Fqmous Artists Course

Institute of Commerciol Art, ,*.

Wè.rt rr, Con..di.u!

arBrtt Doll{l ttto tuDtKH{5 NorfAi| IOCXWEL|

AI IAN(ER glN TÀHI STIVAN DOHANOS JON WHITCO'AS

rolEtl iawcEfi pEtll HlrC|( toHr{

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ausfl tntccs t{atorD voN ScltftDl

 Fomous/drfistsCourse

r.*."
8 Perspeclive
lnsrhulêol Commêr.idlArl, Inc.

Perspective
In L€sson 2 on Fo.n we einphàsncd rhc làcr ûar a d.awnrg
was an iDrc.prctalior of an a.lual oô,".r oD a llar surla.e. We
lold you that all oltjech had anorhcr side, !ha! oliects diDnL
ished in sizeas ùey re.eded in disrancc hom rhe cyc. PEÀSPtc-
T IvL i . th " a ,' o l the* û,tudt uùl.,t n n tr at
\ura,. \a t|ût Lh.\ '.p ..r ntng
opP?ar to p,"a, it a'.n",,-à;ii-di7-ili|
@ show, whiLn is coûtrollcd by rhe position oI the vanishnrg ponr
length and di.cciion oI u re.edirg edge or a rc.rdinS side 01 an
objed. rn inr.icare lorn' PERSPECTIVE tooks dimcuh. It is
no|. It is only ùe extensior of a tew simple formulâs. lI you
ùn+6tand the lew sirplc fonnulas, rhe exlension of them is
.cladveiy cùy. lt is our pùrpôse in ùis le$oD !o explaiû ard
dia$am ùem. Ior examples wc will use faniliar subjects ard
the problems you àre mosl likcly io be conlronred with in your
s o 'r. w e wi l l B i ve vo u r he ' apolr 4,r la, r ". I he n,cr ,mpo, r anl
single obje.i in telching PERSPECTIVE is the .ùrcj ir will
rherelore be rhe La,) or m6r ol the cxampl* ai;-Ziagram,.
Fiom the .ub€-reclangles, circl$,ellipses and €von people are
.ttr\|i in PERSPEÇTIIIE 'Ib urdebhrd drawinA a cube in
PERSPECTIYE it a nus1,
---[i-t
atists, aoi'rg pi.roriâl wort, are .oDsranily conlroùred
with PERSPECTIVE. Usùally, arlists draw objects lreehand.
They enla.ge, chaDgeând shilt lines unril rhe drâwirgs appear
conect rc the eye. some.ines ùe drawing coûtinucs ro l@L
wron& The artist mù$ ùen too\ for cve. The curc n k@u
ledg" ùt PLR\PECTII/E, ^ down .hc verdcal line. Now, on rhe eye level line, mart.wo
Do nôt get thc imprcsion rhar only buildiDgs, roons, tâùres
ând châirs have PERSPECTIVE. Àll Iotms hak PERSPEC-
ztlE. whcn drawing a penon, a t-andscape,a tree or a cloud
-anylhing i,r nârure-tou wiU nnrl PERSPÊ.CT|VE
pres€nt. we bclievc thât a tho.oùgh ù.deBtandinA oI ihc ^twtys
fun-
damcnrals or any phasr ol drawing is nore iûporranr lhàn â
na$ oi supofluous detail. Nor ùar derail isr'r ihporant.. . .lrrwt\ in P ERSPEC T I YÊ,.
bui as such it is meaningle$ rvirhour a knowlcdgc of itl ori8in.
we .annor <lelàil romo.row s picrure for yoù .e8a.dles of how
hard we nighr ùy. On dre orher hand, if yoù k.ow the wltr
. , , th € à Ott... a n d rh e 8,1SlC ZtlNr 1N( ;.,. you can wor k
out ûôst ot yoù. own art problems. Rememlier: we cannor do
the dnwinS 1or you; we can only brirg rhe lnowledge lo you.
horizontal cdges take a diâgonàl direction hom rhc ùea. verticll
edge o1 ûe buildirg be.ausc tlty mùi dirccrionâlly join âr a
vanÀhi'r8 pon'r When drawing on a lta! surlacc, PEÀsPEc.
11,/E givcs )ou the.orÈ(. diagon2l2nd lengrh oi lhc edge as i!
rclaFs to tlE vdtical linc ,,cafcsr lhc cyc. This diagooâl varics
relative to the aûoùrt ol rhc sidc ot lhe building you wùh ro
on the eye levcl and rhc psirioù of the sralioù point or borh.
]b explâin this, se will sran by diagraùùnrg a .u4,. II you
are b r hf an,l ,he r w o.i dê\ ul d ,uLf. ) ou c r .i ,'B
'r F 'op
thteê dtmenrons. This Nill require rhtee vaDùhing poiùrs. l!
is czl\ed thÈe polflt perspe.,i,c. Placc a perlecrly sqùare box on
a table iiTi6iii-6T--ii-I-ionr
ot youJoo your he2{t so rhar you .an see a
htlc oI ùe rop and soùc o{ rwo sides. You kDow dr. box is
sqùare bù! the sidcs and thr rop do no! look squâre. ,/iat ràapc
ap th?r t PLR \| F Lr l v E,how . ) ou. fi r {, J ',* , h- i ,o" ," |
hre 4'l, iDches long to roprescn! rhc horizon rt cyc l.vcl. Plac.
a mark % of an inch in liom cach cn<lot ùis hrc. Label rhc lclr
haùd point v.P.l. (vanishnrg PoiDr No. l) i label .hc righr hlnd
poirt V.l'.2. Onc inch rô rbe righr oI v-P.I, dfaw a verticnl
line '1'lr nt.h.s dowù from drc elc level. l\lark rhc lowo cD(l
of it V.P.3. This line rcpresenrslhe edge ot rhc cùbe .tosest to
the eyc. Fron a pôinr on rlE verri.al linc % inch bclor the
hôrizontal linc, draw a sfaighr line .o v.P.l and one b v.P.?.
Do the saûe ùing l.oin another potu % of rn in.h larho
pôinls: one % oI aù in.h b the.igh. and rhe orher a % ofan
inch ro the lelt oI ùe vertical line. Drâw srâighr lincs I.or,
thesc two poinK to V.P.3. Now drâw â sFaighr lin€ from V.P.l
to Poinr "A' in rhe drawing below. Dmw orher sfâight
line from V.P.z .o Point "Bl Thacs n! Care{ully studt the
diagran ùôtil you undeBrand ir thoroughly. This is a cubc

