Famous Artists Course
Famous Artist Schools, Inc, Westport, Connecticut
Perspective for the artist — teson
Albert Dorne
Fred Ludekens
Norman Rockwell
Al Parker
Ben Stahl
Stevan Dohanos
Jon Whitcomb
Robert Faweott
Peter Helck
George Giusti
Austin Briggs
Harold Von SchmidtPerspective for the artist
Im Lemon # on Foran ee emphasivd the face that draing i
smn interpretation of acts! object on a dar surface, We tld
SJ that al abject ave another sie hat dep ink ee
Thi recede in gh distance rom te eye erect i the a
ol reeeting the cual bet on Ha nice sa ey
Sees wieslemipdinae onion Sete one
SRE ihe gee jou the we engin and crecon ofa receding
fdge ofa receding side of am object. In intricate form, perspec
tive locks lifcu I is not. It is only the extension af few
Simple formulas Hf you understand chee formulas, applying
‘hem is eave ey es onr purpose inthis lemon to explain
these formulas and show you How to we them. We will we
familiar subjects and the probleme you are mont ely to meet
ingeur vock
‘Moat sists deal with perspective fm one form of another
very tne they drawe a pietore: Usually, they draw abject fee
hhand. the craving does not appear cone co the eye. they
enlarge, change and it ines unl ie does. Sowetine, Hes
thee drawing continues to look wrong. The att mae den
Took fora cure, The cute knowledge of perspective
In Lewon 2 you Tete base principles of perspective
1 you stied that Lesson esreully, you now the meaning std
{cof a horion Hine and vanishing points Above all. you kno
Os see ingame le ot peettre Obed appt ibe
‘come sualler with distance
This eon we Want (0 show you how to make more ace
rate ond convincing drains through 3 eller wndersearaing of
perspective: We will sudy the Kind of supe ste perspective
{hat mon well for ehe art and illurator. We wll avoid
Corplicted aers of penpective that would be of interest only
The mow important single object ie Tearing perspective is
the sue which wil be the bois for mave of oue examples and
Glingram. (Ae in carer lowons, ee we the word cube to mean
fny bowlike form that f bye! 8 the cube) Starting wih the
fue, cam dae cree, clipes and even people ne anials
penpective. Once you understand he principles of dascing
the eube in perspective, you Will ne it relatively easy vo apply
then to other objets
‘though perpestive can Be demonstrated most simply with
regular manmade forms lke ralroad tacks, signs. and outs,
the sarne principles apply to all forms. The Whusation on the
opposite poze provides us with an obvious example. The control
Ol the perspective of tic” fori ike wees, mountains, els
ten, ana bid is jos a4 important 0 the viwal correctness of
2 pssure asthe per construction of man-made forms such
ss ite ant airplanes. Perspective fact of seine, and
{ings wil Ik normal ont it they sre drat im perspective
"To dase view of a ron twining though the country the
enist mst be aseare that the ton tapets 6 kas ea) ad
Below the eye level the width of the
‘widens 5 comes fora
road is easily recogniable. ‘The section of the road hat is level
with the eye appears aa thin lie, while above the ese level the
road cannot be Sen. tanks of everlapring clouds that float ove:
Teal and diappear tovands the Reriton obey the sume laws of
perspective that are ser inthe pater of les on 2 celing.
