File:Drawing and painting self-taught (1922) (14577032970).jpg

Identifier: drawingpaintings00cros (find matches)
Title: Drawing and painting self-taught
Year: 1922 (1920s)
Authors: Cross, Anson K. (Anson Kent), 1862-1944 Cross, Evelyn F. (from old catalog)
Subjects: Drawing Painting
Publisher: Winthrop, Mass., A. K. Cross
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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from the fixedpoint from which the object is supposed to be seen. But if it islooked at from any other distance or direction, the drawing willnot look like the object, and may often be as much distorted asFig. 6 which was photographed from nine perfect spheres. 21. The Photograph is a Perspective.—The common photo-graph is a perspective, since it is the intersection of a plane bylines that converge from the object toward one point. Thedistortion of Fig. 6 which causes only one of the nine spheres tobe represented by a circle, illustrates the difference betweenthe photograph or any plane perspective and what the eye reallysees. Only the small part of a photograph, or any perspective on aplane, that is exactly opposite the eye, is exactly like what theeye sees. This is fully illustrated in Chapter VII of Free-handDrawing by the author, and this chapter shows why depend-ence upon any method of measuring departs from the visionand the feeling of the artist, by producing the perspective
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12 DRAWING AND PAINTING SELF-TAUGHT distortion inevitable when any plane cuts the visual rays to theouter parts of a picture obliquely. Perspective distortions are not the only reasons for avoidingscientific perspective and mechanical measurements, for thosewho depend upon them do not train the vision, and never obtaineyes that are trustworthy; besides this, the measurements andtests applied are often so inaccurate as to do more harm thangood. 22. Substitute Vision Training for Picture Making.—Glasshas been so long used for tracing and mechanical aid to resultson paper that those who hear of a new method of drawing onglass are likely to conclude that it is another mechanical systemfor the artist to oppose. Therefore it is hoped that those whoread this book at all, will read it long enough to discover that itdoes not recommend glass for tracing, or as an aid to resultson paper, but for free-hand drawings made without measures totrain the eyes to see so closely that the use of the Gla

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