Famous Artists Course Famous Artist Schools, Inc, Westport, Connecticut Perspective for the artist — teson Albert Dorne Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Faweott Peter Helck George Giusti Austin Briggs Harold Von SchmidtPerspective for the artist Im Lemon # on Foran ee emphasivd the face that draing i smn interpretation of acts! object on a dar surface, We tld SJ that al abject ave another sie hat dep ink ee Thi recede in gh distance rom te eye erect i the a ol reeeting the cual bet on Ha nice sa ey Sees wieslemipdinae onion Sete one SRE ihe gee jou the we engin and crecon ofa receding fdge ofa receding side of am object. In intricate form, perspec tive locks lifcu I is not. It is only the extension af few Simple formulas Hf you understand chee formulas, applying ‘hem is eave ey es onr purpose inthis lemon to explain these formulas and show you How to we them. We will we familiar subjects and the probleme you are mont ely to meet ingeur vock ‘Moat sists deal with perspective fm one form of another very tne they drawe a pietore: Usually, they draw abject fee hhand. the craving does not appear cone co the eye. they enlarge, change and it ines unl ie does. Sowetine, Hes thee drawing continues to look wrong. The att mae den Took fora cure, The cute knowledge of perspective In Lewon 2 you Tete base principles of perspective 1 you stied that Lesson esreully, you now the meaning std {cof a horion Hine and vanishing points Above all. you kno Os see ingame le ot peettre Obed appt ibe ‘come sualler with distance This eon we Want (0 show you how to make more ace rate ond convincing drains through 3 eller wndersearaing of perspective: We will sudy the Kind of supe ste perspective {hat mon well for ehe art and illurator. We wll avoid Corplicted aers of penpective that would be of interest only The mow important single object ie Tearing perspective is the sue which wil be the bois for mave of oue examples and Glingram. (Ae in carer lowons, ee we the word cube to mean fny bowlike form that f bye! 8 the cube) Starting wih the fue, cam dae cree, clipes and even people ne anials penpective. Once you understand he principles of dascing the eube in perspective, you Will ne it relatively easy vo apply then to other objets ‘though perpestive can Be demonstrated most simply with regular manmade forms lke ralroad tacks, signs. and outs, the sarne principles apply to all forms. The Whusation on the opposite poze provides us with an obvious example. The control Ol the perspective of tic” fori ike wees, mountains, els ten, ana bid is jos a4 important 0 the viwal correctness of 2 pssure asthe per construction of man-made forms such ss ite ant airplanes. Perspective fact of seine, and {ings wil Ik normal ont it they sre drat im perspective "To dase view of a ron twining though the country the enist mst be aseare that the ton tapets 6 kas ea) ad Below the eye level the width of the ‘widens 5 comes fora road is easily recogniable. ‘The section of the road hat is level with the eye appears aa thin lie, while above the ese level the road cannot be Sen. tanks of everlapring clouds that float ove: Teal and diappear tovands the Reriton obey the sume laws of perspective that are ser inthe pater of les on 2 celing. Perspective fn useful tool for the art, but i never sue setae for eneful abservation, Acines he may even ind i nee ‘Gaary to dort the perspective, in order to create x sore dis ‘matic plture. Inthe final analysis, tthe aruats experienced Ge that tele bien whether a pltare or drawing is sight or trong: But wound understanding of perspective equip hen Trith amore sete sense of ebsersation and (cling for form, and help itn so muhe his pletures mote convincing and sats tele Stee pe be oe as el Sel east~10 Fone Ais Cove Perspective for the artist The picture plane The drawing you make on the window shoves you that ‘shat yo bron to he aeusly a Tung se of Building is represented om the winose bya very shot fie, You cant craw on window all te pctres yu may wish tocraw, br the window drawing sows you what hope pens Fou drave die illusion of depth on 2 fat surface The window Is he fie wofae. 