draughtsman

Don't know if I'd call draughtsman advanced: it's too small for that. Or maybe its diminutive size is a testament to node.

CAD tools get away with this because the draughtsman is providing the rough starting point. Also, as a further question?

Get a draughtsman's chair; architectural offices hace always had standup desks so people can draw and build models.

I wasn't an architect or draughtsman so I wasn't using the t-square - just pen and paper, but I long for those days. I never got tired because you move all the time, and I never had back problems.

But yeah, definitely a lot of the animation/cgi stuff tends to lean a lot heavier on the classic sculpture/draughtsman skillset. That's actually one of the things I really enjoy about it.

Still a great pencil today, but no longer made in the UK. High-quality ones, used by a couple of artists and a draughtsman my parents knew, were blue: Staedtler Mars Lumographs, again made then in the UK, but now only made in Germany. Still an even better pencil than the Noris.

There is a reason why the rather nasty Supper at Emmaus van Meegeren forgery was able to fools the experts, and that's that Vermeer wasn't a particularly good draughtsman early on. Good colourist for the most part, yes, but not much cop at getting things straight or in proportion.

MC Escher was a great draughtsman whose work had a very distinct personality and outlook. He was a very skilled 2D designer, his work has "presence", which is a purposefully nebulous phrase by which I mean that it radiates a particular point-of-view.

Com/stdbrouw/draughtsman, which has sadly languished. I've found it indispensable for prototyping, not just because of the precompilation but also because it'll search for metadata on the filesystem that you can use to flesh out those prototypes with real data.

If you look at his early work you will see that he was a very skilled draughtsman, illustrator and pen & ink-smith. He hand-drew illustration for magazine, adverts & products so was being paid and appreciated for his skill in the tough world of graphic design before he became a renowned artist.

He expressed, in good round terms, his satisfaction at my practical ability as a workman engineer and mechanical draughtsman. Then, opening the door which led from his library into his beautiful private workshop, he said, "This is where I wish you to work, beside me, as my assistant workman.

When he ended his career he was the only designer-draughtsman in an entire company as the computer did the non-creative formatting of his ideas into technical drawings. That didn't require machine learning, and machine learning is never going to replace the "designer" part of that job.

It was a long time ago, but I remember having a conversation with the chief draughtsman at one company and him explaining with a tone of weary resignation how he needed to spend a large amount of money buying upgrades for AutoCAD even though his department didn't require any of the features it contained. The way that the software was being marketed was basically forcing him into paying Autodesk whether he wanted to or not - almost like the medieval practice of paying tribute to the local baron.

I think you meant this as "one can", but if it's true, you can do far more than most trained draughtsman can do and you would certainly be considered and "artist", for there is no way to do this that doesn't imbue it with your personal style. Style flows from observation and execution, or at least it should--not the other way around. At least it does in good art schools. Having a "style" is quite frowned upon for beginning students. Style is earned through dumping preconceptions and truly seeing without prejudice. But to talk to your points, as the sibling reply points out, here drawing is being singled out as glimpse into the exploratory mind of the artist that a finished work cannot give. Its the difference between learning and knowing. I don't think you were serious about Dali, but you should know that he was a master draughtsman, as was Picasso.