Perspective Learn everything an artist needs to know to make objects look three-dimensional By William F. PowellCONTENTS INTRODUCTION PERSPECTIVE . . . How Does It Work?.. PERSPECTIVE TERMS Subject Picture Plane... Viewing Point and Angle and Elevation of View Horizon Line Vanishing Point... (ONE-POINT PERSPECTIVE Drawing a Cube in One-Poirt Perspective Drawing the inside. Exercises to Practice. ‘TWO-POINT PERSPECTIVE 2 Drawing a Box in Two-Point Porspective.. Brawing the inside Exercises to Practice MEASUREMENTS Mathads of Measuring Proportions and Divisions Dividing Aroas .... Finding the Peak and Pitch of a Root ‘THREE-POINT PERSPECTIVE... 8 DRAWING ELLIPSES.... ister 84 FORESHORTENING.... 88 DRAWING PEOPLE IN PERSPECTIVE. Changing Elevations ... CASTING SHADOWS IN PERSPECTIVE 41 Finding the Length of a Cast Shadow. a a4 REFLECTIONS IN PERSPECTIVE 48 CHANGING PLANES AND DIRECTIONS... | PERSPECTIVE FROM A PLAN DRAWING. caus pemen ED since) Exercise to Practice 55 COMPLEX AND IRREGULAR FORMS IN PERSPECTIVE... 56 Exercises to Practic sii 56 ENHANCING DEPTH BY SHADING AND TEXTURING oniestromll Light, Almosphere, and Moisture .. 61 Exercises to Practice ie OS ‘CONCLUSION... (1069, wer Foster Publishing, le Al ight rezoned “This books beon publiched to ithe assiing att Reproduction ofthe worker sty o Hnshes at pemissle Any ‘pretompcwnieel rprsusion oat hom te pebietien of awn Wom he putcaton ft comarca puree Torbay ‘not ten convent rm to pubis, War Fostr Putting, InINTRODUCTION... History of Perspective Fersoective in the art of drawing and peirting, and in some rele! sculpture, i a technique that allows us to represent three-dimensional objects end space onatflat surface or plane. This surface or planeis the board, paper, canvas, or surface onto which we draw or paint our impression and view of an object or scene. Inar, there are anumber of waysto use perspective thinking andlogicin order toobiaintheilusion of depth — some with the use of color and graduated values of black ard white, and some with accurate drawing of the eubject by applying tho rules of the geometric system of perspective. LINEAR PERSPECTIVE as wa know ttoday is thought to nave evolved from the early architectural drawings cf two architects, Brunelleschi and Alberti, in Florence, Itely in eary +400 A.D. Filippo Brunelleschi drew two panels that were pictorial vews of Florence in perspective. Thase panels made an important impact on art theory in the areas of architecture ard fine ert. Unfortunately, the two original panels are lost. Lecne Batista Alberti was a painter, musician ane architect in Florance, Italy. He designed some of the most classical buildings of the 15th century. He wrote the very first book on painting that covered both theory and technique, and it had a creat influence on the Renaissance ertists. His writing coverod supjacts such as im tation ofnature, beauty, perspective and ancient art An interesting side note is thal in 1454, Alberti wrote ‘another work on the subject of sculpture. This writing was enother first work inthe field anc covered human proportions Inhis book De pittura, Alberticombined therulesand techniques of perspective with the theory that painting ig an imitation of realty. Ho sav the picture plane as a window through wich the artist sees the visible three-dimensional wor'd, Objects appeared smaller as they receded into the distanoe, and objects of Uniform distance trom one anotrer, such as fence posts, appeared to become closer together the farther they receded into the distance. Projected imaginary lines that were paralel tothe suriace plane ccnvergedto ‘one point at the horizon. All of the objects in the picture related ta the samo horizan when viewad from the ‘same viewing or staticn point. In this method, all objects could be measured in proger geometric proportion to one another. “The Ital artists of that day tended to work within this geometric system, while the Flemish artists relied pon thetr observations and practical experience to accomplish the illusion of depth and spece. This is referred to as the empirical methed of achieving depth. Leonardo da Vino! is crecited with the general development of the AERIAL or ATMOSPHERIC PERSPEC- TIVE. This mothod is baced upon observations that contrasts of color and values of dark and light are much, (greater in objects that are close than in ones that are distant. Atmosphere and light atfect the colors of Objects in nature. A biuisa waite effect, created by atmosphere, is noticeable on all colorsas they become more distant. Also, lines, edges and contours are more clearly defined in objects that are closer than those ‘more distant. Aerial perspective also observes that distance alfects the color uf objects and that the samme color appears cooler and lighter when placed more distant, and warmer and more intense when closer. ‘Theuse of linear perspectivehas had a great influence upon the development of artin the western cultures, but inthe ar: of today, itis being cast asice by many who foc! that art a moro an oxtondec oxpression of themselves than