1, to the ai, WS is Known a he picture plane The artist hac tnginary vera windows or pi tore plane aways before hy What he ee or imagines 2 thredlmernional objects he tates tothe two dimensional surface ofthe paver before his How ngs of ow sll the sre shen the objet he ie drawing fdeterued Uy the postion of the pk time plane between his eye, or emp, and the Uhject The clothe piste plane 1 the objet the lige ee image spp "You do nat have to be actly ooking at an object thngh a winiow yp ca agine the see, cat Sloalle fe However, the ume procs occurs You Fewer or imagine the cee al have an imaginsty Sertca Hat picture plane Leto you. You draw on Jour paper what you see” on the fnsenary plane 1 yo ay the grams on tis pg the meaning ‘ot ahe pice ple shoe clea 0 yn. Digg 1 you the fire sting, the ye fevel am the cule. Betneon the igure and the cube i inser the Imaginary piewre pane. In Diagn 2 we slow the cule a appears to the ye of the man in Diagram ‘We hae rum the Hnesofperpecive out to the vate ing points his the correct pictne as i¢ would be scen frm the eye level or statin polnt ofthe man,Lesion Fomoue Aen Couree Perspective for the artist ‘Three basic terms of perspective Station point ms Pete RES a Sh a Sketching procedure Sutin point har more to do with the appearance of an object than anything ee, Mow drawings look eter if he saton pink no to cine tothe object. When the station point fs too near. perpective dratings took dione si, for normal purpose, ths shoul! be avoided As the station pi changes Vonishing point - anne ‘sit meet When you stat 4 drawing, £8 bee to make many rough steiches ro ean the bes view ofthe objet for your needs to establish the bes tion point Drawings shat equlte ac fcrate perspective showid fist be sketched in tretand, a6 36 Carately as pomible, “Then make sure your denying isi per— Scie by establishing your ese level and eanihing pointe ‘ver wih, so must all ofthe perspective lines tthe drain,6 tenon 1 omoun Aros Cou Perspective for the artist Three types of perspective Im drawing simple objets we ind one, 60 orthree vanishing point occur, in complicae objet here can be more. Objects Fesing more dhan thee vanishing points are called compound forme: We will ody such form ater Fr the present we Wil eal with onepoine worpoint sel Ucegoint perspective ‘Oaepoint perspective exit when ewe dimensons heat and ‘vide of am abjes are parallel eo the pltine plane, The mess the object ces loging ati staght in font of vs not at an fsngle In such view there is ove dimension ~deptl~ lef wo be atcounted for. This diusasion mat have a vanishing poim. (Dimensions parallel to the pierre plane ave no vanishing point) In dhe dings atthe Bottom of the page you will ce {hat one pain: perspective eam occur fn several ways. When yon look atx cube straight on. the vanishing point is out of sight tnd hehind it f yom were sanding inside dhe cube you woul be in the same portion 38 you were looking down the mile fof aster. Ta ight an lft walls ofthe enbe would represent the tac fron ofthe bulngsom the side ofthe tree. In ch a ew ail parallel fine appece to run to one vanishing. po (Except, of course, the lines parallel to the picture plane) Ta twerpoint perspective (ae dingame on page 7) only one dimension of the object height parallel co the picture ne, There are to dimensions left. We must deteore, estab 10 vanishing points on the Horaon line. The eleer toe rer the two vanithing points are the lew you will ee of the Ses ofthe abject you are drawing. ‘Since aout objects oh he reduced to «cube, when drawing a form in penspetive ic is customary to rough iin asa cube. This One-point perspective Sipe coer oe he Soa 2.3 ee wll hep you decide hos nme af the side surfaces you wish wo Shows im your drawing, belore you etalieh the tsD vanishing pms, hie procedure automatically fixes the ston point oF the view of the sene you wish eo have: The vanishing pois may he as close ur as far ar a you wk them. Inthe diagrams fom page 7 you will se that dhe horizontal edges of the cube Toecome diagonals when drain