In painting you must give the idea of the true by means of the false.
The first painting I can remember in great detail is THE RETURN OF THE HUNTERS by Bruegel. It is an image you can enter with your mind and travel deeply into space by fording streams and hills and frozen lakes. The painting also has a sense of suspended narrative.
Working with ink and wash is a great medium for drawing because there are depths to be created through veils of gray. The image is graphically simplified, but when I feel things are going just right there is a sense of travelling ‘into’ the image. This shallow sense of landscape has unexpected moments of clarity and opacity due to the nature of the brush and ink. It is a way I like to enter a suspended narrative today, if even for fifteen minutes or so.
I told a student this week that I never really know what will happen when I draw. (Commercial illustration is different: I usually always know where that train is going to stop because it is a designed act by nature. )
I do have a reliable process for making an image and certain steps I take to map the space. Much of my teaching method relies on creating strategies for seeing/drawing with different criteria and limitations. In the best drawings, the final result is always a surprise to me because the destination is never the goal. The best illusions have the artist believing the myth of reality too.