a mirtoring of natire ard really. In some cases, | view this a5 a lazy excuse to avoid the labor oflearing to draw. “The knowledge of perspectiveis invaluableto the serious artst no matter what technique or scnocl otarthe ‘or she may prefer. we know anc understand the basic theories of perspective, then we can produce our ‘work in any degree of realism o” thoughtful distortion Intthis book its my intention to present the rules of perspective so that you can use them as a guice in the preparation of your work. This does not moan that you must craw and moasure everything tothe nth degree, but instead Use the rules 8 a tocl to correct a problem iit ex sts. By knowing perspective, problerrs of proportions end the relationsh ps ofobjects one toanother that mey develop in our drewings are more casi spotted: How often hava we said to ourselves, "Something looxs wrong in my painting, but | ustcan'tseem toputmry finger on it" Withan understanding of perspective, you willimmediately know how to correctany distortion that may appear. In this study of perspective, | would like to suggest that you do nct skip arourd in the bock, but follow it thoroughly, step-by-step, as it has been carefully organized into a progressive study ily hope you will enjoy itPERSPECTIVE . . . How Does It Work? Perspective isa method of drawing and painting the illtsion of depth ontoa fiat surface. In arderta dothis, we ‘must make @ number of observations. ‘The forms or objects that we are drawing onto that flat surface actually, in real lite, havedepth and dimension. ‘As we view them and place their snapes and forms onto our drawing surface, we must always try torepresent ‘that depth so as to make the objects appear realand true These forms must appear to extend deeply into the 'lusional space of our picture in order to create the only trus magic in drawing and painting — the appearance of form, depth and the natural play of light — all on a flat surface. In the examples, notice that one of the arrows and one of the roads appear to have ceoth while the others KS a NO DEPTH DEPTH NO DEPTH DEPTH ‘The foundation of all good paintings and drawings, no matter how beautifully shaded and colored, is the correctness of perspective in the ‘drawing of the form and the depth of the objects portrayed. Inorder to make the task of obtaining depth and formeasier, we should think about the whole object we are drawing. Do not just iook at the ‘ront visible surface, but imagine the complete object as the planes of {he sides recede. Objects that have depth and breadth havebacks and SKETCH SHOWING ‘offer sides. In order to fee this, we must study the object anddraw the VISIBLE SURFACES feeling of the complete form. we want to craw a box, weshculdssetch itas fitwere transparent. By drawing this way, we not only understand the box better, but are more likely to craw itcorrectlyinsize andshape. Wo certainly will be able to portray the illusion of depth far easier this ‘way than i we just concentrated on the visible surlace. (0 ‘SAME OBJECT WITH ALL Zzzz—”"—_ LEE” Next, draw a diagonal line from comer to corner and notice that it crosses the depth lines. This ‘stablishes the correct depth of aach tile. Now, exterd lines from these points of contact to the vanishing point on the left and we have a tile floor complete and in correct perspective. 28Fence posts, rallroad tes, cracks in sidewalks, telephone poles or any other objects that are equally spaced. aoar are drawn correctly by using the following example of proportional division. Draw a line trom the top and bottom of the first post to the vanishing point. This gives the height First establish the horizon line and the vanishing {Quidelines ‘or all posts. Now draw theseconc post point toward which the posts will be receding, by using visual measurement ‘oestablish how far ‘Than, draw the first post in the position desired. apart they are. | HL ve Next, draw a line trom the top of the first post Next, find the middle of the first pest and draw a ‘through the center point of the second post and line from that paint to the vanishing po nt. where this line crosses the bottom line, is the locetion of the next post. Repest this procedure as often es necessary 10 csiaolish the rest of the posts Z ‘Seehow easy tis! Try some exercises of your own anc conot be alreld to waste paper practicing. Themore ‘you prectice, the more experienced your eyo will bocore and you will find that you are seeing and drawing more accurately then aver before. Mcst ct the time you willbe measuring and drawing using eve judgements ard mostof the time you willbe right. something doesnot lock quiteright, the knowledge of perspectiveand ‘the methods of proportional measurements are extremely helpful in finding and correcting the error.Finding the Peak and Pitch of a Roof First, draw the general shape of the house in the transparent manner, drawing the front and the back walle. "Notice the difference in them due to the change in depth, To find the peint ofthe roof, draw a lire from each corner ta the other. This gives us the exact center