December 02, 2016
November 17, 2016
November 03, 2016
October 16, 2016
Sketching in this resplendent NYC landmark - glorious in scale, faithful to its classical roots, and abuzz with a daily rush of 750,000 visitors and commuters - is in one word: intimidating.
With the natural tendency to zero in on the simplest thing - such as windows on the opposite wall - a lesson on perspective circumvents any interpretation of the world as flat. The concourse alone is 275 ft. long, 120 ft. wide, and 125 ft. high.
Most importantly, one's own eye level (commonly referred to as the horizon line) is drawn first. Too often omitted, this line serves as a reminder that orthogonal lines need to meet at a vanishing point - on that line - in both one and two-point perspective. (From a previous blog post.)
Notwithstanding, my persistency is rewarded. Once these guide lines are faithfully rendered, all eyes zoom in. What endears each student to this grandiose spectacle? With highlights of color or contrast, the answer is clear. Their excitement is palpable. Sketching in Grand Central Terminal - and drawing perspective - is no longer intimidating.
September 26, 2016
In the following excerpt, from a TED talk by the Korean writer, Young-ha Kim, switch the word "writing" for drawing and you have one indisputable explanation for importance of gestures.
"...The reason I make them write like crazy is because when you write slowly and lots of thoughts cross your mind, the artistic devil creeps in. This devil will tell you hundreds of reasons why you can't write: "People will laugh at you. This is not good writing! What kind of sentence is this? Look at your handwriting!" It will say a lot of things. You have to run fast so the devil can't catch up..."