Sight-Size Articles

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.

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Bunker’s Fishhooks

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.

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Alberti’s Veil

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.

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A Perfect Circle

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.

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Confirmation Bias

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.

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Halftones First?

To solve the problem of values, you must determine the true hierarchy of them. Many artists do that by beginning with the darks, and a few do by beginning with the lights. In either case you’ll need to keep the range from darkest darks to lightest lights in mind. But what about beginning with the halftones? Is halftones-first a valid choice?

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After Darkness, Light

When drawing and painting from nature we’re hindered almost as much by our tools as we are by our lack of skill. Foremost among those difficulties is nature’s range of value compared to that of our chosen medium. Nature’s gamut is far wider than ours, and the divergence is tilted towards the darks. That is one reason why it’s almost always best to begin with the darks, and only after darkness, light.

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Is Bargue Bad?

Plates from what is known as the Bargue-Gérôme Drawing Course are routinely copied by students in dozens of ateliers around the world. Some schools even base their entire curriculum on them. Thousands of self-taught students use them as well. In fact, the Free Guide I offer on this site is dependent on Bargue plates. But did you ever wonder, is Bargue bad?

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The Sight-Size Portrait

Sight-size is mainly considered a portrait painting technique and its use was quite common during the nineteenth and early twentieth centuries. Some of the evidence for this is in photographic form, while other evidence has been handed down to us in books and manuscripts. In fact, the Sight-Size portrait has more of a recorded history than does that for Sight-Size cast drawing and Sight-Size still life.

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The Sight-Size Still Life

Sight-Size cast drawing is used to teach students how to see shape and value. Oftentimes still life painting in Sight-Size is a common next step, and it is used to teach atelier students how to correctly see color notes. But Sight-Size still life is not only a student-level task. Many professional artists use Sight-Size for still life painting as well.

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Radiator Fingers

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.

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