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 goal of learning how to see is to release you from that manner.
Most art students first set out to learn how to draw. It’s a good goal, and succeeding at it will lead to many good things. But that’s not the full story. You must first learn to see. And if you want to learn how to see, then you need to perfect the feedback loop.
Mentioned many times on this site is that you will draw better when you have an accurate eye; that learning to draw is actually learning to see. To help you with the process, in early 2016 I wrote an ebook, titled An Accurate Eye. Recently brought to my attention is an online eye accuracy trainer: The Eyeballing Game, that nicely supplements the book’s exercises.
You can draw better when you can see better. An Accurate Eye: Learn to Draw Better by Learning to See Better contains over two-dozen practical exercises suitable for everyone who wants to improve their visual accuracy.
Since the publication of An Accurate Eye I have received numerous requests for additional exercise materials. To fill the need I have created a supplemental ebook. To access it for free, you will of course need to have first purchased a copy of An Accurate Eye.
One of my private students recently told me of an experience that he had which showed him how our sight is influenced by what we know. During one of his classes at university, his professor explained how our perceptions are susceptible to prior knowledge. He proved that what we intellectually learn can influence what we see (or think we see).
What happens when we squint? Most atelier students know the answer, or at least part of it. With this article I hope to open everyone’s eyes a little and to perhaps shed some light on the value of squinting.
Much of the activity that takes place when learning to draw is centered on developing an accurate eye. In fact, when a teacher critiques a student’s work, he or she is essentially looking for inaccuracies. Over the last few articles I have outlined some specifics, relative to what a student can do to improve their visual accuracy, and in this article I’m going to layout an overall plan.