in perspective. The angle of these diagonals determined by the elowness af your eye tothe object The elower yw ae the more acute te angle ‘Throepaint penpective f wsod when the picune plane is sive ant HOF PHT to any of che objets suraces (eight “width or depth. Three point perspective is wally needed “where the sation point i eose tothe objet — a6 when yon ate Tooking up ata large nearby ship ora tall building The horizon fs waually very low, or emiely below the objec. Tf you are ooking dot fom shove, the Horizon may not even appear in the view ata. A general Tule te follow i this: Swall objects ‘usually Took beter i pictce if he nee vanishing poines are tvell separated. The perspective should ot be acute, To empha: “Aue the Lignens of « butlding, sherp diagonal Fines are Tmpor tant, Here the clowns ofthe vanishing potnts strengthens the ‘ect you want in. any perspective drawing if good plan to Set lightly sete the general view that you ssh, Frou this sketch “ron out” your horror ine sil fd the sanishing pins. Be sure hat the horironal diagonal lines ci at dhe eye level ine One cannon bchigher or lower than the ote. Regardles of their istonce apart they must be established on the came eye level“I0= aa tive ate ‘the artist 7 Two-point perspectiveDrawing the cube in perspective from a plan view (On the proce pages we ive explained the fndamental Dtecpiec ef aninie poopecre Roe we el Cop ee prinples ts specie problem — into seewne penpective in selation toa deinite aon point fd ee lee the application of dis method the acs may draw a object 6 would appear in penpactive at any distance and “lompoin hae desing as normtion sal drawing Gf top an side wee ofthe objet “The method ie pose Tanyas in doing architectural drawings, Once you wader Sand his procedure withthe simple form ofa cube, the move Complicate fre wil be ex to andl. For Demonstration A gwopuim perpective wil be wed since vee are looking nthe corner ofthe abe a only one dimension yeh ie parle othe plete plane Fr Demonstration B vee te one pine perspective bees the eight and wth ate Fate o the pcre plane and jun che dimension of depth ust be shown feeding 2 ecttrec San ts eae oreo Rem tec OA che a een oe ect ce ad CLEREVRDUNSSS Steno pam rte de ts om ‘Suan 0 prone sry. soy nn pepe SEER hae‘ sfeae ec ee os gence fo onan can ay Beeae femow Arte Cove Perspective for the artist Measurement I any drawing, proportions ant be correct ‘Tits partennly tmue im drawing objects im perspective. To mect practical prob: tea in anae perspectve, yom mst be sequainted with red fils of mensement. There re diffrent seas to arrive at the ‘Sime salon, Here we are ging to give you a few af che mare Jmportant oues, which you eam apply in sarious wars Tielore making measurement of any hind, be are to table the needed waning points and the right statian pole Get the Imac verall shape etablishd correctly. Otherwise, you wil do endless comeeting with the rest shat the draeing ill never Seem to come ou igh To dividea retnigl, regardless of perspective, draw diagonal lings tom corner to corer. a8 in Diagram A, Wheve they cro in dhe eater, This simple rule i iuvalusble to you and wil slow yon to work out seemingly impouible problems eis often nevenay to divide an aten of 2 diagonal foto 3 number of pars. ad's rer sil nor sifice. "The Rey to most Aivsion of space ie the wertial ar horizontal line parallel tothe Pietsre plane. For esimple, to divide a reeing pane int five ‘ertical parts you divide the vertical nwo fve parts fd the meaurement is worked out cai, asin Diagram B. ‘As YoU gin experience in drawing forms, your eye oom ee ‘omnes raed and you will bcoate snore acarate fn SORT et imate of mensoremente The average arte, of come, makes tnany of Ils measorementsenttely by eye. However you will Find thatthe fee simple rules we gve you here will be weal vo youn mang eecasions. Posts i perspectiveFamous is Court Porspective for the artist 0 10 Drawing the cirele ‘The bet way wo puta tcl in perspective i with the aid of square Circles, evals and ellipse oem badly rave by shine This sno newesary. By jst fem sod