CHAPTER XVIII: PERSPECTIVE
There are two kinds of perspective, linear and aërial. The former has to
do with the manner in which horizontal lines appear to converge as they
recede from the foreground, and so produce the effect of distance. The
latter has to do with the effect of distance, which is due to the
successive gradations of gray in color noticeable in objects farther and
farther away from the observer.
Aërial Perspective. - To the student, aërial is color perspective, because of the
modifications which colors undergo when removed to a distance. Modifications of tone
are largely due to varying distance, and so aërial perspective is largely a matter of values.
That they are due to the greater or less thickness of the atmosphere is only a matter of
interest, not of importance, to the artist; the important thing to him is that the careful
study of values is necessary to relief, perspective, and particularly, atmosphere and
envelopment in a picture. To the student, aërial perspective should be only a matter of
observation and of the study of relations of color and value. There are no rules. The
effect depends on greater or less density of atmosphere. Near objects are seen through a
thin stratum of air, and farther objects through a thicker one. All you have to do to
express it is to recognize the relative tones of color. Paint the colors as they are, as you
see them in nature, and you need have no trouble with aerial perspective.
But though I say “this is all you have to do,” don’t imagine that I mean that it is always
easy, or that it can be done without thought and study. You will have to use all your
powers of perception if you wish to do good work in this direction. Especially on clear
days, or in those climates where the air is so rare that objects at great distances seem
near, you will find that atmospheric perspective is simple another name for close values.
And close values, you remember, are the most subtle of relations of light and shade and
color.
The only rule for aërial perspective is to use your eyes, and do nothing without a
previous careful study of nature.
Linear Perspective. - For most kinds of painting, a technical knowledge of linear
perspective is not necessary, although every painter should understand the general
principles of it.
In most cases all the exactness needed can be obtained by comparing all lines carefully
with the pencil or brush handle held horizontally or vertically, and studying the angle
any line makes with it. Apply to all objects in perspective the same observation that you
do in any other line of drawing, and you will have little trouble, as long as you are
drawing from an object before you. But if you go into perspective at all, go into it
thoroughly. A little perspective is a dangerous thing, and more likely to mix you up by
suggesting all sorts of half-understood things than to be of any real help.