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C A R V 1 N C IN THE R O U X D

CON'VEYING A SENSE OF DEPTH

If you are drawing with a vic\v to making something in the round you need to indicate how the forms advancc and retreat in depth (Fig 9.3). Therc are various means of doing this. One of them is perspective, a theory which explains the fact that rhings furcher away appear to be smaller and, depending on whether the viewer is looking down on these or up from below, move up or down the picture piane. If the viewer is also looking slightly from the side even morÄ™ dues can be observed (Fig 9.4). But if you wish to indicate depth in a sphere it is much hardcr unless it has lines on it as on a geographical globe (Fig 9.5) or applies the following principlcs.

Height

Width

Fig 9.3 The three dimensiom.

Fig 9.5 Using theprinciple of lines getting closer together as they go round a curve.

As well as things appearing smaller with smaller intervals between them the further away they are, they also losc definition of dctail and become less strongly contrasted. A vie\v of countrysidc on an ordinarily humid day will show scrong contrasts of light and shadc in the forcground and faintcr outlines far away, as in ranges of hills (Fig 9.6).

The contrast between a very dark linÄ™ or patch of shadow with the white of your paper makes it jump forward in the same way (Fig 9.7).

Seen from above    Seen j_rom at>ove and side

Fig 9.4 Perspective.

Using Lighting to Convey Depth

To portray depth and to record information a car\’er or sculptor has to show not only what is seen but what is known to be there. Lighting can cause problems. If you have several light sources they create conflicting shadows which destroy the illusion of depth in a form when drawn. I prefer to eliminate from my mind all but one light source when drawing, or if possible place an