As i listened to this I was reminded of a favorite quote by Mr. Gammell about drawing and how your explanation and exploration aids in understanding. "The perception is always in advance or the execution but much less so that is generally realized. Only as he begins to draw pretty well himself will the student begin to recognize the difference between good drawing and poor drawing in the work of others. Only as he begins to draw quite well will he sense the qualities that make fine drawing superior to good drawing. I have no way of knowing how drawing may look to a really fine draftsman. Of one thing I am certain, that the fine draftsman preceives things invisible to me and that were invisible to him before he became a fine draftsman."

@PaulIngbretson

2 жыл бұрын

Really outstanding quote, Richard, Thanks.

I'm nearly speechless with gratitude. All my life I've berated myself for being attracted to line in figure drawing, rather than boxes and volumetric shapes. Line is where my hands wants to go, to trace those contours I see, to feel them appear on paper, as if touching the form itself. I'm not fantastic at it at all, but that's how I most love to draw. I'm almost 70, and you have opened my world.

@PaulIngbretson

2 жыл бұрын

Keeping faith with yourself... :)

@prism8289

2 жыл бұрын

It seems to me that someone like Michelangelo or Sargent had absolutely mastery of both. Michelangelo might have used landmarks, but he understood the construction of volume and form, whether the mark appears on paper or not. The understanding was there, and I believe it was Bridgemans aim in his drawings to be an educator of these concepts. He represented what might be invisible for others, but yet still present.

Thank you, Noam Chomsky! I didn't even know you were an artist.

@PaulIngbretson

2 жыл бұрын

I do get that!

Anna said it well, "I am hanging on these words. Priceless." Thank you for creating this atelier in the air!!

@PaulIngbretson

Жыл бұрын

Most welcome, Lyndsie, and glad you are there.

You are freeing a lot of art students from exhaustive block ins. I agree with you.

@PaulIngbretson

9 ай бұрын

Delighted. Do hear that often.

I just found this channel. Thank you Mr Ingbretson for showing me the road through this video. It's nothing like what I've watched before and it hit right home. I've always carried an intuition that my "unconstructed"/gestural figure drawings were better than the constructed ones, but until now I had no idea how to take that thought further. This means a lot to me

@PaulIngbretson

2 жыл бұрын

Good luck in your continuing efforts.

Thank you so much once again Mr.Ingbretson. The notion and utility of throwing lines made a lot of sense to me.

A great exercise for drawing with longer lines is to use a quill and ink. It is a very enjoyable way to sketch out ideas.

@kmadge9820

2 жыл бұрын

Bamboo pen, too.

I learned so much from this, thank you for sharing your knowledge and for explaining things so clearly with the nice visual examples.

@PaulIngbretson

2 жыл бұрын

You're very welcome!

In studying Raphael's drawings you can find light construction lines over which he developed his final drawing. You see them in Leonardo's drawings as well and others of that time. A quick egg like shape for the head with lines running down the middle of it and another across for the placement of the eyes or whatever, but no "blocking out" as we see in more modern ways of drawing. Also, Raphael's figures don't look like modern academic drawings, but look more as if he was taking liberties and relying on his imagination much like how comic book artists work. I think Harold Speed mentions something about this difference in the old masters work as compared to the kind of methods he himself was taught in a tone of lamentation. This of course is not an attack on the academic method, but merely wanted to point a few things out. Thanks again Paul for another insightful discussion! I hope you have a very happy New Year!

@BM-pt6sy

2 жыл бұрын

I believe those are distance measurements for accuracy. You can also see the vertical middle line in Sargent’s drawings. But that is true, you can clearly see that Michelangelo combined different parts from other figures to create more dynamic gestures, and also of course exaggerated every little form respective to the function of their anatomy (unlike Rubens). Lots of his Sistine Chapel nudes have major differences to their respective study sketch. My main frustration with contemporary figure work is that there is very little story telling. The best performers that can render the most naturalistic figures and light and shadow are almost always merely painting/drawing/sculpting scenes of professional nude models posing. When the students get out, there is no composition in their work, no story, they do not do anything with those abilities. It’s like the whole of academia is stuck in a practice loop. What are you training for? More training? A true virtuoso is someone whose knowledge of form and natural bio-organic design is so second nature that they can improvise and design rhythms and stories through the medium of anatomy. Like a classically trained Jazz pianist. Illuminate the mythos, tell stories, discuss psychology, celebrate humanity, add something to the world with the gift you’re given to be able to appreciate and want to grasp visual data. Or, at least show what the human cognition is capable of by grasping and designing nature like an architect. I do not believe this is impossible to learn or requires some visionary talent, it is just that students today are made to forget that this is what we are really doing all this for, as it is never talked about.