ot Gineam an accurate and single method bed on the are ‘We fave shown that the cobs he bans of al retalar form and that it you hao throughly, mow of your perspec the problems becoe simple The cece fa guide for drawing alt ceodimensfnal corey clipes and ovals perpective For {one t bals the quae, on one surface of te ene. The eau lor using the squne ic tat Tere eno deck mestre trent on 9 curve. Vowshing pons ate determined from the taue and proportions of core can ely be wn within 3 "The eter of dc cc shits om the center of the wqare cen fs pe inv perspec M me Inne he perspective SEMEL fcc a the pol wheve ne cou agonist pe Fai tae ch yu suc spective square intersect. horizontal Kine drawa: acu this enter does not iicae dhe widest part of the ellipse. The Sriest pare of the ellipse i the major aie — + hostontal Tne lo ‘ated exactly Maly betncen the top and bottom ofthe ellipse ‘Whi drawing eligaes seh a8 whee glass bowl plates ten i s best to rough cn in freehand and arrive at the general flape nected, The ellipse may prot snore on one side than the other for i is ditt to draw a perfect ellipse freehand. "The nea step shouldbe to relate the sqoare in proper perspec tive superimposed on the Freehand ellipse. When the square is onset proportioned, eros the cence with te diagonal lines fd then ers hem again with a vertieal ine ehrough the fer fection ofthe diagonal nes. Draw a horizontal line through the center to determine the perspective center. Use the vanish fing point 9 have the direction of the Horiontal line cornec,Aeon 1 Femeue Ariss Coe Perspective for the artist N Constructing curved forms Jn perspective, she sop cllipac of water gla erent from te Uowtom ellipse. Meth vary according tothe eye level Ta & grief water pitcher you anay eet dane several dillerent ‘at ens dw he peer erect perp. Ths pos the curved objet. Proved to divide the surlaces as we Shove your on page 10, Make all the division necenary by Tightly drswing ithe diagonal Use your vanishing point. ‘When raving caved forms, the center of she rectangular “oom is ust as nsportane av te center of the aquare i Whe pling the circle im perspective. \ study of dhe diagrams on fis page will luge you Tow to proceed. Remember tha a est [evel an elie i stright fine ari a he station pose rss tor lowers, the ellie upens unt f you were decal alive oF ‘elo iit wold be a etc. ade sinks wate sete ie12 omen ins Couse Perspective for the artist “10 ‘Compound forms We told you at dhe beginning of tis lesson shat if you could anders! the cube fm perpectie you could slke mom per spective problems On this page we are combining diferent $d eubes with rectangles, and both n turn, with elie. The ‘three most important thing ae agin: station poet, vanishing point and eye leel, All of thet shrce a afect the appearance ‘Of your drasing i they ave poorly elected. However, they are Sefiniely established, you vil sill have 4 drawing correct in peripetoe although i may be unatrsetive tis itaportant here to remember to keep your vanishing pois rather far sparc because dis wil give the final pictre 3 Tore plessane appearance. For all general we, we augget that all vericals be aly vertical except when + special eet i Tegaland etn ening pet omen ‘Mont objets are compound form There are milKons of forms on earth bt only fee base goometric ones. We cannot lingeat them all but we can do a fev ofthe most important. yom ean drawa cube, you shoul beable 10 “slice” icin hall I'you understand tenement, you should be able to pt some drawers n ace and eal a heat of drawers IF yen ned to pu a curved vase ou it, you should be able to do {aby Balding i from: eube or reciangle at we have shown you. Ifyou were to “comiruct” x ship, you could lay kx eubes to. (giher. This would fe the Hass of the lull ~ sx ies longer than ifs high ane ede: You old find the center of the groups then place the Tne of the Keel an the center of the decks. From here, you would earve the ull arid you use just a it of eae it ‘oulave ge very fa nt of hand TE you Kuow how to fa the center ofthe side of rectangle, in the say we Rave suggested wis