A common saying in certain circles is to “go big or go home”. While some can do both (go big at home), most can’t. I say, if you’re stuck at home get small with the Sight-Size Mini. Because not everyone has the opportunity or the space to create a proper Sight-Size arrangement in a home studio, the Sight-Size Mini is also the perfect substitute. With that in mind, let’s get small!
All the Articles on the Site
Here is an ever-growing collection of articles related to the Sight-Size approach, as well as some digressions. 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.
No matter what you’re skilled at doing you are probably taking shortcuts. Oftentimes you take them without even knowing it. That’s equally true for drawing and painting as it is for anything else. Of course all shortcuts aren’t necessarily bad. But when they affect your accuracy they are. The problem is, how do you know when you’re saving time or introducing errors? While the answer depends upon the shortcut being taken, better is to stop relying on them. One way to do that is to keep your eye in tune by doing a cast a year.
I was taught that style was a choice an artist makes whereas manner is something which is not chosen but naturally occurring. Manner, therefore, was to be avoided. In fact, a part of one’s training in Sight-Size was subduing subconscious mannerisms in the student. You must learn to objectively represent nature before you can successfully engage in subjective representations.
There are many ways to categorize artists. One of the most useful divisions describes the ways in which they tended to view their subjects. Although the specifics sometimes vary, there are essentially two: seeing the whole, and piecemeal seeing. This article explains the latter, using a painting by the eighteenth-century Italian master Pompeo Batoni.
One of the first things beginning painters want to know is how to physically put paint on the canvas. There are many options: you might stroke it, dab it, or scrub it, etc. In a sense, your brush stroke is like your handwriting which differs with each individual. Such was the case with Bunker’s fishhooks.
Light is something artists know a lot about. It often reveals itself opposite of shadow, which makes the representation of three-dimensional form fairly straightforward. One can see the result in any number of high-contrast student cast drawings done in many of today’s ateliers. Successfully representing form in a fully lit, low-contrast environment is far more complex. It is a complexity at which Allan R. Banks excels. It is also one of the aspects which ranks him a master in the craft of picture-making.
What is a sharp? There are many answers, each specific to one of our senses (the same is true for the opposite – soft). Foods, like some cheeses, can taste sharp. Roadkill can smell sharp. A musical note can sound sharp. The edge of a razor can feel sharp. The edge between two distinct forms can look sharp. In all cases, the concept of sharpness is relative. Equally important is that in all cases sharpness is not ever-present.
Many children in America learn to play baseball early in life. One of the first principles commonly taught is to not choke the bat. Choking the bat means gripping it too close to the top. But there are situations when choking the bat may be a good thing and some players routinely do it. The way an artist grips their instrument is as important as a baseball player’s grip on the bat. And as in baseball, it’s important to know when to choke the bâton.
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.
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.