ofthe frontanc back of the house. Next, cravra vertical guideline for the true center line extending ebove the walls. ' Now, by measuring anc comparing other partsof the HEIGHT OF ROOF + | __euse, we can establish the neight ofthe roof. Puta ' point thereon the center ine ve HL ; Now, drew a line trom the root height point to the HEIGHT OF ROOF ~~ ' right venishing point. Next, rawaline from the point ioeach comer f the {rort wall and this will giveus the correct angleof the root for the height, ‘The point where the line for thetop ofthe roof crosses the back ver the root at the back of the house. centerline marks the point and pitch of seThis is a simple example of the use of two-point perspective in placement and layout of objects. The road, bam, trees, ence and furrows are all ceveloped from two vanishing points. [Notice the placementand size chengesoo the trees in relator to one another. Byusing the tase and to points ofthe front tree and drawing lines from them to the vanishing point, we have a guide for as mary trees.as we wish. Remember that al trees are not the same height, but this method gives us.arule of perspective that will allow us to measure and use good compositional judgement when placing all ofthe other trees in our picture. > os To tind the proper angle of the back of the gabled roof, simply extend the front center fine back at the same angle as the pitch of the rocf. The point where ‘the top roofline and the centerline meets the point of contact with the barn roof. Now, draw @ line 2s shown and there is the correct angle. aTHREE-POINT PERSPECTIVE .. . ‘When we view an object irom the top, we are most likely viewing itin three-point perspective. Most often we are able 10 draw this view without worrying too much about the third point, butif the object is viewed at such an angle este make the sides appearto be oblique from side to side and top to bottom, then we must use the third point A good example of three-point perspective sto look ata tall building from eltner a top view or a bottom, View as chown below. _~ ANP 7 HIGH ELEVATION OF VIEW, v HIGH HORIZON LINE wn Establish tho comer of the building that is closost to you and draw the vertical haight line. Next, establish the angles of the sides by crawing in the top and bottom guidelines. Using vcucl moasuroments, ostablich tho bottom wicth of 22cn side byplacing dts onthe bottom lines, Now, measure the top wicth of the left side only and lace a dot on the guideline % Draw a vertical center line downwerd. Now draw a line cown irom the top leftthrough the bottom let dot \r \i and extend it down below the building. The point \ ‘where the lines cross isthe position ofthe third van- THIRD VANISHING POINT ishing point szHeres an example ofa building from a view looking upat it. The third vanishing pointis abovethe building. A general rule of perspective is natal vertical ines be kept truly vertical unless three-point perspective is used ‘or dramats effects. Three-point perspective can bea tremendous aid in making dramatic presentations in our pictures. 38DRAWING ELLIPSES ‘An ellipse isa circle that is viewed other than straight on. When we look across the surface of the face of the circle, itis foreshortened and we sae an ellipse. No matter what degree of angle the ellipse is viewed, one dimension will aways remain constant with the circle. The corstant (the axis) ise straight line through the circle and slipse upon which it supposedy or actually rotates like a spinning coin, OOOO GS Here are a numberof ellipses zt various dagreesot angles. Notice thatthe heightis constantwith the circleon the left |tisimportantto draw ellipses correctly not, any object they erea parto will appear distorted. Thetop of a alass, @ cylinder, a lampshade, atin can, and a vase are all exampies of ellipses. Here is an exercise that shows now to build an ellinse usina the circle as a aude. The easiest way to start is to place a cirde into a square. By doing this, we have edges that we can use {or measurements. The circle fs unform in measure- mentandso sthe square. Together, they become the perfect tool When drawing the elipse from your subjact, itis best to sketch it in freehand. Then use the following metiiod to prove or correct it First, from the vanishing point andthe top and bottom of the sketched ellipse, project lines across to the ‘edge ofa separate piece of paper. Draw two horizon LIGHTLY SKETCHED {al ines trom the point ot contact with tne paper's / ELLIPSE ‘edge. This s the height ofthe square. Now, draw two é vertical lines the same distance apart as the height lines and we nave thesquare established in relation to the sketched ellipse. Now, divide the square in the manner shown, using the metiods we have already studied, Then, fil the square wth a circle. Place points where the circle crosses the division lines. Then, extend two lines to the right from these Points to the edge of the square, “EXTENDED LINE 34Next, draw the back edge of the ellipse using eye ‘moasuromont for width. Then, divide this porspoctive square like the flat square, Now