fhe third dimension

The third dinension meâns çidth pius heighr plus depth. This
le$on is writteù ro show you horv ro d.aw "depth" accu.arcly on
a fla! su acci how ro matc a drawing lechnicâUyac.u.ate. whar
a.tùâUy happens is ùâr thcre is always sone pa.r or an objftr
.lcer ro ùe cye thar rhc orher pâns, PERSPECTM is rhe
device ùar conecdy dcle.mines rhe siz€, rhe direction ând rh€
shapc of ihe pans 01 ùe objcd rhar are behiod the loremor

E
poi\r. Ltt PEllsPEcTItlE drawiD& rlÉre arc rhrce basic .hings
to reùeùrb.r. Thcy arc:
l-Thc eye o. skrion poinr
r1'-,3"-----
2-The eye level - - ----\
l-]'hc vanishnrg point or poinrs
Thc poiilioD 01 ùc cye or thr vicw is rhe r,alirr lotnr. shnd.
n,s and lookiDg (rais\t ahcad, )ou i'avc
ag_.!glo. ho.izoù. L\
l1 a hgtrrc hrll6 avay nrro rhc disranceând vaùnhcs . . . you
l\a\e a !ûnshing loitù. tr is rs simple as thar. lr) s'tA'ttoN
POrN T ... (2 ) E yE L EVLL... ( a) yANTSHTNC pOtN t.
Iir rl4c rl,rce thi,)6s in yoù. miûd aDd you havc ùr blsis ol
M
all PERSPÈ,C! lyE. Dvcryrhi.g clsc i,n PERSPEC'îII E i! a how i (ovd bê oir ôÈ ôr çrcrcrobndi.
ù,uldplc ol rhesetlùee iundamcùlals.
Ir you lookcd doçû a st.cct, yoù woùld notice rat buildi,,gs
appcar ro diiùinish h size.l,EÀs?ECT.//, is the nretlod that
accufarcly plots the dnnn,ilhirg hofiron|al edges1or you. _Ihcsc
É
 FomousArlisls Course

2 l-",ra" Perspective
I Inrrilul. oJ CommorciôlArl, Inc.

din.iiioior c5i.d oi o r{
'i6"

ïhe picture plcno

-lhe dravhE you ûkl. o,, Lfu wi')dos shobs )ou rlur wh you
koow to bc aciuall) n long sidc ol a buildn€ is represerrtcdorl
llc $nrdo\{ b} a rcry sho'lh'r. \'ou.aùDot dra$ or (irrdo\s
all the picrurls )ou nral $i!h lo dra$, but rhe rvnrdos dn\rin6
sho(s you $har hrl)pch. y{{ dra\r rhe i/lzri,r 01dcp , on r
llat sùrlace.-Ihe Nrklow is lhc llat surla.c. lr is, ro rbc arrisl,
{hat is lùo{tr as rlre I'l(:l-URL, Pa,rNf. lhe ardsr hns !n
nnagnrar) rctuol wnrdorv ,hals bclorc hiù. \!hrl hr sc6 or
itrugine! a! rluec di'ùcù!!r,rl ol,jccts he ltansicb ro tl,c .so
dnùcnsional suflacc ol rlt. plpcr bclor. hnù. Hûw ùn,cl, ol
holv littlc hc wishcs to lhow ol ùc objd he is drawiùg is
dctcùùnttd by dre posnior) ol the .r'lcTUÀ, PZ,jN, b.rweetr
hir ete, of vicw pûiùr, atrd tl,c objecr. 'l hc cl6er tit P.rc ruil!;
Pa,r^rE n ro tùc object, tl,c hrge. lhe nrage àppears. r'lrc slnpc
ol thc objc.r docs ,,o, .hai'gr. Whlt (cuts n rhis: As )ou look
ar an objc.t, rays ol liShr etrtd thc elc liom all rhe poinrr and
rrcÀ ol rhc pictùrc. l h( poirb rr rLhnh dÉsc favr thcor(rir rll\
srikc rhc nùlginrft l'lrif URE I'L,L\E b.nrccrr thc c!. rnil
ihc obj.(! urc dte lbirttl thil. \(h.ù.oùnc(tcd, ddcnn,ne r |l1o
dnùcnsional drr{n's I2lg.ll!:llg r thrcc dnùensionxl objc(.
You do not havc to bc r.rurlly looking ar a. oùjc.r ùoùB[ r
wn rl o v, a n a n i sr etr nnagi,r c r hc s( r nc,.an !i' ùr lizc it. Ho*
cvcr, thc san,c pro.css ûn,,s. Hr rn,cùrb.rs or nragincs drc
s(cùe and ha an inrlgina.y lctrical litt PICIURE PLANIIj
bclorc him. Hc duws on d,c papo l,clore hnù rrlnt hc jcci
on ùc iD,agnraryplanc.

D
m
tr fi
\-/-
 FqmousArlists Cource

b.-"I Perspective 3
l.rlilulê of Commèrcidl Ad, lnc.

