Jessie Kathy Interiors

Ching Chapter 4 explores space and depth and how we can create these two aspects with the use of line, shapes, and tonal values. James J. Gibson identifies 13 forms of perspective in this chapter. I found it helpful when each form was shown to us and described to us in class. Size perspective, depth clues, and linear perspective were all used while I was doing my perspective drawing for the homework. For example, as the drawing went back to the vanishing point, each column got smaller in size. Depth clues were used while drawing my people, in which the horizon line came into play. And linear perspective was used to show depth in the hallway. Another technique I learned while reading was that the vertical location of an object in a visual field is a cue to its distance from the observer. Closer objects are generally looked down upon while farther objects are looked up upon. The form of perspective drawing that I feel I may struggle with the most is texture perspective since you have to both think of gradient and lines at the same time.

Composing a view was also subject spoken about within this chapter. A foreground, middle ground and background all need to be established when composing a view. While establishing a structure, its best to start with the simplest form of a shape of an object first. Establishing vanishing points and a horizon line is another step that needs to be taken early in the process. Depth clues such as overlap, size perspective and vertical location in the visual field come into play with visual scale in order to represent a realistic drawing.

Inserting humans into the drawing gives a sense of scale. This comparison of how big or small something is in relation to a human form is based on our familiarity of our own body dimensions. Drawing humans is definitely something I struggle with, but after the readings and examples online, I do believe my skills have improved. People that are closer in the image should have more detail than people who are in the back of the image.

Drawing on location definitely has a more dimensional feel while drawing from an image flattens the information. When adding tone and value, I’d much rather draw on location. The density of an object can be more clearly seen when looking at it in natural shade and highlight. Doing small studies in a sketch book can help the artist to understand what they are seeing rather than what our brains already know.