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PERSPECTIVETHEULTIMATE GUIDE FORARTISTS IN EVERY MEDIUM.'-'TCI

THE ART OF PERSPECTIVE

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TABLE OF CONTENTSWHAT IS PERSPECTIVE? 9PART 2LINEAR PERSPECTIVE:A Few Simple RulesOpen Lots Doors 76It a!! starts with a box. 786 I Two-Point Perspective7 I Three-Point Perspective and BeyondVanishing points all over the place. 128Where cirdes become eiiipses. 146

WHAT IS PERSPECTIVE’

I"

PART NATURALPERSPECTIVEDraw and PaintWhat You See

CHAPTER ONEATMOSPHERICPERSPECTIVE

DISTANT HILLS

DISTANT BUILDINGS

STAGING: RECEDING WOODS

USING COMPLEMENTARY COLORS

ADVANCING AND RECEDING COLORS

ABOUT THOSE RULESWARMANbCMOL

CHAPTER TWODETAILAND EDGES

WHERE’S YOUR EOCUS?

CHOOSE THE MEDIUM TO SUIT YOUR GOAL

CAPTURING DETAIL WITH PENCIL

r/1\' ia.

EVEN STILL LILES NEED DEPTH

TRY THIS

CHAPTER THREESIZE, SPACINGAND OVERLAP

HOW WE SEE SIZE AND SPACING

MAKE SIZE AND SPACING WORK EORYOU

HOWTO MEASURE

OTHER MEASURING TECHNIQUES

SIZING THINGS UP

EXAMPLES OE DIMINISHING SIZE AND SPACING

HOW OVERLAP WORKS

TRY THIS

THE IMPORTANCE OE SCALE

CONNECTIONS BETWEENOVERLAPPING OBJECTS

CHAPTER FOURVALUES ANDSHADOWS

KINDS OF SHADOWS

SHADING

CAST SHADOWS

AIMING YOUR SHADOWS

MODELS HELP MAKE CONVINCING SHADOWS

TRY THIS

VALUE CHANGES ADD DEPTH

REFLECTED LIGHT AND COLOR

WHAT AFFECTS A CAST SHADOW?

LINEARPERSPECTIVEA Few Simple RulesOpen Lots of Doors

CHAPTER FIVEONE-POINTPERSPECTIVE

WHAT IS ONE-POINT LINEAR PERSPECTIVE?

EYE LEVEL

WHY EYE LEVEL IS IMPORTANT

USING BOXES TO DRAW OBJECTSIN PERSPECTIVE

VANISHING POINTS

BOXES FROM ALL ANGLES

AN EXAMPLE OE ONE-POINT PERSPECTIVE

RENAISSANCE EXAMPLES OEONE-POINT PERSPECTIVE

NOT AN EXACT SCIENCE

CHAPTER SIXTWO-POINTPERSPECTIVE

LOCATING VANISHING POINTSVanishing Points Can Be Off the Page

EYE EEVEL AND VANISHING POINTS

HOW TO GET THE ANGLES RIGHT

MORE ABOUT VANISHING POINTS

HINTFOUSTE The tap edges of doors and windows in many buildings

PERSPECTIVE CENTER

LET’S BUILD A HOUSE

BUILD A HOUSE

SEEING THE HIDDEN EDGES

DRAWING THROUGH

TIME OUT!

THE RIGHT SLANT

TRY THISIn class I sometimes use a visual aid suggested to me by an artist riend, Kay Poole.Draw a networK or recedina lines on a larae s/ieer or cardboara ana cover it wrtnacetate. Using a grease pencil, draw a basic building in two-point perspective andadd windows and doors, using the lines under the acetate as guides. You can erasethe grease pencil and try as many combinations of windows, doors and otherobjects as you like. You can easily make this grid for your own practice—or youcan draw right here in the book It's a good way to learn how the objects you drawshould diminish in size and spacing as Uiey recede and to notice the shapes ofobjects in perspective.

DISTORTION

FINDING BOXES WITHIN OBJECTSC- c

USING DIAGONALS TO DIVIDE SPACE

LINEAR PERSPECTIVE OVER SHORT DISTANCES

iIZ SCALING: Di wing objects h

THREE-POINTPERSPECTIVEAND BEYOND

A WARPED WORLD

SKYSCRAPERS

VANISHING POINTS AND EYE LEVEL

THREE VANISHING POINTS: HOW THEY WORKgested in the predous chapter ( ge 116), you might l

POINT OF VIEW

INCLINES

PAINTING SLANTED ROOFS

ROOFS: A CLOSER LOOK

STAIRS

ROADS AND PATHS

CHAPTER ElIGHTCURVES INPERSPECTIVE

THE SIMPLEST CURVE; A CIRCLE

ANATOMY OF AN ELLIPSETIKFORbRAWING

RELATING ELLIPSES TO EYE LEVEL

ELLIPSES: PAT OR THIN’

CYLINDERS

FINDING CYLINDERS AROUND US

FORESHORTENING

DRAWING CURVED OBJECTS

PUTTING CURVES IN BOXES

WHAT ARE REFLECTIONS?

DIFFERENT POSITIONS, DIFFERENTREFLECTIONS

HOW REFLECTIONS BEHAVETRY THIS

TRY THISMORFLFANINC,

HARD AND SOFT REFLECTIONS

WHY REFLECTIONS GET LONG

REFLECTIONS IN CURVED SURFACES

REFRACTION

Hni'.Tiiim'

LINEARPERSPECTIVESpecial Problems

DORMERS5TAKEITEASY

TILE FLOORS

TILE FLOORS AT AN ANGLEEye Level and Vanishing Points

SPOKED WHEELS

COLUMNS AND TOWERS

NUTS!

STAIRS

TRY THISV-N KiTi.

o EXTREME VIEWS

CONCLUSION

INDIRECT CAST SHADOW: AOBLIQUE PERSPECTIVE: SeeTwoONE-POINT PERSPECTIVE:time, light reflected from the brightOVERLAP: The placing of one objectPARALLEL LINES: Lines that lie in

EVERYTHING YOU NEED TO KNOWTO PUT YOUR DRAWINGS AND PAINTINGS INTO PERSPECTIVE!

draw and paint what you see . chapter one . atmospheric . perspective . distant hills . distant buildings . staging: recedingwoods . using complementary colors . advancing and receding colors . about those rules warmanbcmol . chapter two . detail and edges . where's your eocus? choose the medium to suit your goal .