@sketchartist1964

2 жыл бұрын

@@BM-pt6sy Yes, that makes plenty of sense. It is possible to become so enamored with nature that one feels afraid to deviate from it as many of those old masters often did. Michelangelo being one prime example. But nowadays there is a preference for absolute realism in drawing with many artists, and they tend to look at the old masters as artists who were lacking the skills to do what they do. Harold Speed points out in his book on drawing how none of those old masters figure drawings would have won any prizes in the school where he studied! Today many would be painters have become much more obsessed with realism even in the area of drawing. If there's anything I personally cannot stand are drawings that strive to look as much like a black and white photograph as possible. I don't see any of the old masters doing this, and I don't understand why it has become so popular and admired by artists today.

@PaulIngbretson

2 жыл бұрын

Right about all those points. Never forget (per Raphael for example) when you are creating out of your head, the image is invented, pose and all. Doing that myself I will use an egg and find a distance (foot) and then throw some lines in search of the figure I want in my imagination. As you say like a comic book artist might. Think later academic people brought the models in too soon and per Albert Boime, I think, took some of the expressive qualities out - let the model take over.

@PaulIngbretson

2 жыл бұрын

I like to say they were not taking a model and deviating from nature but they were creating their own figures from the start and, in the case of Millet, apparently when in need of more information looked at people and learned it rather than posing a studio model. Drawing from memory like that continuously inevitably improves your attentiveness. This is a long discussion but it's easier to see when you accept that there are two approaches determined by whether you are painting from life like a Velasquez portrait or crucifixion or painting from your head. I think the 18th C. academies found themselves in a conundrum. See the book: Some Call It Kitsch.

@PaulIngbretson

2 жыл бұрын

Thanks, Malachi. And, re the above, see my comments below.

Great instructional discourse. Thank you so much!

Thank you for your incredible videos

@PaulIngbretson

2 жыл бұрын

most welcome, Dovi

Great presentation Paul. Thank you for sharing your knowledge with the world. I'll have to stop by next time I'm in MA.

@PaulIngbretson

2 жыл бұрын

Love to see youi, Todd.

this showed me a completely new perspactive on paintings, thnaks you!

This video of Yours was a revelation for me (who try to improve in drawing). Thank You så much! I wish You a Happy Year 2022.

@PaulIngbretson

2 жыл бұрын

Pleased and best to you, too, Iwona

This is the first video I've seen from your channel and I'm so excited to watch more! It was fantastic! I've always carried a bit of private shame over my years of drawing without constructing more first. My move to predominantly making digital art hasn't helped because in that realm it's so easy to fake a perfect line. I've even gotten to the point of forcing myself to hatch and sketch my way through an initial stage, just to give the viewer the impression that I put lots of effort into finding the perfect shape. But your point of view shows me that unified drawing if far from inferior, it may even be the superior form of drawing. And rather than contour lines being indicative of anatomical ignorance, they indicate deeply internalized familiarity with a figure or subject. I can't wait to watch more of your videos!

@PaulIngbretson

2 жыл бұрын

Welcome aboard, Longleke!

Draw the longest line you can remember is quite an amazing quote. I had to pause the video and think about that one for a bit wow. It reminds me of giacometti talking about drawing in the moment between seeing something and putting it on paper

@PaulIngbretson

2 жыл бұрын

That's interesting

A lot of this method and the belief behind it can be seen in High Focus Drawing by Jim McMullan, who taught at SVA. You can see this method in his students (James Jean Sketchbooks, Tomer Hanuka) and his Teaching Assistants (Mike Mattesi of FORCE Drawing and Jeffery Smith at Art Center). I myself am a big fan of the empathy and focus it requires.

Greetings from Moscow. Exceptionaly interesting talks. A rare happening in KZread.Thank you.

@PaulIngbretson

2 жыл бұрын

Thanks for that, Roman! Glad you enjoyed.

Thank you so much. I’m self taught and now I know what method I’ve been using 😊

@PaulIngbretson

2 жыл бұрын

Funny, good.