--"---
sr è-----------::::

If you study drc diagrams on this pag(, tlrc {un.tions of th€

PICTURE PLANE slrolld bê cleâr to you. In.lhes€ diag.ams
we have added th. .). le,"l liæ. Thir lin€, which usually aù-
cho6 ù€ ra"ishi"gÏ6i-q sirq tne diatonal degee ot lhe per-
spetive lines lcâdiDg àway tùom the near vcrtical cdge o{ the
.ube. ln the lop diagram (l) we shos thc Âgure.tândiq, the
eye level and the cuùc. Berweer theû is ift€red th€ iûaginarl
PICTURE PLANE. From th€ cùbe. ec hav€ drâwn thc linet
to ùe tùo vanishiùg points on ûe horizon,'ri, ù€.ight (2)
we show the cubc s ùc eye io picture (l) secs it. we have
run ùe lines of p.Jspective out to the vânishnB points this
ù the .or.e.! pictùre as ii vould be seen hon the eye level or
sradon poin. of the mân dhwing.
Ir diaslan (3) rc show the sme cube and the sâûe ûgure,
bû tlre PICTURE PL|INE is dlrcd and is below ùc cye lcvel.
The vis is abov( aùd down ald the horizon will nor appea. All three vanishin8 pôint3 ar€ ùled when ù€ PICTURE
in the 6nal piclù.cj Dcvenheles, ùe vanishing points which âre P!,INE is oblique to the objcct a3 shown in diagram (!) âs
on the horizon ar€ sdll ùc.e; only rhc slation point ha.hânged there is no surrace of lhc cùbe pàraltel to rhe PICT-URE
in relation to the cube. PZ,rNr. Most drawings tlut afc made ùp of rc.tangles have
On this page wc have also shown you how the position ol tlle onc sùrfâce o. €dge pârâllel to lhe P.TCTUnE PLTNE. This is
PIÇTURE PLANE bcrween the eye and the object anects the Bually the venical edge clôs*t to the eye. only whcn tPc.iâl
size or lhe object on ùc P.rcTUnt Pr.rNE. This diaFâm al$ effects are desircd ruch ar a down" view oI a buildiug or oltlecl
sho$ you that the PrCIUREPt,4Na is parallel ro at leat ote or ân up vi€w oI somc lrlidg. toser or largc Ionn t this
or ûore sùrfa.es ot the.ube. In the actual drawin& ùis reducg gcneral iub dnregârded. -l-his @cus rhet the PICTURE
rhc vanishing poidLi |o one or two, âs âny true parallcl surface PL.rNË ii (!6e ro thc objdt and the ele or rLrtion Poinr n
aill næd no vaDishitrgpoint. (losc ro borh - ù sho{ù in diasrâ'n (r).
 FomousArtisls Course

4 r"*."
8 Perspective
Inslii!te oI Cômûer.iol Arr,Inc,

On. poinr p.rspè.rlve

two polrf pGrrpe<tivè

 FomousArlisls Course

r-",,on Perspective 5
8 Inslilulèof CommerciolArr, In..

ïhrê. point pèBpedivè

pohr ,në hish dboY. ii. obÈd.

vqnishing point
We lold you there w.re tlùcc nnportrnt la.toô h PrliSPrC-
TltlE rhar ntst bc urder$ood, ?i6,, the stutiot poiùt uhi.h
is the eye tbsilior ur rhe poin-Ii6fiîEiiE-TEë v'e* *
s.'ù4d. th. ho't.vr o, "rp lpJpl. t hjd. th. pdnt
"een.
!.
"r^^h,rB
@ lar apârt as )ou wish rhcm. Thc horizonlah be.ome diâgorals
rfrGfpoi'r! rn con,plicated objects lhcrc caD be sevcral.Fol
ù,ost d.asin8s,only rh.ee vanishing ponr|' occur. This is câued
où., two or thrce point pespcctive.
Oùe pon,r pebpe.rive occurs wheù rwo dimensioDs oI aD
obje.t are parallel to the P!,{NE. 'l here is oùly ooe
dimcùsion lell to a.count "lcTUriE
1of. l. must have a VANISHING
POINI. T h i , n u ù r p .in' p,r ,!r ,r iv, r nJ,dn o,,Jr in.v.
eral $rys. Looknrg 2t rhc flat sidc ol a cubc tlrc VANISHINC
PolNî ù oùr of sjghr a.d bclind i! bccùure heighr aDd widrh
are pârallel lo the PTCTURÊ PLANE. 11 you ntoved tire llat
surkces ol ùe cubc behiod you or ûovcd lôManl insidc oI il,
you would bc nr the saùrcpositioù as il you $erc loûkn,g down
ttre ùiddle ol a srccl. Iùc righr and leh walls would fcpfcscnr
the llai tionts ol rhc buildi,rgs oD rtu sides o1 ùc st.ccr. Srudy
diasram (l) on pasc 4. All lines are pârâlici and ruD to onc
YA NIS H INÇ P O]NT .
rn wo poinr pespe.tive thGe n onl) oùe dnncnsior parallel
to rhc PTCTURE PLANE 'l hûe are two dnùensiôns lell We
Érelorc havc lwo flNlslJlNc PC',aNîJ lo cstablish- Thc
Iùrther apart varnhng poi,rts ar, rhc lc$ acurc rhc dia8onals
bc.orre. Tlis givrs ùlore view 01 ùc .cccdi'rg su.fâccs. Il you
bring the ,/,rN.lJ?'1./NCPO./NTS closer rogcùer, you seelessol
ùese surlàccs. 'Ihc diagonal dirccrion 01 t-IrchorizoDtâl lin.s
becone sha?cr- lr ir cusro,naryro rou8h'h tlL view ol a.ub.
or objccr ro cstablish how much you wùh .o show of rhe sur,
laccs bclorc yoù csablish the lwo VANISHING POINTS.
This aùrcmalicaliy csrâlllishcsùc sradon ponlt or rhe view you
vish lo i'ave.'lhe yANISHINç l'OlNTS.àn be as close or âs
when drawn nr i,tRS?,EC11llÈ aDd, as çe rxplained on pagc 3,
rhc angle or ùe hortonrals is de&nnn,ed b) rlE cr6eDc$ or
v v ur c v c ,o th, ol ,j ei t. T h" ( l u* , ) ,', r h( r ,ue .,r ù( i .
" ,f.
ùe ângle ol thc hornoùtal lines.
Three poiDt peFpe.tivc is uscd vhen rhe P.TCIUREPLINE
is tiltcd ând is rol pamllcl ro any oI ùe rhre diûensional sùr.
Id..: u. ûLt,r r . l " J w i ,'g\u\i n8tl ,'( r t,o,nr p( 'r pc ( r i \.! ar (
us!âlly ot 'h(objccts Nhcrc dre stalion poinr is
cl6e, such as vhere
you are looking ùp ar a laBe ship or locomorive or a rall build
i,,g )où lrc close ro.'Ihe hodzon is usuaUyvery low or endrely
bclow thc vicv of the object. Similarly, il you are lookirg down
tron abovc, thc hornor ùra) not cven appear tu the view ar all.
A gcncrâl rule b {ouorv is this: Small objects ùsùzU) look
betrer ir a pi. k il the ùfcc Z,lNIs?l.rNC PolNTs arc rvell
separatcd,Tlrc /EÂSPEC 1//E should nol lte acurc.'là cmpha-
.t, ,h, 1,9,,- . ol d Lui l di ,'9. ,har p dr .Bon.l l i ne\ j ,( i nr por r
àot, Hcrr thc closeness01 the /.rN.l.tàINC PO,aNlS srrengrh
ens thc cficcr yoù wan!. in aDy pebpeûivc d.awings, lhc bcsr
platr is to IiNr skelch lighll) thr gcneral view rhàr you wish.
F.om rhis sketch, 'rur out lour bori?onral lines â.d frnd ùc
yA^iISHlN(j POINTS. Be nûe that the tùo haizoûlûl diapn-
nl /i,,s e,a ar are t"*.t tù-.-ôn"iomoitràtrGli
"r,a
thln ihe other. Regardl.ss oI ùcir distâùcc âpart thcy nrn De
csrablishcdon lhc san)r eye lclcl.
 FomousArtisls Cour3e

