As discussed in Chapter 6, be careful not to add too much detail to your drawing. By not adding a lot of detail, you will give your drawing a more natural quality. Remember that the human eye actually sees a small area of focused detail at any given time. If, however, you like your drawings to look like a photograph, as though the subject is being seen through a camera lens and not a human eye, then add as much detail as you like.
Here is the finished drawing. The addition of some detail and texture gives a sense of completion to the drawing. Special care is taken to not overmodel the areas of detail. If the light areas had been punctuated with darker detail marks that were too dark, then the feeling of light flooding the area would be lost. A good example of this is in the vertical slats of wood siding on the barn. They only have to be subtly indicated to explain the nature of the structure to the viewer.
The best way to test whether the details that you're adding to your drawing are either working or hindering the work is to periodically step back at least 10 feet from your drawing. If it jumps out at you too much, it's either too darkly or crisply drawn, or the accuracy of the perspective is incorrect.
In this gallery of drawings, you will find several of the many ways that two-point perspective can be used to create very interesting drawings. As an exercise to sharpen your understanding of the principles of two-point perspective, place a large sheet of tracing paper over each of the examples and construct a perspective diagram, as discussed on page 100.
In this diffuse, mysterious urban landscape, the artist has added to the sense of ambiguity through the use of the two diverging roads going off to each side of the paper into an unknown space. Adding to this feeling is the driveway that enters the building on the left, which also looks empty and undefined.
In this extremely precise, two-point perspective drawing of an aerial view of a city, the artist has created a crisp and clear rendering through the use of very defined lines and shapes. The extensive use of the white of the paper adds to this feeling of clarity.
Building on Orange Street, by artist Josh Gaetjen, courtesy of the artist
This is a beautiful pen and sepia study for a painting. The use of two-point perspective in this work is subtly and effectively used. Beginning with the rug on the floor, which is placed at an angle at the bottom of the drawing to put it in two-point perspective, an arrow has been created. The arrow is a device to lead the viewer into the work. The box on the table is an important element for this theme because it is also placed in two-point perspective and is seen from above to accentuate its volume with the figure reaching into its mysterious depths.
In this drawing, which is a study for a portrait of a young boy, the architectural forms are in two-point perspective. These forms are being used as a device to help carve out a three-dimensional space in the picture, which enhances the form of the figure in the composition.
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