Homework:
*Finish in-class work:
- 2 Point perspective (3 cubes randomly spilled on the floor)[Sketchbook/Pencil]
- 3 Point Perspective Rotation (On Tapeframed Bristol, create/draw unique geometric object out of cubes and rectangles using 3 Point perspective - then rotate that object in your imagination, use your sketchbook to jot notes, rough out sketches, then draw on that same sheet of Bristol, the unique object in a new rotated position).[Bristol/Pencil]
START WITH LIGHT PENCIL, SOLIDIFY/EMPHASIZE CONTOUR OF FINAL SHAPE BY ERASING TRACE LINES AND/OR DARKENING CONTOUR LINES.
*Finish Exploration of 3 Point Perspective in a Radial Composition. [Bristol/Pencil]
Click on the folder Spatial Systems located under LABELS (right side of website) for diagrams and illustrations concerning perspective.
Review
REMEMBER!!
**Keep pencils sharp and points/lines accurate.
**Also, remember to begin with these four steps for EACH perspective:
1. Horizon
2. VPs
3. Anchor Point
4. Major Vertical
**1 Point: 1 - 2 sides of object visible
**2 Point: 2 - 3 sides of object visible
**3 Point: 2 - 3 sides of object are visible + aerial perspective
In class
*2 Point perspective:
In your sketchbook (using ruler and pencil), measure and draw a frame to work within. Secondly, practice drawing three cubes or rectangles in 2 Pt. Perspective (imagine three cubes/rectangles randomly spilled on the floor). Two rectangles should share the same VPs (vanishing points), and the third rectangle will be drawn using two different VPs. Begin your drawing with light pencil lines (2or 3H), and solidify your final shape by either darkening its contour (a bit) or erasing the trace lines (lines you used to measure and accurately draw your rectangles in 2 Point Perspective).
*All Verticals are parallel
Once you have drawn your three cubes/rectangles (#1, #2, #3), you will now begin to shape each cube - adding and/or subtracting rectangular extensions or windows per the directions below:
Cube #1: Using the same VPs as you used to create this cube, SUBTRACT rectangular shapes (imagine them as holes like in Swiss cheese, or windows in architecture). Starting from your initial cube/rectangle, imaginatively remove rectangles/cubes/and combinations of these to create a new unique shape.
Cube#2: ADD rectangular/cube-like extensions to this cube (again, using the VPs you used to draw the initial shape).
Cube#3: ADD and SUBTRACT rectangular shapes (windows, extensions, bridge like shapes, etc.) to this cube. Again, create a unique shape, and then make ONE connection between this cube/rectangle and another. Imagine a skyway or bridge, or duct work, that travels from this third shape to another (#1 or #2). HINT: Locate the flat square shape (window shape) where the extension begins and ends....FIRST! Then use the vanishing points to connect. If you imagine each shape as a physical object in front of you, you can then determine which lines would be IN REALITY PARALLEL. These lines should then converge at the same VP.
*3 Point Perspective:
On Tapeframed Bristol (using pencil) construct a cube/rectangle in 3 Pt. perspective. You will be drawing another shape on the same sheet of Bristol so make sure to leave enough room.
A. Draw rectangle/cube, then add subtract elements.
1.Locate Horizon line.
2.Locate Left Vanishing Point (LVP) and Right Vanishing Point (RVP) - both on the horizon.
3.Locate Third Vanishing Point (this point will be above or below the Horizon. HINT: Please locate you Third VP somewhere slightly off the Bristol board (if it's too close to the shape - your shape will be severely distorted). Be careful to keep your Bristol AND your third point and the same location throughout the drawing (otherwise your drawing will turn out inaccurate).
4.Locate nearest corner of cube/rectangle (ANCHOR POINT) and then determine the length of that side of your rectangle (starting from the anchor point, you will be drawing the major vertical).
*All Verticals radiate from/towards the THIRD VP (so they are no longer parallel).
5.Construct your cube the same as in 2 Pt. perspectives. Determine/draw orthogonals (vertical lines radiating from the VP), and transversals (more horizontal lines). The only difference between 2 Point and 3 Point is that in 3 Pt., all verticals radiate from the Third Point.
6.Like the cubes/rectangles in 2 Point perspective, ADD/SUBTRACT rectangular/cube-like elements from/to your rectangle. Again, you can imagine these extensions as bridges/skyways/air ducts, and the subtractions as windows/holes/etc.
Once you have your UNIQUE object drawn. Solidify the contour by lightly darkening the contour and/or erasing the connecting traces lines.
B. Imagine this object to exist in the real world. Your FIRST drawing of this object places the viewer in a specific position in relation to this object. Eye level is the horizon, and the viewer is only allowed to see this ONE perspective of the unique object. As viewers, we want to see another view. Imagine that you rotate this object, or that a camera revolves around this unique object. This SPECIFIC VIEWPOINT will change how we view the object, and therefore change our drawing of that object.
I want you to imagine this object in a different position from the initial drawing. You can imagine this object in the real world and ask yourself: Where am I in relation to this object? Am I looking down? Am I looking up at it? Am I looking from a different side?
Draw this same object in a new position, on the SAME sheet of Bristol as the first drawing. Use the same VPs. You're changing the object orientation (maybe we see the back ot it, or the side, or bottom), and its relation to the horizon (as compared to the first drawing....is it now higher/lower?).
Remember you don't have to start on your Bristol. You can make some rough (light) sketches in your sketchbook. Rough out a few options for your shape (as far as location and vantage point). Once you have decided on a new position, lightly sketch it out on your Bristol. Keep in mind the trace lines...but as your sketching, no need to be perfect (to begin with). You can sure up/solidify your perspective lines later. I'm not looking for mathematical precision here, when you change the orientation of your object (rotation, etc.) simply make sure all sides are approximately the same as the original object.
