In this arresting drawing, Eder has used the full tonal range of the medium, from white to black, to create an image with a strong visual impact. The chair seats are drawn in one-point perspective, but the compositional element is directed by the pattern of shapes of light and shadow. The mysterious red lines seem to be incongruous at first glance but in fact give a visual strength and added structure to the drawing.
In this drawing, the complexity of New York City is surveyed from a high vantage point. New York was built on a grid; consequently, this is mainly a one-point perspective drawing. However, not all of the streets were incorporated into the grid, and so there are also some two-point perspective examples here (see Chapter 7). Distance is suggested in this drawing, not only through perspective and proportion, but through drawing the prevailing atmosphere. The concrete, solid buildings turn to shimmering cutouts in a late-afternoon light.
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