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Drawing the Human Head , Face, and Body with Perspective Drawing Methods
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DRAWING PEOPLE IN PERSPECTIVE
There is, however, a law of perspective in re-. gard to proportion, which would appear to be natural to the human eye. I do not mean that the artist should infer from this that the per, spective law here mentioned has already its place in his eye without cultivation, preparation or seeking ; neither do I mean to imply a necessity for a lengthened study of perspective principles, but enough should be learned of the bearing of perspective laws on this subject to free the mind frcim embarrassment and doubt : once acquired, its local, apt and truthful application is sure. Suppose a statue standing equally on both feet, like a supporting caryatid, the arms hanging equally on each side, the horizontal line being at the height of the knees.
It will be seen that the lines crossing the eyes, the shoulders, the breast, the elbows, the hands, the knees and the feet, will meet at a given point on the horizontal line according to the oblique view of the figure, the knees only being of equal height, because actually at the level of the eye, or on the horizontal line.
Let a change of position be understood in the figure, so that it stands chiefly on the left foot. In this case, all the lines would be more or less altered in direction, in accordance with perspective considerations. The right knee would fall somewhat lower, and must thus be bent ; the hips on the same side would fall correspondingly, while the line of the shoulders' would differ slightly in the opposite direction, the line across the hands following fiersfiectively the same direction as that of the shoulders.
It is sufficient to give a figure in this altered position to make the difference of direction in the lines obvious. I remember to have remarked, in one of the studies of the Dusseldorf School, a painting in progress, in which the following perspective method was actually put in practice with chalk lines upon the canvas. I cite this as an example of carefulness and perspective consideration in the drawing of the figure, by one whose work proved him to be no mere tyro in his art, and though I should not insist on the necessity of this operation in actual practice, I am very sure that the same must be mentally worked out to produce correctness and truth.*
Assuming, however, the necessity of some perspective power, for we cannot altogether blink some necessity, and having before advanced an opinion that objects of ordinary still-life character are useful as midway materials, as leading steps to the acquirement of power in drawing the human figure, I here introduce some such, with the following remarks :
An object, such as is here figured, will be found to be a good example of form for the practice of the eye.
The model here given is not one of particular selection. Scores of objects equally available for practice are constantly at hand.
Here is another entirely different in form but not less common, and I am sure that frequent delineation, from the actual objects, of such forms as these, not loosely, but in conformity with perspective laws, would have the effect of educating the eye and preparing it for the more difficult lines of. the human figure.
It must be here remarked that of all the circles or discs which ornament the globose surface of this ‘. Teniers jug," possibly not one—certainly not more than one—can appear perfectly round ; and even this can take place only when the eye of the observer is looking directly at its centre. The perspective circles will of course be resorted to, as well for the general form as for the true placing of the ornamental discs. In respect to the foreshortening of these discs, as they approach either side, or happen to be on the receding under-surface, it will be sufficient
to notice the perspective change of form, as well in the spaces they occupy as in their general inclination and curvature.
So far I may assume that my remarks have run in a tolerably straight course with commonsense. I do not mean that this practice on still-life objects is to be taken merely as a course of study preliminary to that of the human figure ; but, on the contrary, it shall be pursued simultaneously with it. I have frequently observed in drawings made at the Royal Academy such lamentable errors as the following : A statue has been tolerably well drawn, and, moreover, beautifully shaded with great power of manipulation, while the pedestal on which the figure stands is ridiculously out of perspective. *
Other instances are not rare of the want of care in selecting positions whence the drawing should be made. Supposing the student to be sitting as usual on a low seat, having his horizontal line—the height of his own eye—parallel or thereabout with the feet of the statue, he has to look up to the head, by this means assuming a different and false horizontal line, regardless of any point of sight, so called. He then proceeds to draw the intermediate portions of the statue, making for each an assumed new horizon and point of sight. His figure, when drawn, gives an untrue—a conventional—representation of the whole, because done in separate parts under so many separate views, which, combined, cannot be the truth ; and all this for want of perspective consideration, or perspective knowledge. *