draw perspective Ines from the three points the ‘dge of tn0 equaro to the vanishing point. Next, placo a dotat each paint whera the lines crass the division ines. Now we have a st of points to use in checking and crawing the ellipse in proper perspective. ‘The closer the ellipse is to eye level, the flatter it appears. As it mores dawn ard away from eye level, we se2 more the face ofthe linse. inorcer to make each one correct, ve must ist place it intoa perspec- tive olane then work cut te different planes assnown here. After the planes ere esteblished, by using the same metnocs used previously, we establish the points to heck and draw a very correct ellipse into the plane where itis located. For this wagon wheel, a square in perspective was drawn as the outer boundary. Then it was divided inthe same manner as before. Then, the circle/ellipse was drawn in it using @ separate piece of paper as a fool. Like above, atthe cross points, the elipse was drawn. ‘The spokes are placed by using the division lines as quiges. Simply extend the hub cu:warc using the vanishing point and draw smaller ell pses, 35FORESHORTENING .. According to Webster's Dictionary, “foreshortening” means, “to represent the lines of (an object) as shorter than they actually are in order to give theillusion of proper relative size, in accordance with the principles of perspective.” Here aro a fow simple oxampios of fore shortening to practice, FORESHORTENED UNE ~~ - ACTUAL _ ee WIDTH CUBE IS EQUAL ‘ON ALL SIDES SIDE (FLAT) VIEW C END (FORESHORTENED) ; y VIEW 4 f ) 3 i FORESHORTENED viEW STRAIGHT DOWNWARD VIEW FLAT VIEW ‘Ahend pointing toward you's na foresnor‘ened position. Weall know the tuelengthof the hand, butacceattheilusion of appearing shorter ‘on the drawing if the drawing 's properly executed. Here, a simple ‘cartoon hand is shown in various positions! foreshortening. Try ‘of the objects into block formas guicos at firs. Tho mora you practico, the 228ie" toreshortening will become. Pretty soon, there will be no need forthe block-in guides; freehand sketching will do ital! 36 SLIGHTLY FORESHORTENED cee > FORESHORTENED SLIGHTLY FORESHORTENED f cy) \ FLAT | viewBOX BOTTOM BOX END AN BOTTOM BOX END BOX END, TC AND INSIDE FLOC BOX TOP AN INSIDE FLOC | | DOoOOL a ———————— 4 | a7DRAWING PEOPLE IN PERSPECTIVE ... li we place figures at random in our picture end do not measure ther one against tre other we will probably ‘end up with some of the figures cut of proportion and some possibly appearing to float. People areola general height and the minute. figureis placed in he picture we aulornalically judge thesize ofall other objects by it Figures that ere placed more distantthan others will appear smaller. The farther they are placed from the viewer, the smallzr they will be. Itis simple to create a drawing with all ofthe figures in correct proportion to one another and te all other objec in the picture, Here are some exercises showing the methods, ve HL First, establish a horizon ling and a vanishing point. Next, establish the height anc placement of the first figure with a vertical line HL Next, drawaline from the top and bottom ofthe tigure {othe vanishing point. This establ shes the first igure ‘and the guicelines for others to follow. Draw in the figure. ‘Next, using the firs figure anc the guice!ines, draw in other figures in different places, The vertical cistance ‘between the top and bottom lines establishes the height for al of the other figures. This, of course, is for standing figures. seee | | | | anny 1 ONIENSVNN >} a undid LHDISH eis: f TWNIDIKO —3NI1 ONIHSY3W LHOBH undid “ gai BuNDI 8 wun suojene|3 Bulbueyd acCASTING SHADOWS IN PERSPECTIVE .. . ‘When wenavea single light source, all otheshadows inthe picture recede to tesame vanishing point. This vanishing point isplaced directly under the light source, whether onthe horizon line or more forward inthe picture. The shadows follow the plane on which the objects sitting. Shadows also follow the contour of the plane on which they are cast. Lightreys travelin straight ines and strike an object thats inthe way. That object than blocks the rays from ‘continuing onward. This creates the absence of light inthe form ofashadow. Each shadow has is own shape ‘hat is peculiar to the object that costs it Notice the cifferent shapes of shadows in all of the following examples @ LIGHT SOURCE Step 1. Draw a cube using two-point perspective. Next, select a point forthe light source and piace a dot there @ UGHT Step 2. Dropa vertical line down from the light source ? SOURCE untiit contacts the horizan line and place a vanishing : point there for the shadow. Nexi, extend shadow van- i shing point ines through the right and left comers of 1 the cube atthe ground plane level 1 | SHADOW | VANISHING POINT vp “ ve 41‘Step 3. Next, draw lightalrection lines A, Band Grom the light source and {ouch the three forward corners ‘of the cube, extending onward, The length of the shadow is set where the shadow vanishirg point lines ad height direction linescxoss, Now, drawa projec- tionline forthe side