HOW T0 cmecororeess: DRAW by Scott Robertson with Thomas Bertling designstudio _DEDICATION This book i for those with @ passion for drawing and learning Never stop! BEYOND THIS BOOK: Step byte videos are an integral part of the How To Draw edvcational experiencel Use smartphone or tablet to open a GR Reader app and scan this QR code. It Inks to the Design Studio Press imogesecognition opp needed to ploy the videos. Download the DSP app, scan Scot's photograph from poge 008 and an introductory video will load All of the pages in this book that link 0 educational videos hove "play buon" a he botom, tke iss No smartphone ot tblet® No wortos, Go to page 206, ype inthe URL on any computer o gain access to the entire links lis. Copyright © 2013 Design Stodio Pret. Fights Rosorved ‘Alt ond onwark in this book are copyright © 2013 Scot Roberton, Thomas Barking unless done by one of former delens or ox ned hroughout he book. No pot of hs bock may be reproduced or ronda ony frm or by ony meors, laconic or mecharical,intng photocopying, raogrophy, oe videcgrophy seceding witout writen parison hom the publhe, Design Studio Pres Copy Editors lisa Ka), EkesG. Bling, HewharK. Dens, Jsies Mellman | Graphic Design: Published by Design Sudo Press ‘Address: 8577 Wiguro Stet, Culver Ci, CA 90232 | Website: ww desgnseiopess.com | Email irls@designtdiopress.com Prine in Chin | Fi Eon, November 2013 w9e7654321 1013045044 | Merdeover ISBH-13: 970-192949279°5 | Paperbade 184-1 Ubeary of Congress Cone NumINTRODUCTION | rast oct TABLE OF CONTENTS craprer 01 Drawing Materials and Skills | ace o10 o12 013 ola 015 a1 017 ore 019 cuarter 02 Perspective Terminology | rast 20 022 023 02a 026 027 cartes 03 Perspective Drawing Techniques 030 032 033 03a 036 037 040 042 043 046 048 049 050 0s 053 sa 057 0a 06 062 068 CChocsing Your Drawing Ma Choosing Pens and Paper Tha Craft of Drawing Practicing Freehond Sroigh Lines XYZ Coordinate System Practicing Freehand Smooth Curves Practicing Freehond Elipses Drawing on Ellipse onthe Minor Axis Defining the Perspective bythe Viewing Position Cone af Vision - COV Finding Vanishing Points on the Pictte lane Physiol Parallel Lines Converge to @ Common Vanishing Point Horizon Line Relative to Position accom Division and Multiplication of Dimensions in Perspective ‘Mutiplying and Dividing Rectangles Dividing ito OddNumbered Proportions Miroring in Perspective Miroring Tiked Planes Mircoring Rotated, Tiked lanes Mircoring 20 Curves Mircoring @ 2D Curve on Tied Surfoce ‘Mircoxing 30 Curves in Perspective: The 2Curve Combo Perspective Grid Types Perspective Grid Consivetion Diagonal Vanishing Poin, Station Point Method 2Point Grid Construction with Vanishing Points on the Poge Rotated 2Point Grids wih SomeSized Squares Transfering Scale in Perspective ‘The Brewer Method: Cansructing @ Grid with Vanishing Points of the Page Creating a Grid of Squares, without Diogonal Vanishing Poins When to Use a Computer Generated Underlay (ther Benefits and Ways fo Use an Underlay Not All Perspective Grids Are Created Equal ‘Assembly and Exploded Views‘cussres OS Ellipses and Rotations | rctare on 073 o7 o7a 075, 076 oe oe | me ee 108 10 ne ns 16 ne 120 124 126 128 130 132 133 137 142 146 Sctfobeton | Thomas Bang | HOW O DRAW Elise Basics ond Terminology Placing @ itce in Perspective or Drawing Elipeee Creating o Cube Using Elipses (Offseting Elipses Hinging and Rotating Flaps ond Doors Subdividing Elipses ‘Shortcuts to Dividing Elipees Plocing @ Circle on a Sloped Surfoce Plonning Before Perspective ‘Orthographic Views, oka. Orhogonal Views or Drah Views Transferring a Side View into Perspective Puning ill Together: X¥.Z Section Drawing Extending the Sections 2Curve Combo Cuting Volumes ‘Adding Rodi ond Fillets ‘Wrapping Graphice Detailing and Sculpting Surfaces ‘More Tips for Medifying Complex Volumes ‘Contour Lines, Overlapping and Line Weight XYZ Section Drowing Applied Photo Underlay Site Plonning Thumbrail Sketching Non Photo Biv, Then Ink SciFi Environment Stepby Step ‘Warp Tha! Grd with o Wide-Angle Lens! ‘Outdoor Environment Sketch Stepby Step Airplane Anolomy ‘Visual Ressorch Drawing fom Observation Loose Concept Sketching "Paper Plane" Ideation "Paper Plane" Perspective Grid Drawing @ Paper Plane, SlepbyStep Using @ 3D Underlay Final Airplane Drawing StepbyStepcuaeter 9 Drawing Wheeled Vehicles | race 1s2 154 Visual Research 157 Have an Idea or a Goal Before Starting to Sketch 160 Some Bosics on Vehicle Packaging and Architece 164 Flexing Your Creativity 186 Grids, Grids, Grids! 