# Thread: Sight Measuring How To...

1. ## Sight Measuring How To...

Sight measuring techniques are the cornerstone of observational drawing and painting, yet it can be difficult to find good information on how to go about it. Here are a couple of diagrams that illustrate this basic skill, I hope they will answer some questions and help people develop good observational practices:

Edit: I realized I didn't really describe the "method" very well first time around...

A) Hold the measuring tool (a thin skewer works best) at arm's length with elbow gently locked (this maintains the distance to your eye).
B) Close one eye and use your thumb against the tool to gauge the particular width/height/distance you are measuring.
C) Simply move the tool to check or gauge how many units the next width, height or distance is.
D) Transfer the relative information to your drawing - it is not a direct transfer of the distance by the way - but a ratio based on the size of your drawing.

(Note: When sighting a foreshortened angle or one in perspective, do not let the tool "tip" in the direction of the angle - keep it flat to the picture plane at all times. Sight measuring works much better when working with your drawing surface vertical at an easel or mule and placed just to the left or right of the subject. Also do not confuse sight measuring with "sight-size" approach - which just takes this method to a much higher level.)

(Note 2: Most artists I know use sight measuring in one way or another - the more experienced just tend to do it without the need to measure with anything but their eye. I'm not sure I used any "measuring" except by eye when I did this 30 minute sketch - it just turned out to be a good pose to show how to check all the information.)

Subject: 30 minutes, charcoal, 18x24
Attachment 1256016

Define a "Unit of Measure" (usually the head works well but not always)
Attachment 1256018

Use that unit to gauge relative distances, heights, widths, etc.
Attachment 1256020

Also compare negative spaces, check angles, find landmarks, check overlaps, etc.
Attachment 1256025
Last edited by JeffX99; June 16th, 2011 at 03:56 PM.

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4. Originally Posted by JeffX99
(Note: It is important to keep your sighting tool/stick at arm's length by simply locking your elbow. Also when sighting a foreshortened angle or one in perspective, do not let the tool "tip" in the direction of the angle - keep it flat to the picture plane at all times.)
One of the problems I have had is simply lack of space for a proper studio: whatever I want to draw, I have to draw at a small desk where there isn't enough space to hold a measuring tool at arm's length.

I did find, however, that it greatly helps to use a small desk easel, so that at least my drawing is in the same line of sight with the subject. That way I can rapidly look back and forth between subject and developing drawing. It is rather uncomfortable, but once I have the proportions more or less right I can then put the drawing flat on the desk and still get it more or less right.

It's a different thing when drawing out of doors, with, for example, a clipboard. Then I have little choice but to look up to the subject and down to the drawing, in the process losing the correct proportions.

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are you familiar with william coldstream, jeff? i don't know any other artists for whom measuring is such an integral part of painting.

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7. No cro-magnon - but I'll look him up, thanks. I mainly wanted to share this because there isn't much good "how-to" information out there on it - it's taught a great deal of course in classes, but many people here are unable to take good courses for various reasons.

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This is really helpful. I've had several teachers try to explain this to me, always unsuccessfully. (durrr)

10. Glad you found it helpful jc! It is one of those things that is hard to write about, fairly easy to diagram, difficult to explain...but makes sense when you start doing it.

11. Here is the sight measuring technique applied to still life:

Attachment 1257016

Attachment 1257018

Attachment 1257020

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13. It's an old thread, I know, but I want to say thank you anyway.
I'm setting up a curriculum for myself and your posts and explanations offer a great deal of wisdom, you'd normally need personal lessons for. (e.g. I often measure figures in terms of heads, but I never applied that to still life so I struggled with those ... now I feel a bit stupid that the answer is so obvious ^^)
Just know that you helped me and likely others a lot and also spared us many embarrassing newbie threads.

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15. I've got it in my head from somewhere that for this type of measuring you should stand in profile to your subject and sight along your shoulder. Is this so?

16. Glad you found it useful Steeljren, thanks for the kind words!

Hey Cory, not sure where that might come from, never heard it. What is important is to lock your elbow or at least use a very straight arm, simply to keep the measuring consistent.

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18. Thinking about it makes me realize trying to sight along your shoulder as I described would lead to an awful lot of awkward, distracting twisting and turning. Wherever I saw it I must have misinterpreted what was presented.

19. This should probably be a "Sticky In WIP."

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Originally Posted by Cory Hinman
Thinking about it makes me realize trying to sight along your shoulder as I described would lead to an awful lot of awkward, distracting twisting and turning. Wherever I saw it I must have misinterpreted what was presented.
In art fundamentals, we're taught to stretch the arm (locked elbow, so it's always the same distance) in front of your dominant eye.

Also, they tell us to position the canvas or the drawing board so that there is least possible movement between sighting position and drawing position. Only inches if we can arrange the setup that tight.

One teacher in particular doesn't like us using a smaller item from the set as a measure unit. He says that can introduce a lot of error. He prefers that we take the overall width or height (whichever one is longer), and then locate interior grids as fractions of the whole.

Another teacher likes us to locate the center, (sometimes quarters too) horizontally and vertically, and work from the center - out, again, with fractions of the whole.

A third teacher likes to use the unit of measurement method described earlier in this thread.

Personally, I seem to get better results with fractions method.

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Originally Posted by Cory Hinman
Thinking about it makes me realize trying to sight along your shoulder as I described would lead to an awful lot of awkward, distracting twisting and turning. Wherever I saw it I must have misinterpreted what was presented.
Theoretically speaking, it is the best way, although practically, it is uncomfortable. Looking over your shoulder, keeping your arm in line with, loosely speaking, your collar bone, eliminates another degree of freedom, and another source of error.

23. D) Transfer the relative information to your drawing - it is not a direct transfer of the distance by the way - but a ratio based on the size of your drawing.

D is always a bitch to me, I can never seem to get it right.

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