself in that process. The sketch, to me, is futile. I much prefer to look at the art of others. Artists can make some of the most inspiring images. And what do these images do to me? They make me want to write.
The above process has come out in snippets of conversation here and there. It may have even already come out in a bit of writing. But this is a sketch. My proverbial pencil made a circle on a blank page, and the lines got darker. A picture began to come into view, and I began to add details. This exercise, for me, is extremely satisfying. I’ve found who I am. I’ve learned to sketch again. If you’ve ever had the creative itch you know how important that is.
I won’t bother proof-reading this. Maybe later I’ll read it again and cringe at the sound of it. The flow will be clunky. The words will be wrong and the thoughts will be redundant. The sentence structure will be lanky and loose. I don’t care. I woke up, and sketched some words because my muse wants me to be in shape for whatever is happening next. The And is Near.