6 r"*."
8 Perspeclive
Intilui€ ot Conm€rciolA , Inc.

Slotion poini
The STATIoN POINT is the lcrm used in pcnpe.tive <lraw
ing for ûe plâce 1roù which the picture is seco.'Ihe aftount
of sùrlâce 01 the sides of aû object ùal appcars on rhc
PICTURE PLANE frc6 the ,tLra.lON POINT can be 2ccu.
r dr c h ( hdneJ . tu' êr ,m !| ,: ,I ) oL tnow an oLt,,r ,, s qu" ,,.
such as a .ube, jusl dmw a squarc on 2 piccc ol papcr . - . now
establish the s?,{zoN PoINT any place arouDd rhe sqlare
roughly th.cc iimcs rhe lenglh or one side away lrc,n ir. Draw
â liôe bctwecn lhe selccted STIîION POINI aûd the center
of the square. Place t\e PICTURE PLANE anywhc.e berwccn
Lhe STATION POTNT ànd rhe sguzre. For accù.rtc measure-
ments lor ùe fotuàrd vertical, ptz.e .he PICTUI|E PLANE
againsr n. Tùis verti.al is then in scale wiih ihe plane. Do rhis
by d.awing a line sraight àdôs5 ùe line between rhe Sz?,aON
PolNî aùd the sqùare, ther draw lines be.ween ùe S",r-
TloN PolNr and ea.h corner ot thc squrre. The positioD ot
.hc vc.ricars oD |trc PICTURE PLANE deterDntcd by th.
inÉFeclioù oI these lines (showD here as ^ dotted liieE $nh
the PICTURE PLANE. T he anouot ol eâ.h surla.e ùat $ûuld

I t

";\*...,....
 tomous Arlisls Courla

b.*"I Penrpective 7
Inrtitur. of Conm.6i.l A.t, Inc.

'I

II<------"""":-
I

wbr F @ d6. rc cbÈd, éi.-

| i f u I 'ù . i I , t {É i l h q d d d | | 'l h . 'h.
d.prh i. nidd.i b.hiid r[..ri.d.id rh.

r .IF|i q d c

_-_--!-."...\
6.'.ûnh.bpo'l|.bc.r.dg.

b€ Gn lrom rhi,t STATTON PO|NI is alb determined. lô

I
complete this pidure rtudy carefùlry the diagraûrs on ùe left.
The STÀTION POINT ha no.e to do wirh rhe app€aranc€ )
of an objcct than anythidt eb€. l! ie wiæ !o @.efully consider
this. Mor. drawings loot b€tter if tlre STATION POINT ]i
not too cl6e |o the obje.t. Being too neù makes persp€.ti!€
drawilgs l@k dttorl€d. ror norûal pù+oses rhis should bc
avoided. As the STITION POINT chanSes qer s 3lighdy ||.'d..rhbyitùg'h..y.l.r
3o must aU of the persp€ctive lin€s in the drawings chanSe. Study

diaSÉûi No. I .nd No. 2 otr pate 6 and you will *e lhis
gÉphically illuslrated.
'Iô prceed on . drawin& n is b6r b ùle mâny rough
skeches to Senerauy 6tâblùh the best riew of rh. objed for
your needs - 10 Gtâblish the belr sÎ,rTION POlNr. This is
common prâ.ti.e b€càuse sizer surfac€r, and shapes are the
importânt pans oI pi.ture màLing. Thir yoù will quickly realizc
in Le$on 9 or Compdnion. Drawing! thar reqùir€ accurate your 6nâl pidùre. This ûeans esrabli.hing th€ vanbhing poinrs,
PEnSPECî//6 should be fairly well sletched first to accoh- the eye l€vel ând the measuremenrs.You will nnd rhb an inrelli-
modate the cye. lt h aell then lo 'prôvê" the dra*ings to nat€ Sent prdedùre thar will nat€ all your rorl easier. On ùis
sure thal the addcd details {ill frt ir their con€cr D@ition in pag€ w€ rhow you how ro do rhie.
 FomousArtiita Course