169 Drawing a Sie View in Perspective 170 Drawing a Sized Side View in Perspective 174 Basic Body Sculpting 175 Drawing the Windshield ond Greenhouse 176 Wheel Wels, Wheels and Ties in Perspective 178 Common Automotive Lines 1B0 Car Drawing Construction, Stepby Step Grid 186 Vehicle Sketching with a WideAngle Lens cyserek 10 Sketching Styles and Mediums | nr 18s 190 Ballpoint Pon 191 Copie Marker + Ballpoint Pen 192. Grophite Pencil 193 Colored Pencil 194 Pilot HITEC Pen on Newsprint 195 Copic Motker + Pilot HITEC Pen 196 Non Photo Blue Colored Pencil + Marker + Brush Pen 197 Pentel Pocket rush Pen 198 Copic Marker + Pen + Govoche 199 Gouoche on llvstation Board 200 Toned Paper + Mined Media 201 Digital: Sketchbook PRO Glossary | nate Index | pact 203 Additional Resources | pase 08 ‘Video Links | ract 206 Bios | pace207 Special Thanks | ricers INTRODUCTION ~ % Drawing is almost a magical power enables you to communica in ‘odiferent way than spaken or writen language. Perspective drawing lets you convey how things work and how they look. You can inspire ‘thers wih something a simple af a pan and a napkin! When | created Design Studio Press, this isthe first book | ever intended to write. Well DSP turned 10 years old this past March. With [55 ohher books already in pent, so much for Pan Al Finally, withthe help of my good friend end longtime coteccher, Thomas Bering, | bring you the drawing knowhow I've tough for over 18 years in my ‘own workshops and a! Art Center Collegeof Design, Organizing this book was like @ spot! where you tain for years in ‘order to compete ot a high level for a few seconds. We combed through over @ decadecnd half of demos and lectures to formulate the pages we now present fo you (Once you master these manageable perspectvedrawing exercises, yeu willhave the knowledge to sketch anyhing kom your imagination, fo think ike « designer and draw things the world hos never sean! Books are great for looking ot beautifully printed reproductions of criginal drawings and reading about the thoughts and methods behind those drawings, but video might be even better for sepby- step demonstrations, For that reason, many pages ofthis book lnk to Conlin tutorials. Check out page 004 for a full explanation of how to, use the Design Stoo Press app, Amos oll ofus drew when we were kids and some of us never stopped. While ites practice to master the techniques in his book, is worth the affor. Humans have been drawing for over 40,000 years 0 you're about to acquire one of he oldest forms of communication, ump in cand do the basic exercises athe beginning of this book with postion. ‘Asyou master thase ancien sil, pass along the knowledge and teach cers the wonders of perspective drawing fom their imagination Lets dew! Geet Rebecton May 31, 2013 los Angeles, ColiforniaDRAWING MATERIALS AND SKILLS In this chapter you will learn about all he basic tools needed to get storied with drawing. Tare are two categories: materiale and skills Ins important to know how to pick the sight materials forthe job at hand. As the topic ond intent ofthe sketch changes, so will he mater: dls needed. Quick loose sketches require a good flow of ink to paper ‘and sometimes stokes should be very light o find "happy accidents” inthe drawing. Tight drawings need let of atntion. Optimally, one pen is used to generate varying thicknesses of lines. To achieve the best workflow, match diferent kinds of paper to different pens. When you find your Favorite pen, make sure fo buy several Sometimes that beloved pen goes ou of production woy too fos CHAPTER al Building up mechanical drawing skill is on important factor in cre ‘ling great drawings. It might seem simple, to draw o straight line, ellipse or curve. But these skill must become ingrained in muscle memory so that concentration can be epent on construction versus thinking about how to create the lines inthe constuction. Also, these skill wil help create claan drawings that can be dane quickly and passed along the production line easily. Not having to use muliple tools will also speed up the drawing process Building muscle memory takes time and practice, so be patient Take on the exercives one ato time, ond soon your ski will improve Oss | eno | HOW paw ——— 11CHOOSING