At whatever your subject may be, just look and place it.

For those people that know what to search for, this statement makes sense. It appears simple, because it is simple.

Many students however, just do not know what to look for to"draw what they see". They may observe a individual, a landscape, or a still life, but they don't understand take the information that is visual and turn it into a symbolic drawing or painting.

In this post, so that you can draw what you see we will look to look for when creating an drawing or painting.

Look For the Shapes

For many of us are the lines. This is how most of us first learn how to draw so it makes sense that we seek these out. We see the advantages of objects as lines, which are referred to lines. Our initial inclinations would be to draw on these lines which contributes to a shape of the subject.

I suggest that we skip the lines and look for the shapes. Sure, we will use lines to draw on the contours, but starting painting or a drawing by identifying the contours often contributes to greater accuracy. Don't worry, we will address the lines, but it's often not the best place to start.

All subjects, no matter how complex they may be, can be simplified into basic shapes. By layering shapes and piecing them together, we can construct the structure of the subject. The procedure for finding the shapes in your subject does take a bit of training and practice of your head, but that is what sketchbooks are for.

Here is a simple example...

Drawing with shapesOh yes -- the hand. The subject of the hand strikes fear in each beginning artist because it is complex. But even this subject can be simplified into shapes which are simple to draw. It's just a matter of identifying those shapes and piecing them together.

In the above example, there is a rectangle drawn for the back of the hand. There is A triangle drawn connecting the thumb. Organic shapes are drawn for every section of their fingers.

As we draw the contours, we can make comparisons to the negative shapes that exist around the subject. These comparisons and the adjustments that are made, will improve the accuracy of the drawing or painting.

Once the basic shapes are drawn and laid out, we can move on to another thing to look for -- the lines.

Start Looking For the Lines

Now that we've identified the contours, we can move on to painting or drawing the lines. Since the overall form of the subject has been defined, we can focus on the quality of line that's produced, without worrying about the shape made by our contours (outlines).

Using the shapes we can add the contour lines adjusting thinness and the thickness of the mark to create variety and interest.

Lines in observational line quality that is produced enhances the appeal, but also communicates texture and the form of the subject. When we observe the subject, we can pay close attention to subtle changes in the lines and add them,"as we see them", in the painting or drawing.

Part One

Part Two

Let's move on to search for -- value.

Look For the Values

It is important to note that the upcoming things that we will be looking for in our topic are dependent on one another. Since they influence each other, so they may be concurrently. Since it is the best influencer of the two, we'll start with value. And if the value is true, then texture and form only"fall into place".

Value is defined as the darkness or lightness of a color. It is how we really find the critical areas of the world around us.

Find out More about value

Locating middle values in your subject, light, and the dark and incorporating them at the right locations in the art leads to accuracy.

Values in observational drawing

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As it tells us much about the light, getting the value to what is observed, as close as possible is crucial. It is among the most important things to look for when you are drawing"what you see".

Learn ability and a drawing concept every day for 25 days. Each drawing theory taught includes a short drawing exercise (less than 1 hour) that strengthens the concept taught.

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Look For the Form

The type of the subject is communicated through the value that exists on the topic. The relationships of these values tell the viewer about the shape of the subject.

Objects will have defined areas of value which can be identified.

Locations of worth creating the illusion of form. Above image from"The Oil Painting Master Series" course.

Highlight -- The location on the topic where light is hitting directly.

Midtone -- Area on the subject of middle price the colour of the subject.

Reflected Highlight -- Locations of value lighter than the core shadow that result from surrounding objects or surfaces bouncing light.

Cast Shadow -- Shadows that are cast on surrounding objects or surfaces because of blocked or partially blocked light.

The positioning of these locations of value tell the subject's form and the viewer about the light, so it is reasonable that we should be looking that we draw or paint. The illusion of form is created, As soon as we position them properly.

Look For the Textures

Just like form, the relationships of significance communicate in a painting or drawing feel. The directional marks, whether they be made with a brush or using a pencil also play a role.

In conjunction, the relationships of value and the directional marks lead to the illusion of texture.

Lines that are directional to make texture

Above picture from"The Colored Pencil Course".

The directional marks that are made often"flow" over the form of the subject. Not only do these lines communicate the feel on the topic, but they can tell us a bit about the form.

Start Looking For the Colors

Naturally, the color is important in painting or an observational drawing and should be observed. The trick in applying the color does not necessarily lie in the observation, but instead in those observed colors must be mixed.

Matching colors

Above image from"The Watercolor Workshop".

Mixing colors requires a little practice and experience with the medium. Various mediums require different mixing methods. You don't mix oil paints in precisely the exact same manner that you combine pencils, for example.

And while matching the color may seem important, the color applied's value is actually a factor. When the value is matched, then the topic is still communicated, although colors can be completely changed.

Changing color

Of course, with painting and observational drawing, you'll want to match the colors as closely as possible. You don't need to paint a portrait of someone and make them green (unless they are a Martian or are very sick). I include the image above also to point out that if you're off a bit Silent Observer with the color, it okay and to demonstrate the importance of value.

