LINEAR PERSPECTIVE

This gives a painting a recessional look of depth rather than a flat card cut-out appearance. Perhaps the most difficult thing to represent is the flat surface of the ground as it recedes away. It is relatively easy to draw vertical walls of buildings, trees and hills to correspond theoretically to the particular vertical plane in which each stand. A problem arises for the reason that rivers and roads are at right angles to the horizontal plane of ground. Due to the bias of vision level roads and rivers may appear to slope upwards to a high horizon line. The main cause of failure in this respect is by starting the foreground drawing too close to the eye, in the case of a lake, pond or river, they appear to run uphill. Clouds may suffer also, appearing to be on a false vertical backdrop whereas they should recede into a distance horizon. Linear perspective is the art of delineating solid objects on a flat surface of paper so that they appear to the eye in relief or solid as the real objects in view. Obviously it is an illusion to fool the eye by any means or manner for they cannot be reproduced on paper. Depth is represented not reproduced by linear perspective. Eye level is employed as an imaginary level line from the eyes projected forward into the picture plane. The horizon line is where the sky appears to meet the sea or land in the distance and it can appear above or below the eye level. The eye level line should be established first, easiest on flat land where the distant horizon coincides with the eye level. All horizontal parallel lines such as rail tracks going into the distance converge together at eye level known as the vanishing point. There can be several vanishing points and very often they converge at a distant point beyond the sheet of paper and an approximation of these points must be made. Obviously distance makes objects appear smaller. Generally establish one sloping line at the top of a building roof and one at the base to converge at a vanishing point. All other horizontal lines such as windowsills and door tops fall between these two extremes to the same vanishing point (VP). Simple linear perspective need not be a frightening subject.   Although knowledge of fixed rules will help and overcome and avoid errors, be guided by the eye rather than a dry system of geometric and mathematical rules.

Making objects look real is not a secret. Drawing an object in outline as a square is easy giving it height and width. Three dimensions give it form and bulk.

Flatness can ruin a drawing.

Example of cubic shaped buildings at right angles to the line of sight.

Cubic solid shape above the eye level

Example at eye level

Example of cubic shape below eye level

By employing linear perspective, solid objects in landscape can definitely be represented on a flat sheet of paper to give the same relative positions and sizes as the actual objects viewed, thereby creating the illusion of distance. Make use of the fact that equal sized objects seem to reduce as they are viewed further away in distance. Viewing landscapes and translating them to paper to a certain extent is trial and error. A most commonplace problem is depicting buildings when they appear above the eye level. Whilst remaining conscious of the rules of perspective, draw simply and paint only that which is seen by the eye. A dull day has a softening effect on landscape. Shapes are less sharp.

There are many books on sale dealing extensively with the rules of perspective should you wish to investigate further.

AERIAL PERSPECTIVE, so called, but not strictly correct shows the effect of distance, weakening accents and blurring forms compared with object forms close by. The atmosphere presents a 'veil of mist' between viewer and distant horizon, acting as a series of fine see-through net curtains. Adding blue and grey gives an illusion of distance, as it so often appears in nature, soft-edged and atmospheric. This principle, even on a clear day makes tonal colours fainter in far horizons. The difference between light and dark tonal colours becomes barely distinguishable giving an impression and feeling of distance. Objects in the distance do not appear to the eye as hard and uniform patches of colour but as varied and broken subtle graduated tints. The absolute truth of green grass and blue sky are simply not so in the distance. This phenomenon should be understood to make progress. A reference has been made to a veil of subtle mist, an envelopment of atmosphere observed over distance which should be enhanced, not removed. Enveloping mist depends upon the amount of light upon it, dust and smoke in the air, depending on the time of day and seasons. Early morning light is colder and more silvery than the golden light of late afternoon. In the early morning and in the evening when the sun is low in the sky and the shadows are long, a greater sense of unity is given to landscape pictures. Truth of tone and colour depend upon the careful study of light for the reason that tone is the amount of light reflected by any one colour, proving a close connection between light and shade.

For practical purposes there is a tendency for a viewed landscape to divide into three main vertical planes: back, middle and foreground. Colour washes should be laid on from the distant background to middle and foreground by complete or partial overlapping of each plane in turn. In a more complex scene there are many more intermediate planes and these need to be absorbed into the back, mid and foreground planes. An attempt should be made to interpret correctly the effect of brilliant sunshine upon natural objects and realise the likelihood of it swamping all local areas in a uniform silvery haze and dazzle from reflective surfaces. ( portrayed as white soft edging on the paper ).

Light and shade (chiaroscuro) create contrast. In a sense, contrast gives a form of shadowed relief and modelling. A pronounced illusion of depth and solid form can be established especially if there is a strong sidelight from the sun or any other light source. Take particular notice of the direction of light. Shadows following the lie of the land, rising and falling, interrupted by hedgerows, grassy banks and walls add modelling and form to a painting. Emphasis is put upon contrast by the use of sunlight and shadow bringing life to a picture which otherwise might appear flat, lifeless, dull and without impact. Sharp contrasts by counterchange are brought about by painting similar toned objects as they appear to the eye in nature by actually increasing the contrast of their light and darks. This applies whether they appear side by side or one behind the other. The principle of counterbalance and its application dramatises and animates a scene, making it more artistic. Examples are trees without leaves, tree trunks light against a dark background, dark toned branches against a lighter sky lends vitality to winter woodlands. Another example, large angular rocks in a foreground with correctly graduated tones, give an impression of realism, appearing to be almost touchable. Standing and viewing away from a picture, this feature of relief is most effective and appreciated.

Preplan and determine a centre of interest, preferably one, subordinating all the rest of the surroundings to it. Instinctively, from the first glance the eyes are drawn and focused on this centre. Establish it as a focal point and build a picture around it. Make purposeful understatements elsewhere to the limits bounded by the watercolour sheet. The question may be asked: 'Why not employ a camera?' A camera will record in a fraction of a second whatever is focused through the lens but it will not be selective. The eyes need to be led to some particular area of the picture, adding detail, weakening the surroundings, decreasing tone and colour strength to further emphasise the centre of interest.

Impact. A quick change in line direction or tone area attracts the eye. As a general rule, not hard and fast, mentally divide the paper into thirds. Make the centre of interest, the main feature approximately on one of line 4 line intersections and it will make the picture appear right and satisfactory. It relates to the 'Golden Rule' or 'mean' used by many great artists for their masterpieces.

BALANCE

The use of space on a watercolour sheet is of great importance in regard to all the elements of composition in a picture. Balance can be achieved by moving, adding or taking away objects (positive space) in relation to the ground (negative space) to give a sense of balance and depth of field. Beware of monotonous repetition. For example, two or more sailing vessels of the same height and equally spaced distance apart should be shown at a varying distance and unequally spaced.. Trees in the foreground should be counterbalanced by trees in the background. They should be sited on the opposing side (left or right) of the sheet of paper helping balance, similar in principle to a weighscale. Photographic likeness is not the aim. Artistic license permits objects to be moved around. Never place the centre of interest in the geometric centre. The picture should never be geometrically divided vertically or horizontally by natural or man-made objects.