How head movement can help accuracy in drawings from observation
All the books correctly say that, when using the perspective frame and other traditional devices for obtaining accuracy in drawings from observation, head movement must be avoided at all costs. Teachers also warn students, who are trying to obtain accuracy when drawing from observation, that any movements of the head can substantially change both internal and external relationships in the scene they are depicting. Although what they say is true, their warning glosses over the fact that such movements can be a powerful tool for homing in on accuracy. The purpose of this Post is to provide the link below to “Chapter 17 – Head movement“, which explains why. Below that link I have included a slightly edited version of the Introductory to that chapter.
Having learnt to find the eye-line, we are ready to make further use of the analogy of the opening window. The purpose of the next two chapters is to become better acquainted with some of the many anomalies of visual perception that regularly plague attempts at accurate drawing from observation. In this way we will learn to become more sensitive to aspects of appearances that we might otherwise overlook. Three particularly pervasive sources of anomalies are:
- Turning the head (whether from side to side or up and down)
- The imposition of axes of symmetry by our visual systems.
- The constancies of size and shape.
This chapter and the one that follows give examples of each of these, which will appear under three headings: “head movement”, “axes of symmetry” and “the constancies”. Although for explanatory purposes, it is convenient to treat them
separately, we find that any combination of the three can be affecting our perception at the same time. We start with this chapter on “head movement”
Images illustrating head movement
The three images below show three different views of long boundary the wall of the esplanade. They provide a bit of realism to line drawings found in Figures 1a, 1b, 1c & 1d in the Chapter 17, to which this Post is inked.
Chapters so far published from
Book 1 and Book 2 of “Drawing on Both Sides of the Brain” (Volume 1 of the series of four volumes)
BOOK 1 : “DRAWING WITH FEELING”
Chapters so far loaded:
- Introduction to book 1 of “Drawing with Feeling”
- Chapter 1: Accuracy versus expression
- Chapter 2: Traditional artistic practices
- Chapter 3: Modernist ideas that fed into new teaching methods
- Chapter 4: the sketch and explaining the feel-system
- Chapter 5: Negative spaces
- Chapter 6: Contour drawing
- Chapter 7: Copying Photographs
- Chapter 8: Movement, speed & memory
- Chapter 9: The drawing lesson- preparation
BOOK 2 : “DRAWING WITH KNOWLEDGE”
Chapters so far loaded:
- Chapter 13 : Introduction to “Drawing with Knowledge”
- Chapter 14 : Linear Perspective
- Chapter 15 : Eye-line problems
- Chapter 16 : Head movement opportunities