Today I drew this squirrel, and although it took awhile to finish it would have been much longer if I hadn’t of just suggested most of the detail, so I thought I’d write a bit about that.
Basically, some areas of an image will benefit much more from high detail levels, while in other areas a lot of detail would either contribute little to the image or would even distract from the main focus. A lot of time could be wasted trying to perfectly draw or paint things that really only need to be vaguely indicated to get a sense of space or setting. These are the things that inform the viewer of what sort of a scene it is and generally what’s happening, but aren’t the actual subject of the image.
Here, I put the most of the detail in the squirrel’s face and paws. The further you look in the background the more vague details become until they’re just shapes, and that spared me having to painstakingly draw thousands of pine needles. Even the needles in the foreground are quickly sketched, and the shadows are really just dark shapes with no detail at all. Still, I hope it gives the illusion of a scene set within a dense mass of branches and needles.
This approach is often seen in portrait paintings where the face and maybe hands are carefully painted with high detail, but folds of clothing may simply be indicated with broad single brushstrokes. Part of that is because those are interesting portions of a person and tell us a lot about who they are and what they’re doing. Accurately painting every detail of the buttons on their clothes, for example, would not normally tell us any additional or useful information. By only suggesting the existence of detail, without elaborately describing each detail, an artist can direct the focus to what’s actually important while also saving time.
In photography, a similar idea would be referred to as subject isolation, meaning that the subject that’s in focus is clearly distinguished from the rest of the scene that’s out of focus. The rest of the scene is still important, because again it gives the viewer at least some idea of where the subject is and maybe what’s happening around them, but when everything is in perfect focus at once the other details can sometimes just be a distraction, like in the example above. Of course this isn’t to say you should never have everything in focus, such as in landscape photography, just that in many cases there’s benefits to letting extraneous details blur away.
For me, in the case of drawing and painting, it’s saving time that’s the main attraction.