ONE POINT PERSPECTIVE

Transcription

1 ONE POINT PERSPECTIVE O che dolce cosa è questa prospettiva! (Oh that sweet thing is this perspective!) -Paolo Uccello

2 Linear Perspective Line-based drawing method Objects seem to get smaller as they recede. Parallel lines seem to converge as they recede.

3 Perpendicular Lines that intersect at a 90 degree angle. Parallel Lines running in the exact same direction. Tangent Lines that touch at only one point.

4 Right Angle Created by lines intersecting at right (90 deg) angles. Obtuse Angle Created by lines intersecting at an angle GREATER than 90 deg. Acute Angle Created by lines intersecting at an angle LESS than 90 deg.

5 Horizon Line Eye-Line The imaginary line that represents the viewer s vertical eye height. A low eye-line produces a worms-eye view. A high eye line produces a birdseye view.

6 Eye-Line An eye-line that lies directly in the middle of the page adds UNITY. An eye-line that lies off-center will help add VARIETY.

7 Vanishing Point The imaginary point on the Eye Line where lines/planes parallel to the viewer seem to converge. A VP that lies dead-center adds UNITY. ALWAYS lies on eye line.

8 The Vanishing Point represents the horizontal placement of the viewer s head.

9 Orthagonals Lines originating from the vanishing point tangent to one corner of the object. Orthagonals should be cast at the corner of EVERY angle change.

10 Orthagonals need not be cast past the angle they are tangent to.

11 Orthagonals that cross exactly at the corners of the format add UNITY.

12 Foreshortening The perceptual effect of parallel lines converging in the distance. Closer objects take up more visual space.

13 One-Point Perspective Linear system that describes planes perpendicular to the viewer. It utilizes only one vanishing point. 2D Design Linear Perspective

14 Begin by marking the format, Eye-Line and one Vanishing Point: this establishes the EXACT location of the viewer.

15 Draw the facing side of the object.

16 Connect edges to the vanishing point with orthagonals.

17 Decide how far back the object extends. Re-make the facing shape at that point.

18 Finish by hiding the sides that would remain obscured.

19 Visible Faces The sides that are visible are determined by the relationship between the object, the eye-line and the vanishing point.

20 Visible Faces If an object is directly over both the eye-line and the vanishing point only the facing side will be visible

21 Visible Faces Object above eye line: The BOTTOM will be visible. Object below the eye line: The TOP will be visible.

22 Visible Faces Object to the right of the vanishing point: The LEFT side will be visible. Object to the left of the vanishing point: The RIGHT side will be visible.

23 Visible Faces The placement can produce compound results as well.

24 Interiors The inside of a room can be modeled in perspective. Start with the format, eye-line and vanishing point. Draw the facing side. Connect orthagonals from the edges OUTWARD instead of back to the vanishing point.

25 Measuring in Perspective Foreshortening distorts the space and gives fore space more room than back space.

26 Measuring in Perspective Drawing a X on an object will show you its middle. This can be used to measure in perspective.

27 Measuring in Perspective You can also utilize the X method of measurement to find the next line in a regular pattern. With two vertical lines, measure from the bottom of one to the MIDDLE of the other. Where that diagonal crosses the orthogonal you get the next vertical.

28 Vertical Foreshortening Continue with the cross method of measurement to get regularly spaced intervals, equal in measurement to the first interval, but getting smaller in perspective.

29 Measuring in Perspective Mark off regular intervals on a plane Draw a diagonal across from corner to corner. Where the diagonal crosses the orthagonals marks the horizontal foreshortening.

30 Measuring in Perspective You can measure out in thirds as well. Use the X method to find the middle of the plane. Draw a vertical line at the middle. From the top (or bottom) draw a diagonal across each ½ plane. Where the two diagonals cross marks out a 1/3 measurement.

31 Measuring in Perspective To accurately recreate the height of an object elsewhere in space you first have to find out how tall it would be if moved a similar distance back. Draw in orthagonals from the original height.

32 Measuring in Perspective Select the distance back you want to judge. Mark the height within the orthagonals. Bring that height over to the new location.

33 Measuring in Perspective You have now measured exactly how high the original is when foreshortened that distance.

34 Circles and Ovals When placed in a square a circle has four contact points with it. When placed in a rectangle an oval has four contact points with it. If you can put a box or rectangle in perspective, you can put a circle in perspective.

35 Circles and Ovals Use the X method to mark the center (horizontally & vertically) of the plane the circle/oval will occupy. X each ½ side to quarter the box. Connect the quartered X s with lines.

36 Circles and Ovals You have now created four rectangles that follow the edges of the plane. X each rectangle. Follow each rectangle X from the corners out. Where they cross an edge of the rectangle is a circle contact point.

37 Circles and Ovals Each corner has 2 X lines to follow. These points, plus the 4 original ones nets 12 circle points. You can get a more curvilinear circle/oval by this method until able to master the four point one.

38 Spheres A sphere will always appear as a perfect circle.

39 Pyramids Square/Rectangular base. Top is over the center of the base.

40 Pyramids Square/Rectangular base. Top is over the center of the base.

41 Pyramids Square/Rectangular base. Top is over the center of the base.

42 Pyramids Square/Rectangular base. Top is over the center of the base.

43 Cone A cone is just a pyramid with a circular base

44 Shapes can be also be negative shapes cut out of positive ones to create more interesting/ complex forms.