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