the two diagonal Ties, you fely can find a quarer ofthe anen inthe some way. For xan ple, if you must fied the poston of the ridge pote for a root, ‘om simply rate the sertea line wp co the Teng you wis Fevigh the center, or te quarter position, or any place sou might elect. We tell you thin to show you that compound forms, whic you will be constantly conlonted with, are not corte they are oniy miles of what you already huow. The dis rams on ths page should prove Ui Peso reee ee TELS tes eee te oer cere oe tt MEAS SUE See nee set we ence od Op 25s nt ae vial na Bp teih WY Sore et oes ia toute gk oa om SOTA IELGG lee ots meaty ert cele be he ooFomaus Ariss Course Perspective for the artist enon Interior and exterior “To put buildings, wees, telephowe pols, roads and people “on the grou” ia perspective, we follow exacily dhe sume proced {re as when we pt eube in perspective. Telephone poles and people da not vary much in height: buildings and tees may Savy greaty: ends generally stay about the same wide. Fest Csuabich he horiron or eye level Line, From here on, you can ppuv in anything you wih. I dre ate several buildings, one filing cam be your measurement for all of the others. The shine proceduce applies to the ees the telephone pales or the peuple Ione is exablihed inthe pierre all the other units of| {he same Kind eam be realy meastred, proved they are paral Jel o the line of the pie plane “Tov place them in eps atthe corset size you simply trun the height of she objects othe vanishing point. At any level fn the pice you can shile dhe objects horizontally Ne sie the Dorion shift i sbuoluely parallel wo dhe picture plane. Bull ngs maybe in various positions ~ not ac right angles or parallel to each other Establish the view ofthe building freehand and then exablish the vanishing point for dha bulding. Each boil ing can hove iy individal vanishing points, bur these must be fn the eatblihed exe level "For Inferior penpective, ty v0 think of a room as Ding the inde of » cube. All ofthe rules established withthe eube ane applicable here. You are inside dhe cube iaead of ouside There mist bea eye evel a sanihing posal Furniture en, with ear, be atranged! in Vatious positions, provided you lave zn eye evel established 40 that You can shift the vanishing points for each individual shit of forntore position When doorwsss pictures, certains, mouldings etc, follow the wal, the vanahing points of the wal ae used. Floor pat terns foliow the perspective ofthe floor and you aust hold to the vanishing points vos have exablishe fr the Roor-A center lighting fsture i placed atthe intersection of the diagonal lines running fom corner to commer in the exlingtess omen Ais Coune 4 Perspective for the artist How to make a perspective drawing from a plan and elevation view First draw horiootal line A ro represent the picture plane. Ar tse 0 30 0" fe ange the plan lend this fine, st the ight, 3 the parts yor trait to show in the perspective drawing foer line A. Trace Giawn the plan with the neatest coruer of the building just touching Hine Avthe picture plane "Then trace dawn the eleva tion view of te Buldng so dic It ofthe area where you want to make the perspective drawing ‘ext select a station pont. In general you will find it bet to place this point below the approximate center of the plan. A fray role of thumb isto cover the widdh of your plan with fhe biond part of a $0°—G0° right erangle as shown in the Small diagrams at the far right. (A $0" angle represents just Shout theseope of human vision, When dhe ange greater than 4M digorian tevalt) Place your sation poine at the Point ofthe tangle "Then draw lines from the estion point to the cormes of the roof, porch. chimney windows ud other pats af the plan that Jou want co locate in your perspective drawing. Is mot neces todraw these lines below the pltute plane, The Inver portion’ ft thes lines are drawn fn here revel to make the procedare exe ‘Wire these fines cut actos the picture plane. drop paral toesablih accurately the width of the building A HU and al fis pats such a8 doors. windows, porch, chimney