Perspective fn useful tool for the art, but i never sue
setae for eneful abservation, Acines he may even ind i nee
‘Gaary to dort the perspective, in order to create x sore dis
‘matic plture. Inthe final analysis, tthe aruats experienced
Ge that tele bien whether a pltare or drawing is sight or
trong: But wound understanding of perspective equip hen
Trith amore sete sense of ebsersation and (cling for form, and
help itn so muhe his pletures mote convincing and sats
tele Stee pe be oe as el
Sel east~10
Fone Ais Cove
Perspective for the artist
The picture plane
The drawing you make on the window shoves you that
‘shat yo bron to he aeusly a Tung se of Building
is represented om the winose bya very shot fie, You
cant craw on window all te pctres yu may wish
tocraw, br the window drawing sows you what hope
pens Fou drave die illusion of depth on 2 fat surface
The window Is he fie wofae. 1, to the ai, WS
is Known a he picture plane
The artist hac tnginary vera windows or pi
tore plane aways before hy What he ee or imagines
2 thredlmernional objects he tates tothe two
dimensional surface ofthe paver before his
How ngs of ow sll the sre shen the objet
he ie drawing fdeterued Uy the postion of the pk
time plane between his eye, or emp, and the
Uhject The clothe piste plane 1 the objet
the lige ee image spp
"You do nat have to be actly ooking at an object
thngh a winiow yp ca agine the see, cat
Sloalle fe However, the ume procs occurs You
Fewer or imagine the cee al have an imaginsty
Sertca Hat picture plane Leto you. You draw on
Jour paper what you see” on the fnsenary plane
1 yo ay the grams on tis pg the meaning
‘ot ahe pice ple shoe clea 0 yn. Digg
1 you the fire sting, the ye fevel am the
cule. Betneon the igure and the cube i inser the
Imaginary piewre pane. In Diagn 2 we slow the
cule a appears to the ye of the man in Diagram
‘We hae rum the Hnesofperpecive out to the vate
ing points his the correct pictne as i¢ would be
scen frm the eye level or statin polnt ofthe man,Lesion Fomoue Aen Couree
Perspective for the artist
‘Three basic terms of perspective
Station point
ms
Pete RES a Sh a
Sketching procedure
Sutin point har more to do with the appearance of an object
than anything ee, Mow drawings look eter if he saton
pink no to cine tothe object. When the station point fs
too near. perpective dratings took dione si, for normal
purpose, ths shoul! be avoided As the station pi changes
Vonishing point
- anne ‘sit meet
When you stat 4 drawing, £8 bee to make many rough
steiches ro ean the bes view ofthe objet for your needs
to establish the bes tion point Drawings shat equlte ac
fcrate perspective showid fist be sketched in tretand, a6 36
Carately as pomible, “Then make sure your denying isi per—
Scie by establishing your ese level and eanihing pointe
‘ver wih, so must all ofthe perspective lines tthe drain,6
tenon 1 omoun Aros Cou
Perspective for the artist
Three types of perspective
Im drawing simple objets we ind one, 60 orthree vanishing
point occur, in complicae objet here can be more. Objects
Fesing more dhan thee vanishing points are called compound
forme: We will ody such form ater Fr the present we Wil
eal with onepoine worpoint sel Ucegoint perspective
‘Oaepoint perspective exit when ewe dimensons heat and
‘vide of am abjes are parallel eo the pltine plane, The mess
the object ces loging ati staght in font of vs not at an
fsngle In such view there is ove dimension ~deptl~ lef wo
be atcounted for. This diusasion mat have a vanishing poim.
(Dimensions parallel to the pierre plane ave no vanishing
point) In dhe dings atthe Bottom of the page you will ce
{hat one pain: perspective eam occur fn several ways. When yon
look atx cube straight on. the vanishing point is out of sight
tnd hehind it f yom were sanding inside dhe cube you woul
be in the same portion 38 you were looking down the mile
fof aster. Ta ight an lft walls ofthe enbe would represent
the tac fron ofthe bulngsom the side ofthe tree. In ch a
ew ail parallel fine appece to run to one vanishing. po
(Except, of course, the lines parallel to the picture plane)
Ta twerpoint perspective (ae dingame on page 7) only one
dimension of the object height parallel co the picture
ne, There are to dimensions left. We must deteore, estab
10 vanishing points on the Horaon line. The eleer toe
rer the two vanithing points are the lew you will ee of the
Ses ofthe abject you are drawing.
