That's a good take on drawing from nature. My focal point on this subject is how good it feels. When you get over that bump, which like you say takes little time, you become so relaxed. I actually don't care about the drawings I make, it's the state of mind that I get from doing it that I like.
"That bump" I mention is something like changing gears in your head to see the pixels on the screen, instead of the text, windows, and other things that the pixels "make up", to use an analogy. It's actually hard to even describe this phenomenon; I guess that says something about how foreign it is to us. It's a bit like, when someone is talking, being able to distinguish the pure sounds you hear, and the interpretations you (involuntarily) attach to those sounds. When drawing in the "naturalistic" way, you want to suspend the interpretation or symbolisation of what you see.
The first time you make the shift, to me it feels like "wow, I don't know this feeling, it's great". Then you have to redo it every time you sit down to draw, and usually multiple times in the midst of a session too, because you loose focus and fall back to the symbolistic-perception mode.
"That bump" I mention is something like changing gears in your head to see the pixels on the screen, instead of the text, windows, and other things that the pixels "make up", to use an analogy. It's actually hard to even describe this phenomenon; I guess that says something about how foreign it is to us. It's a bit like, when someone is talking, being able to distinguish the pure sounds you hear, and the interpretations you (involuntarily) attach to those sounds. When drawing in the "naturalistic" way, you want to suspend the interpretation or symbolisation of what you see.
The first time you make the shift, to me it feels like "wow, I don't know this feeling, it's great". Then you have to redo it every time you sit down to draw, and usually multiple times in the midst of a session too, because you loose focus and fall back to the symbolistic-perception mode.