IN CLASS: PERSPECTIVE I*Discuss: Perspective (Concepts: Plane/Grid, Cube/Rectangle)
*In-Class Exercises: Spilled Cubes, 3 Pt. Imaginative Rotation
*Homework: 3 Pt. Radial Drawing
HOMEWORK:
*Finish In-Class Exercises in sketchbook (including "Spilled Cubes", "Imaginative Rotation").
*Finish 3 Point Radial Perspective (Drawing)
Click on the folder Spatial Systems located under LABELS (right side of website) for diagrams and illustrations concerning perspective.
Review for Perspectival Drawing:
REMEMBER!!
**Keep pencils sharp and points/lines accurate.
**Also, remember to begin with these four steps for EACH perspective:
1. Horizon
2. VPs
3. Ground Line/Anchor Point
4. Major Vertical(s)
**1 Point: 1 - 3 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 Exercises: "Spilled Cubes" (in 2 Point perspective, geometric objects randomly spilled on the floor):
Material: Bristol, eraser, pencils, rulers, black pen.
First, practice drawing three cubes or rectangles in 2 Pt. Perspective (imagine three cubes/rectangles randomly spilled on the floor). RANDOM for our purposes means that each cube has its own set of vanishing points. Begin your drawing with light pencil lines (2 or 3H), and solidify your final shape by drawing over it with ink/ruler - erasing the trace lines (lines you used to measure and accurately draw your rectangles in 2 Point Perspective).
*All verticals are parallel
*Is there overlapping? Scale shifts?
Once you have drawn your three cubes/rectangular objects (#1, #2, #3), you will now begin to shape each cube - adding rectangular extensions and/or subtracting rectangular holes 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 (THE FOOT PRINT)....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.
****In Class Exercises: "3 Pt. Imaginative Rotation":
Read through FIRST!! Then begin drawing!
Overview: 3 Point Perspective - Imaginative Rotation - In Sketchbook, create/draw a 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, make rough sketches of how this object looks before and after rotation. Then draw both BEFORE and AFTER (rotated) object on a tape-framed page of your sketchbook. (See illustrations below).
Materials: Sketchbook, pencil, pen, erasers
*START WITH LIGHT PENCIL, SOLIDIFY/EMPHASIZE LINES OF FINAL SHAPE BY DRAWING OVER WITH A BLACK WRITING PEN, THEN ERASING PENCIL TRACE LINES AND/OR DARKENING CONTOUR LINES.
In sketchbook with a ruled/pencil frame (1" around edges), construct a cube/rectangle in 3 Pt. perspective (keep to left or right of page). You will be drawing another shape on the same sheet so make sure to leave enough room.
A. Draw rectangle/cube, then add subtract elements (extensions/subtractions - a combination of at least 3 total additions/subtractions).
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 page (if it's too close to the shape - your shape will be severely distorted).
4.Locate corner of cube/rectangle nearest the viewer (ANCHOR POINT) and then determine the height 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 (Vertical Vanishing Point).
6. 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 inking in/darkening the contour and once the ink is dry, 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. Imagine that you rotate this object, or that a camera revolves around this unique object. Your 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 object in a newly imagined position, on the SAME sheet of paper as the first drawing. Use the same VPs. You're changing the object orientation (maybe we see the back of 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 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 paper. Keep in mind the trace lines...but in the process of sketching, there's no need to be perfect (to begin with). You can 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 proportion as the original object/drawing.
Imaginative Rotation (I.R.)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.
(I.R.) 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.
(I.R.) 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 longer than the others 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 (like my sketches in the upper right) 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....
Feel free to get a bit more advanced and overlap the two images.
(I.R.) Drawing Stage #4
****HOMEWORK: "Radial Composition in 3 Pt. Perspective":
You will be creating multiple constructions (rectangular/cube like forms) that radiate around a centrally located - FIXED 3rd point - until NO EMPTY SPACE EXISTS. This means that you will replace the white space of background/emptiness with the white space of activity/walls of constructions. After your explorations of 2 Pt. and 3 Pt. perspective, this homework assignment should be a breeze. You will locate a "Universal Vertical Vanishing Point" on your bristol, then radiate MAJOR VERTICALS from that 3rd point. You will then establish horizon lines and vanishing points for each major vertical.
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 - making UNIQUE OBJECTS)
*Keep in mind/utilize positive and negative space relationships.
Again - PLEASE SEE THE ILLUSTRATIONS BELOW
1. Make a perfectly measured frame around your Bristol board using your ruler/pencil so your work space is 8" x 10". This frame is simply a line. This will take the place of the usual Tapeframe (DO NOT draw outside of the frame - if you have already taped it - fine).[Pencil/Ruler/Bristol]
2. Locate a point somewhere near the center of your Bristol - slightly off center is best and mark it with a small point in light pencil. This point will serve as your UNIVERSAL THIRD POINT (vertical vanishing point in 3pt. perspective) 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 touch the border/frame you have created. These lines will act as anchor points/major verticals for constructions radiating from your central point. Imagine the corners of a whole bunch of rectangular objects in 3 pt. perspective. You will make approximately 20 lines of varying length although you may add more or use less - (my illustration is abbreviated)! Again, use LIGHT PENCIL.
RADIAL ILLUSTRATION #1
4. You will now begin to construct multiple cubes/rectangles around your Third Point.
a) To start...Choose one of your radiating verticals.
b) Establish and draw a Horizon line for EACH specific vertical of your choice(making it the Major Vertical). Experiment with horizon lines in different locations (see RADIAL ILLUSTRATION #4-notice how each Horizon line is drastically different).[Light pencil]
c) For the Major Vertical that you're working with, establish and mark Vanishing Points (left, right and you already have your third ). You may decide to locate a LVP or RVP off the page - that is perfectly fine. Just make sure it stays in a constant location throughout the drawing of each individual construction. Remember that for EACH MAJOR VERTICAL there is a new: horizon, LVP, RVP, for which to construct your object.
RADIAL ILLUSTRATION #2 [all lines are potential major verticles for structures]
d) Fully construct cube/rectangle using the rules of Three Point Perspective. You might want to sketch a rough 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 (if they're in your way or possibly if 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 separate. You WILL have a lot 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 and have no or VERY LITTLE white empty space remaining. 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 - see student example (last illustration).
FINISH: After you have lightly PENCILED IN all objects - go over each with a ruler and pen to finalize/emphasize each object. Then erase pencil lines.
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.
Student Example 1 (3pt.Radial):
I have asked you to continue your drawings until all empty white bristol is covered, or ACTIVATED by the walls of your structures. The illustration below did not fulfill this exact activation of space. For practical purposes, this activation could look like larger walls/objects behind the smaller scale constructions evident in the illustration below. In your version of the assignment you must still utilize your understanding of POSITIVE/NEGATIVE space/shape.
Student Example 2
BRING TO CLASS:
*3 Point Radial Perspective Drawing (pencil/pen on bristol)
*All Supplies (ruler, pencils, black writing pen/uniball, etc.)
