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I think Edwards's approach is more compatible with Ames's construction approach than your description implies. Sure, Edwards is trying to get you to see what i

by jcl 17y ago

I think Edwards's approach is more compatible with Ames's construction approach than your description implies. Sure, Edwards is trying to get you to see what is in front of you rather than rely on preconceptions. But what is in front of you can often be described as a collection of generalized shapes, as Ames does. And, indeed, this is a good way to get the initial proportions of a drawing correct; I believe Edwards discusses some helpful construction rules in the portrait section of her book. In other words, you should draw a circle not because someone told you to draw a circle, but because the thing in front of you genuinely has an underlying circular form at that size and in that position -- as Ames must have done when he came up with his drawing books in the first place. And the more you do this, the faster you learn the underlying structure of things, which makes it easier to draw from memory, draw from imagination, or simply draw from life without needing to stop as frequently to measure things.

GiraffeNecktie 17y ago
Generalized shapes might help if you're drawing extremely regular objects (books, balls, apartment buildings) or perhaps if you need to draw a generic "horse" from memory but it's not a big help with life drawing. Edwards and other life drawing teachers often suggest drawing the negative spaces as a way of breaking the habit of using the brain to figure out what the object is "like" (e.g. it's like a square sitting on a circle) and focus on what it is.
- jcl 17y ago
  Yes, negative space is useful for focusing a student's attention on the shape itself rather than the subject. But it also has the tendency to encourage a local rather than global focus, so that locally all the shapes look right, but the global proportions are wrong. Or where you work your way around a bicycle wheel drawing all the negative shapes, and the last shape you draw is too wide or too thin. Which isn't much of a problem for things like still lifes, but it becomes a bigger problem in, for example, portraiture, where the human eye is particularly sensitive to errors in proportion -- which is why Edwards includes some construction rules-of-thumb in her portraiture chapter. You may be focusing too strongly on "circles and squares" as idealized shapes... If you look at the picture of the elephant in the article, none of the shapes is quite a circle. Rather, they outline masses, like the blobs you might see if you defocus your eyes. Being able to capture the proportions and locations of these masses is actually very important when drawing from life. (see, for example, Nicolaides's "The Natural Way to Draw")
  - kalid 17y ago
    Just wanted to say thanks for the analysis -- I'm considering learning to draw again and it's great to see these perspectives :).
- rw140 17y ago
  I think of them both as techniques for the same purpose - to get you to draw what you see as there rather than what you know is there. (Or even drawing the symbol for what you know is there.) It's been a while since I've done any drawing, but from what I remember you can easily use both in the same image - blocking out the constituent shapes with approximations with around the right proportions, and then making sure that the negative space looks about right in the gaps in between.

by jcl 17y ago

GiraffeNecktie 17y ago

Generalized shapes might help if you're drawing extremely regular objects (books, balls, apartment buildings) or perhaps if you need to draw a generic "horse" from memory but it's not a big help with life drawing. Edwards and other life drawing teachers often suggest drawing the negative spaces as a way of breaking the habit of using the brain to figure out what the object is "like" (e.g. it's like a square sitting on a circle) and focus on what it is.

jcl 17y ago
Yes, negative space is useful for focusing a student's attention on the shape itself rather than the subject. But it also has the tendency to encourage a local rather than global focus, so that locally all the shapes look right, but the global proportions are wrong. Or where you work your way around a bicycle wheel drawing all the negative shapes, and the last shape you draw is too wide or too thin. Which isn't much of a problem for things like still lifes, but it becomes a bigger problem in, for example, portraiture, where the human eye is particularly sensitive to errors in proportion -- which is why Edwards includes some construction rules-of-thumb in her portraiture chapter. You may be focusing too strongly on "circles and squares" as idealized shapes... If you look at the picture of the elephant in the article, none of the shapes is quite a circle. Rather, they outline masses, like the blobs you might see if you defocus your eyes. Being able to capture the proportions and locations of these masses is actually very important when drawing from life. (see, for example, Nicolaides's "The Natural Way to Draw")
- kalid 17y ago
  Just wanted to say thanks for the analysis -- I'm considering learning to draw again and it's great to see these perspectives :).
rw140 17y ago
I think of them both as techniques for the same purpose - to get you to draw what you see as there rather than what you know is there. (Or even drawing the symbol for what you know is there.) It's been a while since I've done any drawing, but from what I remember you can easily use both in the same image - blocking out the constituent shapes with approximations with around the right proportions, and then making sure that the negative space looks about right in the gaps in between.