Plumbing Your Drawing/Painting -414

[@threetenticlesforward]

Congratulations Mr. Producer on your new addition 🎉

[@querenstewart9944]

Hi Paul Thanks again for this enjoyable experience a delight as usual Sheila

[@PaulIngbretson]

:)

[@christophercahill592]

‘The Cellist’ is so lovely from the faithful toiler

[@PaulIngbretson]

Lol!

[@SkjtheartistJamison]

I remembered another important use of the plumbline particularly in my wildlife paintings. Many of my more unusual subjects are in imagined settings, those in forest or jungle are often lit with sunlight filtering through trees. I afix the plumbline "off canvas" and then move the canvas around drawing lines where shafts of light are coming from above. This gives consistant angles to the single light source (sun) in straight lines.

[@fuseblower8128]

Personally I feel it's very easy to introduce a slight slant in all vertically oriented lines which is not obvious to my eyes. The remedy is to look at the mirror image of the drawing and the slant becomes painfully obvious. It's like a 89 degrees line reads as vertical to my eyes but its mirror image of 91 degrees reads as obviously non-vertical. Of course, being aware of this "blind spot" makes me extra careful. Perhaps that's why the poster of the question likes to have a vertical, as a kind of reference.

[@PaulIngbretson]

:)

[@TonySwaby]

Every time I catch one of your videos you confirm everything I say. Remarkable, thank you :)

[@PaulIngbretson]

I try to specialize in the 'self evident'! :)

[@TonySwaby]

​@@PaulIngbretson unfortunately few can see as well as you🙏

[@SkjtheartistJamison]

My father was a sign writer and permanently had a plumb line in his hand. He coated the cord in chalk and twanged it like a guitar string to get his verticals. When I first started painting seriously I used the same technique. Eventually, experience negated the necessity of a physical line

[@PaulIngbretson]

Nice illustration, Stephen, and sorry to respond so late.

[@RobBaranko]

Hi Paul, In previous videos, you mention what the Boston School guys are “after” (visual order, majors and minors, overall effect of light and shade,etc.) and I believe you say that guys like Sargent are “after” something else. I enjoy the parallels you draw between the Boston painters and people like Sargent, Zorn, and Sorolla, so I would love to hear your thoughts on how their objectives might differ, and how this affects their way of working. Many thanks, Rob

[@PaulIngbretson]

Have you watched my Evolution of impressionism series, Rob? Sargent and the Boston School is the name of one of them. I do it for comparison. Follow up with maybe an email if your points aren't well enough considered there. [e-mail]. May want to do further videos on it.