Simplifying Perspective Simplifying Perspective A Step-by-Step Guide for Visual Artists Robert Pastrana First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Robert Pastrana to be identified as the author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 All rights reserved No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Notices Knowledge and best practice in this field are constantly changing As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe Library of Congress Cataloging in Publication Data Pastrana, Robert Simplifying perspective: a step-by-step guide for artists/ Robert Pastrana pages cm Perspective I Title NC750.P345 2015 742—dc23 2014026328 ISBN: 978-0-415-84011-8 (pbk) ISBN: 978-0-203-76880-8 (ebk) Typeset in Myriad Pro By Florence Production Ltd, Stoodleigh, Devon, UK Contents Acknowledgments Introduction The Approach of This Book Who This Book Is For Some Advice Chapter 1 – Before We Start What Perspective Can and Can’t Do for You The Creative Process – Getting from A to Z Getting the Most out of Perspective Approaching Your Work Materials Chapter 2 – Creating Space Create Space Any Way You Can Chapter 3 – Setting It All Up The Three Rules of Perspective How Perspective Works The Vocabulary of Perspective Seeing It All Together Chapter 4 – The Cone of Vision How We See The Cone of Vision Finding the Cone of Vision Based on Your Image Area Chapter 5 – The Setup in Action More Vocabulary Setting Up Your Forms Drawing in Perspective Before You Begin About the Diagrams Drawing a Cube in One-Point Perspective Drawing a Cube in Two-Point Perspective Chapter 6 – Constructing the Basic Forms Drawing in Three Dimensions Before the Basic Forms – The Anatomy of a Square The Basic Forms Chapter 7 – Using Grids Three Ways to Use a Grid Chapter 8 – Measuring in Perspective Perspective Is Made for Measuring All We Need Is a Horizon Line Using Scale for Faraway Vanishing Points Transferring Scale in Space Dividing in Perspective Transferring Height Anywhere Transferring Horizontal Scale Using the Measuring System to Transfer Scale Chapter 9 – Circles and Ellipses The Hardest Line Is a Well-Drawn Curve Understanding Ellipses Defining a Circle in Perspective How to Draw an Ellipse Horizontal Plane Ellipses Vertical Plane Ellipses Vertical Ellipses Can’t Keep a Secret Plotting Ellipses – Give Me Points! Dividing a Circle in Perspective Chapter 10 – Mastering Slopes Creating Inclined Planes Using the Basic Forms Inclined Planes from a Vertical Vanishing Line Buildings on a Hill Intersecting Slopes Chapter 11 – Indicating Reflections Seeing What the Mirror Sees Seeing beyond the Reflective Surface Two Kinds of Reflections Chapter 12 – Casting Shadows Shadow Setup Basics Thinking about Light The Four Shadow Types in Perspective Drawing the Four Shadow Types Shadow Cutouts and Floating Objects Shadows on Vertical Planes Shadows of Sloping Objects Cylinders and Spheres Cast Shadows Too Chapter 13 – Three-Point Perspective The Mechanics of Three-Point Perspective Creating the Three-Point Setup Setting Up the Measuring System Setting Up a Grid in Three-Point Perspective In Closing Index Acknowledgments I would first like to thank three of the most helpful and supportive people at Focal Press — Editor Lauren Mattos, Editorial Project Manager Caitlin Murphy and Production Editor Emma Elder It’s much easier to work in perspective than it is to write about it; Lauren, Caitlin and Emma nimbly supported my efforts throughout the entire process This book wouldn’t have been possible without the guidance and enthusiastic support from my friends and colleagues at both Art Center College of Design and Gnomon School of Visual Effects I’m fortunate to have such an amazing group of people to rely on I’d like to thank Stan Kong and Richard Pietruska for serving as reviewers for my initial book proposal, and Krystina Castella for answering all of my questions about the publishing industry Whenever I felt the weight of having to design and simplify the hundreds of diagrams in this book, I was able to rely heavily on the collective expertise of Scot Moss, Dario Di Claudio, Carla Barr, and Annie Huang Luck I learned a lot! When some of the diagrams needed a little more attention, it was Casilda Montgomery and Steven Worley to the rescue I’d like to thank Brian Bradford at Gnomon and Dana Walker at Art Center for their encouragement and support throughout A very special thank you to the estimable Gary Meyer Gary served as technical editor for this book If you don’t know Gary, having him as technical editor is like having Einstein review your algebra homework — I couldn’t have been in better hands Gary was my instructor 25 years ago and, for all practical purposes, still is I already miss our weekly meetings My family has been waiting, for the better part of a year, for me to come out of my office As I finish these last words, I can’t help but think how grateful I am to have you in my life, Andillon Love isn’t supposed to be this easy Olivia Lane, you’re my joy and I am officially done ‘drawing boxes.’ To finally answer your question, yes! Let’s … play hide and seek, go to the park, go the beach, play fort, jump on the bed, and catch up on My Little Pony First, though, I think Daisy really wants to go for a nice long walk This book is dedicated to the memory of my parents, Robert and Nilda Pastrana They gave me the best perspective of all I love and miss you both very much Robert Pastrana Using the Measuring System – Drawing a Cube in Three-Point We’re finally ready to draw We’ll something simple so we can practice using the threepoint measuring system There’s a lot you can do in three-point once you get the hang of it Setting Up a Grid in Three-Point Perspective Depending on your subject matter, it may be easiest to create a grid before you start drawing Once you have a measuring system in place, it’s an easy thing to do By design, it adds a fair amount of lines to the page, so if you’re working traditionally, work lightly and in color If you’re working on relatively thin paper, you may want to draw the grid darkly on a separate sheet and place it under the paper that you’re drawing on If you’re working digitally, you can easily construct the grid on a separate layer Adjust the opacity of your layers as you go, so you can more easily navigate the extra lines that come with using a grid A note about the grid that follows Limited space and the visual clarity needed for the sake of instruction dictate that it be kept simple While it’s always best to keep things simple, working things out on a larger scale will give you all the space you need to create the best grid for your particular drawing In Closing I hope you’ll soon find, as I did years ago, that a decent understanding of perspective can have a profound effect on your drawing ability While your work will always be more than the perspective that’s in it, an image built without the solid foundation perspective gives you will never live up to its potential Getting there takes time, but it’s well worth the effort Instead of relying on software and all of its inherent limitations, understanding perspective will help you as you use the most versatile tool in all of the visual arts – your humble pencil With regular practice and a touch of patience, this sometimes technical information will help you visually express ideas and worlds you wouldn’t have been able to otherwise, so keep drawing! Good information without regular practice makes for tediously slow progress For inspiration and more, take a break and visit me at www.simplifyingperspective.com Index accuracy and appearance 5–6 aerial/atmospheric perspective 16–17 angular reflections 185–90 artifical/radiating light shadow 197–8 background and foreground contrast 15, 16–17 buildings on slopes 162–3 c-thru ruler 8 casting shadows see shadows center of vision 29, 30 circles: defining in perspective 138–9; dividing in perspective 151–4; see also ellipses col-erase pencils 8 color 6; studies 4; value contrast 16 cone 80–1 cone of vision 29; drawing outside 39–40; finding 44–50; placing in setup 40–2; station point and picture plane 43 convergence 22 creative process 2–5 cube: as basic form 58, 79–80; one-point perspective 60–5; three-point perspective 56–7, 232–5; two-point perspective 54–6, 66–74 cutouts and shadows 203–5 cylinder 82–3; shadows on 215–18 diagonal line/plane, definition of 22 diminution 23 distance: and cone of vision 50; line/line of sight 29, 30; station point and picture plane 32–5 dividing: circles 151–4; in perspective 114–17; squares/rectangles 77–8 drafting dots/tape 8 drawing board 7 drawing/painting, finding cone of vision 48–50 ellipses 81, 83, 136–7; guides 81; horizontal plane 141; how to draw 139–41; plotting 144–51; understanding 137–8; vertical plane 142–3, 153–4 equal inclined slopes, intersecting 166–7 erasers 9 erasing shield 9 eye level 24–5; and horizon line 24, 25, 27, 30, 31; see also station point film/photography, finding cone of vision 45–7 final image 4–5 floating objects and shadows 206–9 foreground and background contrast 15, 16–17 foreshortening 23 forms: basic 79–84; creating inclined planes using 156–7; creating space through 17–19; setup in action 52–7; see also specific forms goals, clarifying 2 graphite pencils 8 grids: approaches to 86; measuring 91–9; one-point 87; three-point 89, 236–41; transfer 90; two-point 88 ground line/horizontal measuring line 28, 30 ground plane 24, 30, 31 height, transferring 118–21 horizon/horizontal line 22, 26–7, 