G is the first letter in our acronym for the elements of disegno, it represents the starting point or staging of the drawing process. The phases or stages of the disegno process involve; Grounding, Ghosting, Gauging, Geometrics, and Gestalt. These are essential elements of a holistic architectonic approach to drawing in the true classical manner of the great masters
• GROUNDING: In the first sense, grounding is about the figure-ground relationship which we also refer to as staging. This involves determining a preliminary notional conceptual space where the subject is going to reside. The other aspect of the way we approach grounding it as a preparatory procedure to acclimate oneself to the creative process. This is done with much or the same focus as a dancer doing stretching exercises or a pianist practicing scales. The plastic arts require the same kinds of intellectual and physical grounding/focus as any other art form.
• GHOSTING: Once we have established our conceptual staging or notional space we move on to getting a general feel for how our subject in going to occupy the stage. This is done by ghosting in the general mass of the model within the designated space. This is done with the side of a piece of dry media such as charcoal or sanquine and then dusting it back leaving a ‘ghost’ ot silhouette. We should walk around the model during this stage to get an ideal ‘theatre in the round’ how the pose looks at various angles. It is only by doing this that we can get an accurate read on what the volumes are doing in space.
• GAUGING: The measurement of geometric solids or stereometry is the key to mass conception of forms in space. A point does not exist except as the end of a line, a line doesn’t exist except as the edge of a plane, a plane doesn’t exist except as the skin of a form. Forms in nature and in the mass conceptions of the artist. That is where the draughtsman looks for the underlying geometry (mass conception) of the object he is going to translate onto a flat surface.
• GEOMETRY: We have established that in the Renaissance tradition everything begins with the mass conception of the form units that form the subterranean geometry of our subject. These form units are all generated by the cuboid.