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Drawing
To understand why a picture may or may not be attractive, we have to recognize a certain capacity that every normal person develops from childhood to adulthood.
I think the term “intelligent perception” comes as close as any word to describe this faculty.
It is vision coordinated with the brain. It is a sense of rightness developed by contact.
At one point or another, our brains accept certain impressions or appearances as truth and follow these judgments.
We learn to differentiate one form from another in size or proportion, color and texture.
All the senses together give us intelligent perception.
We have a sense of space or depth, even though we know nothing about the science of perspective.
We are immediately aware of distortion or distortion because the form does not match what experience has taught us is normal or true.
Even if we don’t know anything about anatomy and proportion, the form registers in the brain, so that we recognize a face immediately, even if we can’t give a good verbal description.
Our sense of proportion tells us that it is a baby and that is a midget, or that it is a puppy and that is a small dog. Intelligent perception involves a sense of bulk and contours.
We know goose from goose or goose from duck.
This quality develops in the beholders of art as much as in the artists. All of us have subconsciously accepted some of the effects of light.
We know when the appearances correspond to daylight, artificial light, twilight, or bright sunlight. Such perception is part of nature.
As soon as the viewer sees a change in proportion, a distortion, a change in form, color or texture, he or she realizes that something is wrong. The cleverest imitation will not fool him.
I personally believe that an artist can develop a solid personality in his work only when he knows how perspective, light and shadow really affect the basic forms.
Then it is not very difficult to understand the relation of all other forms to the basic forms.
The artist should know the difference between the quality of diffused light and direct light and should not mix the two in the same subject.
Too many artists get into tangled techniques, which is nice if everything goes well, but can only cover so many sins and no, technique alone won’t satisfy that wise notion of John Doe, and if We want him to write to magazines and say he thinks our work is good, we can’t depend on technology.
Form is form, and each plane of the picture must have its relative value in any particular lighting, otherwise the whole fails to convince.
An incorrect value means that the angle of the plane is not what it should be, and therefore the shape is incorrect, whether the shape is correct or not.
Let’s consider for a moment what made great artists great.
In almost every case he was the master of form, which means he had to be the master of light over form.
Then light and form were not different.
Artists of the past had no clippings or cameras.
He had to find out from life.
By observation and study he learned the truths that are still before us, that we do not know or see, because we think that an F.2 lens will take all the heavy work off our shoulders.
In fact we have twenty times the opportunity to produce masterpieces that he had. We don’t bother with making material, or sketches, or studies from life.
The truth is we don’t care. We are neither creators nor contributors.
The only valid excuse today’s artist has—and it’s a well-worn one—is lack of time. But where is the lack of time taking us?
| Writer | Andrew Loomis |
| Language | English |
| Pages | 151 |
| Pdf Size | 22.7 MB |
| Category | Art |
| Sources | archive.org |
Successful Drawing By Andrew Loomis Book PDF Free Download