Every time you look at your drawing you must remember your subject.
To do so you need a developed
visual memory.
You look at your subject.
And then . . .
You must remember it when
looking at your artwork.
It gets even more complicated when your model can't hold a pose during a portrait sitting. Or as the lighting changes when you're landscape painting en plein air.
Both situations happen all the time!
Therefore, it only makes sense
to train your visual memory.
And now you don't have to go it alone.
You can even get started for free
with the FREE E-MAIL SERIES:
3 Days of Memory Drawing
Want more in-depth instruction?
How about . . .
an online course?
a full-length book?
The two hinderances to memory drawing on your own are consistency and finding suitable subjects. I can help you with both through Atelier Rousar | online and the Memory Drawing course.
All drawing from observation is drawing from memory. It only makes sense to train it. Learn how through the only modern book of its kind: Memory Drawing: Perceptual Training and Recall.
Featured Articles
Active Seeing
There are two kinds of seeing: passive seeing and active seeing. Drawing accurately, whether directly or from your visual memory, requires active seeing.
Abstract Shapes
Recalling what you intellectually know about your subject is an enormous advantage when you’re trying to draw or paint it. But it’s a disadvantage when you’re training your visual memory. For that you’re better off using abstract shapes or those of which you have no foreknowledge.
Degas’ Atelier
Imagine the following scene. You’re a 3rd or 4th year student at an atelier. Upon entering the figure-room one day your teacher tells you to take your easel and materials to another room. You’ll be working from there, but still using the model posing in the figure-room. Could you do it? Degas thought so, and he imagined such an atelier.