tothe rght object vanishing point ve HL LicHT DIRECTION 4. LINES 7 ‘Step 4. Now drawaline from the let object vanishing point through the point wheretthe light line A and the leit shadow vanishing point line cross. This gives the depth of the shadow. Shadeinthe shadow. Notice the ‘00d shape ofthe shadow cast by the cuDe. a2 LIGHT SOURCE | SHADOW | VANISHINGLIGHT fe SOURCE Ly HL 4 LIGHT DIRECTION 4 ines ~/ @ s H ' 7 T 1 t t t “We, lang Here is an example of asnacow with the light source ore forwardandtothe right. The shadow is now cast benind the cube and into the picture depth, SHADOW VANISHING. POINT ‘SHADOW =* VANISHING POINT Here the light is changed agein. Notice the strange shape of the shadow. It is important to pay close attention to the shape of shadows in order to make ‘our drawing and painting realistic and true.Finding the Length of a Cast Shadow The higher the light source, the shorterthesshadow The more directly overhead thelight sources, the shorter theshiadow. Here are z few examples of lengths of shadows dapending upon the position ofthe I ght source. ‘Atmoming and late atterncon, the shadows are longer and more dramatic due to the low angle of light. At ‘noon, they are shorter because tne light isin @ higher Fosition. UGHT J source LOW LIGHT SOURCE, HIGH LIGHT SOURCE, /} LONG SHADOW ‘SHORT SHADOW jt fi Ht PF fi ucHtT aS 7 | DIRECTION | Sapow LINES | > VANISHING \7/ POINT f°% ‘SHADOW FADES ¥ L A _/ WITH LENGTH DUE . . | ; 7 TO BOUNCE LIGHT (AND HEIGHT OF THE - OBJECT CASTING THE . yp sHADOW. SHADOW VANISHING POINT ISIN ‘THE CENTER LIGHT SOURCE HIGHER AND CLOSER LIGHT SOURCE DIRECTLY OVER OBJECT, ‘TO THE OBJECT, SHORTER SHADOW ‘SHADOW ENCIRCLES OBJECT. 46I the light source point happens to fall behind and directly in line with the objec, like the fence postin the example, we can find the correct length of the shadow ty maving the height ofthe fence post to one side. Then, using the method shown here, we find the length of the shadow and move it back into place. UGHT P source 3. DRAWLIGHT f DIRECTION LINE —»/ SHADOW HORIZON LINE YANN FowrT 1, PROJECT HEIGHT TO ONE SIDE HEIGHT FENCE PosT CASTING SHADOW / |“ 6 DRAW THE SHADOW AT ITS. PROPER LENGTH FOR THIS POSITION OF LIGHT. 2. DRAW SHADOW VANISHING POINT LINE HORIZONTALLY UNTIL IT. CROSSES THE FOST. 4. THE LENGTH OF THE SHADOW IS SET WHERE THE LINES CROSS, | 5. PROJECT A LENGTH LINE = 4sREFLECTIONS IN PERSPECTIVE ... we placea mirror under an object, the mirror willreflectthe objectin the way very calm water will. There are soveral things to consider, however, won studying reflections. The closer an object ‘sto us in tho picture plane, the more we look cawn att, and the moreamirrorlooks upat it. rellection is nc ustan upside down \Versionofthe object, itis another view altogether. The closer he objectisto eye level and thehorizon line, the closor the cuplication of it will be. However, the circumstarcas of viewing would have to be perfectly equal in order to create 2 dupicate view, or an upside down object. This very rarely occurs. Also, a reflected object will reilect in a mirror or calm water only as deep as itis tall. The only time this will Cchangeiisifthe surface ofthe water is moving or rippled, breaking up the reflecticn and extending it. Study the following examples very closely. VIEW OF A TREE WITH & 4 SUGHTLY ELEVATED ) HORIZON LINE ACTUAL HORIZON LINE ‘THE HEIGHT aa AND DEPTH WATER LINE ARE THE ‘SAVE — >) WE SEE MORE OF THE f UNDERSIDE OF THE TREE. WELOOK DOWN NTTHECABCE,. Let's imagine that we have placed « table into very shallow water. The depth of the water is of ro conse- uence to the reflection since the surface causes the reflection. We use shallow water here jus: so our table ‘won't sink. We look down at the table and the water looks up causing a reflection of the table bottom. WATER LEVEL THE REFLECTION MAKES IT APPEAR AS IF WE ARE LOOKING UP AT THE = BOTTOM OF THE TABLE. 46TO DISTANT VANISHING: : POINT y REFLECTION OF TABLE BOTTOM 7 HL ve DIFFERENT ELEVATIONS AND ANGLES OF VIEW ACTUAL HORIZON: LINE WATER UNE AT BOAT Pon SMOOTH REFLECTION SHOWS UNDER- - SURFACE ‘SIDE OF BOAT SLIGHTLY RAILING RIPPLED SURFACE = IRROR REFLECTION REFLECTION IS LOOKING UP AT BROKEN AND PILINGS EXTENDED BY SAREOR! ‘SURFACE ACTION STILL WATER a7CHANGING PLANES AND DIRECTIONS ... ‘A wandering road not only changes direction, but, as t winds back and fort, it also changes elevations depending on the grourd plena. In order to represent this correctly in our drawing, we use the following methods as guides. After establishing tho directions ofthe roads, simply round the points at the curvos fora natural look START HERE ves HL. ves VPA vp2 vp3 HORIZONTAL ar GROUND Here is @ road in one-point perspective. Notice that PLANE LINE the vanishing point moves to the right or left depend- ing on which direction the road travels, | ELEVATION CHANGE POINTS vest i LX VP7 'vp-4 veg to f a ' / veal bon zonra, GROIND ANE one Now we add elevation changes, Here the road is in ‘one-pornt perspective. Now the vanishing point not only moves from right to left, but also charges eleva tion depending on what angle the road takes. 