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Posted January 24, 2007
This book is a classic for good reason. It is called ¿freehand¿ because you do not make use of string lines and rulers in applying what you learn from the lessons in this book. Instead, the idea is to develop what the eye actually sees via an understanding of perspective principles, and then draw, not in accordance with the principles, but in accordance with what one sees. The difference is important! The author has put the field in a very easy to grasp way, with examples and student studies that build in a very well handled way. I think the success in the authors effort rest in the fact that, unlike many books on the subject, which elevate the heck out of the rational aspects of perspective, she writes her book with the primary focus upon how the artist makes use of those rational aspects, thus giving the upper hand to art, not mechanics. Troy Large
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