Fig. 8.
A surface has length and breadth only. A solid has length, breadth, and
thickness.
In figure 7 the distance from us is much greater than in figure 8, and the vanishing point farther away. We will find the first the most pleasing to the eye, although both are accurate. In these figures we make the two oblique lines of the base equal in length, and our position directly opposite the center perpendicular line. If we should change our position further to the right, the left oblique line at the base would apparently shorten, and vice versa.
In making a sketch from nature, the artist must choose a position that will command the best view of the scene about to be placed on paper, and from a standpoint that will secure the leading objects in the landscape before you. Begin by sketching those objects nearest you first. The reasons will be shown hereafter.
In attempting to make a “bird’s eye” view of buildings, where an elevation cannot be obtained, it will be found somewhat difficult. We can only mark down on the sketch-book what can be seen from the position we occupy on the level with the objects before us, and imagine the remainder. At the same time three things should be kept in view, the perspective, the perpendicular lines, and proper elevation, in order to give to our picture the appearance it would have if others viewed it from the supposed point of observation as the sketcher.
The intention of the writer has been to touch upon all the points and rules in drawing, and dwell upon each separately, and sufficient for a person of ordinary ability, and a good many grains of continuity, to make a sketch artist.
“It matters not what a man’s vocation may be, if he has the taste to discern, and mind to esteem, the good and beautiful in nature and art, an expression of refinement will be manifest in all that he undertakes.”
In this work I did not expect more than to take the first step toward teaching to sketch from nature. An easy, rapid, and decided manner of sketching is to be acquired only by practice. It is an acquisition essential to excellence in all the other artistic qualities, to which it serves as a basis. Having given you the necessary instruction, I will now assist you in
Selecting a Position. Choose a point that will command a good view of the scene, and prevent closer and more immediate objects from concealing any portion of the remote distance; and though the height of the horizontal line in this case may sometimes be more than half the height of the paper, according to the elevation attained by the artist to command the view. In this case the horizontal line is at about one-half the height of the paper. It frequently occurs in making a sketch, that the artist cannot place himself at the desired point for the best view. In such case we will imagine a point above the highest object in the foreground of the proposed sketch. That point may be on the land, or on the water. The artist, with a knowledge of perspective and elevation in view, may make a memorandum of the whole; but should he attempt to draw it from the point he is compelled to see it, no one would recognize it as a truthful representation. We regulate the whole by our knowledge of perspective, as accurately as if we stood upon the very spot from which we desired to be understood that the view was taken.