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Dayna Peterson Mason

Basic Perspective The term refers to the appearance of objects relative to distance or depth. In painting and drawing, it refers to the illusion of depth (the three—dimensional world) on a two-dimensional surface. Generally the various methods fix the view of the spectator (who is the artist). There are mechanical, measured or mathematical means of perspective drawing used by architects and engineers in technical illustration. And there is more free-hand, responsive methods used by the fine artists and other illustrators. We will be concerned with the second kind, using only the barest implements and measuring devices to assist in better perception and interpretation. Linear Perspective—highly developed during the Renaissance, this method bases judgment about the disposition of lines to achieve the illusion of space on a systematic linear approach. Lines or edges converge to a vanishing point in the distance and on a horizon or eye level line. 1. 2. 3. 4.

Converging line (1, 2, 3, and 4 point) Proportions (forms, spaces, recession in planes) Placement (distance from eye level) Overlapping (shapes, forms, objects)

Atmospheric Perspective (aerial)—takes into account the effects the atmosphere has on visual stimuli. The further away something is, the hazier it becomes, losing detail, contrast, and clarity. Color tends to become more muted and cooler (bluer). 1. Clarity (focus) • Sharper up front, nearer the viewer • Blurred (less defined) further from the viewer 2. Contrast (values, tones, color) • Greater up front • Less in back 3. Detail (textures, sharper edges, small notations) • More up front • Less in back Modeling—though modeling a surface is not generally referred to during perspective study, because it does create illusionary space, it is worthy of mention. Shading or modeling a flat circle can cause the illusion of a sphere to appear; therefore, gradations of tone and comparing tones to the whole do reflect space and aid in this illusion. 1. Values (black, white, grays, color) and all gradations • On a shape to create form • In open areas to create atmosphere or space 2. Contrasts • more in front or nearer the viewer • less in back or in the distance

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W:Art:Mas:Perspective:2/09

STEP BY STEP Invented Two-point Linear Perspective (with one-pt) 1.

Establish your eye level line (horizon line) first. It will remain constant throughout the drawing (exceptions occur when the floor plane is not level, or ascending or descending planes are introduced—deal allow it to continue off the appear to infinity on either side. Placement at dead center probably not the best choice, and be sure to leave enough room both above and below it to fit a few boxes in the remaining space.

2.

Select the most prominent (large) form and simplify it to a box. Make it fist .

3.

Place a vertical line where you determine the nearest corner of the box will be. Be sure to keep the verticals, vertical (it is easy to let them tilt accidentally).

4.

Determine at what angle the edge of the box will incline (or decline) toward the eye level line. You get to decide, just do not place the v.p.s. (vanishing pts) too close together or you will get distortion.

5.

Then “connect the dots.” Draw form the corner of the box to the vanishing point on the eye level line. It is also best to start at the end of the line (that represents that first corner) that is furthest from the eye level line.

6.

Repeat to other side.

7.

Now go to the opposite end of the vertical line and connect it to each of the vanishing points also. You will now have the “wing” shapes.

8.

Time to decide whether the next two verticals will be that chop off the wings creating the length of the sides of the box. The two vertical lines will parallel the first vertical but be placed on either side of it, connecting the top and bottom of the wing shape.

9.

The top of the box now needs to be drawn. So find the back corner of the box and connect the dots.” Go from the back corner to the vanishing point on the opposite side.

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10. larify what lines are creating the box and what lines are erasable.

NOTE: 1.

All the vanishing points will be on the same eye level line.

2.

There is only one eye level line and it goes off the paper and one indefinitely

3.

Keep all the vertical lines vertical and parallel to the edge of the paper

4.

Only boxes that are setting parallel to one another in the environment will share the same vanishing points.

5.

Each box has two vanishing points and they will likely be different from the next box (unless you are doing a one-point perspective box).

6.

For one-point perspective you need to have one side of the box drawn as flush or parallel to the picture plan. One point boxes have one-point and maybe included in the assignment.

7.

Use overlapping frequently

8.

Use dramatically varied sizes of boxes (typically, smaller ones nearer the eye level line, larger ones further away; however, there are exceptions)

9.

If a box appears distorted, then in all likelihood the vanishing points are too close to one another

10. The concept applies to everything

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