The Quicksketch System

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The Quicksketch System

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Visual Judgment

Exercises to Develop Your Eye

Let’s start right away learning to use some insights into our visual abilities to make visual judgment easier.  After getting familiar with each new method (I call them tools much of the time.) return to previous lessons to play and explore to see if the new tool improves results.  It isn’t necessary to use the same models unless some were challenging and the new tools might help.  To keep the process interesting, always be on the lookout for new and more interesting, but not currently too difficult models.  Look for challenges that are possible.  Return to possibly discouraging models after your tool box contains more skills.

The logic behind many visual judgment techniques boils down to: the more accurate information created early on to visually judge from, the more accurate will be the end results.


As usual it takes effort to form new habits in appropriate situations to replace nearly unbreakable old firm habits.  First we need to consider the possibility that we even have this claimed ability.  Let’s write our name as small as we can but legible on a piece of paper.  Now write it large across the paper.  Draw a valentine heart small next to small name and on the same scale.  Now draw it large enough to encompass the large name.  How much measurement was done?  Did we calculate proportions or ratios?  How long would that calculation have taken?  It just isn’t necessary!

 
With some practice we can do the same thing in thousands of different ways.  Inappropriate conceptual approaches and standards to visual thinking are a large part of why many people underestimate the natural abilities we all posses.
 

There are many techniques for developing these visual abilities.  If you haven’t honed the skills needed for using these techniques yet they will seem clumsy at first.  Your first days of writing ABCs didn’t produce neat letters, much less complex sentences.  Don’t burden yourself with that kind of unrealistic expectations.

To help shift our attitudes toward visual thinking we will use visual terminology consciously and set it as an intention before we take very much action.  (Does this sound familiar?)  One of the first terms we will use a lot is landmarks.  Landmarks are easily identifiable locations on some visual array like a picture, a drawing, a sketch, or as is to be expected, a map.  There are many ways to use landmarks to visually relate and clarify our intentions before we take action.
The dot we used to set our intent in the very first exercise serves as a landmark.  The early exercises use dots as landmarks, but anything including imagined locations can be landmarks.  Even an imagined centerline can be a landmark for comparison.

Some of the methods we will discuss sound a lot like geometry.  They are related to geometry, but were in use long before geometry emerged as a formal conceptual system.  Stone axes were produced that were very symmetrical at least a couple of hundred thousand years before the advent of formal geometry.  A sense of trajectory was developed for throwing stones, sticks, spears, and shooting arrows many thousands of years ago.  We will use a related sense to develop the intended feel of where a line or mark should go before we take action.  We will not use numbers, formulas, or calculate the curves.
 
Some of the terminology is the same as in geometry, but used visually.  Center, center line, horizontal, vertical, angle, curve, and other terms are also used in formal geometry, but in many cases we will use them differently.
 

For instance, in the ceramic models we used in the last lesson, symmetry was a common characteristic.  Centerlines are visually useful to train our ability to see and produce symmetry and to visually judge proportions of symmetrical objects.

A simple technique for getting started is to draw the top of the object and draw or imagine a centerline vertically down from it.  Using the round ceramic pot and the ceramic bottle from the previous lessons visually estimate the height and draw the bottom on the centerline to use as landmarks/targets/intents for lines.  Using the centerline, estimate other intermediate turning points symmetrically on both sides of the model.  Watch the first side and distance from the centerline while drawing the second side.  Be conscious of creating the shape between the lines, not the lines themselves.  With enough repetition you will begin to feel the shape or volume between the lines and feel the symmetry.
 

Copyright © Charles D. Quigley, All rights reserved.  1990 - 2018

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