by pam on November 19, 2009
Imitation or copy drawing is valuable at the outset, as it imparts style or method of handling. To an extent it reveals the personality. By its use the pupil gains accuracy of eye measurement, errors in that respect being more readily shown than when drawing from model.
Drawing from copy also trains the eye by giving it some means of correcting its mistake in the estimate of lengths and values of lines.
Perspective or object drawing gives a knowledge of form, color, and construction. Ideas of relation and relative sizes are thus acquired.
Imaginary and memory drawings enable the pupil to express thought and impart ideas.
Intermingling parts of all three supports, helps and explains the others.
In copying one is shown how.
In object drawing one sees how.
In imaginative drawing one thinks how.
EYE MEASUREMENTS
Measurement Exercise – As the pupil progresses, greater accuracy in eye-measurement will become apparent. This can be hastened by frequent practice exclusively in this direction.
A good plan is for the teacher to draw straight lines of various determined lengths, requiring pupils to bisect, trisect and quadrisect them at regular intervals. Thus, draw a line four inches long to be divided in half. Then the same line in three equal divisions; then into four equal divisions.
PROPORTION
Proportion, and What Is Meant by Out of Proportion – For example: If a picture of a man were drawn with the head twice as long as the head should be, as is shown in Fig. 1, Chap. 19, that would be called out of proportion, because it would be unnatural.
It should be in “good proportion,” which means it should be near the natural size as compared with other parts of the body. The ability to draw the figure in proper proportion requires considerable practice, close observation and accurate eye-measurement.
Varying Proportions – In drawing the head of a child, the same proportions as adults does not exist; the child’s head being larger in proportion to the body than in the case of adults. There are also further variations. Putting a very small head on the body of a child would make the drawing appear as much out of proportion as in the case of the overlarge head referred to. In caricature, lapses from true proportion are permitted. Then it is done purposely to produce a ludicrous effect.
Relative Proportions – Ability to represent the relative size or proportion of one object to another is an essential element in correct drawing. To accomplish this the pupil requires aid from the teacher.
An effective method of teaching this is to choose some object for a unit of measure or comparison, and place others beside it, one or several at a time.
Any well-known object will do, as, for instance, a piece of fruit, such as an apple or an orange-or a ball.
Exercise in Proportion – Make a drawing of the object selected and compare it with some other object of about the same size. Then place beside them still another object, two or three times as large, such as a book or cap. Now let the pupil make a drawing showing the three objects in their relative sizes.
Any small wooden or cardboard box may be used in connection with other small boxes to demonstrate proportionate sizes.
Place the apple (or whatever object is selected) on a box and draw both in proportion.
Proceed with the exercise by drawing from imagination (or copy) some other object with which the student is familiar and draw the object in proportion. The subject may be a bird, a mouse, a set of keys, a cup, mug – any object that is not larger than the box itself.
by pam on November 17, 2009
The Scale on Which Drawings Should Be Made
One of the greatest faults of the beginner, and a very natural fault, is to draw on too small a scale. In copying from printed pictures, taken from periodicals of any kind, the beginner very naturally imitates the pictures as he sees them, not knowing that in ninety-nine cases out of a hundred the picture is the reduced reproduction of a drawing which was originally much larger than it appears in print.
It is well to vary the size of the drawing. A pupil working long on a very small scale would in time acquire a cramped style; on the other hand, a pupil working for an extended period at the blackboard would find it difficult to draw on a more minute scale.
Drawing from Models – Material for models is found in many of the familiar objects which surround us, such as balls, oranges, apples, potatoes, and small paper boxes. These should be drawn singly at first and in groups as the study progresses. Such objects present fairly dull surfaces and are therefore recommended. Objects having very glossy or shiny surfaces are to be avoided in all early practice. Models with dull surfaces present only light and shade in varying degree and cast simple shadows. Shiny surfaces receive and reflect complex lights and shades, hence the objection to their use.
Avoiding Confusion – In order not to confuse the eye of the pupil objects of a single color are best. The eye is centered then on form and outline rather than color. The simplest way to effect this when plaster casts are not available is to prepare a basin one-quarter full of whiting to which a small quantity of glue has been added and mixed with water until the consistency of cream is obtained. Then dip in this pigment articles to be used for models, such as a brick, a potato, a carrot, a turnip or even an old shoe.
When dry these objects will serve temporarily nearly as well as clay or plaster models. Let these be drawn singly or in groups. For the earliest exercises more than one object at a time is not desirable.
Placing the Model – Unless there is contrast in light or color it is difficult for the eye to discern the shape of an object. For example, place a piece of cardboard against the blackboard, its outline is easily distinguished. On the other hand, place the same piece of paper flat against another and larger piece of cardboard of the same color, and its form can scarcely be perceived. Keep this experiment in mind when drawing from any model. If the latter is dark, place it against a light background, if you wish the best effect. Reverse the process if the article used is light in color.
Light and Shade – For models for early work in light and shade, small objects with simple outlines should be selected. They should be free from polished surfaces. Select, instead, any piece of dull earthenware or wooden object; or, best of all, something made of plaster of paris. A small wooden or paper box is good; anything, in fact, that has a well defined outline with a fairly dull surface.
Place the object selected in front of the pupil on a sheet of white paper and, if possible. in such a position that it receives the light from one direction only. If the object receives light from more than one direction, multiplicity of undefined shadows will cause a confusing effect.
Shoes as Models – Shoes, the older the better, are excellent models. Their study leads to more natural appearance to the clothed human figure in subsequent drawings from memory or imagination. Feet are generally considered very difficult things to draw-meaning feet enclosed in the usual footwear of mankind. In drawing shoes, it is well to place them well below the eye, since that is the position in which they are generally seen.
The drawings should be blocked-in as indicated in the sketch shown in chapter on blocking-in.