You spot a burly guy, asleep on a park bench. Like a camera lens, your eye zooms in on his gruff face, not quite hidden by the standard New York insignia--a Yankees cap. Unbeknownst to him, he's your model. Your only thought: hopefully he's out cold--long enough for a portrait.
Before settling down, take a look. Is there a story here? The man is disheveled, slumped down (arguably, he should have passed on that last beer). Out of work? Or was he up all night partying with his buddies? Are you feeling any emotion yet? Sad? Indifferent? Uncomfortable? Sitting squeezed between the lunchtime crowd--keeping your distance? Or are you close enough to smell his breath? Your perspective includes both your physical distance, and your personal reaction. Use these viewpoints--with whatever the subject--and we will be drawn into your sketch.
In the following--less notable scene--we know our proximity to the man, the time frame (his clothing), wealth (a delicate handling), and a sense of place (atmospheric perspective):
| Sketch in the Country by Carolus-Duran, 1877. Drypoint on laid paper, Sterling and Francine Clark Art Institute, Williamstown, Ma. |
Note the perspective of some students from my Summer Intensive Studies classes:
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