and Tool peaks These are she beoken lines the diagram. We hae borough down ondy fee of thew Tnes (des ofthe bulngs, peak of the rook and nearest wall) to avoid confusion in the ‘Bagram. Vo sould dra al of them Fg down toa live level svt he bottom of the Ronse fm the elevation sew. "The mot important of these lines i ine B. whic vepresents the comer afte bulking closest to us and which touches the pirtue plane. This the only lie in the perspective drawing Zia: lorethortened by perspetise and is ietelore the omly one ‘Mevcan tne for verual uusurenents taken dizetly Irom the elevation view: ‘Next decide an che eye fvel of horizon tine. We have placed the horizon line approximately halfcay between broken lines Eland Dy From the sation point dave lie & parallel to Ein the plan, and line F paralel to. Where Tings E and exo the picture plate, drop vertical Hines to imersect. “These locate the vaniaiog pois "Thi rat of the proces fe imple, Just carry aioss vertical measurements fra the elevation ¥iew to lie By and from thee joins on ine B dra eenstruction lines to the vanishing points, ting the regular procedure described on the preceding pages, "The vertical Hnes dropped vom the picture plane will ast ‘table width ofthe wall, indo, doors, ehim- fey. porch ete in the perspective drawing, The most important thing to cemenber igh yt cam make dicectvertial messine= aeican ‘memtsonly om line B in the perspective drawing when you eatty these mestoremente across fom the elevation view.Levon Fomow Ais Coune Perspective forthe artist % Foreshortening and “free” forms Inv pcune leg receding lor you oF a aten coming toward it i in ponpative, Unite 4 geometric pre, st see” oF ireguar form. Within he ; pl Hib are many curves They make fore Shortening more diet. Knowledge and a grea al of pra: in drawing the fare fn wats posons ate your best 3d. oveser. thinking in erm of perspective will help yo “The methods of rvasirement se have applied to geomet forme can be wed many times 9 alvanage here. For ele, the approsimate kice position on an extended eg can be de. (eee fa es ey bet pom ee eerecee eon of 2 door oF 2 window on 2 feceding srlsce. Most atti 3¢ ‘quite, trough peutic. the ability to do this frechand, bot thore are ime when an vnuaally ete perspective, some te fe sen of sm leering nee, How mach rw He the hesd als bgwre yng diagonally, fet frst, ‘bea very important pint co ela. In sonia views, 38 het to fe the Rigure iy a vee tango form. Thik cin quickly determine i and where 2 part ssl be seen wid its approsimate shape, In doing thi, use only the bie Form. Although you muy not dea the many perspec tive lines, you snus have the appreaimate form and ics perspec tive in enn. If you ge ito eouble. perspective i the cure. Go lack tothe the bani needs: station point, eye level and van ishing point. Im drascng the figure ne moat mall objets, be ude the ation pot i wot ww exe tothe objet. 1 i, you ‘wll find t20 muth distortion. Do aot have a lotesortened ar 1 long usa city atest Renneraber that drawing is inking.een Famous Ariss Coe 16 Perspective for the artist a eer The figure in perspective Tia nana oa Theres roll ein mere xpeaig na plete, han 4 igure that fs not sanding on the Boor oF one th than the door. To place the figure in is cortect position is limporatve, Furthermore, the figure s the artist's yastick, Peo ple ate an approximate height. Anyowe viewing a picture auto fatally detraines proportions, sale and sizes a6 they relate to the figure. A iree's height fs gauged by the figure standing next to it bulking Is large or mal 5 relates wy te person fotering i Everything in a picture is relative. The figure and ite podion in perspective ate the yardaick Azan it the vanihing point that docs it. The vertical dis tance between the guide lines wich go (0 the vanishing point ‘etablises che height of figure anywhere in depih. To move the figure to the lett o right of these guide ies, simply exten horizontal Lins fom the head and feet f you determine the height of one figere, she correct eight ofall the ethers i e tablish by the two horizontal lines