Drawing Stage #1 - Begin your first cube/rectangle as shown. The drawn circle indicates space within which I will draw my shape (helping me to organize the composition). Click on image for better view.
Drawing Stage #2 - First view of rectangle (before ADDING/SUBTRACTING elements) - before it is a unique object in 3 Pt. Perspective. Notice Verticals all radiate from THIRD VP (and are not parallel as they are in 2 Pt. perspective). Lines that are in REALITY parallel, converge at the same vanishing point.
Drawing Stage #3 - Second view of rectangle AS unique object. I have made ONE ADDITION and ONE SUBTRACTION. Your drawing will be much more in depth (mine is purely for example purposes). For extensions, remember to begin with the square footprint (yellow dotted line in illustration)- THEN add shapes.
You have now completed your first unique object. Now things get complicated.
Imagine this object on a shelf...(in the picture above) it's above the horizon so I am looking UP at this unique object. If I were to reach up and slide my object to the right, what would my object look like (for example)? In my drawing I have shrunk the object a bit for the purposes of clarity. What's important is the proportion of sides. So the long side will be long for each view...this will have an effect on how you proceed. 3 Point perspective only allows the viewer to see 2 or 3 sides of the object. When you rotate your imaginary object and begin to sketch ideas - remember you may have to invent the characteristics of the other sides.
HAVE FUN! For my example I will keep things as separate and clear as possible.
USE YOUR SKETCHBOOK! It will be very helpful. Just sketch out possible positions starting with one point perspective, then add another, and finally add the third. Edit as you go. Again, image this object in the palm of your hand...turn it hold it high/hold it low, how does it fit onto the page?
USE SAME Vanishing Points!
CHECK LIST:
Horizon - check (same)
VPs - check (same)
Anchor Point -
Major Vertical -
...and continue....
Remember that you will not have all the writing on the your drawings (so things will be easier to understand visually). Feel free to get a bit more advanced and overlap the two images.
Radial Composition in 3 Pt. Perspective
After your explorations of 2 Pt. and 3 Pt. perspective, this homework assignment should be a breeze. You will locate a third point, then radiate MAJOR VERTICALS from that 3rd point. You will then establish horizon lines and Vanishing points for each major vertical. In effect, you will be creating multiple constructions (rectangular/cube like forms) that radiate around your FIXED 3rd point.
HINTS:
*Start with the basic cubes/rectangles
*Add/Subtract elements for each rectangle (as you have done in your 3 Pt. Perspective assignment from class)
*Keep in mind/utilize positive &negative space.
1. Make a perfectly measured frame around your Bristol board using your ruler/pencil. This frame is simply a line, between .5 and 1". This will take the place of the usual Tapeframe (DO NOT draw outside of the frame).[Pencil/Ruler/Bristol]
2. Locate a point somewhere near the center of your Bristol - slightly off center is best.[Light Pencil] This point will serve as your THIRD POINT in your composition.
3. Using your ruler, radiate lines from your Third Point, all of varying lengths, and make sure that none actually touch the Third Point, though it might be interesting if a few DO tough the border/frame you have created.[Light Pencil]
RADIAL ILLUSTRATION #1
4. You will now begin to construct multiple cubes/rectangle around your Third Point.
a) Choose one of your radiating verticals.
b) Establish and draw an Horizon line for that specific vertical (making it the Major Vertical).[Light pencil]
c) Establish and mark remaining Vanishing Points (left, right and you already have your third). You may decide to locate a VP off the page - that is perfectly fine. Just make sure it stays in a constant location throughout your drawing.
RADIAL ILLUSTRATION #2
d) Construct cube/rectangle using the rules of Three Point Perspective. You might want to sketch a rouch circle/rectangle (very lightly) before you choose your horizon/VPS - this will guide you in deciding how to best fit each rectangle/cube into your composition. You may also want to add or remove some of the existing radiating verticals, or possible one of your unique shapes covers a vertical. Use this overlapping to your advantage and create levels of depth. You can edit this composition how you see fit.
RADIAL ILLUSTRATION #3
Rough/lightly drawn cubes/rectangles. For clarity, I have limited the amount of overlapping in this illustration - I have kept the shapes fairly seperate. You WILL have some overlapping. There are three shapes, horizons, sets of VPs (LVP-left, RVP-right), and anchor points and they are labeled A, B, C. (I've notched up the contrast to make the lines easier to see)
Now, simply move on to/selectively choose the next vertical, and construct another cube/rectangle. Continue this process until you have completely radiated around your third point. Then `go back over cubes/rectangles and ADD/SUBTRACT elements, adding connections, etc. You will notice the complexity of your drawing will rise as your constructions begin to overlap and connect.
RADIAL ILLUSTRATION #4
I have labeled the shapes (you will not label any of yours), and color coded each for clarity (INCLUDING my brief additions and subtractions - yours will include more advanced relationships). This final illustration clarifies each shape by darkening the contour (with color in my case) and erasing trace lines. You will notice I still have room to add extensions - I expect you all to thoughtfully organize, ADD and SUBTRACT elements to each of your unique shapes to succesfully create a balanced composition.
REMEMBER:
*Measure and draw each cube, solidify/emphasize contour, then ERASE trace lines, horizons, VPS (excluding Third Point).
*Vary each cube/rectangle/unique shape by adjusting scale, horizon lines, VPs, orientation, etc.
* My illustrations are only examples, your individual solutions to this assignment will be much more in depth and articulated.
