I've been looking all over the internet and libraries, etc. for months and found only a short, sketchy description in an online studio manual, and a mention or two on a website, so it's kind of exciting for me to read your offer to explain it.

I'd greatly appreciate it if you could do the write-up when you have time. If it's too lengthy to post, you can paste it into an email and send it to me at [email protected] (or attach it as a file if it's easier for you). Again, many thanks.

Thank you for clarifying those points. It's good news as that's what I'd been doing, but really just for fun before, not seriously. I'll get on with the actual drawing now that I have a few good books of large O.M. reproductions.

Many thanks to Karin, Steven, Virgil, etc. for your generosity. I've got no way to return the favor unless you need help with math homework or solving theoretical physics problems.....if it ever happens don't hesitate to send me an email!

Nathan

Nathan,

I prefer that any write-up of this nature be posted in the forum so all can benefit from it.

Thanks

Karin,
I like your idea for a new section as you stated in your last post:

"Does anyone agree that a new section be created on this forum...."Copies" ("Learning Tools," "Basics," or somesuch) might make sense as a method of viewing/learning basic technique here?"

I think many on S.O.G. would benefit from such an ongoing discussion. It would also enhance learning if we could post efforts for critique. This section could function nicely as a kind of centralized repository for learning techniques and tools. People could be referred to it when issues come up in other threads. There are many who can contribute knowledge and so many who want to learn. Of course, the Critique section does perform this function too and perhaps Cynthia feels that is adequate, which it may be.

Personally, I would love to see copies of old masters works, especially oil paintings.

-Margaret

My question re the suggestion of a new section...where does it leave off and the Paints, Mediums, Techniques & Composition section begin. How would one clearly define this new section so posters knew with certainy the correct place to post...comments?

Karin wrote:

Indeed, as one atelier director writes in his brochure, speaking of required studies in charcoal drawing and black-and-white painting of plaster cast models, "[t]his cast work is not creative and is not meant to be, except in the sense that the student finds ways to master the problems of shape, value, and form." (italics mine)

How about a new section called simply, "Copies"? (and it would be clear that nothing in this section would be original).

I do think of the "Critique" section as containing only original works and any copy posted in this section doesn't work for me.

Heck...I'll even post one of my copies sometime. I have a ton of 'em (and some of the early ones are really awful...proof, I suppose, that eventually I learned something by doing this) :D

Sight-size method
 

There is a discussion of using the sight-size method on page 84 of Roberta Carter Clark's North Light book, "How to Paint Living Portraits". Clark calls it "the 'Looking Spot'" but I think she's describing the sight-size method as referred to in this post. It's not a long discussion, but at least the book is still in print (I think!)

As far as copying two-dimensional work is concerned, I often get better accuracy and speed if I turn the source material upside down. I wonder, though, if this is a good "learning experience" when it comes to learning from the masters. Any thoughts on this?

Sight-Size Method
 

Having been asked to try to explain

Linda,

I draw upside down too! (when I get too dizzy, I turn sideways..)

But seriously, I use the 'drawing on the right side of the brain' methodology. Betty Edwards has been invaluable to me in seeing shapes, rather than body parts. I find using this technique the most helpful, along with sight drawing. However, if pressed for time, I do a quick projection, and check the drawing with my brush throughout the process of blocking in. It all works.

I still think keeping a sketchbook handy in my bag has been the smartest habit I've started as a painter.

Great post, Steven.

LINDA...Sometimes this is what it takes to active your "right" brain. After all, you are training your eye to "see" and this is a legitimate method if it works for you.

Another helpful way to "see" something with a "fresh eye" is to turn your back to the easel and view your work (reversed) in a mirror.

The last method is to turn your work to the wall and don't peek at it (sometimes for a week or two). When you finally "see" it again your "fresh eye" will often be able to quickly resolve the problem.

STEVEN...Thank you for the information. Would you consider starting a new post and repeat your "sigh-size" material in it? I fear that all your hard work will be buried to most of us in this unrelated thread.