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.
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.
As a private student of Richard Lack’s, one of the first things he impressed upon me was the art of starts. He preferred to begin students with the rudiments of Sight-Size cast drawing and through them, starts. As I recall, foremost in his mind was the idea that the start of a project was prime-time.
The third main requirement for a Sight-Size setup is a stable easel. If you are just starting out, it is likely that you do not yet have a formal studio. A basement or spare room will do just as well. This article is about creating an easel that will work in an unfinished basement.
Urban is a Swedish artist and a friend from well over twenty years ago. We attended Studio Cecil-Graves together in Florence and were briefly roommates. Since that time he has gone on to make quite a name for himself in the world of European portraiture.
Plaster cast reproductions are ubiquitous in today’s art schools, ateliers and academies. Did you ever wonder how the molds were made and who makes them? This article, by my friend Andrea Felice, will help answer those questions.
Artist, author and teacher, Kirk Richards and I first met, online in 2008, and in person during the memorial for Richard Lack in 2009. Since then he has often been a source of information and encouragement. Awhile back he was kind enough to answer some questions for sightsize.com.
Sight-Size is an arrangement of the artist, subject, and artwork which provides for a direct one-to-one comparison. However, for a Sight-Size setup to be most effective for learning how to see, the subject and artwork must be as visually close to each other as possible.
Without a shadow box, your light control options are limited to how you position your light source and how you position your objects. With a shadow box, you can control this. You can also produce some interesting background shapes which will give you further opportunities to learn to see.
The subjects in Richard Whitney’s portraits seem as if they are alive, they are masterfully done, without being overly rendered or colored. He is a prolific landscape painter as well and nobody paints spring tree buds and apple blossoms like he does.
While there was a time when chalk was preferred, charcoal is the now most common drawing medium used in ateliers. In fact, it is one of man’s earliest drawing mediums, as evidenced by many cave drawings as well as the ease with which simple charcoal can be produced – the remains of a campfire.