Technique of the Week: Sight-Size Method

Sight-Size method: Quick-Fix-Trick or Philosophy of Seeing?

In the world of studio arts continuing education, each instructor has his or her own teaching technique. There are many approaches, methods, and even tricks used and taught to students of various levels with various aims. One common and typical goal however - which may be considered common ground when examining these different techniques - is accurate and realistic representation.

Sight-size drawing and painting is a method by which a student with any amount of drawing experience can set up and execute a “realistic” drawing. Eventually, as a result of engaging in this method and process over time, the artist’s ability to create realistic and accurate drawings is increased. Many argue that the sight-size method trains the eye to perceive finer and finer deviations in form between the subject and drawing.

This traditional method of observing the subject uses a one to one scale from life to canvas. The artist first sets a vantage point where the subject and the drawing surface appear to be the same size. Then, using a variety of measuring tools – strings, pencils, mirrors, levels, T-rulers – the artist draws the subject so that, when viewed from the set vantage point, the drawing and the subject appear to have the same dimensions- they are exactly the same size (example at right).

According to Charles H. Cecil, “When properly understood, site-size is not a mere measuring technique, but a philosophy of seeing. The method was used by many of the finest painters in oil since the seventeenth century, including Reynolds, Lawrence and Sargent.” Another proponent of sight-size and a contemporary realist painter is Adrian Gottlieb. He argues that for professional painters, “the observation method itself is not abandoned – instead it becomes second nature. Sight-size can be taught and applied in conjunction with a particular sensitivity to gesture to create life-like imagery; especially when applied to portraiture and figurative works.”

Some proponents of sight-size argue that trained artists use the method unconsciously. For such accomplished artists, a tool such as a ruler isn’t needed.  Instead they use sight-size as a mental tool to achieve the same retinal impression in the work as is seen in nature. Others argue that that the sight-size method is limiting, and that the means of production it promotes are essentially mechanical.

This fall the Smithsonian’s own Trinka Margua Simon, whose work and teachings are based on the techniques of Classical Realism, challenges you to think beyond sight-size. Join us, as part of Smithsonian Connect with the Arts, for her October 4th lecture titled “Creative Classical Realism: Moving Past Sight-Size”. To learn more about Smithsonian Connect with the Arts check out our website.

--Holly Sloofman, TSA Studio Arts Intern

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