8 r"*."
8 Perspeclive
In5lilulê of Commer.iol At In.,

Meosurement
In any drawing, proportions ù,us bc .oneci. In dre humaù
6gurc wc showcd you deÊnnc p.oporlions, such as, le8s rô
_Iô
body, head .o heighr, er. Drccr praclical problcDr iD Priè
,tPECLltlE/nrcdu.cmcnrs must be ùndeslood.Tùere are ûany
difierent wâ)s .o aùilc at rhc samc solùlions. We arc going
to give tôu he.c a liw or rhe mos! imponaùr ones that havc
endles varialions. Complere undcrsÉnding of â few ànd à
liltle thinljng on your part will enàble you to work ûut orhe^.
Befo.e maknrg neasureûren$ ot aoy lind ù,eff to esablish
the necdcd |/INISHINC POlNr ând ùe righ. s?,r?1ON
POINT. Geî the bisi., over'all shapc e$ablùhed .o..ecriy,
olherçise, you will do cndlc$ correding and the dràwirg will
never seem ro coùrc our right. lt is often necesary to divide a.
arca or a diagorât by odd ùurnbc.s - a ùlcr witl Dor sùfiicc.
lhc ley to Dôt divisioû 01space is conl.olled by rhc vc.rical
or horizontal lilrc parallcl b ûc P.rClûÀE Pa,rNE. For ex
a,npl., to dividc a rcccding planc inro frvc parls )ou divide rhe
vcnical in1o live pa[s rviLh a ùlcr aùd ùe Dreasùrcmenris
rvorked oùr easily, as shown i,r dre diâgrâm or this pagc.
---------------"' lb dilidc a squarc, regùdle$ ol PtltJPECT.ItlÀ draw diag.
otrâl lires lbnr .omer |o .ond. lvhùe tirey.ros is tl[ cerlcr.
lô divide â cube, draw diâgonâl lnres ftod the lour .orners
ro thc opposnrg lour coh)cb. Iheù you have the inside centd.
Thesc snùplc rulcs arc n,valuablc ro you and allow you ro
ùôrk our *.ûirgly impo$ible problcms.
A snùplc wa) to gci uncvcù arcas cstablishcd in PEItSPEC.
1.1,/E is to makc your division along rhc cdgc ol a ltar pla.c
and run thc li.e o bc PICTUIIE Pa,4N, as we show io

h i , nor di ffi ,ul t w i th J 68ur e l t\oul nor i he pr opo,,,on:

you caD rranslare ùem .orrc.tly to a pespe.tive drawnrg.
The combi'râtions which .ân bc çorked où1 troù these
simple rules seem endles. Yoùr ele soon be.omes ûaired
and yoù will be amazcd at ns a.curacy. Nlany mc2sùremenb for
averàge iUNration are done entircly by eye. Horvcve., yoù
wiU ûnd thar a study oI th*e Ie{ rules will be rost usetul rc
you on nany o.cæions.
 tomous Arlisl! Course
r".*"
8 Perspective
l.slitulê of Comîêrcidl Art, In.,
the (ircle
The best way lo accurâtely plr CIRCLE in PERSPECTIVE
^
is to doso with the aid ofâ square.Circles, ovals and ellipsesare
often badly drawn by ârtbts. This is not ne.esary. An accurate
ând simpte method .ân be learned by â few minùtes of study.
We hav€ shown you tlat z cube is the basis of all rcctangùlar
Iorm and how. rf )ou Lnow it rhoroughly. no(r ot )our pespec.
dve probleDs become simple. The CIRCLÊ dæs ùe sâme
thing lor you in drawing all two dimensional .unes, ellip8es
and.ovals ir peBpe.tile. Fôrtututely, its basn n the sqùde,
iun oné sùta.è ôl thz .ube. The redon lor ùsing ûe sqùare is
be.ause therc is no diEt measùÉment on a cùt!e, VANISH-
/Nç Po/Nlt are determincd from lhe squâre. Proportions of
the cune can easily be seen within ùe square. Probably nore
imporranr, rhe Dajor axis or perspe.rive .enter oi rhe curve
shirts lrom the center ôr the sqùare when n is placed in pe$pec-
ti,le. Onlt uhen the elliiæ i! Parauel to the PICTUREPLANE
i itt naior aais the same at the mathenalical ceater.
9
rin dcn d rii. ii lrâ noior ôri, ûl
Wher drawing ellip*s, sù.h as wheels,glss bowls, plales and
b on, ir is best to roùgh ùen in heehand ro âÛive âr the
gene.àl shap€ needed. The euipse Day piotrude more on one
side ihan on the other 1or it is dimcult to draw a perfect ellipsc
rreehand. The next srep should be ro relare lhe square in
proper perspectivesuperimpded on the fEehand ellipse. When
the square is .orecdy posirioncd, crcs rhe cenrer wirh the r{o
diagonal lines, then crôss them again wiù a verlicâl lnre
ùrough the inFBectioù of the diâgônat lincs. rinally draù a
ho.izonral line tàrough the center.
Be su.e to use the /.rN/SI]1NG POIN" tô have the direction
oI ùe horizontàl line correct. The ûàjo. axis oI an elliFe is
never verti.al unlss the.erter of the CnCZË is on rhe eye
tevel. II you use the pespective sqùare ro build your ellipse,
this prôblem ùill not conceû you becâuse i! is governed by
Lhe pp''pe,ti v e ,nd àutom atnâl h k l es i r . pl a.r .
 FomousArfisL CouÊe

lO L"oon Perspeclive
$ Inrtùutê of Commerciql tur, Inc.

