Freehand Perspective and Sketching
Dora Miriam Norton
Language: English
Pages: 127
ISBN: B00NPXY0NC
Format: PDF / Kindle (mobi) / ePub
The essential guide to rendering perspective, Freehand Perspective and Sketching uses a series of illustrated exercises and explanations to help artists master one of art's greatest challenges. Generations of art students and amateurs have found it an indispensable resource of the time-honored principles and methods that empower artists to express themselves.
More than 260 figures offer precise demonstrations in the representation of shapes, shadows, angles, and proportion. Author Dora Miriam Norton discusses how to combine these elements to create realistic-looking compositions, focusing primarily on the techniques of proportion and foreshortening. Freehand sketching, she explains, means drawing by the trained eye and judgment. This book provides a foundation of definite knowledge that enables artists to draw items individually or in groups without needing to see actual models.
Bibliographical Note
This Dover edition, first published in 2006, is a republication of the eighth (1925) edition of the work, originally published by the author, Brooklyn, N.Y., in 1908. The author’s preface, revised for the second edition, has been omitted here.
Figure Drawing Without A Model
Drawing on the Funny Side of the Brain : How to Come Up With Jokes for Cartoons and Comic Strips
The Big Book of Drawing: An Introduction to Essential Materials and Techniques
directly above VP1. At once use is made of this point for drawing the ends of the roof projection (suggested in the model by pinning cardboard as in Fig. 117) . These edges are parallel with the corresponding roof edges, like the book margins; so their width can be set off on the upper line of the house (B, Figs. 112 and 117) to right and left, (points x and y) remembering that the nearer distance appears a little greater. Through these points draw lines vanishing to OVP1. A similar projection is
simple lines appropriate to them. Being more complicated than the cube, their visible edges may, if necessary, be strengthened (that is, be drawn as they would finally appear) as soon as determined, to avoid confusion. FIG. 135 The inner square of the frame may next be marked out on the plinth (Fig. 137). To do this place points one sixth of the front vertical edge from each end, and from them vanish lines to VP1. In these lines the edges A and B of the inner square must lie. By the front view
FIG. 189 In the same way, line F, vanishing to a point on the eye level a little further away than VP2, gives the location of a vertical trace for OVP2, in which the other (invisible) side of the seat must vanish. The crossing of these invisible seat edges (H and I) and of the lines C and F aid in shaping the further leg. FIG. 190 As the seat is evenly slanted, OVP2 is on a level with OVP1. All edges parallel to the front and back converge to VP2. The curving front of the seat and the curves
lines where the cylindrical rungs enter the legs are actually modified circles, hence they will be seen as shapes modified from the elliptical, and should be carefully considered and drawn. FIG. 191 Following this, the student should choose and draw at least one other piece of furniture. Selection should be made of something interesting in itself; that is, well designed and constructed, and agreeable in association. In chairs the old-fashioned rush or splint bottom ones, the wooden rockers of
VI. The cover is arched (B in Fig. 45), so that it conceals the back of its elliptical edge. This arched shape is distinctly seen in the form of its top boundary and is a very different shape from the ellipse. But this arched boundary does not fall in the actual middle of the cover (since we are looking down on it), but a little beyond that. The knob is in the actual middle. FIG. 45 The rendering of two things is more complicated and interesting than that of one alone. As the candlestick is