The Theme

Have you noticed a theme? If you're keen, you have probably noticed that the six things listed here are just six of the seven elements of art...

Line

Shape

Form

Value

Texture

Color

The only element missing is"space", which is communicated through many different factors including placement, value, colour, detail, overlapping, and dimensions.

The key to"looking" lies in understanding what exactly to look for. When we create an painting or drawing, the field is communicated by us throughout the elements of art.

It only makes sense that these elements are what we look for on our subjects when we"draw what we see."

The fall of the Berlin wall in 1989, the end of United States dominance and the era, led to the establishment of a free trade economy in the 90's. The trade economy encouraged an explosion of art as a form of investment, and artistic production succumbed to financial power.

Since 1990 the arts have become a worldwide phenomenon. In the postmodern art world of today , artistic facilities are not confined to Western capitals that were certain but widely dispersed in different areas of the world.

Example of that were the proliferations of Biennials in Asia, Latin America, Oceania and Africa since the 1990s

Istanbul Biennial, Turkey, Asia

Osaka Triennial, Osaka, Japan, Asia, ended in 2001 and began in 1990

Cetinje Biennial, Cetinje, Serbia and Montenegro, East-Europe, since 1991.

Dak' Art biennial, Dakar, Senegal, Africa, since 1992.

Taipei Biennial, Taipei, Taiwan, Asia, started in 1992 as a local event.

Central America, caribbean Biennial, Santo Domingo, Dominican Republic, start in 1992.

Sharjah Biennial, United Arab Emirates since 1993.

Johannesburg Biennale South Africa, Africa, started 1997 to 1995 end.

Gwangju Biennale, South Korea, Asia

Shanghai Biennale Asia, 1996 and 1998 biennials, since 2000 international.

Mercosul Biennial, Porto Alegre countries members of the Mercosul and guests, since 1997.

See relater article

Biennials Biennialisation & Art Fairs

"It became evident that nothing regarding art is evident anymore, neither in itself nor in its reaction to the whole nor even it's right to exist" Theodor Adorno.

We need to think about players and its components, to understand the art market. The primary art market focuses on exhibitions and fairs, allowing new artists to be promoted or discovered. The market is dictated largely by auction houses and dealers, with assistance from entrepreneurs, art advisers, curators and collectors, who empower artists' reputation by establishing the market price of the work. (1)

Collectors and their collections can be defined like the combination of symbolic, cultural, social and financial capital, Pierre Bourdieu(2) which since the 90s has diminished its cultural and social value in regard to its economic value.

The number of investors in contemporary art has improved today. The art market crash in the 1980's, a result of the Gulf War was followed between 1993 and 1990 with a period of recession. With the establishment of a global economy, from September 2001 to July of 2007, the art market's value increased by 152%. (3)

CNN appreciated the global art market annually, of which was commanded by Christie's and Sotheby 90%.

see article

The impact of the internet on the modern art market was remarkable. It not only allowed collectors to gain access to artists and their costs, but allowed new collectors without taking high market risk to invest in emerging artists.

Its resistance reaffirmed the stability of the art market as a asset that was protective to the collapse of the New York and Paris stock markets. Since that time, progress has been made, and a new generation of billionaire collectors has surfaced with the introduction of global markets in Russia, India, China and the UAE.

In 2006 China ranked 4th in the global market, which enabled it to receive its location in auction houses like Christies in London, Sotheby's in america, and Artcurial in France. Founded by market houses that were Asian , Chinese artwork showed an increased gain of the number of Western and Chinese collectors and profit in 2006 has grown.

On November 2007, the Ullens Center for Contemporary Art (UCCA) in Beijing, founded by the Belgian collector baron Guy Ullens and his wife Myrian opened its doors to the public, and increased the West's understanding of Chinese art. This non-profit gallery is housed in an industrial building complex in the 786th district. The area, which comprises international galleries and about one hundred Chinese and non-profit spaces, reflects the rise of modern art in the marketplace and the growing interest of collectors

see article

With a development of 480% in the last 10 years, Indian art gained importance on the global art scene. The sale of Subodh Gupta's monumental sculpture for $304.000 in February 2007 presents an example.

After a successful auction of Russian art, and the Moscow biennial at Sotheby's London in February 2007, where 80 percent of the lots were sold, modern Russian art enjoyed attention. In recent years with the reaffirmation of capitalism, the scene has A cultural investment altered. Six art facilities have opened in Moscow and a wealthy class of amateur collectors are investing and promoting art. A diversity of artistic language is starting to emerge although a lot of the contemporary art focuses on political and social aspects of the old regime.

See Sots Art exhibition, Maison Rouge

In addition to China, India, and Russia, Dubai hopes to become a participant in the global art market after London and New York. Dubai, the modern financial center of the United Arabs Emirates (UAE), control the sixth biggest oil reserves in the world. Lately the, the generation of wealth from increasing oil prices has enabled Dubai to transform itself into the entertaiment capital of the middle east.

