As was his habit, when Philip Hale left his classroom he declared, “Beware of the bed bug line!” The classroom in question was the cast drawing room at Boston’s Museum School. The warning was meant to assure that his students never forgot to pay attention to the line which defines the division between the world of light and shade.
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Sight-Size approach to seeing.
Atelier training often begins with
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Drawing with confidence requires
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All the Articles on the Site
Here is an ever-growing collection of over 100 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 videos. You can learn how to see accurately so that you can confidently 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.
Mentioned many times on this site is that you will draw better when you have an accurate eye; that learning to draw is actually learning to see. To help you with the process, in early 2016 I wrote an ebook, titled An Accurate Eye. Awhile back an online eye accuracy trainer was brought to my attention. It’s called The Eyeballing Game and it nicely supplements the book’s exercises.
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?”
Tom Dunlay is a Boston-area artist who specializes in cityscapes and outdoor figure painting. In the early 70s he was a student of both Robert Douglas Hunter and R. H. Ives Gammell. Tom and I met online a few years ago, through Facebook, and recently he agreed to a phone interview.
Matthew James Collins is an American artist and teacher who lives in Italy. We first met in 1995 while he was a student at Charles Cecil Studios in Florence. Since then Matt has gone onto make a name for himself as a painter and sculptor.
One of the first shading techniques I was taught to use was called a rain from heaven. This meant shading in parallel lines, and usually at a 45 degree angle. As far as I can tell the phrase has now fallen out of fashion, regardless, what it represents is still valid.
Emma Nessi studied privately with Cesare Tallone, at the Brera Academy, around 1906. Not much is known about her, in English anyway, and I’d be grateful to learn of any images of her paintings, or other information.
There is more to being a portrait painter than just capturing the sitter’s likeness. Among the other considerations is creating an effective composition, one that gives the viewer a reason to look at the painting beyond the mere factual aspects. A far too often overlooked compositional tool are the sitter’s hands. And when you miss that tool, you risk representing radiator fingers.
You Can Draw With Confidence!
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You can learn cast drawing in Sight-Size at home!
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're already in an atelier and would like to supplement that training? I can help.