Jesmond Tay Soon Xiang Y9A 9/10/2018

Proportional Drawing
What is proportional drawing?
When artists speak of proportions they are referring to the size relationships
between objects and even the sub-parts of objects. Often considered one of
the hardest things to draw, the art of portraiture presents many challenges
when attempting to draw with accuracy.

How to draw proportionately?

1) You should indicate with temporary, light marks how tall objects are,
how wide they are, and where they are correctly located in your
drawing by measuring the object with the length of your pencils.
2) Thinking in terms of simple geometric shapes such as rectangles can be
helpful.
3) Compare as many objects as you can in your drawing, in fact it can also
be helpful to choose another reference object and use it to double check
all of your original measurements.

Why is it important to draw proportionately?

When learning to draw it’s
imperative that you are able to
draw objects the correct size.
Without correct proportions, no
amount of shading will make
your disproportional drawing
look good.
Jesmond Tay Soon Xiang Y9A 9/10/2018

Leonardo Da Vinci
Leonardo Da Vinci has long been associated with the golden ratio and the
Fibonacci series. It appears that Da Vinci applied Divine proportions in his
rendition of various types of paintings.

The Annunciation, painted in about 1472-1473.

Golden ratios based on width of painting canvas, using Florence Museum image. Note alignment
of vertical walls and courtyard entry.

Golden ratios from left side to precise center of canvas, which aligns with the mountain peak.
Note positioning of angle face and wings, as well as position of the one tree in the background
that’s different from all the others.

The Annunciation
Jesmond Tay Soon Xiang Y9A 9/10/2018

The Last Supper painted between 1494 and 1498

Perhaps one of the best illustrations of its use is in “The Last Supper,” painted between
1494 and 1498. Various design and architectural features show very clear golden ratios.
Some believe that even the positions of the disciples around the table were placed in
divine proportions to Jesus.

The Last Supper by Leonardo da Vinci

Last Supper detail showing golden ratios

Markings on the shield are golden ratios of its width

Small shield is a golden ratio of the width of its enclosure

Jesmond Tay Soon Xiang Y9A 9/10/2018

From table top to ceiling, Jesus is at the midpoint and the top of the windows is at the
golden ratio

Center of table is a golden ratio to its sides

Jesmond Tay Soon Xiang Y9A 9/10/2018

Michelangelo
In Michelangelo’s painting of “The Creation of Adam” on the ceiling of the Sistine
Chapel, look at the section of the painting bounded by God and Adam. The finger of
God touches the finger of Adam precisely at the golden ratio point of the width and
height of the area that contains them both. Alternatively, you can use the horizontal
borders of the width of the painting and get the same result. See my separate article
revealing Michelangelo’s use of over two dozen golden ratios in his composition of the
paintings on the Sistine Chapel. Click on the photos below to see a larger version of the
sample images.

Michelangelo’s wit and artistry combined

Jesmond Tay Soon Xiang Y9A 9/10/2018

Position of God in relation to the forefront angels

Paolo Uccello

Funerary Monument to Sir John Hawkwood

1436
Fresco, 820 x 515 cm
Duomo, Florence

In 1436 the administrators of the Opera del Duomo in Florence

commissioned Paolo Uccello to paint a fresco in the Cathedral, a
monument commemorating the English soldier of fortune Sir John
Hawkwood (Giovanni Acuto for the Italian) who had died in 1394;
Hawkwood had led the Florentine troops to victory in the battle of Cascina
(1364). Still in the Cathedral today, the fresco was restored in 1524 by
Lorenzo di Credi, who added the elegant frame with the grotesque pattern
decorations.
The fresco is a splendid example of how Uccello used the new means
of expression (perspective and sculptural quality) in a totally personal
way; adding to them the monochrome effect of "terra verde", the painter
Jesmond Tay Soon Xiang Y9A 9/10/2018

has succeeded in creating the illusion of a statue, standing on a plinth.

The base is shown in foreshortening, so as to be seen correctly from
below, whereas the warrior in on his horse is drawn in full frontal
perspective. This seemingly contradictory use of the rules of perspective,
which has given rise to innumerable debates, is further evidence of the
originality of Uccello's language. The unnatural movement of the horse,
which is raising both its right legs at the same time, was pointed out as a
serious mistake by Vasari, but it is justified by the consistency of Paolo's
perspective construction.
In the Monument to Sir John Hawkwood there are also some elements
derived from Masaccio's painting, like the trompe 1'oeil perspective of the
base, very similar to the base below Masaccio's Trinity, and the sculptural
relief of the horse and the rider created with a strong chiaroscuro. And
furthermore, as in all Masaccio's works, the light comes from the left and
is very natural. But there are just as many elements that clearly
distinguish Paolo's art from Masaccio's: Uccello's realism is much more
analytic than synthetic, in other words it is more similar to the late Gothic
style than to Masaccio's. Uccello's analytic realism blends extremely well
with his geometrization of forms, which contributes to the overall effect of
abstractism conveyed by his works. In other words Paolo's compositions
are more abstract and symbolic than natural: this painting is more a
portrayal of the idea of a warrior than of a warrior in flesh and blood.
The administrators of the Opera del Duomo did not appreciate the
fresco at all, and ordered Uccello to paint it again, which the artist did. We
do not know exactly what Paolo changed, but he probably just toned
down the colours, which were considered too bizarre.

Website: https://www.goldennumber.net/art-composition-design/