48HERE VANISHING POINT FOR VP] _VPS_VP-2_VP4 VPS HL GROUND PLANE LINES — a 7 Here we use two-point perspective because we are looking across the road. The same method we used ‘ Ddofore is used here to change the direction except ‘that weuse tne right vanishing pont zs aguide for the ground plane lines. ELEVATION CHANGE —® POINTS Here the road is in two-point perspective with both direction an¢ elevation changes occurting, START me TERE VANISHING POINT FOR ver ve7 vps GROUND PLANE LINES 5. Practice on some of your own subjects from your snap- shots. Itis surprising just how accurate the drawings can bo made. Notice any subtle angle and directional changes in Se the road, paths, creeks or even bridges. Find the changing positions of the vanishing points and practice by loosely ‘sketching what you see. The drawings cen always be cor- recied with the methods shown here.PERSPECTIVE FROM A PLAN DRAWING ... ‘Thore.are times when you might ko to vieualizo what an objact might look like whon tho only matorial you rave is a plan of it. By using the folowing method, a dimensional perspective view can be drawn. Itis easy it taken step-by-step. Let's diaw a house together. Here we have the simplified downward plan view ‘ofasmall house. This shows the length and width of the house. Here is what is known as an elevetion view of the ‘sare house It shows the height of the roof, win- QO rm dows, doors and outside wall. In otder to obtain a dimensional view ofthe house, we must use both ofthe above views. Step 1.Draw @ horizontal line and Follow the stops in the order given end we label it“Picture Pane. ‘can do just that with ease. Step 2. Placa the pian on the line 0 thal the areas you want to see in the drawing are facing the pic~ ture piane line and the comer closest to you touches the line. PICTURE PLANE Step3. Place theelevation view to the right of where the perspective drawing will be and drew a horizontal “Ground Line.” sean vonzoxta_crousoune oO scPICTURE PLANE ELEVATION VIEW \\ HORIZONTAL GROUND LINE \\ TTT \\ |) Step 4, New, place a viewing point at the \| l/ place you would stand view the house, and ‘Step 5. Now, draw light guidelines well below the plan view. If this point is too from the viewing point to all comers close, the drawing willbe distortec. VIEWING of the house and the rocf peak. Make POINT suretoincludeall areas that would be seenif you were standing there look- ingat the plan from the viewing point Step 6. Place a reterence dot where the lines cross the picture plane line. PICTURE PLANE ELEVATION VIEW HORIZON LINE HORIZONTAL_GROUND ‘Step 7.From these dots, draw parallel vertical ines which locate the accurate widths ofthe building walls tight down to the horizontal ground tine. Step 8. Now establish the horizon line for the elevation of view you wish to portray It ean vary. | have placed this one at a normal viewing position, about halfway through the height of the elevation view. At this point, I hhave eliminated the guiceiines since they have already served their purpose and to make the illustration less confusing. 51HORIZONTAL GROUND LINE VIEWING © Step 9. Now draw lings from the viewing POINT point that are parallel to the right and left ‘sides of the house on the plan. Drop vertical guidelines tothe horizonline and th slocates the correct position of the ‘wo vanishing points forthe view salacted. Ifthe angle of the plan view were changed, the position of the ‘anishing points would change accordingly. ‘Step 10, The only line that we can use or measurement from the elevation view isthe one at the corner thats, nearestto us. Ihave marked ths linethicker than therestsothat you can easily seeit compared with the restof the drawing. With thisin mind, lightly extend the heightreferencs lines from the top and bottom of this corner line, across the drawing area. ANY AND ALL HEIGHT MEASUREMENTS CAN BE MADE FROM THE ELEVATION VIEW, WINDOWS, CCORS, ETC,, by extending them in the same manner to this corner line, then using the vanishing points, working them into their proper positions. 52PICTURE PLANE ELEVATION VIEW ‘Step 11. Now drawin the perepactive view of the walls using the two vanishing points and the rules already studied. Using two-point perspective, star with the front comer line and develop the house trom there. Draw in the vertical lines as guides for the wicths of the windows end the door. PICTURE PLANE ROOF PEAK IS ESTABLISHED ROOF HEIGHT WHERE LINES CROSS REFERENCE 4 Eve | + "CLOSEST CORNER ‘Step 12. The angle for the peak of the root is obtained by extending the root height line ovar to the same vertical corner measuring ine. Use the vanishing points tofind the height ofthe LEFT peak first Then, using the vanishing points, draw a phantom height extension over to the right peak, following the angles of the walls. Establish the height of the peak from the point where the vertical line and the phantom line cress.Stop 13, After establishing the two peaks, draw in the rest cf the root. Since the window and door wicth