YOUR DRAWING MATERIALS Inthe begining, a lot of money dose not need to be spent on moterials. All ha is eally needed ore pens, poper ond a few basic tools, Brand names don't matter much, sols get into the rerio for choosing meterils Basic tools 1. Cirle tom A cicle templote is quite veh 1 clean up circles, especially inside views. A compass i nice to have, but he circle template is foster fo se. 2. Sweeps The sweeps piclurad above contain the most commonly sketched ‘outomotive curves. But don't raly on them to dictate your design. Always deow your lines Rechand and then use the sweeps to clean them up. 3. Cotton pad, paper towel or tissve To avoid ink globe onthe page, dab the ballin pan frequent o12 Sot Rabon | Toms Bat | OW TO RAW 4. Equal spacing divider An equal spocing divider is a superhondy tool thot divides any distance into even segments 5. Straightedge Use a straightedge to construct grids for underlay 6. Elise tomplate so Useelipsetemplatestaclean upelipss. Alnor Pickattarerecommended bronds since they work or mos! stations. A good set oF elipse guides i ‘on investment, but worhwhile because it wl ast decadesPens CHOOSING PENS AND PAPER Motch the pen to the paper in order to ceote drawings wih diferent line weights. Ideal, you want to be able to draw both construction lines and contour ins without switching your drawing too. Ballpoint pens When choosing @ ballpoint pen, ti it on the paper that you plan to use most frequently to see how much ink builds up onthe tip os rmlliple lines ore sketched. A pen that can sketch a lest 10 lines without Forming an ink glab on the tip is bast No erasing! Being able o erase is not an advantoge in this style of drawing. There cre 40 many intersecting consirvtion ines that iis necly impossible to erate anything wihout disruping these valuable shortcuts that help to explain your drawing. Plus, erating slows down the drawing process ¢ lt. So what can be done when erasing isnt possible? Drow ighly. W's 08 simple os tht, Sure, some lines might be incorred, but you can clean Up the drawing later with an overly. Refer to the lost chapter of this book, page 188, for examples of combinations of motercls used for varus types of drawings. Chote © poper thot works well with your prefered drawing tal. A rougher poper will be able to produce both thin and thick lines wih Foste flowing ballpoint pens. Types of paper Try many combinations of pens and paper unl ofovote i found. Anything fom cheop copier paper to specially popers will work There are a couple of specially papers that work wal wih markers 0 wall os pen. Be owore tho there ore hwo sides o these papers: one tide s waxed ord the other is row. Always draw onthe aw side, The waxed side's hte fo prevent matters rom bleeding trough fo he ‘ex page ond is terible to draw on wih marker Softness of the Drawing Surface This is not referring to the paper itl, but how its wsed. Drawing con a sof surface enables the best line quality. Do not work on @ hor surface with a single piece of pope Hove at leas! 15 poges under 0 clawing to ge the bes! ine quoliy possible, Working with underlays ook for paper thot is tronsparent enovgh so thon on underlay con show through, but not so transparent thatthe table shows through when you present your drawings. Sco sberion | Thomas Being | MOW T DRAW onTHE CRAFT OF DRAWING Drawing requires full concentration! Iiallyyou'l spend mos of your ‘energy on craftsmanship and constuction and very litle on desiga, The more crafsmanship and constuction skills become muscle memory, the more design can become the focus. The fist sep inthis Set up a workspace ‘ Learn to draw one straight line on ‘Scot ebtion | Thro ating | MOW TO DRAW process is to practice the basic crt of drawing lines: sight lines, controled curves and ellipses. This book hos several good exercises for practicing heve skill. As skis increase, the need 1 practice these ‘exercises will diminigh let's start wih some warm-up drawings. ‘lear the space! In order to stay focused, is bes to clear enough space and fime to commit fully tothe drawing. Have a cleor work sviface with tools at the ready. Flow will be broken when @ pen ‘or straightedge can’ be found! The worst part is that the rhythm is les for that drawing ond what was ceor ten minutes ago will oke ‘onathr fen minutes to understand again. Have a sof pad to draw ‘on with of least 15 pieces of paper underneath