erssing the lines tha lead lroat the Figure tothe vanishing point ‘After some practice snd experience this becomes second na tute to you. Few aris continue to we this process. There are times chen you may need ie 36 well co hove. W's 2 means ot checking however, and not a mus. Study che diagrams axl ‘yom will quickly andetstand whae we mean.Femows Ais Cow Perspective for the artist “10 VW Method of procedure For practical working condone thre ste nursrous short euls To many toa eve Att thro race discover maey so mt ther needs For the profesional rust these short cua {Sve te and iabos, General, drawings are «combination of ffechand and insiromen dawing Fur ion purposes dow dng hoor, Tune rangle and comps are all you no ‘Rough in your drawing tread to get the Siew you wth ‘Then tab the eye level and eximate the postion of the Sanding pins Ine ie trier nay tha the ote. if he Postion of your drawing on the board to aecommodne the Uiterenc: Line up the eye level horizontally wth the Tsquare Sut fry ork oo dhe paper To correct any eror in your Tough sketch, you may need t hi our vanishing pois along theborzaea ey eve When the vanthing poise correct ‘xblihed, pts ack opin Semi teat pnt. Tur he T quate pe down aul fet plvot from the tack. This the Simplest way to deae your pespuctve line. or veriad ines, Fl the Taqusrehosisntalserstehe paper and use rangle I the vanishing pins ate wide apart (as dey should be in sont eves) nd are beyond the edge of yout Board, 2 good tucdhod to ws is one of measurement. Proced ‘with the rough Sich and shew appronimate the eener and two ena verticals Esta the eye level ard abo the major horizontal perspective lines Althoogh the vanishing points may be four feet aay, be sare they ave hth on the eye Teel. You may nied use a Tong pte of sting to establish them. Then drave several guide lines Ss proceed se thw in the tom diagram Thobtain + fat alge, ue your T-quare upside down, pivot ing fom stack placed a the sanishing pli. Use yor T-quare ftom: the side of your board for al hort Has3 omounAtiss Gove Perspective for the artist -10 Reflection An object sells in the water or a mirror as far at projects emmalins constant but the ves 3 rellectel one. For example, the station point isthe sme but the ey looks donon at sees Ivut the "water 60” Looking up. Another explanation iy this the ee level i bone a object, you ae looking daw the object. Av this objec reverses in efetian, the proporions re Iain the ame but the “view fe up” or fom below it IF dhe Drawing shadows in perspective Light eaves im straight tins. From he light soure, draw Tines that touch the connels of te form and continue them until they Strike the sorface of dhe plane on which the form is standing. vith single sure of li anishing poine The ekadnc’s vanishing point vil fll ow the horizon dretly elon the source of light. Shadows follow the Contour ofthe plane on sehich they fall ject iscloce to the ee Hevel, the sellecton will be nearly a Alupticae fn reverse, but not ifthe objec ie well below eye level ‘Study the drawing above and exablh in your sind the pee specive of the foeground stump and Sgere. Thea turn the Atrawing upside dows aad nutice the difeence in the “wiew’ fr beter sill, ace the figure, reeere it and compare Ie with the reflected igre in the drascng. Ths wil show you exactly how thi gr ie detoreed fn relerion. jvteen Fomoss Ais Couse a4 20 Perspective for the artist coon Attitudes towards perspective [A sound knolodge of perspective isa valuable tool for the-FANOUS ARPISTS COURSE Student vork Taeson 10 Ferepective for the artist HOW 10 FRACTICE AND PRKPARE FOR THIS LESSON In thia Lesson ve chow you hov to ute the fund tmentals of perspective to make better pictures. We are not concerned with the cenplicated de- tails of perspective required to make archivec= tural or engineering dravings, but with the eimpler, beste kind of perspective that every artist needs to knev. With this in mind, hore fare some things to do for stuly and practic 2. Read through this tesson carefully unttt you thoroughly undorstand the baste principles of perspective. You'll find it helpful to ze- ‘view pages 16 through 23 of Leeson 2 at thie ine." then apply what you have lesmed to the following exercises. 