![]() ![]() After I graduated and depended on community type life drawing groups for practice, the poses were usually far too short to be able to use this method. This method, which required you to have quick and accurate mental arithmatic skills, especially with multiplying and dividing fractions, was quite technical and cumbersome, but it worked. He taught a variety of the sight size method, proportional size, constructing a notional ‘cage’ that exactly contained the models space and locating every ‘turning’ point on the model with the construction of horizontals and verticals refered to the cage location. Our tutor, David Ferguson, was the first post war winner of the RA Rome Scholarship in Drawing. This six weeks was the only useful period for me in a 4 year undergraduate course. My complaints were not entirely overlooked, and I, with two other like-minded students, managed to persuade the college authorities to set up a six week, six hours a day (weekdays) course to learn to draw and then paint the same pose from a live, elderly but spirited, model. This was a disappointment and I complained bitterly at the time. I, like many people of my generation, went to Art school in the 1960’s, but had little formal drawing or painting instruction while there. Most of what you say rings true for me, a person who has practiced ‘life drawing’ continually, with live human models, though always too brief sessions, in both formal and drop in groups, since the 1970s. I have read many of your eloquent responses to students who wish to learn to draw well, in the traditional, realistic manner. These mistakes have one thing common – students draw what they see without the necessary knowledge of construction, anatomy, and proportions.Įven when a beginner draws a portrait from life, and the model’s face is there to see – the student could measure and evaluate all proportions – mistakes are piled on instead, and a student can’t get an accurate likeness and realistic appearance of a portrait. For example, in portraiture, beginners often make the same junior mistakes again and again – like placing eyes too high and not giving enough volume to the cranium section, drawing ears too small and too close to the back of the head, misplacing facial features, drawing asymmetrical faces, and so on. ![]() The thing is, people do not see what they don’t know. It’s very good that you know the skull anatomy now I can explain how this knowledge applies in portrait drawing. “Drawing what you know” refers to the constructive drawing principles, so the example with tree leaves is not relevant.
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