Drawing from Observation 4e

I began this drawing text with the understanding that dozens of basic drawing books already exist. However, what this book has that the others do not is a clear and unapologetic focus on basic rendering skills along with the spatial understanding needed for translating three-dimensional perceptions onto a two-dimensional surface.
Drawing from Observation 4e builds upon the perceptual platform that was constructed in the fifteenth century by Brunelleschi, Alberti, Piero, and Leonardo. Although Modernist art movements of the last hundred and fifty years have challenged the hegemony of Renaissance illusionistic space, there is, nonetheless, considerable value in learning to draw “realistic” images from observation. Such “realistic” drawing offers the opportunity to develop insights into the very mechanisms of human spatial perception as well as being a versatile tool for visual problem-solving in every artistic discipline. And, in that it works well as a conceptual baseline against which to compare alternative aesthetic and conceptual approaches for rendering illusionistic space on a flat surface, it can also shed some light on the underlying motivations of those who have consciously chosen to make art without it.

As a practicing artist, I understand and vigorously defend the pre-eminence of freedom in an art-making environment. However, as a teacher of art, I have come to understand the parallel importance of discipline, visual sensitivity, patience, eye / hand coordination, a rigorous work ethic, and a solid conceptual base as the essential tools needed to take full advantage of one’s freedom.
Drawing from Observation 4e grew out of the long-standing belief that perceptual drawing is foundational to artistic self-awareness. Plentiful student drawings and diagrams throughout support the verbal explanations. Completing all the lessons will provide a solid and thorough foundation for more advanced artistic expression.

Drawing from Observation 4e focuses on the importance of a heightened sensitivity to touch and the ability to distinguish variety in the marks you make. It then moves through a series of progressively complex lessons aimed at fine tuning your ability to distinguish between what you see and what you know. Hopefully, through these approaches you will broaden your understanding of and appreciation for perceptual spatial illusions thereby empowering you to create convincing and engaging images from anything you might see or imagine.
This book is intended to be both a practical guide for recording your visual perceptions and for providing you with an understanding of the mechanisms that make 3D spatial representations possible. Perceptual drawing, because of its foundation in both intuition and rational organization, serves as an excellent baseline against which to compare and contrast all other approaches to image making. In the final analysis, it is the freedom that comes from understanding and integrating both intuitive and rational processes that is the most valuable of all imaging tools.