[J +
LI

lwo dimensionol curved forms )

Hùe !h€ circle or .urve geti its illùsion of volùme or space.
Here, rciarionships b%in-lor in mcr cd€s several ellip6es
are uad to 'build" a siûple cùNed objecr. In ?EÀS?EC1.I,/À',
the top ellipe of a water gl6s is difi€ren! lrom rhe borronr
ellips€. Both vàry accordiDg !o lhe eye level. ln . giaæIul wate. i--1
pi|.her you nay reed .o draw sevelal dillerenr ùed ellipses ro
ùaw the piicher coùrecdy in PErrÈSPEC?/r. :this is done by
fr6t drawing the rectaogular lorm th ould €ncompds rhe
cù.ved objecL Proceed to dilide the surfacer ar ve showed you
on pâge 9. Make all the division6 n€.€$aiy by lighdy draving
in the diagonâls. Use yoùr I/,:IN/SIIING POINlt in eâch cùe.
When drawing two dinen6ional cùrvcd {orm, the cenrer of
the rectângùlâr (o.o is just as imporlanr as rhe cemer ol rhe
quare war when plot.ing the circle in PERSPEC?I /8. A sludy
of the diagraûs on rhis page can show you $aphicauy how ro
pr@e€d. Read ùe captiotu cârefully, âr these diàglam we.e t.t
uæd, in some mânûer, ù û6t of lhe æaching given ùus 1àr
in thÈ le$on. Remeûber, ûat ar ey€ level, ân etlipse is â
,râi8hr lire and 6 the Eration poinr dses or loweb ir opens
until, iI you were dir€.tly above it, it would be a circle.
 FomousÀrlisls Course
[ar-" Perspective
8 lûtiturd ol Cohmor.iol Arr, Inc.
Compound forms
We told you at the beginning of this lsrcn that il you could
urderstand the cùbe in PERSPEÇTIVE you could solve m6t
pe$pectiv€ probl€ûs. On tÀis page we are combiring difierert
size cub6 with rccta.Ales and bottt, in turn, with ellipsrs. The
tlùee m6t impo.tanr things are âgair: STAîION PoINT,
yANISHING POTNT EyE !tyrl. Àll of ùese rhree
.ân aff€ct ùe appearance ^ndof your drâwing iI they are poo.ly
select€d. However, if th€y are deûnitely eslabtish€d, yoù will
still have à d.aving .onecl in PERSPECî1yE atthoùgh it nay
It is iûportant here to wâm you to keep you Z,rN1tfl/NG
POI,VTS nther fàr apart becaùse thir will give the tnal piclure
a moE pleasant appeârance. ror âll gEn€ral use, we suggesr
thar all leni.dls bê ttuLt xerticaL éicébt when a speciâl efiecr
iJ delir€d and a rhird ,/,rNrSHrNc PolNI is nece$ary.
Mct obje.ts àre COMPOUND r:Oin4J. There âre milliors
of fo!fu on ear.h bui only a rew basic geonerric o16. We can.
nôt diagram rhem all bur we can do a few oI rhe û6r im-
portani. However, if you car drâw a cube, you Ehould be able
rii, i, . ..prcdudiù ôr ir. .du.l
,r
.,1 \'
:':'a \
r.
ll
ro 'slice" ir iq hau. If you undertand measureûent )où should
be able !o pur sone draweb in â .ube and .alt ir a chesr oI
drâwers. II you need to pùt a .urved vase on it, you shoutd be
able to do s by bùildina it frcm a @be or recrangle âs we have
shovr you. lf you were .o 'consrrucf a ship, you could lây six
cubes together. That would be rhe basis of the hull six times
lorgd thân it is hiAh and wide. You would ûnd rhe .ent€r of
rhe groùp then plâce the line of the keel ard the .enr€r or
.he decks. from here, you would .une the hull ànd ù couldq t
g€t very far out of hând. lf yoù know how ro ând the cenrer ot
the side of a rectangle, ir th€ wây we hav€ sug8esred with lhe
two diagonal line!, )où sùrely caq ûnd a quarrer of rhe areâ in
ùe same wây. ror example, il yoù musr 6nd rhe posirior of the
ridg€ pol€ for a roof, you rimply draw the verticâl lire up to the
leryth you wish, ùrough lhe center, or the quarter p6nion, or
any plâce yôù might selec!.We simply rell you rhis ro show you
rb^r COMPOUND FORMS which you wiU be @ftÉndy cor-
lronted with are not comple\, the! Lre onl, nu\iples ol uhat
,ou atread, hnou. Tbe diâgEtu-;-En;aselEoùtd F@;T;
-' l
 FomousArlists Course

12 r",-" Perspective
8 Institureof Comner.iol Art, Inc,

'' Ld.L

i ç -- --' -.tÊ
:l l r1i t:

rhn ùhior i! i!, h,id.o' o<u

'h.

lnterior ond exlerior

1ô put buildhgs, rees, telephonc poles, roads ard people on iÉ fieehand and tÀen siablish the uN.rSË.rNG PO.INI for
tÀe grouDd" ;h PERSPEÇTIVE, we tollow exa.tly the same that building- Each building càn have its individuâl I/,rNJS-H-
Drtedure dr wr Jo wh(n wc Dut rube in PLRSPLCTIT L. ING POINTS: i6t remember the IANISHING POINTS
'l elephore poles and people dinot ^vary nu.h in heighr; bùild-
ings ard trecs mây vâry greadyj roads g€n€.ally siay abou! lhe For irterio. PEÀsPECzr'E, rry ro lhink of a room âs being
sane wid.h. fi.st cstablùh the hôrior où eye level line. From the inside ô{ a .ube o. .ectangle. All ol lhe rules esrablùhed
here on, you càn pu! iù anyùnB you wish. If ùere a.e several with the cùbe are aDDli.able hete. you are iaside the .ube
Irùildin8s, onc buildjnS can be your neasurcmen! ror all of rhc instedd ot outside ir. Thc.c musr be EyE LEVEL aîd
olheb. Thc same procedure âpplies 10 rhe r.€es, ù€ relephoùe yANISHING POINTS. Furnirure can, wilh ^n care, be arrânged
poles o. .he people. lf æ is estabhhed in ihe picrure,all the in various positiors providing you have an eye tevel eshblished
othe. units can be reâdily measùred provided lhey are pùallel so that you car shift ùe t/,rNlsIt1NG POIùÎS for each indi
lo the liûe o{ the P.lCîUltEParNÀ vidual shift o{ furrnure position.
'Iô place theù ir dep.h, and rhe correcr size, you simply run When doorwayr picrures, cu.lains, mouldings, erc., folloç
the heighl ot the objeci to i\e IANISHIN(r PONT- Ar an'l the wall, rl\e VANISEING PolNru of the vau ee used. Fl@r
level ir the pic.ùre you can shilr rhe ôbjecr ho.izonrally. rh sur€ pattems lollow .he pespective oI the û@r ârd you ûust hold
the horizon.al shilt is absolutely parâllel to the P1c?a/4n to the yÀNISHING POINTS you hâve establùhed Iôr the Âôor.
Ptl4NE. BuildinSs may be in various pôlirions-nor ar righ. A .enter light lixture is meâsured from th€ nrteBection o{ thc
aryles or parallel to each orher. Esrablish the view ot rùe bùild- diaSoûal lines runnin8 frotn in the .eiling.
 FomousArtists Course

