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.
Beginning students must learn to see nature simply, unencumbered by all the little piecemeal details. Under proper lighting many casts can provide this. But Michelangelo’s nose of David gives us simplicity, regardless of lighting. Due to that, the first thing I ask my students to do is to buy a nose.
Online art students face numerous challenges and the most daunting is providing their instructor with photographs of their setup to be used for a critique. This is all the more critical when the artwork is being done in Sight-Size. Succeeding with the task is not difficult, but it does take some preparation and attention.
The primary route to learning to see and draw is through cast drawing. That is not only tradition, it is also effective. But for some people, due to location or finances, acquiring a cast can be difficult. If that describes your situation, don’t fret. You do have alternatives.
Responding to an artist’s claim of being self-taught, a friend of mine once replied that they couldn’t have just “sprung from the earth.” She meant that, one way or another, that artist had to have had training because representational art is a skill-based endeavor. Of course there’s training, and then there is training! And that begs the question, can you learn to see and draw on your own?
A walk through just about any atelier or art academy will likely reveal numerous plaster casts hung on the walls. Why they are being used and why were the particular casts chosen over others? The answers often have little to no impact on today’s students, but that was not the case in the past.
Most people see in stereo. But for representational artists, that is not always a good thing. Why? Because stereo vision gives you two visual points of view. And since your paper is flat, seeing both can be problematic. Better is to pick an eye and stick with it.
“Nature deals in broken color everywhere, but she never deals in broken values. The color dances, but the values stay put.” That aphorism, or a version of it, is something that every student should regularly hear mentioned in all Gammell-based ateliers.
Did you know that you were born into a manner? So was everyone else. Your manner is that which you naturally do, untrained. Even when trained, much of your time is spent compensating for that manner. Of course, I’m writing about seeing, drawing, and painting. And whether you are aware of it or not, the main goal of learning how to see is to release you from that manner.
Every once in a while an artist becomes more popular for what they write than for what they paint. I think Harrington Mann (1864-1937) falls into that category. Although during the later half of his life he was a popular portrait painter, his 1933 book, The Technique of Portrait Painting, may have saved him from ending up a mere footnote in the history of art.