the drawing for best lineweight result Being able to drow stright lines from point to point and ino grid is ‘essetial forall of the techniques inthis book. These exercises may 20m simple, but fo da them well means burning through some paper to build the necessary muscle memory. lets look ot the body mechanics that are necessary to achieve @ consistently sroight line. You only need to learn how to drow one straight line. Afr that rotate the poper to change the line direction \Wihout his technique, keeping the paper in a fxed postion would leod 1 having o lear how to draw an infinite numberof sight lines. Draw with the whole arm! For long lines, use the elbow and shoulder joins; i's almost impossible to achiave this by only using the wrist Draw slowly! Lines need tobe repeatable ond controlled. Draw each line ence and do not hace the same line over and over again, Ghost the line! Go through the movement with the pen hovering ‘cbove the paper. When the corract orientation is found, drop the pen con the paper and drow. Is the line arching? 1, Muscle memory might have to be rewired when @ line tho! feels, straight while drawing resus in an arch (ed line) 2. The bes! way to counterbalance iso draw a line thot feels ke the ‘opposite arch (green ln} 3. Aber some practice the feeling of drawing a stright line ond the result will match up (be line),PRACTICING FREEHAND STRAIGHT LINES Drawing parallel lines Sort off with shorter lines, something inthe inch range, end work Up tothe ful length ofthe paper. Make sure to engage the entra arm tnd that lines ore drawn consciously; they should be repeatable ot the Aiming lines point to point Below are two ways of practicing. First, draw a couple of points fn the page and connect them. Remember to rotate the paper to cent one straight line tht the body knows how to draw. I's fine to overshoot the points lightly to improve flow. ive Drawing boxes in perspe ‘Aun way to practice drawing sight lines is to drow boxes in T-poiat petspecive. Draw @ Horizon Line [Hl) ond choose a Vanishing Point (VPI. Draw a rectangle and connect each corner othe VP. Draw ancther rectangle inthe distance between these ines and you hove @ box! same length and spacing. Draw lightly, Thee are the fundamentals for drawing construction lines. The second exercise is fo draw lines that meet ia one point. Stor to deaw at any point outside ofthe canter, draw @ line through the center, ond continu, row through, which means to draw even the edges that would not be s80n, because they ore behind the box. Draw the complete box with light constuction lines, then darken the inside edges ond the outlines of the box. The outlines should be darkest. Trace lines again ond ‘gain to achieve different ine weighs. Scotfobomon | Tomes Boing | OW TO DRAM O15.X-Y-Z COORDINATE SYSTEM Sketching in perspective requires understanding the XZ coordinate system. Each axis points toward a Vanishing Point. Each plane is perpendicular to its axe. Stay in contol of your drawing by always knowing on which plane you are sketching, This system is vsed not ‘only to sketch boxes, but fr all complex forms, To draw a box where no side is perfectly perpendicular to he viewer, 2point perspective is needed Drawing a box in 2-Point perspective Ht 1. Drow the Horizon tine (Ft). Then drow the font comer ofa box. This establishes he Yond Z Axes ve HL 2. Extend the X Axis andthe Y Axi lines from the bottom of he vertical, unl they interset the Horizon Line. The intersections ofthese lines create the Left Vanishing Point (WVP] and X Axis Right Vanishing Point (@VP] forthe drawing, wr. HL 3, Draw lines from the tp ofthe vertical, to the Lat and Right Vanishing Points. Then add wo verticals ot ony distance we HL 4, Close the box by drawing lines from the top of the hwo new verticals fo the Left ond Right Vonishing Poins. Add the resulting hidden vertical in the back. we 5, Darken the visible edges ofthe box. The drawing sill shows the light constuction lines. This is what it means to. "draw through," which is very helpful to. contl your drawings. 