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A Guide to Pictorial Perspective
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About this ebook
Meeting the challenge of realistic drawing involves the application of science to an individual design sense. Here is a clear, jargon-free primer on recreating objects from nature by using perspective techniques. Author Benjamin R. Green's straightforward approach teaches artists and students at all levels how to visually rationalize the differences between form and appearance.
Green begins with definitions of lines (parallel, perpendicular, inclined, horizontal, and vertical) and discussions of the seat of the eye and the vanishing point. He examines the relative situation of the spectator and the object to be drawn, compares parallel and oblique views, and discusses drawing objects with more than four sides and curved-line objects such as arches. Numerous illustrations appear throughout the text.
Green begins with definitions of lines (parallel, perpendicular, inclined, horizontal, and vertical) and discussions of the seat of the eye and the vanishing point. He examines the relative situation of the spectator and the object to be drawn, compares parallel and oblique views, and discusses drawing objects with more than four sides and curved-line objects such as arches. Numerous illustrations appear throughout the text.
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Book preview
A Guide to Pictorial Perspective - Benjamin R. Green
GUIDE.
INTRODUCTION.
THE following pages have been written with immediate reference to the wants of the amateur and the professional student. To the former, it is hoped, it will give a complete insight into the nature of Perspective, and its application to objects generally, so as to afford him additional facilities in sketching from nature, and of delineating from memory any simple form; whilst to the professional student it will supply such a summary of the leading principles of the science and their application, as shall prepare him at a future period of his studies for the better comprehension of the nature of vision, and the theory of intersecting planes (constituting the basis of perspective), and those details of practice essentially necessary to the completion of the studies of the painter.
Our first efforts at imitation are naturally directed to the objects immediately around us; but it not unfrequently happens that the small size of in-door objects, compared with buildings, causes their form or boundary lines to vary with every movement of the eye whilst sketching them, and consequently to be productive of great perplexity to the student. Hence the necessity of a treatise, pointing out the application of definite rules to such objects, as also to enable him, in the numerous cases where definite rules will not apply, to test the general truth of his outline by a knowledge of the laws governing the appearance of all bodies.
It unfortunately happens that in most elementary treatises on perspective, designed for the youthful student as well as the adult, it has been the custom with writers to introduce the subject either with a description of the perspective plane and the theory of vanishing lines, the nature of which cannot at the outset be comprehended; or to encumber his subject with a multiplicity of geometrical terms and figures, few of which he has any positive need; and unmindful that the ardent temperament of the votary of the Fine Arts is least of all fitted for calm reflection or patient investigation.
In the outline of the science which follows the perspective plane is altogether omitted, as well as all theoretical matter not absolutely essential for the comprehension of the rudiments of the science; from the writer’s conviction that in the endeavour to elucidate a few simple truths by a too premature recourse to imaginary planes and systems of rays, the student wearies of the theme, and at length turns from it in distaste. On the system adopted in this treatise, mathematical accuracy in the
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