CHARLES BARGUE PLATES PDF

Stage 6: the finished drawing It feels good to be back at a Bargue drawing again. This plate is going to be a challenge, being the first one to feature full modelling of light and dark, with half tones included. Hopefully the next few posts will serve as a good introduction to copying the Bargue drawings using the sight size technique. Starting the drawing First the set up. Drawing sight size means that the copy will be the same size as the original. The easel is upright, and the board has been checked to be level with a spirit level.

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Stage 6: the finished drawing It feels good to be back at a Bargue drawing again. This plate is going to be a challenge, being the first one to feature full modelling of light and dark, with half tones included. Hopefully the next few posts will serve as a good introduction to copying the Bargue drawings using the sight size technique.

Starting the drawing First the set up. Drawing sight size means that the copy will be the same size as the original. The easel is upright, and the board has been checked to be level with a spirit level. The first thing to do is to set up a plumb line that will be used to mark a vertical running through the drawing. All measurements will be taken from this line.

These two lines have been transferred to the paper. One of the most useful things that practicing with the Bargue drawings has taught me so far is the general approach of working from the general to the specific. Look for the big shapes first, get the overall proportions right, and the detail will slot into place later.

This seems to me to be an almost universally useful approach to almost anything, and certainly transfers to other types of drawing, and also to painting. With this in mind, the next step is to mark the four most important points on the drawing: the highest, lowest, furthest right and furthest left. I describe how to do that in the next post in this series.

GALUPPI SONATA PDF

charles bargue drawing course

It contains a set of almost two hundred masterful lithographs of subjects for copying by drawing students before they attempt drawing from life or nature. Consequently, it is a book that will interest artists, art students, art historians, and lovers and collectors of drawings. It also introduces us to the work and life of a hitherto neglected master: Charles Bargue. The Drawing Course consists of three sections.

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Charles Bargue

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