016 scorn | Thomas Baking | HOW TO DRAW Y Axis RvP RvP | lzPRACTICING FREEHAND SMOOTH CURVES Drowing requires na only aight ins, bt curves too, There is kil ta drawing smooth, accelerating curves. When working inside view yu determine how the curves flow: in perspective, the constuction ichoes how the curves flow and it can sometimes be surprising how radically some curves move in perspective Drawing curves through multiple points Practice drawing accelerating curves through multiple preexisting points. A smooth, graceful curve is optimal. This is done best by drawing the cure in segments, using the guide points as waypoints, CC po Place points that follow your intended de- sign, then create @ smooth evrve through those points. Rotate the page while drawing ‘ond vee the natural curves your wrist and fingers draw. W's fine to draw the curve in segmens; ifs not necessary 10 draw it o# ‘one continuous line Do Nor not end points. Otherwise, the segments will have to be redrawn, multiple times ond thot causes fuzzy/hoiry lines. Keep practicing ‘curves fo prevent this from happening Create a curve with edges and corners. Creata a fuzzy line. Stay facuted and ‘Avoid this by seeing the points 2s waypoints methodical. Control the line os much os rather thon endpoint possible s0 thot the task can be repeated ‘over and over at «high quali ov Sot bran | Tons Bating | HOW T BRAMPRACTICING FREEHAND ELLIPSES Elipses occur frequently. They ore essentially circles in perspective, comfortable placing elipses, sort by drawing @ controled ellipse. fond tome obvious elites ore wheels and gauges. But they are In ote exercises, placing @ circle in perspective, which becomes on ‘ls needed in consrctions to rote doors and objects. To become lips, will be explained Drawing an ellipse and adding the minor axis 1. Drow a fechondelipse. Make ste fo move the whole rm, 2. Draw with o ight line. Later, he drawing can be cleaned up with ‘on elipse guide. Do not darken th lines too much by repeating the strokes. Even if you drew an incorrect ellipse, drawing over ond over it will only make it more abvious. Too dark and too many lines 3. Check that the ellipse has no flat spots and is nt lopsided cd eee 4, Face the minor exis on the elpte. The minor axis isthe line that clvides tin half across the narrow dimension ofthe ellipse making each half equa othe cher. The minor axis plays an important ral in placing the ellipse in perspective, s0 Finding ond contoling is esentio ey 5. Double-check wih on elipse guide or fold the poper along the \ minor axis and check ha! the two halves line up on top ofeach othe by halding the popar up tothe light Fat spot Round Draw minor axis Clean up wih Elipse Template Fold elipse olong minor axis on top of ive 01 srt so ea | now aDRAWING AN ELLIPSE ON THE MINOR AXIS. Now swiich up. raw the minor axis fie and then place the elise over Make ae thatthe elipse is symmetrical. Check that its on axis, The it Algn the hand correct by rating the paper o get he best ongle ‘minor ons needs to be centered and perpendiauar othe drawn epee Minor axis ist then drow the ellipse Perpendicular, but not symmetrical Ellipse isnot perpendicular to axis Y J Drawing ellipses defined by the minor axis and width Drow he minor axis, then aline othe leR andthe ight oF. Make sire Place th ellipses on he minor axis and moth hem to the widh ofthe hwo ‘outer lines are symmetrical crt wil be impossible to draw elipses hat ft. adeliional nes, Vary the dagree how nexow or wide they oreo wel Scot Raber | Thana ating | HOW TO BRAM020, sat aberson | Tamas ating | OW TO DEANPERSPECTIVE TERMINOLOGY Explore this chopler to fanilorize and relesh your knowledge of perspective terminology. The focus ie on the tems and principles that ‘ore essential fo navigate perspective drawings and to design objects ‘ond scenes rom your imagination. Remember, « hue version of what is seen is not created, but rather ‘emulated, since streoscopc vision is not possible on paper. Humans hhave two eyes, which allows us fo ee in 3D. Drowing in perspective is cheat, on approximation of how we see the word This chopter will explain the ules thot exist o create the best ilsion fon paper. Once the rules have been mastered, i's okay to break them intentionally However, if they are broken accidently, it can sabotage what you ore trying 10 convey to the viewer. For example, imagine CHAPTER 02 you wan! someone fo view your fantastic landscape ond house os someplace they would want 10 live. Instead, @ nagging question eames to their mind—something is odd and they connot figure out ‘what it is. This question is triggered by on inaccurate perspective in your drawing and should not have happened, since the goal was 0 talk about the