tag:blogger.com,1999:blog-2999230124118604245.post5897410683134593882..comments2024-03-28T16:36:12.581-04:00Comments on Gurney Journey: Molyneux's ProblemJames Gurneyhttp://www.blogger.com/profile/01870848001990898499noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2999230124118604245.post-69230471947318245262017-05-27T21:20:56.807-04:002017-05-27T21:20:56.807-04:00It reminds me of Nicolaides book, it talks about u...It reminds me of Nicolaides book, it talks about using all of your senses to draw naturally. Being able to feel the form in your mind. Another book by ron tiner "Figure Drawing Without a Model", he talks about when drawing the model that you should strongly feel the part on yourself that you're drawing of the model. Like say you're drawing the arm you increase your awareness of your arm.Someonehttps://www.blogger.com/profile/14368268781554749072noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-92109920032622812672017-05-21T22:03:34.443-04:002017-05-21T22:03:34.443-04:00I wonder if they would improve if they were traine...I wonder if they would improve if they were trained before hand. We know it's hard even for people who can see to keep an accurate 3d representation of an object in their head, but if they could be trained to do that while still blind (and there are blind artists that can, I forgot his name, but there was one in particular I remember from a documentary or something that could accurately draw 3d forms he felt, even like a large building), I feel like they would be able to recognize the objects once they could see. Too bad there's so few opportunities to test it. Maybe someday when we develop proper bionic eyes.Anonymoushttps://www.blogger.com/profile/10230146824405348565noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-211887219037458222017-05-21T16:40:16.431-04:002017-05-21T16:40:16.431-04:00I love this post, and I agree that having touched ...I love this post, and I agree that having touched an object gives an artist a better feel for that object. I grew up with a Tennessee Walker horse as a companion. I was always brushing her and running my hands over the newly brushed areas. I'm convinced that early experience prepared me to draw horses from memory - muscle memory, if you will. When I taught drawing, I encouraged (made it part of their final grade)them to go up and touch the still life objects they were drawing. Janet Oliverhttps://www.blogger.com/profile/15211855672690293121noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-85716759420578241152017-05-20T21:33:11.452-04:002017-05-20T21:33:11.452-04:00I think ted seth jacobs used to recommend touching...I think ted seth jacobs used to recommend touching the objects you were painting as well. obviously this can't/shouldn't be done with human models in atleirs.. My Pen Namehttps://www.blogger.com/profile/10163003696435139513noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-36081699425813808652017-05-20T21:30:43.316-04:002017-05-20T21:30:43.316-04:00at the art student's league all my realist pai...at the art student's league all my realist painter teachers recommended modeling the head in clay to really understand the planes and get a sense of depth. I have always found that sculptures are great draftsmen as well... <br />My Pen Namehttps://www.blogger.com/profile/10163003696435139513noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-60176711079797924782017-05-20T17:52:39.635-04:002017-05-20T17:52:39.635-04:00I couldn't help but apply this to your many aw...I couldn't help but apply this to your many awesome maquettes-to-finished-works process, James! And I, too, love all the sensory experiences and weird goings on that happen (and inspire) en plein air! Really interesting!ArtbyBradyhttps://www.blogger.com/profile/03807964434925077784noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-48372319649025130832017-05-20T17:50:29.284-04:002017-05-20T17:50:29.284-04:00Reminds me of the fable about the four blind men a...Reminds me of the fable about the four blind men and the elephant. Just a little.<br /><br />You make an interesting point about getting to know what might be termed 'the next best thing', James. Sounds a little like the comparative anatomy and extrapolation in palaeoart. Do tactile or up-close encounters with living animals (beyond photo reference and the like) help you with that? Is that part of the role of your clay maquettes too?Warren JBhttps://www.blogger.com/profile/11743987856127631574noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-5160211179539558752017-05-20T17:02:46.077-04:002017-05-20T17:02:46.077-04:00The writer Diana Gabaldon has said that the best w...The writer Diana Gabaldon has said that the best way to bring a written scene to life is to include descriptions of at least three senses, as for example the smell of cooked food, the clatter of utensils, and the sight of a full plate. --Jane (I'm signing this because this thing always signs me up as Anonymous)Unknownhttps://www.blogger.com/profile/18372662455712732361noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-6051651147169089362017-05-20T15:48:38.159-04:002017-05-20T15:48:38.159-04:00MDMATTIN, good point to think about what it feels ...MDMATTIN, good point to think about what it feels like to be on the inside of a person as well as on the outside. <br /><br />SFOX, I suppose a wildlife artist can benefit from hanging around and dealing with farm animals. Feeling the horns on a domestic goat helps me imagine a wild goat. Also, it's amazing how many early wildlife artists were hunters, or at least dealt with real animals, alive and dead. James Gurneyhttps://www.blogger.com/profile/01870848001990898499noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-61997520852973917872017-05-20T15:10:11.870-04:002017-05-20T15:10:11.870-04:00I find that when drawing people from life, I rely ...I find that when drawing people from life, I rely a lot on knowing what it feels like to be a person, as well as what it feels like to touch a person. When drawing animals, the farther they are from me on the tree of life, the more challenging it is to physically empathize with them. I can sort of relate to a dog or a cow, maybe even a fish, but once we get into exoskeleton territory it's a whole different game. What does it feel like to be a bee? How could that feeling be conveyed through visual media?mdmattinhttps://www.blogger.com/profile/18215455490958117703noreply@blogger.comtag:blogger.com,1999:blog-2999230124118604245.post-55680599655738142882017-05-20T14:01:05.770-04:002017-05-20T14:01:05.770-04:00Great post! I think you've pointed out very sp...Great post! I think you've pointed out very specifically one reason that working exclusively from photographs can, and often does, result in inferior work because there's never even a visual connection to the subject, much less a tactile one. It's an interesting problem for those of us who are wildlife artists who only paint what we have seen ourselves in the wild (many don't). We have the visual input but there are a variety of obvious problems in attaining the tactile experience. sfoxhttps://www.blogger.com/profile/14641207520270872175noreply@blogger.com