30, 31; measuring 102–7; placement relative to 14 horizontal measuring line/ground plane 28, 30 horizontal plane ellipses 141 horizontal scale, transferring 122–5 ideas, creating 2–3 inclines see slopes intersecting slopes 164–71; equal inclined 166–7; unequal inclined 168–71 light: angle 192; and light source 192, 193; see also shadows line drawing 4 line of sight/distance line 29, 30 line weights 6–7 linear perspective 18–19 ‘Loomis Method’ of plotting ellipses 144–5 materials 7–9 measuring 102; dividing in perspective 114–17; grids 91–9; horizon line 102–7; horizontal measuring line/ground plane 28, 30; multiplying in perspective 111–13; three-point perspective 232, 232–5; transferring height 118–21; transferring horizontal scale 122–5; transferring scale 126–34; using scale 108–10; vertical measuring line/true height line 29, 30 measuring points: definition of 52; three-point perspective 231 multiplying in perspective 111–13 negative sun shadow 196 one-point perspective 18, 52–3; cube 60–5; grid 87 ovelapping shapes 13 painting/drawing, finding cone of vision 48–50 paper 8 paraline drawings 17 parallel lines/planes 22 parallel reflections 178–85 parallel sun shadow 195 pencils 8 perpendicular lines/planes 22 perspective: purpose of 2, 3, 24; rules of 22–3; vocabulary of 24–9 photography/film, finding cone of vision 45–7 picture plane 27–8, 30; distance from station point 32–5; station point and cone of vision 43 placement relative to perceived horizon 14 plane, definition of 22 positive sun shadow 194 protractors 9 pyramid 80 radiating light shadow 197–8 rectangles and squares 76–8 reference lines: definition of 52; see also cube; three-point perspective reflections: angular 185–90; parallel 178–85; vocabulary 174–6 reflective edge 175 reflective path 176 reflective plane 174–5 reflective surface 174; seeing beyond 176–7 right angle (90 degree) 22 ruler 8 scale: transferring 110, 126–34; using for vanishing point 108–10; see also measuring setup: basic moves 58; diagrams 59; form 52–7; preparation 58; terminology 22; vocabulary 52, 59; see also cube shadow vanishing point (SVP): definition of 192; see also shadows shadows: cutouts 203–5; on cylinders 215–18; drawing methods 198–203; floating objects 206–9; and light 193; setup basics 192–3; on slopes 214–15; on spheres 219–22; types 194–8; on vertical planes 210–13 shape, creating space through 12–14 size of shape 12–13 sketching 3 slopes 156; buildings on 162–3; from vertical vanishing line 157–61; intersecting 164–71; shadows on 214–15; using basic forms 156–7 space creation: through form 17–19; through shape 12–14 spheres 83–4; shadows on 219–22 squares and rectangles 76–8 station point 28, 30; distance from picture plane 32–5; picture plane and cone of vision 43; three-point perspective 228–9 T-square 7 technical accuracy and appearance 5–6 three-dimensional drawing 76 three-dimensional form 17–19 three-point perspective 19, 56–7, 224; cube 56–7, 232–5; finding centre of vision 227; finding cone of vision 230; finding lines of sight 228; finding measuring points 231; grid 89, 236–41; measuring system 232, 232–5; mechanics 225; setup 225–6; station points 228–9; triangle as foundation 225 transfer grids 90 transferring: height 118–21; horizontal scale 122–5; scale 110, 126–34 triangle: equipment 8; three-point perspective 225 true height line/vertical measuring line 29, 30 twelve-point method for plotting circles and ellipses 148–51 two-point perspective 18; cube 54–6, 66–74; grids 88 unequal inclined slopes, intersecting 168–71 unified view 30–1; and different points of view 31–5 value contrast 15–16; aerial/atmospheric perspective 16–17 value studies 4 vanishing points 52; and reference lines 52, 63, 65, 71, 73; shadow (SVP) 192 (see also shadows); using scale for 108–10; vertical (VVP) 157–61, 226, 231, 232, 240; see also three-point perspective vertical measuring line/true height 29, 30 vertical planes 22; ellipses 142–3; shadows on 210–13 vertical surface, reflections on 179–85 vertical vanishing points (VVP) 157–61, 226, 231, 232, 240 viewer 24, 30, 31 vision, limitations of 38–9 ...Simplifying Perspective Simplifying Perspective A Step- by -Step Guide for Visual Artists Robert Pastrana First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press... That edge makes it easier to keep the T-square accurately positioned T-Square – 24 to 30 inches As already mentioned, we’ll use a T-square along with a drawing board to draw our horizontal parallel lines... To keep your drawing from moving around while you work, you’ll need to tape your drawing paper to the board Drafting dots are circular pieces of drafting tape and are a convenient way to keep a drawing in place Both drafting tape and its circular cousin use a lower-tack glue –