Some core ideas demonstrated
The purpose of this “Post” is to provide the link (below) to my introduction to “Chapter 15 : The core ideas“, the third chapter of “Drawing with Knowledge” (the second BOOK in the two book volume). The main subject dealt with is how to use the core ideas of Linear Perspective as a guides to looking, when drawing from observation. As far as I know, this is the the only place you will find it discussed at length. A preliminary idea of what this means can be found in first paragraph of the “Introductory” to this chapter (you will find a slightly edited version next, under the title of “Some core ideas introduced“). Further below, you will find links both to all published chapters from “Drawing with Feeling” (the first BOOK in the two book volume) and to earlier chapters of BOOK 2.
Some core ideas introduced
As already explained, the rules of linear perspective were developed by Renaissance artists as aids to image-construction. This chapter starts the process of showing ways in which they can be used as a guide to looking. For this purpose a sound understanding of the core ideas that underpin them is necessary. Although many books attempt to provide this by referring to different examples of perspective constructions, using a variety of diagrams, they never really show how these relate (or fail to relate) how we see in the real world. My approach is very different. Eschewing diagrams, it makes use of participatory demonstrations, using real world props. In addition to revealing the core ideas behind the standard rules, these provide a fascinating introduction to some of the seeming anomalies of visual experience.
Few people would disagree with anyone who tells them that objects appear to get smaller as they recede into the distance. This phenomenon is one of two core ideas behind of the laws of linear perspective, as taught in art schools. The other is the influence of the eye-line. If these were all that mattered, there would be a great deal less to write about in this chapter. However they are far from being so. The reason is not only that the crucial role of the picture plane, as the third variable, is too often neglected, in the interests of simplicity. Even more important, from the point of view of the ideas presented in this chapter, is the fact that appearances can be dramatically influenced by the constancies of size, orientation and shape, as well as by the context in which they occur. This is because the constancy phenomena, which are context dependent, push appearances in different, often opposite directions to those predicted by the laws of linear perspective as conventionally taught. The resulting confusion can cause all sorts of problems for those who seek to use them as an aid when attempting to make accurate drawings from observation. This chapter shows how interactive demonstrations can be used to help people understand the reasons why. Subsequent chapters both continue this process and suggest many practical ways of using the knowledge that will be made available.
Two views of the Chateau Corduries, followed by a question,
A question: “How do you change the size of the château as seen from the studio, without leaving the studio or without using a magnifying glass?”
Chapters from BOOK 1 and BOOK 2 of “Drawing on Both Sides of the Brain” (Volume 1 of the series of four volumes)
BOOK 1 : “DRAWING WITH FEELING”
Chapters so far loaded:
- Introduction to book 1 of “Drawing with Feeling”
- Chapter 1: Accuracy versus expression
- Chapter 2: Traditional artistic practices
- Chapter 3: Modernist ideas that fed into new teaching methods
- Chapter 4: the sketch and explaining the feel-system
- Chapter 5: Negative spaces
- Chapter 6: Contour drawing
- Chapter 7: Copying Photographs
- Chapter 8: Movement, speed & memory
- Chapter 9: The drawing lesson- preparation
BOOK 2 : “DRAWING WITH KNOWLEDGE”