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.
In the late Summer of 1885 John Singer Sargent travelled to Broadway, a village in the Cotswolds of south-central England. He was not alone and at his destination was a gathering of artists and writers, later known as the Broadway Group of Artists.
Of the many skills required for successful representational drawing and painting, determining distance is one of the most important. This is true when drawing out of one’s head and all the more when drawing from observation. In fact, when we draw we are constantly measuring.
In this article I want to take a look at William McGregor Paxton (1869–1941). As one of his many artistic descendants I can’t help but be fascinated by him and his work but for the moment I am staying away from his biography. Instead I want to focus on one of his little known theories about binocular vision.
Darren R. Rousar began formal classical art training when he was 16 years old. He has been teaching Sight-Size for over 30 years, to students from age 8 to their mid-80s. Darren is the author of six books, four of which are based on Sight-Size.
Charles Hopkinson was born in 1869, in Cambridge, Massachusetts. After graduating from Harvard he began his formal artistic training at the Art Students’ League in New York. While at the ASL he studied cast drawing under Twachtman and the figure under Mowbray.
Back in 2007, Mr. Hunter (and American Artist) gave me permission to reproduce an interview he did with Richard Goetz of American Artist Magazine. The copyright remains with American Artist, 1970. Other than the diagram, none of the following images were in the original article.
John Collier (1850-1934) studied at The Academy of Fine Arts in Munich, Germany and at the Slade school under Edward Poynter. He was a respected portrait painter and painted many of the famous people of his time.
Leopold Seyffert studied at the Pennsylvania Academy of the Fine Arts under Thomas Anschutz, William Merritt Chase and Cecilia Beaux. In early to mid-twentieth-century America he was very much in demand as a portrait painter.
Jules Garibaldi (Gari) Melchers, like John Singer Sargent, was one of those late nineteenth-century American painters who spent years abroad perfecting their craft and establishing their career.