Articles

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.

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The Sight-Size Mini

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!

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The Art of Starts Revisited

Many beginners see starts as merely a means to an end. But the art of starts goes well beyond learning how to see, for how well you start can affect how well you finish. That’s especially true for cast drawings. Therefore, let’s revisit the art of starts with an eye towards learning how to do them for practice.

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10,000 Failures

The modern day theory of mastery prescribes 10,000 hours of practice. That’s not a magic number, of course, it’s merely a guideline. But more important than the number of hours of practice is the quality of that practice. Practice needs to be focussed and deliberate. And you must also fail. In fact, better than 10,000 hours of practice are 10,000 failures. Even better is to use your failures.

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Scales Falling From Your Eyes

“It will be like scales falling from your eyes” was a statement I frequently heard during my years in various ateliers and it is something I tell my own students. That’s fairly straightforward. But let’s look a little closer to better understand how it applies to learning to see.

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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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Go to the Museum

One of the early reasons for museums was to help in the training of artists. They would go and copy whatever works interested them or were assigned by their master. Nowadays most visitors are the general public. But whatever the reason for the visit most people barely glance at what they’re seeing. That’s a shame. To counter that, let’s go to the museum as an artist might.

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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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