Results 27 to 39 of 141
Thread: The importance of visual memory
October 24th, 2012 #27
I think it's a waste of time believing that people who seem to be making faster progress than oneself must have some special "edge", or that they somehow find it "easier". Odds are they've gone through just as much frustration as anyone else, but maybe at an earlier point in their development, or in a condensed way. It helps if you're drawing constantly - I know for me, the times when I'm drawing the most are the times when I improve exponentially. If I slack, things don't go so well. It can also help if someone has good teachers or mentors available; knowledgable feedback on a regular basis can help you break bad habits much more quickly than if you're trying to figure everything out yourself.
There's a lot of factors that affect speed of improvement, and none of them are "natural ability." It's actually kind of an insult to say someone "had it easy" if they worked hard to get where they are.
Last edited by QueenGwenevere; October 24th, 2012 at 08:41 PM. Reason: silly typos
Hide this ad by registering as a member
October 24th, 2012 #28
You guys shouldn't spend time thinking about why you can't improve as fast as other artists can. You should spend time thinking about what they did, and why those things they did made them improve. I think you should also have a long-term goal for yourself. You need to have an idea of where you want to be and what you want to be able to do.
You should never assume that things come easily for others or that they didn't have to work hard for it. That kind of thinking pisses me the hell off.
People can't see the efforts of others.
When you argue for your limitations, they're yours. What the hell make excuses for? Cowards make excuses, and you aren't freaking cowards. People that become successful in anything do not make excuses.
October 24th, 2012 #29
October 24th, 2012 #30
October 24th, 2012 #31
Kim Jung Gi is a rarity.
The Following User Says Thank You to JFierce For This Useful Post:
October 24th, 2012 #32My Sketchbook
Twinkle, twinkle little star
I don't wonder what you are
For by spectroscopic ken
I know that you are hydrogen - Ian D.
October 24th, 2012 #33
October 24th, 2012 #34
Last I checked, Kim Jung Ji does a shit-ton of drawings every day and has done for years and years. THAT'S why he can do what he does. Not because he came out of the womb with a magic pencil in his hand.
And I HATE it when people say "oh you're so talented!" or worse "you must be gifted!" As though there was no work involved. Never assume people haven't worked to get to the point where drawing seems effortless, because they almost certainly have.
October 25th, 2012 #35
I've had quite a few students showing exceptional drawing ability at a young age, and I absolutely agree with the OP that their "secret" is an unusually strong visual memory. That doesn't mean that this visual memory is an innate ability, it probably just means that they started training it early. Australian artist Norman Lindsay recalled how as a child he would go out into the farmyard and see what "manner of beast" was about, and then go inside and draw them from memory. Late in life he still considered that this was the best way to learn to draw.
Fortunately adults can still improve their visual memory, and such study has been a recurrent theme in the training of artists (see the Stapleton Kearns blog post that the OP linked to). Degas' idea that in an art school the beginning students should paint at easels on the first floor from a model on the fourth floor was repeated almost verbatim by both Harold Speed and Robert Henri. Kimon Nicolaides stresses memory drawing in The Natural Way to Draw, with valuable exercises on drawing one and then multiple gestures from memory, and drawing a "daily composition" of figures in an environment from memory. He even has a gentle variation on Degas' idea, in which you draw with your easel facing away from the model.
Ultimately though the best way to strengthen your visual memory is to try to use it a bit more in every drawing you do. Whenever you catch yourself just "looking and putting", stop and make the effort to memorize a larger array of information. Know what you are drawing.
October 25th, 2012 #36
However, if we consider for a moment Burne Hogarth's figures in Dynamic Figure Drawing, re which Hogarth boasts(?) were NOT drawn from life or from any "morgue." I think we begin to see the outer extremes of memory drawing.
Frankly, I find the Hogarth drawings to be stiff, bulbous and weird-- pneumatic looking things that appear to be covered with soot! And, history, from the interwebs, has it that Hogarth inherited the Tarzan gig from Hal Foster by. . . wait for it. . . submitting samples that. . . looked a helluva lot like Foster's work! (Which, one would assume, he produced by slavishly reffing from Foster rather than trusting to memory!)
The Following User Says Thank You to Kamber Parrk For This Useful Post:
October 25th, 2012 #37
Fine, but I'm talking about memorizing your subject, not about applying memorized schema to your subject.
October 25th, 2012 #38
October 25th, 2012 #39
My own view is that talent at drawing (and thereby painting) is not proportional to aptitude of visual memory.
It is to do with the ability to synthesise optical phenomena into pattern. This is precisely what a camera does not do.
I'm not talking about 'posterizing' either. I'm talking about deep gestalt pattern synthesis. The ability to invent and write in a graphic code simultaneously.
One has to accept that certain minds 'are wired up' to do this more fluently than others - these are the people who show talent at a very early age. I didn't practice drawing more than other kids when I was 5 or 15 - I could just 'do it' and couldn't understand why the entire rest of the class couldn't.
What happens when you are daft enough to take it up as a career, is that your ideas about how to apply this talent become sophisticated. And to make your talent a faithful, truthful and obedient servant of that... requires WORK! (beit visual memory, structure, art history... and above all, figuring out what you want to say and marshalling a visual vocabulary and a grammer to execute it)
Last edited by Chris Bennett; October 25th, 2012 at 04:31 AM.From Gegarin's point of view