Painters and draftsmen alike puzzle through perspective
drawing issues. They almost have to if they want to establish any kind of sense
of space in their work. Without linear perspective, all that remains is the flatness
of the surface-and no artists with representation or realism on their minds are
ever going to stop at that.
|Mansard Roof by Edward Hopper, 1923, watercolor painting.
There are artists that take drawing perspective into fairly
well-charted territory, using one-point perspective to give a simple sense of distance
like Leonardo did in The Last Supper
or Raphael showed in the School of Athens.
Two-point perspective is used to turn a corner, visually speaking, or give a
sense of looking into a space or having a corner come poking out at you. I love
Edward Hopper's The Mansard Roof as
an example of this. You see the architecture of the mansion from the front and
side, giving you a sense of how vast the lovely mansion, surrounded by lush
greenery and summer shade, really is.
|Recorded Diffusion by Alexandra Pacula, oil painting, 2012, 40 x 40.
But then there are artists that take their perspective
drawing lessons into hyper-drive, creating works that put viewers with a bird's
eye view of a city flashing by like Alexandra Pacula. Or just the opposite, as
in Georgia O'Keefe's City Night,
where three-point perspective allows the skyscrapers loom as dark, streamlined
monoliths above us and the moon is a mere pinprick of light.
What I've come to realize, however, is that it isn't
perspective alone that will make a work of art unusual or jump off the flat
surface. It is perspective combined with a compelling subject and a strong
composition. In Drawing: The Complete
Course, you'll find the techniques and methods that can help accelerate
your drawing practice into something extraordinary. Not with a magic wand, but
with skill and forethought--and instruction from artists
who are striving for that same sense of the extraordinary in their own work.