@GailReidArtist

2 жыл бұрын

🤣

Thanks Paul enjoyed this one. All points on what to look for and how to see it are going to be valid as we all look at times and don't see! We sometimes look and assume what we think we saw,or don't really understand what we see, and sometimes miss what is there just because? We are juggling so much that things will be missed unless we search for them with focus on what we want to find. Thanks again Sheila

@PaulIngbretson

2 жыл бұрын

Which leads to the discussion of slowing down the processes (ing?) There is a certain methodical thing about the looking until grasping that is built in. Which is where the 'concept' you need comes from. Then the execution becomes more deliberate and assured.

@querenstewart9944

2 жыл бұрын

Thanks Paul Great advice as usual. I was trying to give encouragement to people not to give up at the first hurdle. Love your explanation of things your a true communicator.Thanks again Sheila

Thanks for the video. It all comes down to learning to see and understand... the first thing Leonardo tells a beginner in his treatise is to learn perspective and copy the drawings of your master. Bargue is essentially that , master drawings meant to teach you to see, contours and angles simple planes ... and learn to shade... the first order of business in old academies. After you would learn basic anatomy and figure construction (is called construction because it comes from constructive geometry which is another subject taught to old classical artists, without geometry Plato said you can’t enter, and many painters adopted such philosophy, cubes and spheres is just the method of old drawing in perspective, you can check loomis book of 3D drawing). Bridgeman taught what he learned at Gerome’s atelier. The old chaps called quadratura of the body, basically measuring the body, or geometrizing it... after construction and anatomy and while learning it, they would go to cast drawing and finally live drawing... Ingres and Degas are geniuses of art, they have a photographic eye by nature, so they are sensible to natural contours but their work has construction and anatomy enbeded in it (once is mastered you no longer need to do baby steps)and I am certain they had similar training... you can skip these tedious methods but at a master level of knowing the figure profoundly and drawing it from life, memory and imagination it’s gonna be very difficult...cause you will be bound to just copying and not mastering drawing in the old sense of the word .

@PaulIngbretson

2 жыл бұрын

The 'geometry' you speak of is sometimes evident in constructing figures as Poussin did but others, Tiepolo(?), appear to construct with lines closer to the mark initially, yes? An interesting thing, how many different ways men have 'constructed' figures from imagination. Painting and drawing from life has no need to 'figure out' the figure even though some may have employed it in that cause, too. BTW besides different approaches for different problems, best practices do change over time.

@PinturaYdibujoENVIVO

2 жыл бұрын

@@PaulIngbretson inside his flowing lines , is good construction... have you ever seen the Loomis books... ?that’s draftsmanship , the Americans did not invent the method, they brought it from France, France from Italy... there’s is always geometric drawing, even if you are observing... today illustration and painting , technical drawing are different disciplines... in the past drawing was drawing... with model or not... check a good book called The Science of Art by Martin Kemp , it’s shows the evolution of this systems from the renaissance up to Impressionism and academic work... based on scholarship research , great source!

Thank you sir for enriching my artistic knowledge

@PaulIngbretson

2 жыл бұрын

Glad its working that way.

I am hanging on these words. Priceless.

@PaulIngbretson

2 жыл бұрын

As someone said, "and then working them out until you really grasp them." :)

@annicanhickman6820

2 жыл бұрын

@@PaulIngbretson I am hard at it sir! Faithfully. 🙂

Finally someone talking sense! I cover this all the time on my course and it sometimes feels like I'm the only one :)

@PaulIngbretson

2 жыл бұрын

We are many... :)

Santa, is that you? Loved your video.

@PaulIngbretson

2 жыл бұрын

Lol, happens every Christmas and it seems I perversely let the white stuff grow...silly

Thanks a lot. That was helpful!

@PaulIngbretson

7 ай бұрын

Glad to hear that, moongirl! (fun handle)

Thank you very much!

@PaulIngbretson

2 жыл бұрын

Welcome!

I think an excellent book on construction methods and drawing general is: "Drawing Lessons from the Great Masters" by Robert Beverly Hale

@sketchartist1964

2 жыл бұрын

Yes, his books certainly helped me to understand anatomy and good line quality in drawing.

@PaulIngbretson

2 жыл бұрын

His book is where I first saw no one did construction drawing per se.

