Methods for an accurate drawing. Simply put, the view dimension method is the practice of painting or drawing on the same scale that the eye sees the subject. When you look at the issue and the drawing, they should be identical in size. Artists often practice the life-size method by placing their surface directly next to the subject and drawing the subject full-size. (However, full-size drawings do not necessarily have to be full-size.) If the artist places the easel between himself and the issue, the representation of the subject will be correspondingly smaller on the surface of the drawing or painting. Famous artists during history, including such experts as Scottish artist Henry Raeburn and American artist John Singer Sargent, have used the optical drawing process.
Subject and surface
Let’s look at a typical viewfinder size setup: placing the tripod next to the subject. Ideally, you want the same light to illuminate the subject and the surface. Its surface should be as vertical as possible on the easel, forming a plane next to the subject. Next, determine your standing or viewing position. It should be about three times as far from the subject as the subject is tall. For example, if you are drawing a 12-inch plaster cast, it may be a meter away. But this is not a complex and firm practice. You want to see the entire subject and draw at the same time without turning your head. You would mark the position of your feet with masking tape. It is also important to mark the positions of the subject and the easel so that you can set everything the same during each drawing or painting session. Better yet, leave all the settings intact until you’ve finished your photo.
A look
With this setting, step back to see your subject and walk to its surface to draw or paint. Use a plumb bob (holding it horizontally) to plot the position of the top and bottom of the design about the subject. Freeze overall measurements and subject positioning. Then find other measurements and angles directly from the subject. View size is a strictly observational design method; progress by moving the eye between the subject and the drawing. If you’ve ever looked for the differences between two images side by side, understand the correction process that occurs when you quickly scan between the subject and the drawing to see what is not alike. This drawing method may seem a bit cumbersome the first time you try it, but it becomes natural over time.
The comparative design method
Comparative drawings can be of any size, regardless of the distance between the surface and the subject. Your subject could be a milk jug, and you could draw it in the area of a character. Or it could be a complete figure drawn according to the size of your hand. Either way, a qualified drawing does not depend on a one-to-one scale within its drawing and its title, as observed by the eye.
In other words, the measurements are not directly cited by the subject on paper; instead, the drawing recreates a credible set of relationships that reflect the subject. You create your drawing from a series of comparisons, such as units of measure generated from within the theme. For example, if your seated model is three heads tall, the proportion in her drawing would be the same. Or, if you use a plumb bob, the side of the head is directly above the inside of the ankle, your design will have the same alignment.
From inside
This method of drawing is sometimes called “working inside out” because the outline is often found later in the process. The artist seeks to convey the fundamental features of the pose. Finding movement through strong design is as critical to this style of design as fidelity to nature. Structural design refers to the internal building blocks of a subject. It includes landmarks created by bone structure, other anatomical considerations, large volumes, and design aspects such as directional lines. In this approach, the artist generally stands or sits directly behind the easel; and the tripod is tilted slightly towards the subject.
It allows the artist to turn the head, looking from the paper at the subject, who can move at will; since the artist focuses on design, gesture, and volume, small changes in the contour of the pose will not necessarily compromise anything essential. When 3d drawing comparatively, you need to be careful about the precise location of your lines. Straight rods or skewers are common tools for locating and checking angles and measurements. A plumb bob is useful for checking the alignment of the top and bottom of the design.
Rebuilding reality
A clear understanding of the body often comes into play, enabling artists to notify what they see with what they know. Knowledge of bone structure helps the artist to identify skeletal landmarks. Knowledge of musculature can help the artist choose what to emphasize or minimize to convey the dynamics of a pose. Most of the figures or faces are soft and ill-defined. Therefore, without some knowledge of anatomy, figuring out what you are seeing can be difficult.
Think of the comparative drawing method as a recipe that contains many ingredients, from directional lines and fun gestures to anatomy and measured proportions. Artists generally look for the motion to find the attitude of the pose in its essence. They are less interested in contour than structural lines that are used to create a sense of authenticity. There is a restoration of reality rather than a one-to-one connection with the case.
Transcription vs. Translation
What are the particular benefits and drawbacks of visible dimensions and comparative drawing methods? There are advantages to both the drawing methods and overlapping stitches. The visual approach is more of transcription, while the relative way is translation. However, both usually start with some lock to position the topic on the page generally. The size of the view has a beautiful naturalism. The resulting images can be painterly, emphasizing large planes of light and effective forms of value. A beam of light that conveys haunting realism and a focus on the significant effect indicates that the artist saw the subject thoroughly and from afar. The downside to this drawing method is that the artist is firmly locked in a fixed position. They are entirely dependent on a direct transcription of nature without intentional distortion, emphasis, or interpretation.
Comparative design can have energy, a flat structural quality that is three-dimensional in construction. Shape drawing is often based almost as much on an intellectual understanding of the subject as on direct observation of life, making it a unique record of an artist’s opinion. The artist must have a sophisticated knowledge of the mechanics of drawing to achieve naturalism; otherwise, the proportions can be easily distorted, and the style can easily invent. The artist must also remember to step back and capture the significant effect rather than getting stuck in small focus areas, resulting in gradual focus. It is important to keep specific areas related to the design as a whole. Both methods of drawing have their professionals, and each approach has been used to create outstanding designs.
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