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Sep 5, 2023 · Perspective in art refers to the technique used to represent three-dimensional objects and depth on a two-dimensional drawing surface. It creates the illusion of distance and volume on a flat surface like canvas. The most common types of perspective are linear perspective and atmospheric perspective. Linear perspective uses vanishing points and ...
- Overview
- Surfaces
- Tools and techniques
One can draw on practically anything that has a plane surface (it does not have to be level)—for example, papyrus and parchment, cloth, wood, metals, ceramics, stone, and even walls, glass, and sand. (With some of these, to be sure, another dimension is introduced through indentations that give the visual effect of lines.) Ever since the 15th century, however, paper has been by far the most popular ground.
The technique of paper manufacturing, introduced from East Asia by the Arabs, has remained virtually unchanged for the past 2,000 years. A fibrous pulp of mulberry bark, hemp, bast, and linen rags is drained, pressed, and dried in flat molds. The introduction of wood pulp in the mid-19th century, which enabled manufacturers to satisfy the enormously increased demand for bulk paper, did not affect art paper because paper of large wood content yellows quickly and is therefore ill-suited for art drawing. The essential preparation of the paper to give it a smooth and even surface for writing or drawing was once done by rubbing it with bone meal, gypsum chalk, or zinc and titanium white in a very thin solution of glue and gum arabic. The proper priming, achieved through repeated rubbing and polishing, was of the utmost importance, especially for metalpoint drawings. If such preparation is too weak, the paper accepts the stroke badly; if it is too strong, the coating cracks and chips under the pressure of the hand. Since the early 15th century, however, the sheets have been given the desired smooth and nonabsorbent consistency by dipping them in a glue or alum bath. The addition of glue also made it possible to impart to the pulp paper a quality that permitted pen drawings. Pigments, too, could of course be added to the pulp, and the so-called natural papers—chiefly blue and called Venetian papers after the centre of the retail trade in this commodity—became more and more popular. While the 17th century liked half tints of blue, gray, brown, and green, the 18th preferred warm colours such as ivory and beige, along with blue. Since the 18th century, paper has been manufactured in all conceivable colours and half tones.
The range of quality has also greatly increased since the end of the 18th century to give more painstakingly produced drawing papers. Even in earlier times, the absorbent Japan paper made of mulberry bark enjoyed great popularity. Handmade paper, stronger and free of wood, with an irregular edge, has remained to this day a favourite surface for drawings. Vellum, delicate and without veins, resembles parchment in its smooth surface. Modern watercolour paper is a pure linen paper glued in bulk and absolutely free of fat and alum; its two surfaces are of different grain. For pastel drawings, a firm, slightly rough surface is indicated, whereas pen drawings are best done on a very smooth paper.
Granulated and softer drawing tools, such as charcoal, chalk, and graphite are not as dependent on a particular type of paper; but, because of their slight adhesiveness, they often require a stronger bond with the foundation as well as some form of surface protection. This process of fixing was formerly done through repeated varnishing with gum-arabic solution and even with glue or egg-white emulsion. Modern siccatives (drying substances) inhibit discoloration but cannot prevent the living surface from appearing sealed, as it were, under a skin. In pastels especially, the manifold prismatic effects of finely powdered coloured crayons are thus lost, and the bright and airy surface is turned into an amorphous, heavy layer. Pastels, which brush off easily, are therefore best preserved under glass.
One can draw on practically anything that has a plane surface (it does not have to be level)—for example, papyrus and parchment, cloth, wood, metals, ceramics, stone, and even walls, glass, and sand. (With some of these, to be sure, another dimension is introduced through indentations that give the visual effect of lines.) Ever since the 15th century, however, paper has been by far the most popular ground.
The technique of paper manufacturing, introduced from East Asia by the Arabs, has remained virtually unchanged for the past 2,000 years. A fibrous pulp of mulberry bark, hemp, bast, and linen rags is drained, pressed, and dried in flat molds. The introduction of wood pulp in the mid-19th century, which enabled manufacturers to satisfy the enormously increased demand for bulk paper, did not affect art paper because paper of large wood content yellows quickly and is therefore ill-suited for art drawing. The essential preparation of the paper to give it a smooth and even surface for writing or drawing was once done by rubbing it with bone meal, gypsum chalk, or zinc and titanium white in a very thin solution of glue and gum arabic. The proper priming, achieved through repeated rubbing and polishing, was of the utmost importance, especially for metalpoint drawings. If such preparation is too weak, the paper accepts the stroke badly; if it is too strong, the coating cracks and chips under the pressure of the hand. Since the early 15th century, however, the sheets have been given the desired smooth and nonabsorbent consistency by dipping them in a glue or alum bath. The addition of glue also made it possible to impart to the pulp paper a quality that permitted pen drawings. Pigments, too, could of course be added to the pulp, and the so-called natural papers—chiefly blue and called Venetian papers after the centre of the retail trade in this commodity—became more and more popular. While the 17th century liked half tints of blue, gray, brown, and green, the 18th preferred warm colours such as ivory and beige, along with blue. Since the 18th century, paper has been manufactured in all conceivable colours and half tones.