@reginaldforthright805

2 жыл бұрын

@@PaulIngbretson you can see Leonardo, Michelangelo and Raphael using construction quite clearly in their sketches. In the finished works, the construction is mostly hidden, though you can see the effect. construction is the standard Italian Renaissance drawing method, continuing onward into the Italian baroque and rococo. 19th century French and British sighting methods are completely different and part of a separate tradition.

@ElizabethBattle

2 жыл бұрын

Thank you for the advice about the book -- I just ordered it! 😁

@sketchartist1964

2 жыл бұрын

@@ElizabethBattle I think there are three other books by Hale. They're all useful.

Thank you!

Great video..

I’ve always been drawn to drawings that I now recognised as contour due to this video. I’ve been confused in my art journey how the idea of box’s and angles got one to an expressive line. I’ll more confidently proceed now knowing the anatomy and construction method doesn’t necessarily underpin the masters I most admire.

This is what I was noticing of my studies of Raphael’s drawings. His line work very deliberate , and very minimal some areas. Not Chungking away at it like you say. This is a interesting topic as I’m trying to embrace quality drawing. What I mean by that is , taking my time with a subject. I have a lot of quick sketches that I’m happy with but because I’m focusing on the composition, I think after studying Raphael, I’m beginning to think, going back and taking the time to capture, possibly emotion is critical as is a good composition!

Thank YOU a lot good man😊!!!

What a find! This is the first of your videos I've watched, I Love your manner and explanations. Your channel is a timely discovery on my figure drawing journey: in the course of mindful practice I swing between construction (plus anatomy) and fluid observational lines. There are so many resources available on construction, which is more universally recognised as "the challenge" than unified fluid lines. So that's mostly what I've been working on, thank you for inspiring me to give more importance to the line. And can I put a shoutout in for Rodin, as another proponent of The Line?!

@PaulIngbretson

2 жыл бұрын

Yes...and a guy thought by Tarbell to share the mindset of the Boston School

Van Gogh became an expert in the style of linear it's what we love so much about his work I've been at it for so many years and I still struggle Masters

@PaulIngbretson

2 жыл бұрын

That's probably a bit different from my meaning but will think about what you are saying

This guy look like it came from 1490 and he teaching us lots of good things

Somehow it feels so free watching this, was feeling so cramped by the technical drawing of boxed method..

@PaulIngbretson

2 жыл бұрын

Nothing to lose but your chains...lol

@rajrajn3864

2 жыл бұрын

@@PaulIngbretson true.

Draw the longest line you can remember is a new insight for me.

@kevmann5284

2 жыл бұрын

yes i agree the gesture but that line needs to cross or end at specific known points so learn the points and join the dots and hopefully that will become intuitive over time

@PaulIngbretson

2 жыл бұрын

Worth toying with

Beautiful sharing friend😃✌️.....

@PaulIngbretson

2 жыл бұрын

Thank you for that.

I like to draw, but never had formal lessons. The only real lesson I had was in a high school class. I ended up leaving the class before the year was out. In saying that, even I understood when seeing bridgman's constructive anatomy for the first time that it was to be used as a tool not a template. A way to check alignment of limbs, muscles and extremities in perspective and proportions. It just seems easier to tell which way things are facing and where the light and shadows go when "Imagining" boxes instead of cylinders, spheres and ovoids. The bad thing about any tool or method is when you start relying on the tool or method instead using it to train your intuition and muscle memory.

@PaulIngbretson

2 жыл бұрын

And train your eyes. Yes?

@mdew24

2 жыл бұрын

@@PaulIngbretson Exactly.

Gesture with charcoal, tighten with pencil, shade and blend with charcoal. This is the easiest way to get a realistic form hands down. The hybrid Riley method that Jeff Watts uses is the best figure drawing method I've ever seen. Disclaimer- this is an advanced method not for people just learning to draw, it requires you to make the accurate shape the first time.

Thank you!!!!!!

@PaulIngbretson

2 жыл бұрын

You're welcome!

I can easily draw in lines from life, but this was a dead end for me who was trying to draw people from imagination. Only after I got a grasp on construction & perspective I could improve significantly... Now (to some extent) I can lay my linework over my construction. My guess is that these old masters who seemingly go without construction, in fact are so advanced with imagination etc that they do not have to draw it. They have it in their head. But they still need it - the spatial imagination, the understanding of volume and form etc. For drawing humans from imagination, drawing lines, without having the understanding of what happens there has rather limited use. That at least holds for me, who relied solely on lines for years.

