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| Now that you can draw any object, regardless of how many basic forms it may contain, let's take another look at this thing called perspective. Whatever your subject may be, you must consider its position in relation to the horizon plane. The horizon plane is simply the surface that extends from the horizon, as you look straight ahead, to your feet as you lower your eyes.
Relating Objects: While its verticals remain vertical, the top and bottom of an object are effected by their relative positions to the eye level or horizon. Both the top and bottom of an object get narrower as they near the horizon. In Fig. A. (above), I drew the grid on the horizon plane to show you graphically how the horizontal lines of an object converge to their respective vanishing points. I arbitrarily established the grid first; then I drew the forms at various distances from the eye level so that you could see how these forms are affected by their different placements. Contours: Note the ellipse in Fig. A. at 1 and 2. A circular surface must conform to the horizon plane on which it rests; check 3, 4, and 5 of Fig. A. The only object that never changes its contour, no matter where you place it, is the sphere. Take a ball, for example, and place it anywhere you wish. Notice that its contours remain the same. To demonstrate this principle further, draw a circle and a square side by side; they don't have to be any larger than four inches. Place the paper on which you've drawn them at your feet. Now lift it slowly toward your eyes, holding the paper flat. As you raise the paper, notice how the circle becomes an ellipse and the square becomes a rectangle. The closer they get to your eyes, the more shallow these objects become. The height of your eyes is the eye level, or horizon. |
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| Creating a Composition:
First, you must consider the height at which you will place the objects. This may sound a bit too rudimentary, even for a student. But you'll be amazed to learn how many compositions are weakened by a placement that's either too high or too low on the horizon plane. It's helpful to ask yourself questions similar to those asked in the beginning of this series. Would my elements look better if I saw them from above? Would the composition be enhanced by lowering my eye level? Would it be better yet if the horizon were to split the elements? This occurs when you see neither the top nor the bottom of an object. Your choice regarding the placements of your objects in relation to the horizon will ultimately depend on the shape and number of objects in your composition. Selecting a Viewpoint: Along with the placement of a group of elements, the selection of the proper viewpoint is essential to creating a good composition, regardless of your subject. As an exercise to help you visualize the effect of your viewpoint on your composition, place four or five things on a table. They can be any objects on hand; you're not going to draw them. Stand next to the table and observe their different shapes. Bend over, place your hands on your knees, and observe the difference as one object appears to overlap the other. Should the taller article be moved behind the shorter one? Now sit in a chair and observe still more changes in the group of objects. Should anything be shifted to create a better group silhouette? Fall on one knee and study the group. Was it better when you were standing? Finally, sit on the floor. Is the group still better, or does the whole composition visually fall apart? |
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Perspective in a Still Life:
The point of view from which you decide to observe and render your objects is essential to composing and drawing a still life. To the left I've attempted to illustrate how to go about composing a still life, although I've made no attempt at achieving a finished drawing of one. We'll come to that later on. Of the several positions seen in Fig. B. (scroll back up), I choose view 2 for my table top. The first element I draw is the cubic shape of an opened, brown paper bag. Although the table top is at one angle and the bag is at a different angle to it, their respective vanishing points are on the same horizon. You can turn an object to any angle you wish, and its vanishing points will remain on the same eye level, as long as your viewpoint remains unchanged. So when you begin a drawing setting down, don't stand up to finish it, and vice versa. Working with Actual Objects: By merely copying all of the figures in this project, you can probably learn something. However, you'll be depriving yourself of the invaluable experience of working from actual objects. Even if you can't duplicate all the objects I've used in the still life, use whatever you have on hand. Be sure that one of your items corresponds to the paper bag I've used. Its less rigid contours serve as a foil to the severe straight lines of the other objects. |