DISEGNO

The Society of Figurative Arts uses the word Disegno to refer to both Designing and Drawing much as the Renaissance Italians did. They recognized Drawing as classical design, a position we share. The system of Disegno used by Leonardo and discovered in the writings of Vitruvius 80-70 BC (The first Roman Architect) lead to Leonardo’s […]

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R.(U.)D.I.M.E.N.T.S.

(U)NDERSTAND As opposed to popular belief, the master draughtsman doesn’t copy what they see; they capture the gestalt, the simplest known visual aspects of the subject at hand.  Drawing/design is, at its core, a creative decision-making process. The first task is to identify and quantify the model’s visual aspects, followed by a determination of which […]

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RUDIMENTS OF DRAWING & DESIGN

Rudimenti di disegno Why the Italian subtitle? These fundamental design principles were rediscovered and further developed during the Italian Renaissance. Most of these systems pre-date the Renaissance, but for us, it is our most tangible historical resource. What exactly are Rudiments? Rudiments are the fundamentals, the building blocks, the essential elements, the founding principles of […]

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FIGURE CONSTRUCTION

More commonly referred to as ANATOMY or ARTISTIC ANATOMY is not just important; it is essential. If your mentor tells you, there is no need to know anatomy, or that it will get in the way, start looking for a new mentor. The only reason they would tell you that is because they know very […]

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A COUPLE OF OBSERVATIONS ABOUT OBSERVATION

Observational skills are an essential aspect but not the most paramount by far. The master draughtsman never draws what they see, they draw what they know to look for. The master draughtsman doesn’t shade to turn form, they SHAPE it with planes to create form. They don’t copy nature they interpret it. Their skill-sets are […]

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THE TRINITY OF MASTERY

Core Academic Training There are three areas where the apprentice has the most to learn. They are: drawing from life, drawing masterworks, and drawing from imagination. The apprentice must include a third of each in their studies as the world’s great masters have done for over six centuries. Practitioners in past centuries studied and analyzed […]

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ARCHITECTONIC DISEGNO

The apprentice’s advancement requires a careful study of figure structure, as elucidated by Richer, Bridgman, and Hale, familiarizing themselves with the bony structure of the skeleton, and the location, origin, insertion, and function of the muscles. FIGURE STRUCTURE Architectonic Disengno The Architectural Design and Structure of the Human Form The skeletal system is compliant with […]

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THE FOUR ELEMENTS OF MASS CONCEPTION

THE FOUR ELEMENTS OF MASS CONCEPTION The elements of mass conception are; the Idea or concept of the Form, determining the precise shape of the Form, establishing Form lighting, and the positioning of the Form in Space. The apprentice should make a daily practice of drawing cubes, spheres and cylinders. In the architectonic drawing, all […]

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Ruskin on Anatomy

Ruskin, header

Mister Ruskin, who is wrong on most things art, elects to downgrade the whole of art to appeal to the common man.  This is an attempt to place visual literacy as the same level of attainment of all art past or present.  Ruskin’s vision of naturalism largely propagates the idea that we draw what we see, this […]

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Interpreting The Tao ‘The Way’

The Tao, header

Sie Ho’s Six Laws These are guiding universal principles of creative guidance.  The straight interpretation from the Chinese doesn’t quite get us to a point of understanding without some additional explanation. 1st. Consonance of spirit engenders the movement (of life) 2nd. The law of bones by means of the brush 3rd. Form represented through conformity […]

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