So you wanna be a pro? - Page 4

Steven Sweeney · 04-13-2002, 04:02 AM

One More Note for Sight-Size Practitioners

I'm duplicating a post from elsewhere, because it implicates sight-size procedures discussed earlier in this thread:

One last note on one-eyed viewing, and that relates to sight-size drawing. In order to view your subject "through" the plumb lines, you're going to have to close one eye. Because one eye is dominant (it may or may not be the one you decide to close), it's important to always close the same eye when you take your measurements. Don't switch back and forth. One of my instructor's first questons when beginning a drawing critique was always, "Which eye are you looking with?, because he'd do the same in order to assess my accuracy.

Incidentally, if you want to know which is your dominant eye, pick out an object across the room and hold out your arm with index finger raised and sight "through" the finger to the object, with BOTH EYES open. If, when you close your left eye, the relative positions of the finger and object stay about the same, your right eye is dominant. Keep the left eye open and close the right, and the finger "moves" some distance to the right of the object. The opposite effects with left-eye dominance. In a non-art context in which this really "matters", if you're trap shooting and you hold the shotgun on the right but you're left-eye dominant, you'll swear your aim is perfect but the clay pigeon will just fly away unharmed. Switch to the left side and you'll probably have much higher percentages.

Finally, this is important to know because the "'Artist's Perspective' Eyepatch" is to be worn over the nondominant eye.

Steven

Joan Breckwoldt · 03-22-2002, 10:39 PM

Karin,

Hi, earlier in this thread you mentioned purchasing posters of old masters to copy. That is just what I need! I thought the website was images.google.com but those aren't posters for sale. I remember your posting the address a few months ago (?) because I spent some time on that site looking at the posters. But I can't seem to find the site. Would you mind posting a site that sells posters?

Thank you,
Joan

Joan Breckwoldt · 03-22-2002, 11:57 PM

Karin,

That should keep me busy! I live in Houston and a trip to the Museum of Fine Arts, Houston is a great idea.

Many thanks for your help, as always.

Joan

Maxine Gilder · 01-11-2002, 10:13 PM

Karin, I agree completely about the hours necessary in order to be a serious artist. I am flabbergasted at the number of people I talk to every day who think artists are born being able to paint! Even talented intelligent people like my husband are suprised when they take 1 course in painting, and wonder why they arn't good yet. I like to think I have a little talent, and I am amazed at the struggles I've had over the last 25 years. I'm also a successful hairdresser, and I can tell you from personal experience, it doesn't even come close to being as hard. Getting my B.F.A only helped me to put in those hours you were talking about. Being a good artist is a continuous education!

Jesse C. Draper · 03-19-2002, 12:11 PM

Steven,

Thank you so much for your post. Yesterday I was trying to teach this principle to some of my students, but I don't think I was getting through to them. I feel it is one of the more difficult concepts to teach. Your last post gave me some very good ideas on how to explain the Sight Size method to them. I've heard of marking a model's position with tape, but never the artist. What a good little trick. Thank you so much for all your good advice.

Michael Fournier · 02-01-2002, 06:48 PM

I apologize on behalf of all Male Artists (well at least myself)

I must confess that as a Man and a Artist I sacrificed being a better father and husband for the sake of my Art. And I am guilty of the very thing Karin brought up of not taking women Artists seriously (many times without thinking about it). Because I could not understand at the time their commitment to family and relationships over their art.

Well I am older and wiser now and I thank my wife for putting up with me over the years it's amazing I am still married when I think about what a pain I was. (And still can be)

But one thing has changed I no longer discount anyone based on gender, age or their experience. I also learned that without my family to share it with, success in my Art would be a hollow one. And I now try to make time for family and my wife.
As for Women Artists I have been bested by more then a few to know I was a fool to ever discount their work or their commitment to their craft. Sure, at times all of us fall trap to Venus vs. Mars and find a thing about the opposite sex that befuddles us. Many times Men and Women do see priorities differently but a Artist is a Artist Man or Women.

And in the end we all face the same problems and joys in Art and life. So here is to all the women Artists out there don't let anyone or anything hold you back.

PS just so my guy friends don't think I've turned completely soft I still find myself enjoying the view much more painting with women then men. I may be a more sensitive man but I am still a Man after all

ReNae Stueve · 03-12-2002, 08:59 PM

Karin,

I too, have been a single mom for the past 22 years. I put my creative needs on the shelf for those years until this past year. I started painting again as a hobby, and much to my surprise, my love for and talent for art had been growing and thriving in my heart while I was busy doing what needed to be done. When I paint, my heart soars, time flies and I have this feeling of connection with my spirit that I've never had before.

I've been painting angels, in an "old Masters" type setting among other things. I read in your web pages about talent not being enough, that technique is also required, and that is what I'm after. Lessons!!!. But I have to be practical. I'm nearing 50, and live and work in Orlando, Fl. which isn't exactly the most cultural city in the world.

Where would you send a wanna be....like me, to learn what you have mastered. You are the "Ideal" of what I'm trying to achieve.

My budget was stretched when I bought my first 12 tubes of paint and brushes. Did I mention that the 22 year old daughter is now majoring in Bio-chemistry and in Med school!

I'd love to hear any and all suggestions from all of you.

Thanks

ReNae

ReNae Stueve · 03-12-2002, 11:16 PM

Karin,

thank you I haven't made any copies as yet, but have used some of the old masters work for ideas. I like to paint these scenes that just come out of my head, there usually is no real model, especially the faces of my angels, they just seam to happen.

I will take your advise and begin to copy some of the works in a book my daughter bought me titled "Techniques of the Great Masters". One piece of advise that I'm trying to follow is....don't be afraid to waste paint. just keep painting.

Thanks again.

ReNae

Mike McCarty · 03-19-2002, 12:03 PM

Quote:

When painting from a photo and I just can't "see" what the problem is anymore, is to take a picture of the painting

Mary, I do this a lot. I will usually take a photo of the painting when it is maybe 90% done. For some reason I will be able to see problems in a 4x6 photo that never seemed evident on the canvas.

Morris Darby · 01-09-2002, 11:37 AM

Karin,

I think you have the most pertinent and timely advice I've heard in a long time. I, personally, look for your entries in this forum and print them for my studio reading time. Thanks for all that!

I also agree that this is portrait painting is a craft as well as an art. It has to be practiced and honed constantly. Even with every shadow and value in perfect harmony in your painting, if you don't get the likeness no one will buy your work.