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Digital Subscriptions > The Artist > Oct-17 > The city in perspective

The city in perspective

Robert Dutton continues his series with advice on how to use the rules of one-, two- and three-point perspective with exciting viewpoints to create dynamic cityscapes

P E R S P E C T I V E IN FOCUS: 2 OF 3

Evening Light, Manhattan, pastel on Canson Mi-Teintes ‘Touch’ black pastel paper, 350gsm, 201⁄2X14in (52X35.5cm).

Here one-point perspective leads the viewer through the painting to the right of centre. By making use of the diagonal, I have created a dynamic composition

Perspective is the foundation to everything you will ever want to paint convincingly – be it expressively, detailed or any other way. By learning the rules of perspective first, your creative interpretations of the world around you will be confidently executed – behind every great painting is a great drawing.

Perspective drawing is a technique used to create the illusion of a threedimensional surface on a flat surface. There are other ways to convince the viewer that your work appears to be three dimensional – tonally through aerial perspective, or by drawing objects in front or behind one another, for example, to give the illusion of depth.

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About The Artist

Welcome to the first of our new standard 80-page magazine, packed with even more inspiring practical articles to help you to improve and enjoy your own drawing and painting. In addition, this month we also include your free 16-page supplement with details of some of the best art courses and holidays available to inspire and inform your creativity, whatever your level or years of experience. So, whether you love working in watercolour, oils, pencils or acrylics, take your work to the next level with our team of passionate artist/tutors including Judi Whitton on how to use body colour in your watercolours, Haidee-Jo Summers with some useful exercises to help you loosen up in oils, Mike Barr's beachscape demonstration, Paul Talbot-Greaves on how to start with a watercolour mess and end in success, Peter Graham on why the rose makes such a wonderful subject for still-life paintings, Robert Dutton on mastering perspective for city scenes, and Peter Burgess with tips on composition and the Golden Section, to highlight just a few articles in this issue. Plus, there's so much more to guide and inspire your artistic development within our new 80-page issue - enjoy!
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