The Theory Practice Of Perspective

Leonardo da Vinci declared that the first lessons for all aspiring artists should involve perspective, and this authoritative guide assists artists at all levels in following the master's advice. Its scores of concise chapters cover a vast range of subjects, offering a comprehensive view of one of art's most difficult challenges: the accurate re-creation of natural perspective. Discussions of theory encompass definitions, both scientific and informal; the horizon and the points of sight and distance; and rules and conditions of perspective. The majority of the text examines the practice of perspective, featuring instruction on how to reproduce shape, distance, proportion, shade, shadow, reflection, and other aspects that endow two-dimensional works with lifelike qualities. More than 300 illustrations and diagrams make this an exceptionally clear and thorough treatment and an essential guide for students of art, architecture, and design.

What are the developments influencing supervision in clinical psychology? Supervision is crucial to good professional practice and an essential part of training and continuing professional development. This second edition of Supervision and Clinical Psychology has been fully updated to include the recent developments in research, policy and the practice of supervision. With contributions from senior trainers and clinicians who draw on both relevant research and their own experience, this book is rooted in current best practice and provides a clear exposition of the main issues important to supervision. New areas of discussion include: the impact of the recent NHS policy developments in supervisor training practical aspects of supervision a consideration of future trends. Supervision and Clinical Psychology, Second Edition is essential reading for clinical psychology supervisors as well as being invaluable to those who work in psychiatry, psychotherapy and social work.

Health Promotion in Canada is a comprehensive profile of the history, current status, and future of health promotion in Canada. This fourth edition maintains the critical approach of the previous three editions but provides a current and in-depth analysis of theory, practice, policy, and research in Canada in relation to recent innovative approaches in health promotion. Thoroughly updated with 15 new chapters and all-new learning objectives, the edited collection contains contributions by prominent Canadian academics, researchers, and practitioners as well as an afterword by Ronald Labonté. The authors cover a broad range of topics including inequities in health, Indigenous communities and immigrants, mental health, violence against women, global ecological change, and globalization. The book also provides critical reflections on practice and concrete Canadian examples that bring theory to life.

Perspectives on Place provides an inspiring insight into the territory of landscape photography. Using a range of historic and contemporary examples, Alexander explores the rich and diverse history of landscape photography and the many ways in which contemporary photographers engage with the landscape and their surroundings.Bridging theory and practice, this book demonstrates how mastering a variety of different photographic techniques can help you communicate ideas, explore themes, and develop more abstract concepts. With practical guidance on everything from effective composition, to managing challenging lighting conditions and working with different lenses and formats, you’ll be able to build your own varied and creative portfolio.Each chapter concludes with discussion questions and an assignment, encouraging you to explore key concepts and apply different photographic techniques to your own practice. Richly illustrated with images from some of the world’s most influential photographers, Perspectives on Place will help you to explore the visual qualities of your images and represent your surroundings more meaningfully.

This collection offers an expansive, multiplatform exploration of the rapidly-expanding area of motion design and motion graphics, taking into account both theoretical questions and creative professional practice. Spanning interaction design, product interfaces, kinetic data visualizations, typography, TV and film title design, brand building, narrative storytelling, history, exhibits and environments, editors R. Brian Stone and Leah Wahlin offer an interdisciplinary range of academic essays and professional interviews that together form a dialogue between motion design theory and professional practice. Written for both those critically engaged with motion design as well as those working or aspiring to work professionally in the field, the book features a range of international contributors and interviews with some of the best-known designers in the field, including Kyle Cooper, Karin Fong, and Daniel Alenquer. The Theory and Practice of Motion Design seeks to illuminate the diverse, interdisciplinary field of motion design by offering a structured examination of how motion design has evolved, what forces define our current understanding and implementation of motion design, and how we can plan for and imagine the future of motion design as it unfolds.

IT is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance. Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective. George Adolphus Storey Book First The Necessity of the Study of Perspective to Painters, Sculptors, and Architects LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade. 'The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct.' Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator. There is another observation of Leonardo's that it is well I should here transcribe; he says: 'Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing.' This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this 'everything in a hurry', and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting. Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive. All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour...