Although some may prefer to always work in Sight-Size, not all do or are able to all the time. Furthermore, not every subject or scene lends itself to the Sight-Size arrangement. In those cases the only other option is comparative measurement. Scaling your drawing should be no trouble for you if you’re skilled in seeing through Sight-Size. Since it is a distinct skill, however, it only makes sense to train that ability. And once you do, you’ll have gained a comparative eye.
Articles about Sight-Size
Here is an ever-growing collection of articles related to the Sight-Size approach. Many of these articles expand on the lessons I teach my own students. Others are of more historical interest. And yes, many contain promotional content to my free guide, books, and online courses. You can learn how to see accurately so that you can successfully draw what you see. Therefore, all of the content I produce is centered on helping you do that.
A small error at any point in the process of creating your drawing can have an adverse effect on the result. It does not really matter when the error takes place, but the earlier the error the larger its effect will be. This concept, that a small change can have large consequences, is known as the butterfly effect.
Many beginners see starts as merely a means to an end. But the art of starts goes well beyond learning how to see, for how well you start can affect how well you finish. That’s especially true for cast drawings. Therefore, let’s revisit the art of starts with an eye towards learning how to do them for practice.
One of the advantages of attending an atelier is partaking in an established system of regular critiques. Such critiques are arguably the most beneficial part of one’s training because it is through them that the master’s eye gets passed down to the next generation. Given their importance it’s wise to wonder, “what is a critique?”
The modern day theory of mastery prescribes 10,000 hours of practice. That’s not a magic number, of course, it’s merely a guideline. But more important than the number of hours of practice is the quality of that practice. Practice needs to be focussed and deliberate. And you must also fail. In fact, better than 10,000 hours of practice are 10,000 failures. Even better is to use your failures.
“It will be like scales falling from your eyes” was a statement I frequently heard during my years in various ateliers and it is something I tell my own students. That’s fairly straightforward. But let’s look a little closer to better understand how it applies to learning to see.
A single point of view is required for all forms of drawing what you see. One way of assuring that is by closing one eye. But closing one eye alone will not give you a consistent single point of view. You also need to position yourself in the same place throughout the process of working on the drawing or painting. One of the first to recommend this was Leon Alberti, in reference to what is now known as Alberti’s Veil.
One of the early reasons for museums was to help in the training of artists. They would go and copy whatever works interested them or were assigned by their master. Nowadays most visitors are the general public. But whatever the reason for the visit most people barely glance at what they’re seeing. That’s a shame. To counter that, let’s go to the museum as an artist might.
If you’re reading this, you can clearly see. The question is, how clearly do you see? It’s an important question because although vision is a biological wonder, not everyone’s vision is equally comparable. For some, the most obvious issue is a lack of focus. But other issues are often less obvious. One possible tell is your ability to see a perfect circle.
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.