Your Memory Ebooks Catalog
You can memorize this important measurement as a saying or mnemonic, similar to i before e, except after c. To place the ear in a profile portrait, memorize this mnemonic eye level-to-chin equals back-of-the-eye to the back-of-the-ear. Drawing just what you see without relying on old stored-and-memorized symbols from your childhood drawing If you feel that you need to review any of the techniques at this point, turn to the previous chapters to refresh your memory. Reviewing some of the exercises, in fact, will help to strengthen your new skills. Pure Contour Drawing is particularly useful in strengthening your newfound method of gaining access to your right hemisphere and quieting the left.
With the exception of the contour study, there is no drawing that is not a memory drawing because, no matter how slight the interval is from the time you look at the model until you look at your drawing or painting, you are memorizing what you have just seen. Of course, in that kind of drawing in which the student looks back and forth from the model continuously, he is memorizing little bits at a time, hoping to be able, after he has assembled all the little bits, to put them together by some preconceived theory or plan or by some belated effort to see the model as a whole. Make no attempt to draw while tiie model is posing. Sit with your arms folded and your pencil in your pocket so that you will not even 'draw' with a movement of your hand. You are not trying to remember merely the position of the model just as, when you memorize a poem, you are not trying to remember the shape of the letters on the page. You should feel the whole movement with your whole body, not...
Only the iris of the eye is fully developed, which makes the eyes appear large and buttony. They appear to be farther apart than the average adult's eyes l ccause they rest in a smaller head. Eyes set too close together are unpleasant in a baby face and can spoil a drawing. A baby's head can best be studied when the baby is sleeping. Otherwise we must turn to photographs or magazine illustrations. Babies arc l ound to wriggle and there is nothing that we can do alx ut it. It is therefore of great importance to fix the general or average proportions in your memory.
Your recent R-mode drawings, on the other hand, are more complex, more linked to actual perceptual information from out there, drawn from the present moment, not from memorized symbols of the past. These drawings are therefore more realistic. A friend might remark upon looking at your drawings that you had uncovered a hidden talent. In a way, I believe this is true, although I am convinced that this talent is not confined to a few, but instead is as widespread as, say, talent for reading.
Thanks to its measurements, the law of proportions is truly a useful tool for becoming familiar with (and memorizing) the distribution of the relative size of the parts of a figure in relation to the whole. Even if the proportions of a real figure do not match those of a classical model, there is still an adjusted correspondence between the division of the figure into units and the location of different anatomical
The exercises outlined on the following pages should be regarded as steps in your learning process. Knowledge memorized as a list of facts is generally of little use in practical terms unless backed up by activities that put it to work. (That's why the contents of the chapters in this book alternate between practical and theoretical.) Carrying out these exercises will help you build a fund of knowledge and experience which you can easily and naturally call upon later.
The biggest obstacle to overcome is the lack of time you will have to watch someone staying still. There will be a break-in period during which you realize how much you can study and are forced to put to memory in order to capture a moment. Remember that our objective here is to capture that moment, or your impression thereof. Focusing on being able to draw is for the classroom. You will not have time for that here. You have to trust your intuition. Let the simplicity of shape and silhouette make it possible for you to memorize more.
Now you are ready to draw a real portrait of a person. You'll be seeing the wondrous complexity of contours, watching your drawing evolve from the line that is your unique, creative invention, and observing yourself integrating your skills into the drawing process. You will be seeing, in the artist's mode of seeing, the astounding thing-as-it-is, not a pale, symbolized, categorized, analyzed, memorized shell of itself. Opening the door to see clearly that which is before you, you will draw the image by which you make yourself known to us. Eyes Observe that the eyelids have thickness. The eyeball is behind the lids (Figure 9-38). To draw the iris (the colored part of the eye) don't draw it. Draw the shape of the white (Figure 939). The white can be regarded as negative space, sharing edges with the iris. By drawing the (negative) shape of the white part, you'll get the iris right because you'll bypass your memorized symbol for iris. Note that this bypassing technique works for...
- creating a drawing from memory or past observations you have to t your memory and make it recall all the detail.It does help to tionalize objects before you draw them.If you visualize the sect-vith the mind's eye before you begin to detail,the hand will be e to render the sweeping of delicate strokes with confidence and bring the vision back to life with all the natural laws.
