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brush, staring at an empty canvas, and waiting for the
moment to take their first stroke.
If the one reading is looking for a few pages of notes on how
to paint like Michelangelo, then they should discard this essay
promptly. Herein is a text that paints very much like the brush
strokes on a canvas. This essay is not about the technical
scrutinies of an aging professor, but a more detailed analysis of
the nuances of finding the reason why one paints. As everyone
is simply and plainly different, there will never be a defined
palette of emotion that churns out passionate strokes of art.
There really isn’t a good and mathematical approach to
creating. Painting and working simply is.
When someone approaches their sketchpad, what do they
want to see? The world the others in their life want to see?
Perhaps it could be a narrative or a single statement. Would it
be fantasy, fiction, creatures, humans, fallacies or wit? So on
and so forth, the staggering amount of curiosities that arise
from simply asking a simple question of ‘what’ is often too
much to bear for some. People soon find themselves elsewhere
instead of working on their thumbnail sketches, pondering the
infinite responses that could be. So take a step back, breath,
and narrow everything down to a si