‘Since aout objects oh he reduced to «cube, when drawing a
form in penspetive ic is customary to rough iin asa cube. This
One-point perspective
Sipe coer oe he
Soa
2.3 ee
wll hep you decide hos nme af the side surfaces you wish wo
Shows im your drawing, belore you etalieh the tsD vanishing
pms, hie procedure automatically fixes the ston point oF
the view of the sene you wish eo have: The vanishing pois
may he as close ur as far ar a you wk them. Inthe diagrams
fom page 7 you will se that dhe horizontal edges of the cube
Toecome diagonals when drain in perspective. The angle of
these diagonals determined by the elowness af your eye tothe
object The elower yw ae the more acute te angle
‘Throepaint penpective f wsod when the picune plane is
sive ant HOF PHT to any of che objets suraces (eight
“width or depth. Three point perspective is wally needed
“where the sation point i eose tothe objet — a6 when yon ate
Tooking up ata large nearby ship ora tall building The horizon
fs waually very low, or emiely below the objec. Tf you are
ooking dot fom shove, the Horizon may not even appear in
the view ata. A general Tule te follow i this: Swall objects
‘usually Took beter i pictce if he nee vanishing poines are
tvell separated. The perspective should ot be acute, To empha:
“Aue the Lignens of « butlding, sherp diagonal Fines are Tmpor
tant, Here the clowns ofthe vanishing potnts strengthens the
‘ect you want
in. any perspective drawing if good plan to Set lightly
sete the general view that you ssh, Frou this sketch “ron
out” your horror ine sil fd the sanishing pins. Be sure
hat the horironal diagonal lines ci at dhe eye level ine
One cannon bchigher or lower than the ote. Regardles of their
istonce apart they must be established on the came eye level“I0= aa tive ate ‘the artist 7
Two-point perspectiveDrawing the cube in perspective
from a plan view
(On the proce pages we ive explained the fndamental
Dtecpiec ef aninie poopecre Roe we el
Cop ee prinples ts specie problem —
into seewne penpective in selation toa deinite aon point
fd ee lee
the application of dis method the acs may draw a
object 6 would appear in penpactive at any distance and
“lompoin hae desing as normtion sal drawing
Gf top an side wee ofthe objet “The method ie pose
Tanyas in doing architectural drawings, Once you wader
Sand his procedure withthe simple form ofa cube, the move
Complicate fre wil be ex to andl.
For Demonstration A gwopuim perpective wil be wed since
vee are looking nthe corner ofthe abe a only one dimension
yeh ie parle othe plete plane Fr Demonstration B
vee te one pine perspective bees the eight and wth ate
Fate o the pcre plane and jun che dimension of depth
ust be shown feeding
2 ecttrec San ts eae oreo
Rem tec OA che a een oe ect ce ad
CLEREVRDUNSSS Steno pam rte de ts om
‘Suan 0 prone sry. soy nn pepe
SEER hae‘ sfeae ec ee os gence fo onan
can ay Beeae femow Arte Cove
Perspective for the artist
Measurement
I any drawing, proportions ant be correct ‘Tits partennly
tmue im drawing objects im perspective. To mect practical prob:
tea in anae perspectve, yom mst be sequainted with red
fils of mensement. There re diffrent seas to arrive at the
‘Sime salon, Here we are ging to give you a few af che mare
Jmportant oues, which you eam apply in sarious wars
Tielore making measurement of any hind, be are to table
the needed waning points and the right statian pole Get the
Imac verall shape etablishd correctly. Otherwise, you wil do
endless comeeting with the rest shat the draeing ill never
Seem to come ou igh
To dividea retnigl, regardless of perspective, draw diagonal
lings tom corner to corer. a8 in Diagram A, Wheve they cro
in dhe eater, This simple rule i iuvalusble to you and wil
slow yon to work out seemingly impouible problems
eis often nevenay to divide an aten of 2 diagonal foto 3
number of pars. ad's rer sil nor sifice. "The Rey to most
Aivsion of space ie the wertial ar horizontal line parallel tothe
Pietsre plane. For esimple, to divide a reeing pane int five
‘ertical parts you divide the vertical nwo fve parts
fd the meaurement is worked out cai, asin Diagram B.