You can also use this book as a reference book. You can go to a section and review the contents. In art you get a lot of information up front. You may not be ready for the information until you experience that problem. You may want to read information again after you have painted for a while. You may be painting along when suddenly That's what she meant pops into your head. Then you can go back to read a section or a chapter to cement the concept in your memory. You'll have many aha moments in your painting career.
Learning to draw in perspective requires that we see things as they are out there in the external world. We must put aside our prejudgments, our stored and memorized stereotypes and habits of thinking. We must overcome false interpretations, which are often based on what we think must be out there even though we may never have taken a really clear look at what is right in front of our eyes.
The planes of the head should l c memorized, for through them we have a foundation for rendering the head in light and shadow. Begin with the basic planes (top. left), and study them until they are fixed in your mind. Then take up the secondary planes. From these sets of planes almost any head can be built. The surface varies with the individual character, but with the planes shown here you can produce a well-proportioned, manly head.
The standard proportions for a man's head are worked out here for the front view and the side view. The scale may easily be memorized. The head is three and one-half (optional) units high, nearly three units wide (to include the ears), and three and one-half units from tip of nose to the back of the head. The three units divide the face into forehead, nose, and jaw. Ears, nose to brow, lips and chin arc each one unit. So you may start in this way to draw a head in any size you wish, using your own unit of measurement.
I believe that copying great drawings is very instructive for beginning students. Copying forces one to slow down and really see what the artist saw. I can practically guarantee that carefully copying any masterwork of drawing will forever imprint the image in your memory. Therefore, because copied drawings become an almost permanent file of memorized images, I recommend that you copy only the work of major and minor masters of drawing. We are fortunate these days to have reproductions of great works readily and inexpensively available.
Then the handpose will be saved - the gun will get the right hand as parent and I may use a new pose-dot (if they're all full I remove one that is not used so often with Alt+left mouse click). Maybe I can memorize the whole scene (Menu edit - memorize - all or VC alles merken (memorize all) ) to have a starting point for following poses.
Where you work, as a constant reminder. If you have worked them out convincingly you can well take pride in the fact. They will be of interest to anyone, for through them you have stated your knowledge in no uncertain manner. They serve to help you memorize the qualities which should go into a well-drawn head, but which, of course, could not be incorporated into a single drawing with each stage in evidence. In the finished drawing, I believe you will feel this background of effort, which I hope will convince you that drawing heads is more than mere copying.
Part of an artist's training is to carefully observe and draw the skull from a variety of angles (a plastic skull can be used). Eventually, the skull's basic framework is memorized and then used as sort of a mental armature whenever the head is drawn. Norman Rockwell, whose drawings of heads were always his strong point, recalled, I had an art teacher years ago (George Bridgeman) who made us draw hundreds of skulls in all positions. I felt he was overdoing it at the time, but now I realized what a wonderful lesson he taught us. Whenever I draw a head, I instinctively feel the skull structure beneath. The best way to memorize a complex form is to find a simpler form that's a close equivalent. From an artist's viewpoint, cars are boxlike Christmas trees conelike smokestacks and pencils simply larger and smaller versions of cylinders. Relating objects to simple forms is very helpful both in drawing them from life and from the imagination. Although attempts have been made to equate the...
A contour drawing is simply an outline of a subject, and it's an excellent way to sharpen your eye and your memory. You will find with a little practice that you can make beautiful contour drawings by varying the thickness of your pencil line as you draw, that is, by applying pressure for a heavier line, as in a shaded area, and easing up when you desire a thin line.
Value refers to the range of lights and darks your pencil can produce, from a dark black to a light gray and all the shades in between. Experiment with various types of pencils to discover what values they produce. Observe which lead will give you the richest black, and which a nice gray. You don't have to memorize everything a particular pencil will accomplish Just get a good working sense of the range of pencil values.
When the leg is bent upon the thigh at the knee, the two opposing masses that are above and below the knee need little detail, but when bent at the joint, the folds become bunched up and take on both spiral and acute angles. To memorize the direction and meaning of one or two of these folds gives a plan to work upon. It takes both theory and close observation to find a fold that occurs again and again.
An understanding of the body's structure is essential if you are to give full expression to its spirit. Studying anatomy in books and sketching models informs you about the construction of the body, its proportions, and how the muscles, tendons, and skeleton direct and control the body. There is no need to memorize the position of every muscle and bone, but you should be familiar with key physical landmarks that will assist your work the vocabulary of life drawing.
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