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.

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Depth, perspective of sky and sea, shadows, much more, not usually covered. 391 diagrams, 81 reproductions of drawings and paintings.

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.

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