The range of quality has also greatly increased since the end of the 18th century to give more painstakingly produced drawing papers. Even in earlier times, the absorbent Japan paper made of mulberry bark enjoyed great popularity. Handmade paper, stronger and free of wood, with an irregular edge, has remained to this day a favourite surface for drawings. Vellum, delicate and without veins, resembles parchment in its smooth surface. Modern watercolour paper is a pure linen paper glued in bulk and absolutely free of fat and alum; its two surfaces are of different grain. For pastel drawings, a firm, slightly rough surface is indicated, whereas pen drawings are best done on a very smooth paper.
Granulated and softer drawing tools, such as charcoal, chalk, and graphite are not as dependent on a particular type of paper; but, because of their slight adhesiveness, they often require a stronger bond with the foundation as well as some form of surface protection. This process of fixing was formerly done through repeated varnishing with gum-arabic solution and even with glue or egg-white emulsion. Modern siccatives (drying substances) inhibit discoloration but cannot prevent the living surface from appearing sealed, as it were, under a skin. In pastels especially, the manifold prismatic effects of finely powdered coloured crayons are thus lost, and the bright and airy surface is turned into an amorphous, heavy layer. Pastels, which brush off easily, are therefore best preserved under glass.
Such varied tools as slate pencils, charcoal, metal styli, and chalks may be used for drawing as well as all writing utensils, including pens, pencils, and brushes. Indeed, even chisels and diamonds are used for drawing, not to mention saws, drills, and fire. Dry drawing tools differ in effectiveness from liquid ones because it is not irrelevant from the artistic point of view whether one uses a self-drawing medium that permits an evenly flowing line dependent only on hand pressure or a transferring tool that must be put down periodically and refilled, with resultant differences in the strength and concentration of the line. Modern drawing mediums that combine both possibilities, such as fountain pens, ball-point pens, and fibre-tipped pens, were invented in the 20th century.
No less varied than the nature and composition of these drawing mediums is their aesthetic effect. It would nevertheless be wrong to systematize the art of drawing on the basis of the techniques applied; not only does almost every technique have several applications but it can also be combined with other techniques, and the draftsperson’s temperament inevitably plays a role as well. Even if certain techniques predominate in certain periods, the selection of drawing mediums depends on the intended effect and not vice versa. Artists have always been able to attain the desired effect with a variety of techniques. Dry mediums, for example, are predestined for clear lines, liquid ones for plane application. Yet extremely fine strokes can also be made by brush, and broad fields can be marked in with pencil or crayon. Some mediums, including charcoal, one of the oldest, if not the oldest of all, allow both extremes.
- Line. Line is the most basic element of art. Without line the other elements couldn’t exist so let's start here and then we will gradually go more advanced.
- Shape. When a line meets up to enclose a space, a shape is formed. Shapes can be: Geometric or organic. Shapes are 2-dimensional, i.e. they have height and width but no depth e.g.
- Form. Form is the next step up from shape as we now add depth to it to create a three dimensional form. A square (shape) vs a cube, a triangle vs a cone etc.
- Space. Space is what lies between, around or within an object. To show space in a 2-dimensional medium the artist must use techniques to create the illusion of space between items that are in reality on a flat surface.
Drawing in the hidden edges helps ensure that our object really will take up space and hold mass. Drawing in the hidden edges forces you to concentrate on the three-dimensional qualities of your subject. You need to imagine the front, back, top, bottom, and sides of your object at once.
- Breakdown Your Subject Into Basic Shapes. One of the challenges that all artists face when working on a two-dimensional surface is creating the illusion of three-dimensional depth.
- Create Warm-Up Sketches. Warm-up sketches are to an artist, what stretching and warming up the body is to an athlete. For example, a sprinter would never show up to a race, walk up to the starting line, then take off running full speed without warming up first.
- Don't Be A Perfectionist. Don't let perfect stand in the way of good. Artists are their own harshest critics. Many artists will finish a drawing, painting, or sculpture and have many people love it, but all they can see for themselves are the flaws.
- Draw With The Correct Grade Pencil. What's the first type of pencil that you can remember using to draw or sketch with? Probably an HB pencil, right? That's the most common type of pencil.
If you were drawing a building with one point perspective, one of the sides of the building would be in view, rather than a corner. Claude Monet: The La Rue Bavolle at Honfleur. After drawing the horizon line and vanishing point, the next step is to draw the front of the shape. Then draw the orthogonals that connect to the vanishing point.
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Perspective is applied in drawing and painting to realistically represent three-dimensional space on a two-dimensional drawing surface. By applying the rules of perspective, we can accurately depict the depth of space and the spatial relations of objects in our works of art. In his notes, Leonardo da Vinci expresses the essence of perspective ...