guidelines are already in place, we no longer need the plan view. Stop 14. All that is needed now are the neight measurements for the windows and door. Extend these {guidelines from the elevation view to the front corner line, es shown, WINDOW AND D00R HEIGHT MEASUREMENT LINES From the height measurement guidelines, use the vanishing points and project the heights around the house to the proper place. Then, firmly draw in the door and the windows. \We now have the basic form fora simple house to build on. Itcan be drawn as complexly or as simply as desirec. Whatever technique of shading and texturing we choose, we have a foundation that is correct in proportions and, most of al perspective. Heve fun! It isa rare occasion that this type cf perspective drawing ‘ould be used in freehand sketching, but itis very imporlantto understand the principles of. Thisis the type of procedure followed by pereons in drafting and architecture. Even $0, a good all-around art'st should have this knowlecge to use when needed. 54Exercise to Practice ON THIS PLAN VIEW NOTE THE ROOF EXTENSION ELEVATION VIEW PLACE THESE VIEWS IN PROPER POSITION. ON A SEPARATE SHEET OF PAPER AND PRACTICE WHAT WE HAVE JUST LEARNED. THINGS TO REMEMBER: PICTURE PLANE, HORIZONTAL GROUND LINE, VIEWING POINT, HORIZON LINE, GUIDELINES, VERTICAL LINES, EXTENDED HEIGHT REFERENCE LINES, ROOF PEAK. 58COMPLEX AND IRREGULAR FORMS IN PERSPECTIVE ... [As we know, there are fourbasicforms — the cube, the cylinder, theccone and the sphere. Almost every object cen related to cubic form, including the human heaciand body.Some shapes area composition of many cubes. Some, however, donot relat te the cube. In this instance, wo use ethar the cone, the cylinder or the sphere. Upon observation, we find that some objects are also a combination of several a thesa basic forms. Exercises to Practice ' My old West Virginia whiskey jug isa.comb- nation of oyinder ard cone, wth an elipse on the top, the middle and the bottom. The handles one of those iregulr forms that is Dest drawn by eye. In order to draw the ha dle In perspective, we would employ the same method used in the changing engles and elevations of the rozd.\ Using these forms as basic guides for sketching isa great aid After we have the genaral shape ofthe object sketched in, we can check it for accuracy, i! necessary, by using the rules of perspective we have learned. seInvviows that dopart froin tho “norm” and are considorod unusual, of viows that are changing, tis veryhelpful toplace the object intoa rectangle that houses it comfortably. This will give us @ general uid to be used in ‘checking foraccurecy. When checking, always refer to the three mostimportant parts of perspective: viewing level ard angle, eye level or horizon line, and vanishing point or points, Hare are several forms floating in space. Notice that each has its own imaginary horizon line and set of ven shing pairts. This s the type of perspective theory used inillustrations of objects tloaiingin outer space The horizon line is imaginary, Eut necessary for keeping proportions of cbjects correct. 57‘sesodund exncedsiad 40, uo} yo0I9 e 0} paseduoa 2g eo peay vewny 243 2%) jo8Igo xejdui09 ¥ Moy J0 a|dweKe Pood e 5} a3} seENHANCING DEPTH BY SHADING AND TEXTURING ... Here we have rocks and distant res drawn inink line only. They have the suggestion of depth due to the direction of Ines. irregular and uneven forms like these are difficult to show very much Perspective depth when just inline form, Here we heve the same rocks anc trees, but they have been shaded anc textured with @ pencil. | used a ponci withalead of HB" hardness. Notice thatthe tree on the lett appears more distantthan the large one due to shading it in a lighter tone. Here, again, the line direction gives us a feeling of direction and form. Its limited unless we tex- ture and shade it further inink. In ink sheding, we do not hava the soft graduations of tone value as with pene, Now we see the depth of themelon along with the. textured surface. Remember that aach object ‘catches light and casts shadows according t0 its form, Ita'so hasasurface texture that is unicue to, itself. felt hat and a straw hat are both hats, but ech has a cifferent surface texture,LEAVES: VERTICAL. BARKS: LiGuT, CREAMY, yuh FEBLINPORTANT, TACKER THAN PAPER Mi 1A ORCANOE BIRCH. mr | SOMETIMES SPLITTING ah ou / PRooPING PRINCES 3 WOOD: PINK: L% CREAMY 4 erey/ imag _—«BLLE GREEN UNDER size EUCALYPTUS: ores (BE Gum VARIETY) was CALIFORNIA LIVE OB, PAPER-CANOE BIRCH BARK: LIGHTGREY/WHITE WITH TEN STREAKS AND CIRCULAR LINES tN f be CANYON CAK:(SCRUB) i CLOSE TOGRaUND DUE TOY) TE22AIN AND WEATHER, Le inthis set of sketches cf various trees sketched while ona eld trip, have added the drawing of acylinderto compare with the round shape ofthe tree trunks. The light and dark graduations of loneare drawn vertically. These give the illusion of depth and roundness. The same basic shading techniques cre used for the tree trunks. Any uneveness or roughness in the bark ofthe trees is indicated by the change in direction of ineand shading. However, the overall shading of the cylindrical trunk is stil vertical. 