I have been working on a piece that has a road in it and it is the first where I have had to work out pespective issues. This did not come naturual to me and I Ihave reworked that road now for the 10th time or so.
I was wondering if there was any tricks or tips any of you had that could be used in future works on getting or keeping perspective?
Rita, the trick is to determine a vanishing point. All lines have to meet at that vanishing point.
I don't know if I can explain it or not, but try this. On a piece of paper oriented in the horizontal position, draw a line in the upper third of the paper. This is your horizon line. Place a dot anywhere on that line. It can be dead center or anywhere off center.
Now across the bottom of the paper place hatch marks evenly. If this is a small paper, try one inch increments. Now, draw lines connecting those hatch marks to the dot on the horizon line. That till create the properly-proportioned perspective that you are looking for. You can also extend those lines up the sides of your paper as well, but that is a little more difficult to explain here. It involves extending those bottom spacings outside the confines of the paper.
If you are seriously wanting to learn about design, then I would suggest going to your favorite book store and peruse the art section, specifically the beginning drawing books. All of them should have a good discussion on perspective.
Thanks Peggy this helps alot
When it comes to stitching, not that I'm a quilter, intensity is also important.
Take a look outside... the trees/flowers/buildings nearest to you, you will see every leaf, petal or brick. As they get further away the detail vanishes - you know its a tree, but those in the distance become shades of green blobs, the shape is there of the building, but not longer each brick or tile. In my embroidery world, the items in the distance are stitched lightly, with fine thread, small stitches, perhaps marks rather than specific stitches. As you move towards the foreground the thread thickens, the volume of stitch increases, gets larger each stitch is more visible. The same thing applies with fabrics, as in, distance fine pattern, closer more dense patterns. Colour too, it might be softer in the distance becoming more intense closer too.
It can be hard because you want to put down what you know, rather than what you see... eg you know this building has red/brown brick, you pass it every day, but a distance view, and suddenly it may be brown/grey, or a grey/blue.
Don't forget this is your art work, and as long as you enjoy it and like the effects, that's all you need to worry about.
Yes, Peggy and Beverly this is very helpful info.
I know this is a bit late, and Peggy did a great job of describing the process, but you may want to have a look at http://daphne.palomar.edu/design/space2.html. Be sure to check out the whole site while you're there. It's a great online reference for design.
Best regards,Dena Crainhttp://www.denacrain.com/bloghttp://www.quiltuniversity.com (Faculty)http://www.saqa.com (Professional Artist Member and Africa Zone Representative)CHECK OUT SAQA's Online Auction - http://www.saqa.com/newsebulletins/Squares09_1.aspxAuction starts September 10th at 2:00 Eastern
Dena - in Kenya
Thanks for all the help