PERSPECTIVE CRASH
Rapidly draw horizontal and vertical lines on the paper, varying line length and intersections between the lines. At a further stage, begin to draw lines from line ends and crossings roughly towards the centre of the paper, or outward, again using different line lengths. Avoid drawing a specific vanishing point.
Do a number of these exercises, changing the speed of drawing and the content of the exercise. A two-point perspective can also be used, receding the horizontal lines to an imaginary point outside the paper.
The already existing lines on the paper guide the following lines, but this should not be rationalized too far.
Aims:
1. Draw interior space and form as naturally as objects from the outside
2. Unlearn the idea that drawing an interior means establishing a rigorous perspective method
3. Develop ways to seize opportunities from the drawing and to alter the exercise itself
Further reflection:
The Perspective Crash is at its best when the exercise begins to work as a platform for constant adjustments, searching for the more suitable challenge. The crash is especially open to variations. I change the time spent establishing the horizontal and vertical lines, or bring the receding lines in to the mix already in the beginning. When the drawing begins to gain spatiality, it is possible give tonality and search for a more definite spatial envelope.
The computer is powerful in producing perspective crashes, such as in the small example at the top of the page. I still feel that compared to such output, my perspectives are not as liberated. Yet it is also takes effort to make the computer produce more interesting shapes.