6cLight, Atmosphere and Moisture The sky sets the mood of the painting because it controls the light and color used. Clouds fiter light whon they are dense, and soften value changes. They accent sy colors when broken and bright. ‘Quter space is black since there 's no almos- phere and light rays are invisiole unt they strike something, Light rays ae filtered and altered by atmosphere and moisture. /\\ HIGH SKY = Deeper blue. The sky is deeper when we ‘oak straight up singe we are looking through the thinnest layer of atmosphere and dust. Clouds are dust, water and ice; theretore, thay reflect or absorb light rays, depending ‘on their density ‘The middle sky is deeper in color than the horizon sky, ‘but not as deep as the high sky. ‘The horizon sky usually ‘appears lighter due to haze, dust, and a denser ‘atmosphere Light can % ounce from iON ‘one bright area waa Sse = aay = 4 Whether painting in color or drawing in values of black and white, pay strict attention to value control to obtain the createst ilusion of depth. Always be aware of the dit ference in values of every object in relation to other objects, anc the very subtle value changes thal take placa within each object. 61Not only do we create the ilusion of depth through value changes with texturing and shading, bu: another {good mathodis the placementof cbjacts within the composition 60 as to overlap one another. The abject that is overlapped will always appear 10 be more distant, so we obtain depth in our pictura. These three pencil sketches are roughs done as preliminaries for paintings. Notice that even in rough sketches, the direction of stroke for texture and lightness ot darkness is important to the illusion of perspective depth. : | Geese . cba Usually, distant objects appear lighter in value than close objects. Sometimes, however, ina vary complex composition using color, @ cark color can e'ther come forward or recede. It depends on how we use it Be ‘thoughtful with color values too. See “The World of Color And How To Use It,” 800k #5 in Walter Foster's Arist's Library Series, 62Exercises to Practice ‘The photo at the lef isthe archway at Mission San Luis Fey, in California. Notico tnat the archos, wooden beams, and the bricks on the flocring all move into the picture to one vanishing point. Also ‘note the depth tha is obtained in nature by the over- lepping of forms. The open archway at the end appearsto be very small and goo the people under. Use this photo as.an exercise andfind the herizn line and vanishing point. Then, draw the arches using the method for elipses to get the proper grace‘ul curves Of the arches on the right. Take your time. We hve studiod ovorything that you will need to draw this soene. The photo on the right shows the beauty and grace of part of the ‘Organ Pavilion in Balboa Park, San Diego, California. To draw this angle of view, we could use the ‘same methods used on page 48 for ‘changing directions of roads. Great depth is shown by the dramatic ovarlapping of the vertical columns. Study these two paintings and the four on the next page and notice thateven though the criginal paintings are incolor, we can stillsee cepthin these black and white photos by the changes in values of darks anc lightand the overlapping of forms, ark anc light create form. Shapes end value changes give the illusion of depth. ven though there isnot great distance inthe painting ofthe gull, rocks and foam, we see water movement and wave action by using texturing and value changes. 63‘The above paintings are fineexemples of depth with value changes. The lighthouse at Point Loma, California 's.@ good example of a white building in various Soft values of grey. This gives form and dept. Notice the ‘overlapping of forms and subile value changes in the others. | hope that you have enjoyed this study in perspective and that t will always be a reference tor you in your work, Remember, keep the rules of perspective simple and they will work much better. ‘Than you for your interest in my work, and | wish youl of the very bestin your world of drewing, painting and perspective. Millan si heal o‘The knowledge of perspective is invaluable to the serious artist, and it is the foundation of all goo paintings and drawings, no matter whal medium. This book covers all in practical terms—how we perecive depth and distance, how perspective works, and how to render it correctly on a two- dimensional piece of paper or canvas. + Master the basics of one-, two-, and three-point perspective *Practice perspective drawings with step-by-step instructions *Find out about methods of measuring and divicing areas proportionately sLearn about perspective in foreshortening, cast shadows, and reflections *Graduate to complex and irreg forms in perspective CATEGORY: At Tetniques Genera $9958 25.9008 $1195 cw Kso2eaoso iat; upc id ular ony wetertostr 207 8 Wigey, Sulto A nine, CA 92618 Pritedin Sheruhor, China, Sopturibar 2010 ins (SBN ~ 13: £78-0-928261-13 1S8N- 10:0 20281185, il ALi