@tamparegionalartists2454

2 жыл бұрын

I agree with you, I can't for the life of me imagine how you could draw a forshortened figure accurately without the construction method. I too studied at The League and we were instructed to look for large shapes, construct the figure and draw plumb lines as guides.

@PaulIngbretson

2 жыл бұрын

One of my videos shows a group of figures I did from memory. These are not my final version - could easily improve them by consulting a model or just reviewing them a bit more bit it gives me reasonable results in the first instance. For what its worth. I suggest trying it more. but long time (years) spent in front of models is crucial.

Some very interesting observations here. I have seen some drawings by Ingres that struck me as decidedly awkward, and in light of what you say in this video I can now suddenly see why: in these drawings, he was presumably drawing "un-anatomically", simply reproducing what he saw in front of him, and, well, perhaps the model moved too much or he was having an off day or a momentary lapse of concentration, and the result is features slightly misplaced or awkwardly attached. But when it worked, boy did it work. What an eye. Me, I never managed to work out how to get things in proportion, so simply trying to reproduce what I see usually results in very unintentional Picassos. :-)

@PaulIngbretson

2 жыл бұрын

You might try to find yourself some good relational strategies for proportions and then apply them systematically. Keep observing what Ingres called, "the relationships of the sizes of things" and presume he means things visual and not objects.

@brianvanderspuy4514

2 жыл бұрын

@@PaulIngbretson Not too sure what you mean. I have found that lots of practice made for improvement; perfection remains elusive. :-)

💖

Yay! I really find all of those formulae for creating figures really repulses me. And, I love silverpoint. With silverpoint, I work with the masses that I see. I start from the middle and work outward from the center of masses. That's not to say I'm a master but that is my instinct, to start from the middle of a mass and stop when I come to the edge. I build to the edge rather than starting from the edge. It seems to work well without all of the brain damage of memorizing all of those boxes.

@PaulIngbretson

2 жыл бұрын

Funny, lol. Many people I see online do something more like that, no? Annigoni influence partly maybe. All over the place in the start a la Boston School requires a different mindset.

@gspurlock1118

2 жыл бұрын

​@@PaulIngbretson Thanks for introducing me to Annigoni. I will do some research on him and see if I can learn more. I love the Boston School and the focus on what is visible rather than having to learn and memorize everything that is not visible. I just don't see the point. I just finished prepping over 70 panels and am excited to start copying portraits from the Boston School.

Bridgeman's Complete Guide to Drawing from Life - book by: George B. Bridgeman The Training of the Memory in Art and Education of the Artist - book by: Horace Lecoq de Boisbaudran 1911 The Queen's Gambit - Walter Tevis

@PaulIngbretson

2 жыл бұрын

:) helpful!

🙏🙏🙏

Bridgeman has a lot to answer for.

ok, the reason I see for it is that as a beginner they want you to get an idea of volume, and how that translates- that is a usual problem - as a more advanced artist it's not to be done. As you say, its about proportion, one bit in relation to another etc.

What time on Jan 2 is your live show?

I actually never used construction, But I am going back to the basics especially with the technology we have now. The main reason I never used them was that I didn't like seeing the construction lines or the damage to the paper after the fact

@PaulIngbretson

2 жыл бұрын

Right

Blind contour drawing even though is difficult, is a very direct way to extract the highly complex information coming from a live model or anything in nature. Look at Rodin or Egon Schiele's work, single and continuous contour lines with minimum constructive lines if any. Memory may have a play but drawing direct from nature without construction aides should yield better and more accurate results.

I don’t know non-construction methods and describing them is basically about swiping from flat/static sources be it memory or recorded reference. (Rote memorization) Construction is actually about establishing proper proportion, scale, logical deduction and ultimately it empowers a person’s ability to iterate poses he or she can always come back to.

Interesting analysis! There is a third method or mode which you didn’t touch on which is value shape. So the three modes to me are 1. spatial form construction, using spheres, boxes etc, understanding of anatomy should probably be included in this mode as it implies an understanding of the relationship of spatial forms 2. the contour line which is most apparent in silhouette either back or front lit, and 3. shape which is most apparent when the subject is lit from the side which forms a distinctive light/shadow value map. All there modes are actually always present but some are more obvious at times and may be usefully employed as the subject or the artist feels is appropriate. One doesn’t actually need to have any knowledge of anatomy and is this especially true of the shape mode of seeing where no memorisation of lines or knowledge of the properties of the subject is required - one simply has discern value shape relationships. One might posit that there are other modes of seeing such as in terms of spectral colour - where contour line, spatial form and even value are subordinate to colour perceived as a property of light and we can see this in the work of Monet for example.

