>The accuracy of your drawing will depend on how careful you are. This approach has very little to do with talent, relying primarily on careful observation and patience. Once you have all of the major elements in place you can start to break the larger units into smaller units. The limitation of this approach is only in how small a unit you are willing to create. I have seen artists who work this way carry it down to the finest highlight in the eye. This approach is, primarily, one of surveying and putting everything in its proper place.
>The value in this form of exercise is developing the ability to reduce your subject to two dimensional observations.
>Let's look at some elements related to this approach. Since you are reducing the subject of your observation to 2D elements, the openings between forms and the space around the forms and the space around the forms become equally important. These are called negative shapes. You could, in effect, draw your subject by drawing the space around it, i.e. the boundary between the positive and negative space. The 2D countour of either the positive or negative space gives us the same information. Some basic art school exercises to develop this skill in observation include cutting out the shapes with a pair of scissors the way children do with a silhouette drawing in grade school, copying photographs upside down, drawing with our left hand to make you look more carefully, and drawing a specific contour without looking at the paper. The point of all of these is to teach you to see 2D relationships while looking at a 3D object. It is extremely important that you develop a high degree of skill in doing this. It is this 2D shape or silhouette in your drawing that is needed fo a clear reading of the action. The shape is also the area that most clearly reflects the basic design of your drawing. The shape of the form is equally as important as the volume.
t. glenn "we don't copy the model, we analyze it" vilppu
>The value in this form of exercise is developing the ability to reduce your subject to two dimensional observations.
>Let's look at some elements related to this approach. Since you are reducing the subject of your observation to 2D elements, the openings between forms and the space around the forms and the space around the forms become equally important. These are called negative shapes. You could, in effect, draw your subject by drawing the space around it, i.e. the boundary between the positive and negative space. The 2D countour of either the positive or negative space gives us the same information. Some basic art school exercises to develop this skill in observation include cutting out the shapes with a pair of scissors the way children do with a silhouette drawing in grade school, copying photographs upside down, drawing with our left hand to make you look more carefully, and drawing a specific contour without looking at the paper. The point of all of these is to teach you to see 2D relationships while looking at a 3D object. It is extremely important that you develop a high degree of skill in doing this. It is this 2D shape or silhouette in your drawing that is needed fo a clear reading of the action. The shape is also the area that most clearly reflects the basic design of your drawing. The shape of the form is equally as important as the volume.
t. glenn "we don't copy the model, we analyze it" vilppu
