THE PATH TO MASTERY

Mastery requires comprehending a multitude of ideas simultaneously. Since one’s conscious brain can only understand one thing at a time, this task becomes the province of one’s subconscious. For the Draughtsman, this means the establishment of a knowledge vault filled with a vast resource of material. At the core of this subconscious knowledge base resides […]

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Navigating The Drawing Process

Getting back to ‘R.U.D.I.M.E.N.T.S.,’ we have arrived at ‘N,’ which is a placeholder for ‘Navigation.’ The creative journey is never-ending; the goal is ‘Mastery’ which is elusive, undefinable, and rarely attained. The path is long and the treck takes time, but time flies when you are having a good time.  ‘Have no fear of perfection – you’ll never reach it.’ […]

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FORESHORTENING

Believable ‘aspective’ views’ play a major role in foreshortening. When the two methods the Old Masters used to solve the problems of extreme foreshortening are revealed, the novice is baffled to no end. The Master draughtsman has two basic methods of dealing with extreme foreshortening. Method Number One: They ‘eliminated‘ it. Method Number Two: They […]

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ASPECTIVE VIEW

The late Myron Barnstone may not have invented the word ‘aspective’ but he certainly expanded and cemented its meaning. The word ‘aspective‘ seems to have been coined to describe Ancient Egyptian art. The Ancient Egyptians depicted the most recognizable aspects of things. The Egyptians depicted various parts of their subjects to provide the most recognizable […]

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The Aesthetics of Anatomy

We often encounter naysayers when it comes to the importance of anatomy for the artist. This is common advice from the mimesis minions. At face value, it is easy to scare the novice into believing that knowledge of anatomy will hurt their drawings. It appears far to medical, to complicated, and to Latin. To aide […]

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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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