For untrained artists the problem with seeing lies in the conflict that exists between the concrete visual reality of an item and the way the brain tries to represent our perception of this reality on the drawing paper. This trial invariably involves the tendency to draw our iconic preconception instead of the concrete reality. Symbolic preconceptions are part of a involuntary visual lingo that uses icons to represent known items. This lingo of icons evolved as a mechanism to help us endure as a species. These icons help us, for example, to instantly recognize food sources or dangerous predators. When we observe an unknown item our involuntary mind instantantly tries to form a new symbol to represent and store the item in memory. Often novice artists will more correctly sketch unknown items than known ones because they are not yet wedded to the new icons. However, when they attempt to sketch the same item a second time, it is likely that a more iconic image will emerge because ready to use icons have already been stored in the brain. Consider, for example, the word "head". Straight away an picture comes to mind which is iconic for the head. Unfortunately, this symbol is only a schematic picture of a head and is always a gross simplification of a real head. Nevertheless, there is a strong involuntary pull to draw the icon instead of what we actually see. It is this conflict that artists must learn to conquer. This is particularly a difficulty for pencil portrait artists. When drawing a portrait the artist must resolve numerous layers of icons to realize a realistic effect. We now will illustrate a very good exercise to learn to overcome the problem of icon drawing. We will be drawing from an upside-down image. This way our schematic preconception of the head is disrupted. We will be forced to draw without our icons. The effect will be a purer drawing experience unfettered by a contaminated perception. As you sketch the lines and block-in the tones you will feel quite ill at ease in your drawing. This is a good thing. Do not be concerned with the quality of your drawing. This is an exercise in seeing. When working with line and tone this way, novice artists often get better outcomes than from the right-side up way. Trust yourself and throughout the exercise only look at your photograph in the upside-down position even though it may feel quite uncomfortable. You will learn to see and sketch tone as forms and will be able to break down hard edges into short, straight lines instead of the general icons your brain will give to the nose, the ears, etc. Thinking of and naming perceived items will lead you down the garden path of almond shaped eyes, two circles for nostrils, a bunch of lines for hair, cauliflower ears and something that looks like the letter M perched on a bowl for a mouth instead of what is actually there. Artists will never be free of schematic set. The icons actually adapt and become more refined. It is only by constantly analyzing and abstracting form that we are able to sketch realistically.
Please Rate this Article 5 out of 54 out of 53 out of 52 out of 51 out of 5
Not yet Rated