project, not perspective. This was unintentional and tended up dsacting the viewer kom the goal. Knowing the fundamental rules of perspective wil allow you 1 jin the discussion ond exploration of perspective knowledge. There are ‘many books that cover this terminology in depth, and doing additonal research is encouraged. Join the community and sort exploring your ‘own questions and finding answers that allow for judging work and helping others, Seo Robaion | Thoma Sang | NOW To BRAM 021DEFINING THE PERSPECTIVE BY THE VIEWING POSITION Defining the viewing positon is esiental to conteling the perspective drawing. Keep in mind that photography is being replicated inthe drawings; hereor, iis essential o define where one is standing, the viewing diection, and the lens being used. This knowledge will opply Defining Point of View - POV) Station Poin! 2. Picture Plane 022 sco aberion | Tho tng | HOW TO DRAW to the guessed perspective, the constructed perspective, and even to ‘he computergenerated perspective. The rules need fo be known soit becomes obvious when they ore being broken. Let's look at the following situation. A great picture of @ building is taken wih a camera and displayed. Another person wants to fake the some shot when visting the some location. In order for this 0 happen, the second photographer needs to know the location, viewing ction and the lens 1 vie. This isthe some information needed 12 create @ drowing 1. Ground Plane The position and direction where the photo was token needs to be known. Ths could be onthe sree, on « bridge or onthe sond at the beach. Whatever surface on which the photographer was standing or siting isthe ground plone, That's simple on Earth, but what abou in ‘outer space? ln spoce it woud stillbe considered o$ siting or standing in a spaceship and this would determine the ground plane. What it ‘he ship i removed from he equation? Then think ofthe ground plane 1s the extension ofthe soles of he foe. Station Point - (SP) Now that the ground plane is established, the location and height of the comera—or in the case of 2 drawing, the eye—needs to be disclosed, In @ drawing this spot is called the Station Pont. Think of the Station Poin asa point in space that has no direction Line of sight The dliection one is looking is the Line of Sight. The Line of Sight determines both the direction being looked and the incline. In the graphic, the Line of Sight i parallel tothe ground. This creates {2 1-0F 2 point perspective in which all physical vertical lines are represented by vertical ines in the drawing Titng he line of sight (having it not be pall o the ground) creates ‘2 Spon perspective or even a S-point perspective. For starters i is recommended to keep the Line of Sight porallel tothe ground, This, makes the construction considerably easier. 2, Picture Plane - (PP) ‘The Picture Plane is he surfoce on which images ore recorded. Imagine the Pictute Pane being « plate of glass that is pinned perpendicular to the Line of Sight. Ins time to capture the image. Close one eye and on the gloss, start drawing what you see behind the plate of glass. The vsion raye un from the eye tothe object, passing through the picture plane, Record ‘those ronsition points on the Pitre Plane, Tiss perspective drawing, How fais the Picture Plane from the Station Point It doesn't mater for this constuction. Pushing the Picluee Plane away jst creates @ lrger drawing, but will not chonge the proportions in the drawing isl, Historically, when the masters wore really painting on gloss, their crm length was the limiting disonce Factor.1. Take a look ot what wos coptured on the Picture Plane glass; spectcally notice the squores on the ground. The squores closer 10, the box ore less distorted than those that are closer othe viewer. The captured image is correct with @ high or low amount of distortion, but the closer squares are much harder to understand, They may be squares, but they look more like long rectongles. Coming bock tothe comera analogy, i's time to choose the lens. This, canbe anything from wide to telephoto The particular lens determines, how much of the area will be seen through the lens, which is wht js included inthe drawing. W's assumed here that the camera would take a square picture as defined by the squore picture plone on the previous poge. 2, The optimal lens thot creates an acceptable amount of distortion js @ 50mm