Category Archives: Art Education

Line Drawings and Hardware

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Among the first drawing assignments I learned in the early days of my college education at York College in Queens NY in February and March of 1976, was to create volume using line weight. My first attempt at drawing the extension cord had an even pencil stroke on each of the turns of the coils. This is my second attempt and looking closely you can see that as the object comes forward to the picture plane the line becomes thinner and lighter while thickening and darkening as it recedes. This use of the line supports the 3-dimensionality of each of the objects in a rather subtle fashion.

Line drawing of an extension cord

Line drawing of an extension cord

These 3 drawings were done on cheap sketching paper using an ordinary pencil with an under-sharpened point. The composition of each piece took into consideration the entire page, which is here shown without cropping.

Doing drawings such as these simple objects sharpens the eye for composition and detail. Changing the line weight in one movement of the pencil helps to develop control of your hand and wrist. Selecting simple standard objects removes the complexity of movement, lighting changes, composition of multiple objects and for me allows a somewhat meditative appreciation of the object.

Door knob drawing from my home in Queens Village

Drawing of a door knob from my home in Queens Village

Looking back on these drawings of pieces of hardware are strangely nostalgic.The doorknob was one of the original knobs in the house I owned in Queens Village at the time of this lesson. The handles were made of clear faceted glass and the bases were brass. They felt good in the hand when you turned them and opened a door.

The vise belonged to my Father who, since he had no need, was not at all handy. I played with it as a child in our basement in Brooklyn, putting small objects in the clamps and tightening the handle gently. I loved the sound of the metal handle as I clanked it from end to end. This green vise has traveled quite a bit in this lifetime and now lives mounted on a workbench in my garage where it is finally being put to real utilitarian use. And now that it is, I no longer notice the sweet sound of the handle and the smoothness of the moving clamps.

My father's vise

My father’s vise

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First Drawing Class

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Classical art education classes began for me when I was accepted into the Fine Arts program at City University of New York, (CUNY) York College in Queens NY during the mid-70’s. My first drawing class brought me to the Queens Museum in Flushing Meadow Park to study and sketch the plaster casts of the Greek, Roman and Renaissance eras. As I studied Art History I found that this was a method of training Artists with a tradition going back centuries. I feel proud to have been taught in the classical art tradition in which the Masters studied. I am so glad that I had that platform as the basis of my entire Art career.

In my first college level drawing classes we drew from plaster casts of famous sculptures
In my first college level drawing classes we drew from plaster casts of famous sculptures

I remember feeling totally honored at seeing those casts so up close and personal in the hidden rooms of the museum. I felt like I was being introduced into a select world, the world of the Artist. It was the beginning of being a part of a long tradition of people who were looking to learn their craft so they could find ways to describe things and views and images and ideas.

I wasn’t yet thinking of expressing my voice. I was just learning my craft. I had studied music in Junior and Senior High Schools and one of the ways I learned to master my trumpet was to play the scales up and down endlessly. Drawing, in the beginning, was very much like doing the scales. I needed to own the medium before I could begin to be creative with it. You become an Artist when the process takes backstage and your creative vision can flow.

I practiced, practiced and practiced my trumpet but never made it to Carnegie Hall. I did however, by practicing, become a professional Artist.

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First Oil Painting Classes

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After my introduction to creating art by Jon Gnagy, I decided to take painting classes. The local YMCA where I lived in Queens, NY offered classes on Wednesdays so I signed up, made my first foray into Jerry’s Artarama art supply store with my shopping list in hand. How dizzying to be exposed to so many wonderful and exciting things and widgets and colors and brushes and paper and canvas. Oh the possibilities!

And that began my addiction to art supplies.

I bought small tubes of Grumbachers, some brushes, canvas boards and mediums. We were instructed to bring some pictures from calendars or cards that we could use to copy. I still remember the feeling of holding those brushes for the first time and how transforming it was for me. The brushes felt like an extension of my arm. Like they were physically a part of me. Life altering is too mild a description of the experience.

My favorite brush was so small it was about the size of an eyeliner brush and I used it to do most of my painting. I loved the tight control it gave me and how it allowed me to do fine details. I guess it allowed me to “stay in the lines” like I’d done for years in my coloring books. It was comforting and familiar.

I still have those early paintings. The second oil painting I ever did I copied from a placemat I borrowed from a neighbor. I so loved the image, not knowing at the time that that particular still life was representative of Dutch still life painting. I had not formal knowledge of art history but, being Dutch, and having spent time in Holland as a child I had been exposed to the art hanging in the homes of my extended family. That still life image moved me.

Still life images still do. I find them serene, calming, introspective, and contemplative.

Still LIfe with Peaches by Mary Ahern

Still LIfe with Peaches my second oil painting

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Crayons & Colored Pencils

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Jon Gnagy Learn To Draw set

Jon Gnagy Learn To Draw set

Over 30 years ago I started my Art education and I’m still working on it. Since through High School my major was in music, (I was a trumpet player, saxophonist and conductor), I didn’t discover until my mid-20’s my talent for art. Having bought a Jon Gnagy Learn to Draw set as a birthday present for Stephen, the son of my friend Roberta, a few days before his party I tore off the wrapping paper and began my art career. That night, I found what I’d never found in 10 years of musical training. I felt as if those pieces of chalk, pencils and paper were physically part of me and I was now complete.

After putting my sons to bed each evening, I’d pull out a wooden board and set it on my dining room table and begin my classes again. I remember the serenity I’d feel. It echoed the quiet contemplation I’d get as a child coloring within the lines with my Crayola crayons in my coloring books and later with Venus Paradise colored pencil kits. I remember, as a child, the enjoyment of trying to create volume by shading with darker and lighter values of the same colors. His lessons helped to explain what I’d been searching for.

As a child I believed that you couldn’t be an artist unless you could draw a straight line. Using loose-leaf paper as a guide I tried endlessly to draw straight lines freehand with a pencil and failed miserably. With this fact I knew I couldn’t be an artist and this freed me to just do whatever I did. It wasn’t art, it wasn’t creative, it was just me.

I used rulers.

And yes, I bought another Learn To Draw kit and gave it to Stephen in time for his party. We both ended up as art majors in college.

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Farmingdale Horiculture Department Lecture

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On December 3, 2006 I was invited to present a Lecture at the Farmingdale State, Dept. of Ornamental Horticulture Dept. Being a graduate of the program I presented an alternative career path to the traditional landscape design or floral trade professions.

Having morphed my Horticultural education into my Art has given me the opportunity to have my work informed with a passion for the subject along with a knowledgeable and professional grounding. This immersion in my subject makes my Art work so much more powerful, accurate and personal.

Mary Ahern lectures on Fine Art, Botanical Illustration and the Business of Art

Mary Ahern lectures on Fine Art, Botanical Illustration and the Business of Art

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