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Computers can calculate perspective angles and create a drawing for us, but the spontaneity of mark making, the tactile quality of a writing surface, the weight of a drawing instrument, and the immediacy of the human touch are sensations that keep traditional drawing skills perpetually relevant. The sensuality and convenience of the hand persists and will survive as a valuable communication tool, as will the need to accurately express your ideas on paper. As a professional, understanding the foundations of drawing, how we process images, and how we interpret what we see are principal skills. Understanding linear perspective enables artists to accurately communicate their ideas on paper. The Complete Guide to Perspective Drawing offers a step-by-step guide for the beginner as well as the advanced student on how to draw in one-point through six-point perspective and how to make scientifically accurate conceptual illustrations from simple to complex situations.
DIVConcisely written text accompanied by more than 150 simply drawn illustrations together demonstrate vanishing points and eye level and explain such concepts as appearance versus reality and perspective distortion. /div
This richly illustrated guide to perspective drawing features 17 reproductions of ancient and modern art, plus more than 200 instructive figures. The first half encourages freehand drawing, cultivating practical exposure to the principles of perspective. The second part addresses the laws and theories that constitute the science of perspective. Encouraging students to begin immediately with pencil drawings, the first part examines the application of perspective to depicting light and shade, textured objects, and imaginary as well as existing forms. The second part deals exclusively with rules of perspective, covering a wide scope and explaining the mechanics of perspective thoroughly and yet simply. Intended as an auxiliary to the first half's drawing instructions, part two is organized for ready reference as students progress through part one.
The amateur artist faces many challenges. To Len A. Doust, perspective is by far the most problematic. With his trademark humor, the author/artist turns his expert eye toward that "dreaded, horrid word." In a clearly written how-to guide on mastering the art of perspective, he carefully: • describes the roles of lines, boxes, and circles • provides shortcuts for visualizing shapes and forms • incorporates thirty-three plates of helpful illustrations One of the most concise introductions available for beginners, this practical volume will be an important addition to any artist's resource library.
Perspective Drawing for Kids: A Comprehensive Perspective Drawing Guide for KidsPerspective Drawing for Kids is a simple and comprehensive guide aimed at kids and teens (ages 10-18). Inside you will find simple explanations for complex concepts. All the information is presented using simple language, and accompanied with MANY illustrations. The book discusses perspective basics, one-point perspective, two-point perspective and three-point perspective. Each part contains an exercise. There is also a final exercise that concludes everything your kids will learn, in which they will create a complete, beautiful city landscape. Liron is a great believer in the "anyone can do it" approach, and this belief resides in every chapter and page of this book. Get your copy today, and help your kids learn how to draw in perspective!
A hands-on guide to perspective provides exercises designed to make drawing perspective effortless and easy.
Practical, step-by-step approach to perspective, shading, and projection. Features superb pedagogy, summary statements, exercises, illustrations. (vs. James, Konig, Montague).
In order to draw or paint anything successfully, an artist needs a good understanding of perspective, but it is a subject that most people seem to find very confusing and challenging. In stark contrast to other books on the market, The Artist's Guide to Perspective demystifies this subject and explains it in a clear, accessible way. Before pencil is put to paper, a series of simple exercises which purely involve 'looking', enables readers to discover the basic principles of perspective for themselves; observing and understanding. The book then builds on these fundamentals, clearly progressing through the chapters covering picture planes, vanishing points, aerial perspective and foreshortening, culminating in how to produce a projection for a large piece of work. Sequences of colour photographs and clearly sketched diagrams accompany the exercises and information, so there is always a visual to back up the points being made. This book is for anyone who wants to draw or paint with the benefit of sound knowledge, method and consistency, in order to produce realistic, well thought-out work.
“This basic book is very well illustrated and easy to follow...covers all types of perspective problems...explains and demonstrates a lot, and the illustrations are fascinating.”—American Artist. “Tells beginners how to produce three-dimensional images....This is an excellent introduction which packs many black-and-white and color examples into a fine display of step-by-step images.”—Midwest Book Review.
In this thought-provoking practical guide, a noted artist and educator demonstrates that learning to violate the rules of perspective (profitably) is as important for the practicing artist as learning the principles of perspective themselves. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. However, it is vital that students first have a solid grasp of classical perspective before they can think about adapting it creatively. In presenting the principles of perspective drawing, Mr. Watson devotes a chapter each to step-by-step discussions of such topics as the picture plane, foreshortening and convergence, the circle, the cone, three-point perspective, universal perspective, figures in perspective, and much more. To illustrate his points he offers expert analysis of the works of such leading illustrators as John Atherton, V. Bobri, R. M. Chapin, Jr., Albert Dorne, Robert Fawcett, Constantin Guys, W. N. Hudson, Carl Roberts, Ben Stahl, and Aldren A. Watson, as well as drawings by Pieter de Hooch and Paul Cézanne. The result is a ground-breaking study that artists, illustrators, and draftsmen will find invaluable in learning to create works with convincing perspective. Ernest W. Watson taught at Pratt Institute for over 20 years, co-founded and served as editor-in-chief of the magazine American Artist, and co-founded the prestigious art publishing house of Watson-Guptill.