In March 2007, Dubai inaugurated the Contemporary Gulf Art Fair, which included galleries and artists. Christie's was the first auction house.

Abu Dhabi, the UAE capital, has begun to view art. Future plans for the Island comprise a billion dollar resort, with five art centres and another multi- .

"This resulted in the determination to make a cultural hub between East and West on a scale never seen before".

www.artdubai.ae/

Changes in the art market have created repercussions in countries like France, with backgrounds.

Since 2001 when its offices opened in Paris in the Hotel Dassault on the Champs Elysees, it's developed a dynamism and vision with the introduction of contemporary art from world markets such as China, India and the Middle East.

A proliferation of art fairs and biennials has increased over the last six years. These artistic events have reshaped the market before they visit museums, giving artists a chance to exhibit their work and the people a chance to see works that were modern. Art fairs generate pressure on dealers and the galleries, who in turn pressure production to improve, and the quality of the artworks can endure.

When the economic value of art as an investment and its relation to the global economy is a reality, we've got two questions to consider: can art be affected by the potential for a recession? And what's the future of circulation and art production?

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Alexander III of Macedon, or'Alexander the Great' as he came to be known, was perhaps the best conqueror of the ancient world. By the time of his death in 323 BC, he'd managed to subdue a large portion of the known world, and his empire stretched from the Aegean from the west to India in the east, and from Macedonia in the north to Egypt in the south.

Alexander's conquest helped spread influence throughout the ancient Near East, where this influence was felt most keenly, though was only the upper echelons of society, and people carried on as usual. In Egypt, control would be seized by Alexander's general Ptolemy, and he and his descendants were depicted in art. Greek became the lingua franca throughout much of the former empire of Alexander, even after the Romans conquered most of it.

The effect of Alexander can be traced in other things. By way of example, in Classical Greece, in the fifth and fourth centuries BC, it was apparently common for young men to be clean-shaven and have their hair cropped short, whereas older men (at least, among those who had been comparatively wealthy), wore their hair long and had beards. Alexander chose to be having his hair and clean-shaven short, but not cropped.

Other men and women emulated the style. Depictions of Alexander the Great -- as figurines, on coins, and so on -- were commonplace. Other Alexander the Great (2016) art print for sale virtosuart.com Hellenistic rulers often sought to copy Alexander not just in actions, but also in appearance (coins of Ptolemy depict him clean-shaven and with relatively short hair).

And let us take a look at this marble head in Rhodes in the museum:

Like Alexander, right? Except that this is actually the head of the sun god Helios, dated to the Middle Hellenistic period. It perhaps was part of the pediment of his temple. We know it isn't Alexander since there are holes around the periphery of the cranium where the metal beams of his crown would have been inserted (these represented the rays of the sun).

Portrayals in this style emulate the work of Lysippus, Alexander's personal sculptor. It is a testament to the deeds of Alexander that his features were deemed appropriate for producing pictures of the gods to be utilized as the template. But then, hadn't Alexander himself been declared a god by the Oracle of Ammon at Siwa after he had conquered Egypt (at least, according to some interpretations of Arr. Anab. 3.4.5; cf. 4.9.9)?

Alexander III of Macedon, or'Alexander the Great' as he came to be known, was the greatest conqueror of the ancient world.

Alexander's conquest helped spread Hellenic influence throughout the ancient Near East, though was only the upper echelons of society where this influence was felt most keenly, and most people carried on with their lives as usual. In Egypt, control would be seized by Alexander's general Alexander the Great (2016) buy art print online virtosuart.com Ptolemy, and he and his descendants were depicted in Egyptian art such as the pharaohs of old. Greek became the lingua franca throughout much of the former empire of Alexander, even after the Romans conquered most of it.

Alexander's effect may also be traced in other things. By way of example, in Classical Greece, in the fourth and fifth centuries BC, it was apparently common for young men to be clean-shaven and have their hair cropped short, whereas older men (at least, among those who had been comparatively wealthy), wore their hair long and had beards. Alexander chose to be clean-shaven and having his hair short, but not cropped.

Other people emulated the new style introduced by Alexander. Depictions of Alexander the Great -- as statues on coins, etc -- were commonplace. Other Hellenistic rulers often sought to replicate Alexander not just in deeds, but also in appearance (coins of Ptolemy depict him clean-shaven and with comparatively short hair).

And let us take a look at this marble head in Rhodes from the archaeological museum:

Looks like Alexander, right? Except that this is the head of the sun god Helios, dated to the Middle period. It perhaps was part of the pediment of his temple. We know that it isn't Alexander since there are holes around the periphery of the cranium where the metal beams of his crown could have been inserted (these represented the rays of the sun).

Portrayals in this fashion emulate the work of Lysippus, the personal sculptor of Alexander. It's a testament to the deeds of Alexander which his features were deemed appropriate to be used as the template. Anab. 3.4.5; cf. 4.9.9)?