I have gained insight into anatomy milestones/points from Michael Hamptons book .... it takes you methodically through form etc. my approach is line memory then create ... like your chops as a drummer ... perhaps u can lose construction lines when you know ur chops

@PaulIngbretson

2 жыл бұрын

Thanks will look at that = see what you mean.

What a handsome and charismatic man looks more cool than dumbledore and gandalf

@PaulIngbretson

2 жыл бұрын

LOL

Whether using "construction" or "direct" drawing methods, the first lines are wrong and need correction. Comparing angles and positioning of curves using straight "construction" lines is much easier than attempting to "read" some floated line against another. We find the proof of this in the unnatural straight lines of the canvas rectangle. "Throwing" and "floating" lines still depends upon the rigid plumb vertical. Construction rendering simply expands straight line references. Bridgman's teaching stresses volumes and proportions, which are easier to define in squared shapes.

@PaulIngbretson

2 жыл бұрын

I found the "rigid plumb" to be unnecessarily limiting if you are simply looking for things that plumb. What I seek is for point sets to appear to be rightly tilted in relation to it and which I find the presence of the frame or paper does beautifully and visually. Have you found that?

you have a very drawable face yourself Paul

I didn't know Noam Chomsky was an artist.

@Will-ge7ri

2 жыл бұрын

He’s not, he’s a socialist.

@viniciusfernandes5629

2 жыл бұрын

@@Will-ge7ri he’s an intelectual

@PaulIngbretson

2 жыл бұрын

Good answer

@Will-ge7ri

2 жыл бұрын

@@viniciusfernandes5629 the foundation of his political theory is socialism. He calls himself a socialist. I was making a joke, but I’m still right. He’s a professor too, and a husband, and an activist, and a whole bunch of titles that don’t negate the one I gave.

@viniciusfernandes5629

2 жыл бұрын

@@Will-ge7ri neither do I neglected this facts. was about being broad, both Chomsky's are intelectuals. I hope both are socialists. u can hav jokes fela

Nice talk. There's no 'e' in Brigdman though: en.wikipedia.org/wiki/George_Bridgman

@PaulIngbretson

2 жыл бұрын

OOOps! Normally I catch those. Thanks.

Giron and Fess point.

Just a suggestion, if you can run your audio through a "DeEsser" it will really clean it up.

@PaulIngbretson

9 ай бұрын

Will pass that on to Mr. Producer, thx.

To my thinking, there is humdrum line and there is inspired line. Of course the best artists have the most inspired line. In that camp I would place Raphael, Rembrandt, Ingres, Watteau, Degas, Picasso, etc. But I would certainly not include what I consider to be minor artists, such as Legros and Augustus John (and SO many others!). Their drawings demonstrate humdrum line, and even if passages appear anatomically correct, they may well put us to sleep with their prosaic depiction. Sargent is pretty good, but does not belong in the first rank. I have never been much of a fan of constructed figure drawing because it introduces a lot of digression and intermediate steps towards drawing expressive figures. I always feel that the best teachers are the best artists, and it serves little useful purpose to seek instruction from lesser sources.

@PaulIngbretson

Жыл бұрын

Let me think about this a bit..."humdrum" being an interesting term.

I just don't completely agree with rejecting using boxes or any construction at all. Construction is one of the fundamentals of art and Hugely valuable for artists who want to invent and design from imagination. I'm not someone who would just reject a method of drawing just because I don't like it? I may not study it, but I won't downplay the possibility of the value in it. For me personally, ive always wanted to be able to draw a solid looking figure from imagination, because if I myself really loved the figure, I should be able to draw a convincing invented figure naturally.

@PaulIngbretson

2 жыл бұрын

That is true. Use for everything at the right moment.

Natural way to draw from Kimon Nicolaide

Word may be 'geometric'.

The most real thing on a two-dimensional surface is linear it's like the word

@PaulIngbretson

2 жыл бұрын

Not a commonly accepted position ART. Do you mean the line as an item in and of itself?

Do you even draw or just talk bla bla

@PaulIngbretson

2 жыл бұрын

You haven't watched many yet, One.