Drawing at a different scale than what they see is often a problem for beginning art students.
eliminates that problem.
Which is why many ateliers use it.
Do you struggle with drawing what you see?
Does drawing from life intimidate you?
Are your drawings disproportionate?
Are you unable to capture a likeness?
Do you wish you had atelier training?
Learning to draw in Sight-Size can help!
What is Sight-Size? Sight-Size is simply an arrangement of the artist, subject and artwork that allows the artist to see their subject and artwork one-to-one.
You can see an example of this in the photograph at the top of the page, taken from near the artist's vantage point.
-John Singer Sargent painting Mrs. Fiske Warren and her daughter Rachel in 1903.
2. Consistent Vantage Point
When your subject and artwork are visually side-by-side in Sight-Size, from the proper vantage point you can see both in one glance and in a one-to-one relationship.
How? Through Bargue plate copies and cast drawing.
Learning how to accurately draw what you see can be difficult, especially when your subject is larger than your paper.
Sight-Size eliminates the problem of scale and makes the process of seeing and drawing much easier because your artwork is the same size you see your subject. That is why many of the most successful ateliers in the world teach their students how to draw using Sight-Size.
Due to the one-to-one relationship between your artwork and subject, Sight-Size allows you to easily see shape, value, edge, and even color errors. Your drawing will therefore be more accurate. That is a good thing because accuracy is where likeness is found.
When learning to draw in Sight-Size, what you see is what you draw. There is no scaling, construction, or formula. Sight-Size is purely objective sight. Then, once your eye is trained to objectively see, you can make intentional, intelligent, and artistic choices about deviating from your source. You can also more easily scale because your eye is now trained to accurately see.
My name is Darren Rousar. During the late 80's through the early 2000's I studied and taught at numerous ateliers in the States and Florence, Italy. Since then most of my efforts have been guiding students through print and online.
If you want to learn how to draw what you see, I can help.
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What others have said.
Did you know that more often than not you don’t see what you think you see? Relative to drawing and painting, two critical factors are involved. The first is inaccurate observation, and the second is confirmation bias. The solution to both problems is the same.
To solve the problem of values, you must determine the true hierarchy of them. Many artists do that by beginning with the darks, and a few do by beginning with the lights. In either case you’ll need to keep the range from darkest darks to lightest lights in mind. But what about beginning with the halftones? Is halftones-first a valid choice?
Philip Alexius de László was an Hungarian artist, born in 1869. Although he began his career as an historical painter, he is best known for his portraiture of early twentieth-century English and American socialites. He had a bravura style of brushwork which fit well with his contemporaries (and competition), Sargent, Sorolla and Zorn.
When you can see accurately, you can confidently draw anything you can see.
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You can learn cast drawing in Sight-Size with my help!
Learning how to accurately see, as well as draw, is best done through cast drawing in Sight-Size. Ateliers exist worldwide to help you do that. But what if you cannot attend an atelier? Or, perhaps you are already in an atelier and would like to supplement that training?
You can learn how to see through Sight-Size, or enhance what you already know with help through my various books and courses. Available at castdrawing.com.