‘As YoU gin experience in drawing forms, your eye oom ee
‘omnes raed and you will bcoate snore acarate fn SORT et
imate of mensoremente The average arte, of come, makes
tnany of Ils measorementsenttely by eye. However you will
Find thatthe fee simple rules we gve you here will be weal vo
youn mang eecasions.
Posts i
perspectiveFamous is Court
Porspective for the artist
0 10
Drawing the cirele
‘The bet way wo puta tcl in perspective i with the aid of
square Circles, evals and ellipse oem badly rave by
shine This sno newesary. By jst fem sod ot
Gineam an accurate and single method bed on the are
‘We fave shown that the cobs he bans of al retalar
form and that it you hao throughly, mow of your perspec
the problems becoe simple The cece fa guide for drawing
alt ceodimensfnal corey clipes and ovals perpective For
{one t bals the quae, on one surface of te ene. The
eau lor using the squne ic tat Tere eno deck mestre
trent on 9 curve. Vowshing pons ate determined from the
taue and proportions of core can ely be wn within 3
"The eter of dc cc shits om the center of the wqare
cen fs pe inv perspec M me Inne he perspective
SEMEL fcc a the pol wheve ne cou agonist pe
Fai tae ch yu suc
spective square intersect. horizontal Kine drawa: acu this
enter does not iicae dhe widest part of the ellipse. The
Sriest pare of the ellipse i the major aie — + hostontal Tne lo
‘ated exactly Maly betncen the top and bottom ofthe ellipse
‘Whi drawing eligaes seh a8 whee glass bowl plates ten
i s best to rough cn in freehand and arrive at the general
flape nected, The ellipse may prot snore on one side than
the other for i is ditt to draw a perfect ellipse freehand.
"The nea step shouldbe to relate the sqoare in proper perspec
tive superimposed on the Freehand ellipse. When the square is
onset proportioned, eros the cence with te diagonal lines
fd then ers hem again with a vertieal ine ehrough the fer
fection ofthe diagonal nes. Draw a horizontal line through
the center to determine the perspective center. Use the vanish
fing point 9 have the direction of the Horiontal line cornec,Aeon 1 Femeue Ariss Coe
Perspective for the artist
N
Constructing curved forms
Jn perspective, she sop cllipac of water gla erent from
te Uowtom ellipse. Meth vary according tothe eye level Ta &
grief water pitcher you anay eet dane several dillerent
‘at ens dw he peer erect perp. Ths
pos the curved objet. Proved to divide the surlaces as we
Shove your on page 10, Make all the division necenary by
Tightly drswing ithe diagonal Use your vanishing point.
‘When raving caved forms, the center of she rectangular
“oom is ust as nsportane av te center of the aquare i Whe
pling the circle im perspective. \ study of dhe diagrams on
fis page will luge you Tow to proceed. Remember tha a est
[evel an elie i stright fine ari a he station pose rss
tor lowers, the ellie upens unt f you were decal alive oF
‘elo iit wold be a etc.
ade sinks wate sete ie12
omen ins Couse
Perspective for the artist
“10
‘Compound forms
We told you at dhe beginning of tis lesson shat if you could
anders! the cube fm perpectie you could slke mom per
spective problems On this page we are combining diferent
$d eubes with rectangles, and both n turn, with elie. The
‘three most important thing ae agin: station poet, vanishing
point and eye leel, All of thet shrce a afect the appearance
‘Of your drasing i they ave poorly elected. However, they are
Sefiniely established, you vil sill have 4 drawing correct in
peripetoe although i may be unatrsetive
tis itaportant here to remember to keep your vanishing
pois rather far sparc because dis wil give the final pictre 3
Tore plessane appearance. For all general we, we augget that
all vericals be aly vertical except when + special eet i
Tegaland etn ening pet omen
‘Mont objets are compound form There are milKons of
forms on earth bt only fee base goometric ones. We cannot
lingeat them all but we can do a fev ofthe most important.
yom ean drawa cube, you shoul beable 10 “slice”
icin hall I'you understand tenement, you should be able
to pt some drawers n ace and eal a heat of drawers IF
yen ned to pu a curved vase ou it, you should be able to do
{aby Balding i from: eube or reciangle at we have shown you.
