Perspective Appendix

Page 25 / 25
free art book, learn how to draw in perspective


NOTE 1. — Enlarging a sketch on the same proportions.

perspective drawing, appendix

To Chapter 1, "square up." A small sketch (Fig. 383) can more easily be re-drawn on a larger canvas (Fig. 384) if both of them are divided into sections of equal proportions. These sections can either be in divisions of half with further subdivisions of quarters, etc., or the guiding lines can be drawn through prominent features of the sketch. Either method, or others that will present themselves, will answer, provided that the canvases are of similar proportions. Cotton threads stretched across the face of the sketch and attached to its sides by drawing-pins will save it from the disfigurement of drawn lines. Small working sketches can be drawn on " sectional paper " (paper ruled with faint blue squares used by mechanical draughtsmen), and the squares then repeated to scale on the canvas selected.

NOTE 2. — How to divide a line into a number of given proportions.

perspective drawing, appendix

(A) To mark off on a line of indefinite length a certain number of divisions of a given length. The first division will be marked off and repeated as often as necessary by compasses, or by a piece of folded paper with that length marked on its folded edge.

(B) If, however, the length of the line is fixed and we have to divide it into a stated number of divisions we shall not know beforehand the length of those divisions (as in A).

Suppose the line 1-2 (Fig. 385) has to be divided into five divisions. From one end (Fig. 386) draw another line at a convenient angle and indefinitely long 2-3. On it mark off five equal divisions (of any length). Join the last division with end of the given line (1). From each division draw lines parallel to 5-1. These will eut the given line 1-2 into five divisions of equal length. Unequal divisions could in similar fashion be marked off on the measuring line 2-3, and would be repeated in the same proportion on the given line (Fig. 387).

perspective for artists

To subdivide a rectangular form. — The base line of a rectangular form (Fig. 388) can be divided into any number of even figures (2, 4, B, etc.) by using diagonals to find the half of the whole form, and successively the half of each division.

perspective tutorials

NOTE 3. — How to transfer in the same proportion the divisions of a line on to another of greater or lesser length.

Problem (Fig. 389). — The short line 3-4 is to be divided in the same proportions as the long line 1-2.

Practice (Fig. 390). — Draw 1-2 parallel to 3-4. Join the ends 1-3 and 2-4, continue these connections till they meet (at A). Join each division with A, and then the line 3-4 will be divided proportionally to the line 1-2.

perspective tutorials

The proportions of a short line can be transferred to a larger line in the same way. Call 3-4 the short divided line, and 1-2 the long line to be divided. Join their ends and continue the connections till they meet (at A). Join A with each division on line 3-4 and continue the joining lines till they cut the line 1-2 into similar proportions.

perspective tutorials

NOTE 4. — How to estimate the measurements of a canvas that is to be proportionately larger than another.

We have often to transfer a sketch on to a larger canvas and wish it to bear the same proportions.

Practice (Fig. 391). — Continue the side of the small canvas A until it is the required length. (say B–C). Take a diagonal from B of indefinite length. From C draw line at right angles to B–C and continue it till it meets the diagonal. The line thus obtained C–D will be the width of the larger canvas. This workman's practice arises out of the method of drawing concentric squares. If absolute exactness is necessary " proportion " in arithmetic might be employed instead.

