Comments on: Drawing Tutorials: Comparative Measurement, Part I

By: AG

AG — Tue, 10 Feb 2015 08:16:00 +0000

In reply to DHeskin. Dheskin. What you state is warping what Ed stated which was that Durer drew the Hare with the canvas almost directly alongside himself, not that his easel was much closer to the Hare then he was. Secondly, your recommendations of reference to Brague's drawings is ill advisable as they don't illustrate Ed's chosen technique and method. Durer is the perfect example as Ed pointed out,

By: DHeskin

DHeskin — Thu, 29 Jan 2015 03:25:59 +0000

In reply to Ed. Ed, if Durer was drawing a hare at 12 feet away with the easel much closer, the finished drawing would be no more than a few millimeters tall. Sight-size allows for an incredible adjustment in scale to be created, whether life-size, smaller or larger, depending on where the easel is placed in relation to the subject. Perhaps referring to Bargue drawings and life-size portraits would be advisable.

By: Ed

Ed — Thu, 12 Dec 2013 09:23:52 +0000

Good, concise post.

Turns out I’ve been using comparative measurement for years, it’s no wonder I’ve found trying to use Sight-size, despite my existing abilities,
a somewhat rigid and repetitive way to complete a drawing.
Obviously all drawing incurs a series of refinements and corrections, but I believe the comparative measurement approach allows the artist to work somewhat intuitively, and for me at least it feels more natural.
That is how I painstakingly taught myself to draw in the evenings at art school (when no doubt my friends were in the bar) and I feel the perseverance sharpened my visual sense, my patience of observation and healthy distrust in what I expect the angles and lengths of the subject to be.
Apologies for the lengthy comment, but finally, I believe it’s advantage as an approach, is that it allows the artist to record far greater detail, because the easel and viewing point can be bought much closer to the subject. I don’t think that Albrechr Durer could have observed the individual strands of fur on a hare from 12 feet.

Again thanks for the post.

By: David Jamieson

David Jamieson — Sat, 10 Nov 2012 05:33:40 +0000

In reply to Moises Bonilla. Thanks, Moises. I've been meaning to get to this for a while, and I'm glad it's finally getting done. Hope to see you in class again soon! :)

By: Moises Bonilla

Moises Bonilla — Sat, 10 Nov 2012 00:18:37 +0000

I agree with Dave, it is always wonderful to see someone who can clarify the fundamental steps needed in trying to achieve a drawing or painting from a model or still. This kind of insight in teaching is sorely missing in many creative fields and I can only applaud your further efforts since they will only enhance or supplement anyone who wishes to better their drawing and /or painting. Good stuff.

By: David Jamieson

David Jamieson — Fri, 09 Nov 2012 18:26:25 +0000

In reply to Dave!. Thanks, Dave! I'm glad you enjoyed it :) I'm happy to write about this stuff.

By: Dave!

Dave! — Fri, 09 Nov 2012 15:42:24 +0000

Fantastic post. I really enjoy reading about the intellectual aspects of your craft/art. You should write a book–you explain the concepts well and remove some of the “mysterious stigma” surrounding art/artists that people sometimes have to help show that it’s not just “drawing well” and that there is intellect, analysis, and technique behind great works.