Collect four boxes and draw them at different distances below eye level. You might place them on top of one another and draw the topmost first; remove it and draw the second, and so on until you've drawn the fourth. Notice that as you come down to the lowest box, you see more of its top plane than you did on the first box. Compare the top planes of all four of them when you've finished.
This type of practice exercise is indispensible. It doesn't result in a drawing worthy of being hung on a wall, any more than the pianist's exercises would be performed in a concert hall. Yet, as you know, the pianist submits to daily practice not only to acquire technique, but to sharpen and control it, even after he or she has mastered the instrument. Flip through the pages of this book, if you haven't done so already, and you'll see that you're going to draw everything, not just boxes. But you must first find your feet before you can run.
A cubic form presents no problem at all if you place it squarely in front of you with only one side visible, as seen at view 1. The horizontals remain horizontal and there's no angle to check. But notice that you lose the cube's sense of solidity and it becomes a flat rectangle. The moment two sides are visible, as in view 2, the cube begins to convey a sense of bulk. There's only one vanishing point here; this is called one point perspective. When three sides are shown, as in view 3, the horizontals have become diagonals, but there's no question about the cube's volume and the space it occupies.
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