perspective tutorials


No Jesuit, pseud.: for Jean Dubreuil. "Practical Perspective." Illus.
1440. Bartolomeo Bramiantino, " Regole di Prospettiva e Misure delle Antichita di Lombardia."
1494. F. Luca Paccioli, " Summa d'Aritmetica e Geometria."
1525. Albrecht Durer, " Institutiones geometricece " (fourth book of geometry).
1560. J. Cousin, "Livre de Perspective."
1600. Guido Ubaldi (Guido Ubaldo) (Guidus Ubaldus). Passaro.
1612. Solomon de Cause (Caux ?), " Perspective avec la raison des ombres." London and Frankfort.
1608. Sebastiano Serlio, " Opere d'architettura e Prospettiva
1619. di S. D. Scamozzi." 4to. Wood engravings.
1619. Samuel Maeolais, " La Perspective contenant la theorie et la practique."
1625. H. Houdin, " Institution en la Perspective."
1642. S. J. Dubreuil (published by), without author's name, " La Perspective." Paris. Three vols. (" The Jesuits' Perspective.")
1651. Leonardo da Vinci, " Trattato della Pittura." Folio. Engravings in the text. (See Hawkins' translation, 1802.)
1652. Pere Niceron, " La Perspective curieuse."
1661. Pere Bourgoing, " La Perspective Affranchie de l'embarras du point du vue." Paris.
1669. Daniel Barbaro, "Practica di Prospettiva." Folio. Venice.
1671. Andre Alberti, " Deux livres sur la Perspective." Nuremberg.
1672. Giulio Trogli, " Parodossi della Prospettiva." Bologna.
1673. Pere Desohalesque, "La Perspective du; qui se trouve dans son Cursus Mathematicus." Lyons.
1693. Pozzo, "La Perspectiva pictorum et architectorum." Rome.
1701. Pebe Lami, "Le Traits de Perspective ou sont contenus les fondements de la peinture." Paris.
1711. S. Gbavesande, "L'Essai de Perspective." Amsterdam.
1731. De. Brook Taylob, "Linear Perspective." (1715).
1745. Pebe Jacqtjieb, " Elementi di Prospettiva." Rome.
1748. Hamilton, " Stereography, or a general Treatise of Perspective in all its branches." London.
1749. Brook Taylor, " New Principles of Linear Perspective." 3rd edition. London, 1749.
1750. Pbtitot, " Raisonnement sur la Perspective pour en faciliter l'usage aux artistes." Parme.
1750. Jeatjbat, "De l'Academie des Sciences. Traite de Perspective pratique a l'usage des artistes." Paris.
1754. John Joshtta Kieby, " Dr. Brook Taylor's method of Perspective made easy both in theory and practice." In two books. Illustrated with 50 copper plates. Dedicated to W. Hogarth. Two parts in vol. 4to. Ipswich.
1757. Lb Roi, "Essai sur la Perspective practique par le moyen du calcul." Paris.
1776. Thomas Malton, "A complete Treatise on Perspective in theory and practice on the Principles of Dr. Brook Taylor." Folio. London.
1770. Pbiestlby, " Familiar introductions in the theory and practice of Perspective." London.
1874. Henbiet, " Cours Rational de Dessin."
1781. "The Jesuits' Perspective." 4th edition. London, 1781. 4to. 150 plates.
1800. James Malton, " The Young Painters' Maulstick ; being a practical treatise on Perspective." Dedicated to Benjamin West. 4to. 23 plates. London.
1802. Leonabdo da Vinci, "Treatise on Painting, translated and digested by John Francis Rigaud." Illustrated with 23 plates and other figures. With a life by John Sidoney-Hawkins. 8vo. Portrait and plates. London.
1803. Edwaed Edwabds, A.R.A., "Practical Treatise on Perspective on the Principles of Dr. Brook Taylor." to. Plates. London.
1805. T. Hodson, "The Cabinet of the Arts." Illus.
1808. T. Noble, " Practical Perspective."
1832. Barbaro, " Practica della Prospettiva." (Reprint?) Folio. Florence.
1837. John, F.R.S., "The education of the eye with reference to Painting."
1852. " Perspective for Beginners, by George Pyne, artist." London.
1862. Burchett, "Linear Perspective."
1872. Aaron Penley, . " Elements of Perspective" (Winsor and Newton.)
1873. M. A. Cassagne, " Traits Practique de Perspective." Paris.
1883. W. R. Wake, " Modern Perspective Plates."
1884. G. Trobbidge, " The Principles of Perspective."
1886. Abmand Cassagne, translated from the French by S. Murray Wilson. "Practical Perspective applied to artistic and industrial design." Le Chertier Berbe. London.
1888. Henry James, " Handbook of Perspective."
1891. F. O. Ferguson, "Architectural Perspective."
1892. J. Carroll, " Principles and Practice of Perspective."
1897. S. Polak, " Theory and Practice of Perspective Drawing."
1901. R. Pratt, " Perspective," including the Projection of Shadows and Reflections.
1902. R. G. Hatton, " Perspective for Art Students."
1902. J. Petty, " Perspective and the Projection of Shades,"
1903. W. L. Wyllie, R.A., "Nature's Laws and the Making of Pictures."
1903. G. A. T. Middleton, "The Principles of Architectural Perspective."
1904. J RtrsKiN, Works, "The Elements of Perspective." Illus.
1905. F. R. Shearer, " Perspective Tables."
1906. W. H. Roberts, "Architectural Sketching and Drawing in Perspective." Illus.
1906. R. " R.'s Method ; Perspective at Sight."
1908. Victor T. Wilson, "Freehand Perspective—for use in manual training colleges." London and New York.
1910. G. A. Storey, A.R.A., "The Theory and Practice of Perspective." Clarendon Press.
1917. A. Noelli, " La Prospettiva per gli sculptori il bassorilievo." Illus.



Oil Painting Book
Perspective for Artists
Light and Shade
Freehand Drawing
Drawing for Art Students
practice of oil painting free art books, online art book, perspective for artists light and shade, artbooks online free art book, freehand drawing free art book, drawing for art students

free drawing sketching painting lessons