RST-ART : Art Studio and Gallery of Rudolf Stalder
The Linear Perspective
(Rudolf Stalder in collaboration with Darrel Madis)
(All rights reserved 2004, Legal notice)
|A02||Definitions and terms :|
|A20||How to draw|
|A21||Studio arrangement suitable for learning|
|Basic concepts and rules|
|Lines and planes|
|A19||One-point-, two-point-, three-point-perspective and beyond|
|A23||Walls and posts|
|Translation of a "frontal" view into a "perspective" view|
|A25||The basic building|
|top||Buildings on different levels|
|S09||Shadows of posts|
|S11||Shadow of walls|
|S13||Shadows onto walls|
|S22||Post in the water,|
|S24||Reflection of the sky in the water|
|S25||post near the border|
|S35||Landing place, ship,|
|A12||Cone of view, angle of view|
|C07||The square-size concept h/d|
|C09||Application of h/d|
|C11||More about h/d, presentation of angles|
|G11||Inscription of a circle in a four-cornered (suitable for high accuracy)|
|S05||Missing points of repair|
The emphasis of this presentation is to provide an overview on the linear
perspective and some related procedures covering practical as theoretical
aspects as well.
The linear perspective is best understood on a pure mathematical base. Its principles apply only within limits to the image creation of the human eye, suggesting their use in a rather appropriate than in an absolute manner.
Some of the difficulties arising while using the linear perspective are due to its mathematical nature, others relate to the fact, that its terms are frequently used without proper reference, and that some of these terms lack a clear underlying rational or a well conceived definition.
Before applying the linear perspective, it should be clarified, that it presents really the most suitable method to use. If high accuracy in regard of proportions of lines and angles is a request, such as for architectural purposes, support by photography and/or technical means such as computers should be envisaged from the begin. If the goal is purely artistic these remedies are better avoided, as entirely “true“ lines frequently interfere negatively with the artistic intention.
The strengths and weaknesses of the linear perspective in comparisons with other methods of graphical presentation - including aspects of historical interest - will be addressed in a part actually in preparation.
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