r.*."
8 Perspeclive t3
Inslitureof CommerciolArr, 1..,

All rhÈ is aD cxlension of ihe sidple prin.iples çe hâve taught

you so tar in lhis leson- Carctul sudy of the diagram or this
paac should be sufiicicntry cxptànaroty. !!P!2!:_!JJ!I_!l!!::!b.
Ofteo, artists are requircd to mate drawin$ of objecB when
there are no actual objects or photographs rc worl rrom A
mechanical plân or blueprinr is the only avàilablc informâtion.
We show you here lhe bes! melhod to fouow in this snùadon,
whethei yoo are dawing a hoNe or some other obj€ct-
P\^ce the PICTURE PLANE so ùat it tou.hes the lorwa.d
vertical. This is done ro $Éblish height. Run ûe lines of all
corne. points to the Prcaal]lË Pa,rNE, in line wiih the s?,r-
?ION POIN"- This estâblishesall verlicals. Measure the eleva-
tion plan lor the height of the torwârd verlicals. Il this verlical
is touching the P/CAUÊE Pa,rNE, its mersuremenr is Ihe same
æ the (âle of the plan. Thit appLiesonL, to the lotuad ærti-
cdL toù.hing the PICTUIIE PLANE. Now that yoù have estab-
lished the height oI the foMard vertical, all othe. measurement5
.ân be worked our by following ùe methods shoûn on rh€
 FqmousArlisls Cour!€

14 L",,on Perrpective
f| Intritub ot Comnêrciol 1...
^n,

I
':1tr ad .râ,, d d.ni. r.,.i DEr 'ï.cr
I
\7 --.1
,--i
) ,
i..: (

#::rn.*nr*t

forgrhorlening qnd "fre€" forms

The comnoD ter whcn ipcaling ôt any part o{ aù irdividuâl
6sure in PEnsPEcrrz€ n E:!!!!:!!:fg. A lcs recediù8
Irom you or an am comint tosard )ou is /o,.r/.,',dtdd it is
in PERSPECIITE. Unlikc a teometri. form or âD elliFe, it is
â {ree" form or â sft or plastic form. Wiùiù tlt .ylindricâlly
sbaped limb âre many pliable curves.They ntate loreshortnnrg
nore dilfi.uh. KrorledSc âûd a grcat deal of pracricê in drao.
int ûc Â8!re ir !âriou5 tsitioG aùe your berr aids. However, iI
yot can thiil in t.ttus ol PERSPECTJ/E uh.n iox are .t,n|ù-
uu rla tau,., ir will help you.
The ûrthods of measureme we hàve applied ro gcoùcûic
fo.os..o bc used ùâny time to advantage. For cxamplc, drc
àpproxiDate knee pcitioù où aù extended l€g can be dcter
ûinêd in ùe sane way th.t you can dctenninc thc pGition ol a
d@r or . sindow on a r€.eding surfacc. M6t anists acqune,
lhrough praclice, ùe abiliry .o do ihir fr€chand, but there âre
times wh.n, in an unusually acule PrÀSPrC ?r /8, soûrcway ol
checti'rs is nccdcd. How nuch o. hoù lir c i6 secn ol the heâd
of a 6gure lyint diatonally, Icer 68r, on the fl@r,.ar bc a very
important poinr !o be clarilied.
In uDusual viws, ir ts importânr to build thc figure into a
Irà@work ol a rectangle. This can quiclly determine iI atd
shere â part will be sæn âùd its appùoximate shape. Determine
rhe ba,ic shape ol rhe obje.r, it3 orSann shape, a3 your dârùng
pôint. OrSanicâlly, n is eiùÙ . .ube, â cylinder, a 3phcre or a
.ône. Thint ol it in thot ma^n.t Although you ûrat ùot drâw
t\e nany PEIISPECTIVE lin$, you nust have the apptôxi-
ûate form and irt PERSPEÇTIyE in mind. If you set irtô
lIotble, PERSPECTIVE is the cure. Go back to thc thr€€ baric
næds: .JITTION POINT, EyE LEyEL an.l VANTSHINç
POINÎ. In drawilg ùe Âgure and ù6t small objects, be su.e
th. station goint k Dor t@ clce ro rhe obiec! l{ it is, you will
6nd @ mu.h d;tor tior. Do not hâve a lorèhor rdcd âm l@t
ù lory 6 a city slreer.Try to rcûember rhar drawnrS is think-
iû9. When drawitg fre forms or pldlic fotûr, ùinl ot
PERSPECTIYE,
 tomous Arli$s Cours€

brr." Perspective t5
8 lnsliturâof CommêrcidlArt, In..

