For the tracing perspective assignment, students went on a field trip to the New York Public Library and created a one-point perspective drawing based off of the architectural elements of the library. Using a sharpie and acetate, students found a place in the library that demonstrated the characteristics of a one-point perspective composition and subsequently traced what they saw onto the acetate. After completing the “traced” acetate compositions, students transferred the composition onto drawing paper. At this stage in the project, students had to hone in on the accuracy of the composition, using tools like a t-square, ruler, and compass to create straight, even lines and perfectly rounded arches. During the preliminary critique, Alaiyo had students “check” the accuracy of their respective drawings by using a string of yarn to ensure that all vertical lines converged at the vanishing point. After this critique, students returned to their compositions and made any necessary revisions to their line work, once again focusing on creating accurate/precise compositions. The final facet of the project involved the implementation of a chosen medium; students were allowed to apply a medium (or multiple) of their choosing to the perspective drawing. It was at this stage in the project where one’s creative tendencies and artistic identity came out in the composition.For the tracing perspective assignments, students went on a field trip to the New York Public Library and created a one-point perspective drawing based off of the architectural elements of the library. Using a sharpie and acetate, students found a place in the library that demonstrated the characteristics of a one-point perspective composition and subsequently traced what they saw onto the acetate. After completing the “traced” acetate compositions, students transferred the composition onto drawing paper. At this stage in the project, students had to hone in on the accuracy of the composition, using tools like a t-square, ruler, and compass to create straight, even lines and perfectly rounded arches. During the preliminary critique, Alaiyo had students “check” the accuracy of their respective drawings by using a string of yarn to ensure that all vertical lines converged at the vanishing point. After this critique, students returned to their compositions and made any necessary revisions to their line work, once again focusing on creating accurate/precise compositions. The final facet of the project involved the implementation of a chosen medium; students were allowed to apply a medium (or multiple) of their choosing to the perspective drawing. It was at this stage in the project where one’s creative tendencies and artistic identity came out in the composition.
When Alaiyo first announced this project to the class, I was admittedly less than thrilled. I have never particularity enjoyed architectural drawings of any sort; architectural drawings, of course, involve a great deal of math and measuring, and while I wouldn’t say I’m inherently bad at math, I am probably the worst measurer in the entire world (and that simply is not an exaggeration). I’m also notoriously bad at drawing straight lines (even with the help of a ruler), so of course, I was mildly terrified by the prospect of creating a perspective drawing (which I hadn’t done in several years). When we took our trip to the public library, I took my time wandering through the seemingly boundless edifice, carefully observing the incredible architecture. I wanted to approach this project very strategically; I may not enjoy drawing straight, rigid lines, but I absolutely love drawing intricate and ornate details, so I wanted to select a space within the library that followed the guidelines of the project, but would also allow me to have some fun with the replication of delicate and opulent details. With that in mind, I directed my attention towards the McGraw Rotunda, a magnificent, open space within the NYPL.
I became very frustrated with the process of tracing onto the acetate simply because drawing onto a piece of paper that is being held out in front of me with no support felt incredibly foreign. My composition turned out rather messy, but I mentally assured myself that I could easily clean it up once I’d traced it onto my final paper.
Spoiler alert: I could not easily trace my acetate composition. In fact, I essentially had to do away with the acetate and start anew on my drawing paper, using my acetate and my photograph as rough guides. It was at this point that my frustration with the project came out in full force; I felt overwhelmed by the sheer number of elements I would have to include in my composition. As I returned to the photograph for reference, everything began to blur together; was I looking at four arches? Eight? Had I already drawn /that/ arch? I couldn’t make sense of what I was seeing, and if I couldn’t make sense of the photograph, how could I possibly replicate it myself?
Ultimately, I decided to simplify my composition. After a talk with Alaiyo in class, I learned that my composition did not have to look /exactly/ like the photograph; I could add or subtract elements to my liking, so long as the lines maintained a sense of accuracy and precision. Once this information was presented to me, I felt a lot less overwhelmed by the project. I allowed myself to take things slowly and simply get the most important elements of the composition onto the paper before moving onto the details (saving the best for last, of course!) Once I had effectively recreated the converging lines, the walls, and, of course, the (godforsaken) arches, I allowed myself to move onto the best part: the details. I genuinely enjoyed replicating and subsequently reinterpreting the wonderful details in the McGraw Rotunda, and I especially enjoyed placing people into my composition. The composition felt devoid of any sense of character before I added in any people; once I filled the space with various characters, I felt that my drawing actually captured the essence of such a busy, populated space like the New York Public Library. I chose pen and ink as my medium because it’s the medium I’m most comfortable with, and I felt it was important for me to use a familiar medium when working on a drawing I wasn’t so comfortable (or familiar) with.
Overall, I am relatively content with the final outcome of my composition. I recognize that my drawing is by no means perfect, but it is reflective of my own artistic styles, creative tendencies, and my penchant for details. Even though this project was characterized by a great deal of frustration and self-doubt, I think it was an inherently valuable (and necessary) project. Sometimes, it’s good to abandon one’s comfort zone — and that I most certainly did.
Below: Final composition (left), acetate drawing (right)
