How to Achieve Perceptual Drawings to Create an Emotional Impact
Perceptual drawing is really the ability to see those things which are basic essentials in a very direct way.
It is having a precise idea of where to begin the initial drawing and what emotional response would be desirable, more importantly, it is knowing exactly when to stop.
Any drawing, good, bad or downright ugly will invoke an emotional response.
So what emotional response do you want? How many drawings have you seen where the artist has overworked the drawing to such an extent that the original emotive effect has been completely lost? It is never what you put into your drawing but rather what you leave out.
It is using an artistic term called "economy of line.
" More often than not, beginning artists get heavily involved in detail long before any basic structure is drawn in and therefore all personal characteristics are lost or have been destroyed.
To be confronted with a blank sheet of drawing paper can be daunting and the rookies' question is always "Where do I begin?" Most subjects--like an animal or a landscape--can be broken down into simple, basic shapes.
It is this ability to "see" the mass as a form with depth, not as an outline.
To a student, the complexity of a subject can be quite overwhelming with form, hue, values, depth (3D) and how one part fits into another.
The art student thinks "There's no rational way of approaching this subject" and so confusion enters in.
Here is this life drawing class with a live model which is one of the most complex subjects to draw, with interlocking forms, a constant change in values and color which distorts these value giving a 'false read'.
A beginning student is not trained initially in observing the "masses" of the subject and sees it only in outline so consequently draws the head first as an outline and then proceeds to draw the torso and legs.
The result? An unnatural unsystematic drawing with no analogous parts.
Drawing sections in isolation always results in poor, clumsy drawings that you'd expect from a greenhorn.
You never see a child's drawing with a mass of lines that cover up the original form.
They are usually crisp and clean with no scrub marks to hide "mistakes.
" Every drawing must begin with a framework or blueprint.
Before beginning, it is important to be really passionate about the subject in front of you AND about drawing.
If you have no affinity for it, don't draw it.
With passion in your drawing you will always get an emotional response from your intended audience which could be your main objective--to create an emotional impact.
It is having a precise idea of where to begin the initial drawing and what emotional response would be desirable, more importantly, it is knowing exactly when to stop.
Any drawing, good, bad or downright ugly will invoke an emotional response.
So what emotional response do you want? How many drawings have you seen where the artist has overworked the drawing to such an extent that the original emotive effect has been completely lost? It is never what you put into your drawing but rather what you leave out.
It is using an artistic term called "economy of line.
" More often than not, beginning artists get heavily involved in detail long before any basic structure is drawn in and therefore all personal characteristics are lost or have been destroyed.
To be confronted with a blank sheet of drawing paper can be daunting and the rookies' question is always "Where do I begin?" Most subjects--like an animal or a landscape--can be broken down into simple, basic shapes.
It is this ability to "see" the mass as a form with depth, not as an outline.
To a student, the complexity of a subject can be quite overwhelming with form, hue, values, depth (3D) and how one part fits into another.
The art student thinks "There's no rational way of approaching this subject" and so confusion enters in.
Here is this life drawing class with a live model which is one of the most complex subjects to draw, with interlocking forms, a constant change in values and color which distorts these value giving a 'false read'.
A beginning student is not trained initially in observing the "masses" of the subject and sees it only in outline so consequently draws the head first as an outline and then proceeds to draw the torso and legs.
The result? An unnatural unsystematic drawing with no analogous parts.
Drawing sections in isolation always results in poor, clumsy drawings that you'd expect from a greenhorn.
You never see a child's drawing with a mass of lines that cover up the original form.
They are usually crisp and clean with no scrub marks to hide "mistakes.
" Every drawing must begin with a framework or blueprint.
Before beginning, it is important to be really passionate about the subject in front of you AND about drawing.
If you have no affinity for it, don't draw it.
With passion in your drawing you will always get an emotional response from your intended audience which could be your main objective--to create an emotional impact.