Figure in perspe.tive
There is probably nôthirg ûore exaperâting, in a painlin&
than a Âtùrc ùa. is shnding on the floor or ône that is
'o,
,alla than ûe d@.. To place Ihe frgùre in iIs conect position
is imperative. Furthermore, the ûgure is thc artisds yardsticl.
People are an approximate height. Anyone viewing a paintin&
âutomâti.ally determines proportions, scale ârd snes as they
relate to the 6gùrc. A ûee's hcight is gaugcd by the figure stand.
ing next to nj a building is large or small æ it relates to the
person ent€ring it. Eveiything in a pictu.e is relarive. The
ûgu.e and i!5 posilion i! .PËRSPECTIVE lhe yardsiick.
Again it is the Z,TNISI{1NG POINI that^te
dæs it. As â figure
is placed bacl, or in depù, in â pi.ture, the two lines of his
hei$r !!4sJ!!!lyL!e_JE-!!!!!!!i!!!!!!. n ptà.e
him to either side. \1 yô! <teteiûine the EE!!!lL!y-:[g!J9
the correct height of all the others is established by the tvô
horizontâl line .rosirg rhe lines thàt leâd lrom the figùre 1o
rhE YANISHING POINT.
Alter soûe practice aûd expeiene this be.omcs sccond
nâture to you. Fcw artisb contirue |o use this prô.e$. There
are times when you may need ir and n is well b kùow. We
rcpe t it" a .!û; not a ûust. Study thc diatrans and you wiU
quickly undebtand whâr we ûeân.

.. '^i\,
m
ift,. ,u
,:r.l]l
*iN

M
 FamousArt;sts Course
16 r"*." Perspective
I Inriture of Cômh.rciot
A4 Inc.

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 FomousArlisls Course

t",-" Perspeclive t7
$ lNriruie oJ Commer.iql In.,
^.1,

Refe(tlon
oDjcct rcll€.ts in thc watÛ or ir â miÛor âs far as it
^tr
proje.ts rbovc. Ir is uo, the reve$e of the drawing âbove. The
.y. lcvcl rcrui.s constan. but ihe vis is a rfledcd one. ror
crnùrde. thc station pont is rhe saûe but the cye l,olr dôun
a n d se ,. w h d h e u d kr r .A looÀ,asur . er "Ltr *.xpt"uio
is this: Ir thc cyc.lcvcl is abovc ân objecr in PERsPEcTtvE,
you arc l@kiig diShtly dowù .t the obj<.. As ùis objc.r rc.
ve6es i. rellcction ùe proportions remain the same but the
"vicv is np" or fioûr lÉlos n. If the objftt is.lce to the cyc
lcvcl, tlr rclllcrioù of the obje.t will be neârly â <hpli.atc i'r rc.
vc$c but, ar objccls come fotuârd and cut thc watcf wcll
bclov thc cyc lcvcl, this is notso.
sn'd) rhc drawing above and establish ir yoùr nrind thc
PERSPECTIyE ol rhc loteground sluùrp aûd figure, lun' it ùp
sidc dowtr ând notk. the difieren.e in the 'view or bcrtd still,
tra.e rlt ngurc, rrlcbe it and.ofrpa.e n wirh ùe frgurc n, rhc
drawnrg. This should.asily cxplain ro you rhar $e m..n.

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 FomousÀrtisls Course

t8 r"*."
8 Perspective
Instilule of Comme.cial Ârl, Inc-

"I
/,.:{ ,: :. .,&:ii
. ' i'
)':.,,' i

Professionol working methodg

On tllcsc two pagcs cxaùples arc rcprodùccd shorving thc
hofking proccdûrcs ol dili.rcni ùrcml)cn ôl ihc laculty. A..orr
p!nying cuô Iiûish.d picLurc is tbc,,.rrlt prclbinary drawi.g.
Study rvill shorv yo( |o what cxlcnt soùc prcliùrn,ary Pii.a.
S/'t(l?1,/E dravinSs arc (arricd. Soinc arrists frnd it betcr ro
Nork thc prctinrinr.y out carclùlly on tra.nrg pap$. Ei.ho'
vr! - ii nrrl.s nô didc(ùc it is tlle tenLLrthût a infatt/t"t.
NIâry titr,cs, workir8 hal)its rtu dcr(itr'iùcd by thc $bjc(t rs
scl l a s d r. uscd i,, thc nnal pr n,ùns. lt is $lc r ) say
',a l e ri a l s
tlut rrtisB vrry rhcn l)ro(cdurc l.on, ri,nc ù] ùnc.
h anf PERSPECTII/F, rlrarLiDg thât is intrn.tc, xc srgScn
ihat tbc prchninary drawn,s bc rlade on tra.nrs paFr aù{l
tltù ra.slcned to yoùr rioâl dràwi.g palÉr. This keeps the
worl(i.g surlù.c ol your draviig (lcrn. Othcrwisc, you will
Ûasc atd sltift ln,$ uniil frnally )ou will havc difi.ùlty ûnding
the correct onc- Àlany tûùcs thc cscùtial lincs ot PTRSPEC-
?,atE 2rc 'nrled ûr" on ihc paper ro nake sure ùat they will
noi bc lôsr dudng drc procc$ of pai.ting. We rc.om'nr.d this
nrthod. Notice that ùe paintings reprodù.ed h..c ar. nU
opticauy coDvir!.n:B and also that th{,y arc {coD,cûnnllv couc.r
 FomousArlisls €ourse

L"*."8Perspecfive Plot I
lnslitule of Commerciol Art, lnc.

On lhi! plore, we h.ve diogrormed

two illudrorion5 showing lhê vdnirh.
ing point us€d. In borh .dês, rhe
moior vdni,hing poinr n rhê only o.ê
didgrdnned, rhê orher bêin9 roô lôr
oùr rô rhe sidê ot rhe pi(rure.

PETERHELCK Coufresyfl, J, Heinz co.

Courrery T16velêB Insuron(e Cô.

 FomousArlisls Course

i.*"" Perspective Aorc

)
8 Insriiule of Commerciol Arl, lnc.

ASSIGNMÉNL Diôgrôn eô.h ol rhere

pointings os wê did on Plole L We
wont you r o find rhe noiôr vlni3hing
poinl ônd hork ir with o cro*. The
siûplert woy lo do this is lo fiBr kô.ê
the inp.rtont edges in thê poinring.
Then lro.e rhts down in rhê spo.e tô
the righr. Now find ihe vônishing pôinl
ond mork ir, run"ins oùt rhe nojôr
li.ei ol peBpê.livê wilh . dork penctl

PETERHETC( Cou.tery Hion Wdlker, In..