2, Select several photographs of the interiors or exteriors of buildings. You can find many exauplee in magazines. Place cach picture be- neath a sheet of tracing paper. Locate the venishing point or points on the horizon line by extending the lines of the interior or ex- terior valls of the buildings. Complete the Giagram by craving in the other cain lines of perspective, 3: On your tracing pea, make many sketches of ‘Objects cuch as chairs, tables, vindows, house- hold gpplisnces, dishes, etc. These can be rouga, but should be reasonably accurate in ‘ems of fora and proportion. Then place a clean tracing sheet on tap of each sketch and anke a careful perepective draving. 4, Make avavings of some of the rocas in your house, using the principles described on page 13. Drew the fumiture, doors and wintove £ol- loving these sane principles. Place figures at Yarious points in the room, applying the method shown on page 16. ‘THE ASSIGIOGNTS YOU ARE 10 SEND IN FOR CRITICISM ASSTGNMI 1. wake en accurate one-point per. Bpective draving from the rough Sketch on Plate 1. Put a sheet of vieuslizing paper dir eetly over the rough sketch and make your éray- ing the same size ani in the sme position on the sheet, ‘Tate vill alloy reca for the circle you draw fo construct the ellipse of the rus. (Gee dingran on page 10.) Consider the nearest, wall of the roca to be the picture plane. Place ‘the horizon about 1 inch above the top of the Acorvay. Be sure to indicate this eye level and fhe vaniening point. “Shey eit constuction Divide the vindow on the right yall into nine panes of the sane size. Drav the sofa against fhe left wall and rev the ciroular rug on the floor 4n approximately the position indicated. Place the center of the mug dizectly below the vanishing point. Locate the position oF e cim- pie square Uigising fixcure ct tho center of fhe ceiling. In the position marked X on the floor, drew standing f1gure whieh relatee corredtly to the figure in the doorvey. poth figures re 6 feet tell. Before doing this draving, restuiy the dia- grans on peges 6, 9, 10 and 16. Nake your ‘raving with an R oF 2H pencil in line only, on 8 sheet of visualizing paper 1 inches vide dy Lb inches high Mark this draving -- ASSTGMANT 1 ASSIGNGNT 2. Yake a tvo-point perspective draving i pinctl of the Sorat tease Bown fon page 12.” Construct this house 20 tust the eye level is located about one-third of the Gictance dom from the eaves of the roof 0 the ground. Draw a large window centered on ‘he wall above A. Draw the howe about 4 inches high on a sheet of visuslising paper nearuring 1 snenee wide by 1 inches high. To avold Alatortion, place your vanishing points sbout 2h inches apart for a draving this size. To accomplish thi tape three i x ih-ineh sheets of paper to- gether. Yake your araving on the center sheet fand usa the right and lefe sheets to place the vanishing yoints. These sheets can be folded ‘back over your drawing for convenience in mailing. Moke your Araving in pencil line with all of the sajor constriction lines shoving. Do not shade the draving. Concentrate on the con struction -- do not edd any detatie such af (corr, please)Student work -+ Lexson 10 shingles, gutters, ete. Put in soue lov, roll- {ng hidie a the distance but don't a@@ any other background. Be sure to indicate the hor- igen Line, Do your draving vith an or 2H penedl. Mark this drsving -~ ASSTOMENT 2. vege 2 In judging your work ve vill be looking for ‘bro things: First, and most important, your umderst of the perspective principles geplained in the lesson; secon’, the accuracy of your éraving. SWGURDAND: Ee sure to letter your nano, address, and student mmber neatly et the lover left comer of each assigmont. Tn the lover right comer, place the lesson muaber and easigaent muaber ‘Your lesson carton should contain: Ascloment 2 Asnignsent 2 {Return shipping Ishel filled out completely. Mai this carton to: ‘PAMOUS ARTISTS COURSE, WESTPORT, COM. o-tno