3.

Rotation in Perspectives----taking Domino as an example

By Krenz

＃1.principle
In the last session, we had discussed the proportion alteration relationship of objects in coordinating
with different camera shooting angles. Today, we will move on discussing about a common
situation in perspectives: Two different objects placed on a different angle on the same horizontal
surface.

Specific situation are like such:

Normally, when we are drawing perspectives, most of the situations are like the picture above, the
human figure A and the table B, are placed together on the same surface.

But in reality, most furniture are not place that neatly in good order, it is usually placed in the
situation like the table C drawn below:

The table C might be placed in a different angle than A and B, but they are placed on the same
surface.

If C’s perspective was not drawn correctly, it may result in situation like below:

C seems to be flipped over or tilted. In other words, it could be judged visually that C seems not on
the same surface than A and B.

To conclude the situation given above, for this time we will be solving the question: How to place
objects of different angles together on the same surface?

Firstly, we look at the photograph given below:

We separate the objects in the photograph into four: A, B, C and D. We could see that A is on the
same direction with the parquet flooring, and the three of the rest are different from one another. .

When I extend the perspective lines of A and the parquet flooring, the vanishing point and the eye
level will look like this:
Since A and the Parquet flooring was in the same perspective direction and facing the camera, it
assembles one point perspective (not to consider the shrinking in the vertical Z axis) A shrinks in
the X axis, and the Y axis is in a approximately horizontal state.

Then we look at B,
B’s angle is apparently different from the parquet flooring. It’s more like 45 degree facing the
camera. If we extend B with perspective lines, what kind of result will we get?

B is more like two point perspectives (not considering the shrinking in the vertical Z axis). The two
vanishing points’ (Xb 和 Yb) heights are the same as A’s, situated on the eye level.
A and B are placed on the same surface with different angles, though the vanishing points are
different, but they all situated on the same eye level.

Then we follow on with C and D’s situation:

Since it is relatively harder to convey through static picture, I got a gif on the internet with similar
situation to enforce the idea.
We could see that when the object rotates horizontally, the vanishing point will move at the same
time, yet it remains on the same eye level at all times.
A,B,C and D, the four objects have vanishing points of its own, but since they are placed on the
same surface, hence the vanishing points varies only on horizontally.
(picture from the internet)
That is to say, all vanishing points of objects on the same surface will result on the same line.

#2 In practice

This was one of my drawings when I start leaning perspectives, and it was done with background reference to the picture on the right. When i was
studying the photo, I noted down that the three objects with numbers: the stool, sofa and the carpet are all in different directions, and I followed the
perspective lines, and found that all object’s perspective lines will end up on the eye level, like below:

Sofa (green), stool (red) and carpet (blue), the three of them are different in the X and Y axis. At that time, I went through it the hard way, finding out
the eye level, and point down the vanishing points, then the perspectives……and the picture look like this:
....these dense lines sometimes even confuse me; there are simply too many lines in the picture. Then I start to wonder if there is an easier method to
work this out?

Let’s come back to where we began:

If I draw the box according to the parquet flooring’s perspective lines.

If I would want to draw another box, rotated on the same surface, based on the existing box, what should I do?

If we draw a square (1), and use the diagonal lines (2) and use the perpendicular bisector to reach each sides (3), then you link the a, b, c and d points
together (4), and you will get a 45 degree turned square.
We take this methodology into practice of the square in perspective, then we may build up the new cube.

Let’s get back to where we started.

1.Use a set of flooring to find the perspective of the turned 45 degree angle
2. Extend the flooring into a box
3&4&5. Extend the rotated square on the Z axis, and find where it would meet with the second box. Draw the new box that is rotated within the old
box.
6. Draw the volume that you would like accordingly to the perspective of the new box.

7. Now you will be able to draw another set of table that looks “placed on the same surface, but in a different angle.”

By using the same method, it will allow you to draw objects that are randomly scattered in the room.

＃actual examples
This art piece is taken from one of the greatest Korean artist Kim Jung GI. Within the picture, the two motorcycles’ angles is apparently different from
one the other (each of the person following their own vehicles’ perspectives). Although the two motorcycle’s angles are different, we can feel that they
are stably on the same surface without floating.

We use the perspective of the motorcycle on the left to find out the “hidden” floor, and use the same method to turn the square. We will find out the
new cube we drawn will match with great similarity to the perspective of the motorcycle on the right.
Thus, to draw such picture with the sense of space, the essence that you will need is: whether do we have the ability to draw “cubes” on the same
surface without letting them being “floating” at the same time.

If we got the cube, then we will have out XYZ axis; if we have our XYZ axis, we will be able to follow them and to draw out the objects’ structure
accordingly.

When I was first learning perspectives, my teacher ask us to practice “drawing dominos”, it felt easy at first, but when I needed to draw all of them
steadily on the ground with angle alterations, it was difficult.
If I was going to draw out all of the perspective lines on the horizon, the whole picture will be a serious mess.
Then I started to practice the method I performed this time, it allow me to draw a lot faster.

Now you might think: I can now turn the cube 45 degree, what about other angles?

We originally cut the square into four pieces; it will only allow us to draw 45 degree alteration. If we cut the square into 16 pieces:

We will be able to draw the new cubes in 22.5, 45 and 67.5 degree alterations. With the same method, we can modified the degree in smaller scales
(like cutting the square into 36 or 64 pieces), but the meaning would not be much, because when we are actually drawing, all we needed to do is to
recognize cubes in 0 (the original cube), 22.5, 45 and 67.5 degree. Minor deviation will not defer much to one another. And, adding with minor errors
of hand drawing, I personally do not think that the increasing of numbers in angle alterations will help much in improving drawing skills.
Applying the idea to three dimensional cubes, it will be easy to find out cubes in different angles. With reference in hand, you will be able notice the
strand of alterations in different degrees are the quite the same to what I have demonstrated. (In my demonstration, the cubes are drawn within, so the
size of it doesn’t resemble much, but the strands of change in degrees are much the same) Patrons that have seen the rewards from the last session
about the control in angles will have a better understanding in this session.

Then, how do we use it in practice?

Within this demonstration, both of the tables are turned 45 degree, If I wanted to make their angles different…..we can make the green square 22.5
degree, and draw out the cube of 22.5 degree.

Or we can have it 67.5 degree

When we have the base axis of perspective from the table, along with the help of perspective ideology to draw the perspective, we may be able to
extend the table’s XY and Z axis for more variation and more complex structures. (Like picture C above) or having two different angles objects on the
same pile. (I.e. to place a book of A’s perspective on the table of B’s perspective)