lens. Ths tronslaes ino the drowing os a 60° Cone of Vision. How is thie determined? Every lens has © degree of visible ‘rea assigned fo it and 60" i close to what is seen through « SOmm lens. This cone is green in the drawings. A 90° Cone of Vision is shown in red, 3. Going back to the drawing, the Cones of Vision have been added, There ore twa circles. The inner circle represents the 60° Cone of Vision ond the outer cicle the 90° Cone of Vision. I becomes clear ‘hat the area within the 60° Cone of Vision hos less dstarton than the ‘area in the 90° Cone of Vision, Cone of Vision degrees for different perspectives ‘When drawing i's best 1o maximize the space on the poge and not daw objects thot are too distorted, Here are guidelines for he Cone cof Vision degrees for diffrent perspective construction, | Point Linear Perspective Cone of Vision: 50° Tipoint perspective is very prone to distortions. To ovoid them bogether, stay within « 50° Cone of Vision in drawings. Going even, fa emall as 40° is acceptable. Be aware that going too small will flaten out he perspective like that of «telephoto lens. 2-Point Linear Perspective Cone of Vision: 60° The Cone of Vision can be opened up more here, Be aware that ‘round the edges, the distortion wil increase, <0 i's bes no! to place ‘any etitical drawing elements near the edges. The 60° Cone of Vision will be the goto Cone of Vision for most drawings. ‘Point Linear Perspective Cone of Vision: 60° Slaying within the 60° Cone of Vision is sill recommended. ‘5-Point Curvilinear Perspective Cone of Vision: open choice In Spoint perspecive elmost anything goes. Keep in mind that ‘whatever is being drown wil be like @ wide-anglelens photograph this point. To see examples ofthis jump ahead to poge 047. Perspectives can be created that ollow more than the natura Field cof View fo be perceived. When this happens be extra mindful ofthe constuction, Make sure to doublecheck all lines since instinct can easily lead 10 « wrong direction. CONE OF VISION - COV ‘Scot eben | Thm Being | HOW TO DRAMFINDING VANISHING POINTS ON THE PICTURE PLANE Diog.1 Diag. 3 we [ ow ae Scolfbrion | Thomas Baring | HOW TO BRAM HL HL Let's emulate the “glass plote' experience on o piece of paper. Understanding where the Vanishing Points re, ond how they rele to one anather, makes it easier to build perspective grids 11. When the parallel lines ofthe box are extended, eoch set converges to a Vanishing Pin. Lotter uted inthe Drawings: SP Shion Point HL Horizon Line CVP Center Vanishing Point LWP Leh Vanishing Point VP. Right Vanishing Point 45VP 45° Vanishing Poi, and other degrees 2. To find the Vanishing Poin for ony set of poll lines, Use the top view and move one of the lines pale until it intarsects the Station Poin. Nex, find the point where thot pall line intersects the Horizon line. This i its Vanishing Point . The next sop isto abstract this consruction to fewer lr tobe able o find ony Vanishing Point inthe fe This drawing shows © combinotion of the top view and the. Picture Plan. This is done to save space ond is more eiciont W's called the Visual Rey Mathod for perspective drawings. With both drawings combined, the two lines atthe Station Paint have a celative angle of 90". This angle of 90" is ‘what locotes the two Vanishing Points on the Horizon Line needed forthe construction of objects wih 90° corners in perspective, ‘Going fom he Station Poin direct to the Horizon Line wil yield perpendicular line. The pon! where his line intersects ‘withthe Horizon Lin is the Centr Vanishing Point fortis perspective contruction.4, To find 0 new set of 90° Vanishing Points rotate the wo 90° lines together. The canter of rotation ie atthe Station Point. Any degree of rotation can be chosen. Here the 90° lines were rteted clockwise so that both intersect with the Horizon Line while sill staying on the poge. 5. To place another box with 90° corners use the new set of Vanishing Points. Both boxes sit onthe some ground plone: cond ate rotated ot diferent degrees relative tothe viewer 'A common ertor is 10 cause a rotted object to look lke if floating obove the ground oF is tied, This is caused by not ‘matching the Vanishing Points othe same Cone of Vision. 6. To find the degree of eny Vanishing Point measure its deviation from the line that uns perpendicular to the Horizon Line and ends ofthe Station Point. To achieve a 90° box, the