Ifyou were to “comiruct” x ship, you could lay kx eubes to.
(giher. This would fe the Hass of the lull ~ sx ies longer
than ifs high ane ede: You old find the center of the groups
then place the Tne of the Keel an the center of the decks. From
here, you would earve the ull arid you use just a it of eae it
‘oulave ge very fa nt of hand
TE you Kuow how to fa the center ofthe side of rectangle,
in the say we Rave suggested wis the two diagonal Ties, you
fely can find a quarer ofthe anen inthe some way. For xan
ple, if you must fied the poston of the ridge pote for a root,
‘om simply rate the sertea line wp co the Teng you wis
Fevigh the center, or te quarter position, or any place sou
might elect. We tell you thin to show you that compound forms,
whic you will be constantly conlonted with, are not corte
they are oniy miles of what you already huow. The dis
rams on ths page should prove Ui
Peso reee ee
TELS tes eee te oer cere oe tt
MEAS SUE See nee set we ence od Op
25s nt ae vial na Bp teih WY Sore et
oes ia toute gk oa om
SOTA IELGG lee ots meaty ert
cele be he ooFomaus Ariss Course
Perspective for the artist
enon
Interior and exterior
“To put buildings, wees, telephowe pols, roads and people “on
the grou” ia perspective, we follow exacily dhe sume proced
{re as when we pt eube in perspective. Telephone poles and
people da not vary much in height: buildings and tees may
Savy greaty: ends generally stay about the same wide. Fest
Csuabich he horiron or eye level Line, From here on, you can
ppuv in anything you wih. I dre ate several buildings, one
filing cam be your measurement for all of the others. The
shine proceduce applies to the ees the telephone pales or the
peuple Ione is exablihed inthe pierre all the other units of|
{he same Kind eam be realy meastred, proved they are paral
Jel o the line of the pie plane
“Tov place them in eps atthe corset size you simply
trun the height of she objects othe vanishing point. At any level
fn the pice you can shile dhe objects horizontally Ne sie the
Dorion shift i sbuoluely parallel wo dhe picture plane. Bull
ngs maybe in various positions ~ not ac right angles or parallel
to each other Establish the view ofthe building freehand and
then exablish the vanishing point for dha bulding. Each boil
ing can hove iy individal vanishing points, bur these must be
fn the eatblihed exe level
"For Inferior penpective, ty v0 think of a room as Ding the
inde of » cube. All ofthe rules established withthe eube ane
applicable here. You are inside dhe cube iaead of ouside
There mist bea eye evel a sanihing posal Furniture en,
with ear, be atranged! in Vatious positions, provided you lave
zn eye evel established 40 that You can shift the vanishing
points for each individual shit of forntore position
When doorwsss pictures, certains, mouldings etc, follow
the wal, the vanahing points of the wal ae used. Floor pat
terns foliow the perspective ofthe floor and you aust hold to
the vanishing points vos have exablishe fr the Roor-A center
lighting fsture i placed atthe intersection of the diagonal
lines running fom corner to commer in the exlingtess omen Ais Coune
4 Perspective for the artist
How to make a perspective drawing
from a plan and elevation view
First draw horiootal line A ro represent the picture plane. Ar tse 0 30 0" fe
ange the plan lend this fine, st the ight, 3 the parts yor
trait to show in the perspective drawing foer line A. Trace
Giawn the plan with the neatest coruer of the building just
touching Hine Avthe picture plane "Then trace dawn the eleva
tion view of te Buldng so dic It ofthe area where you want
to make the perspective drawing
‘ext select a station pont. In general you will find it bet to
place this point below the approximate center of the plan. A
fray role of thumb isto cover the widdh of your plan with
fhe biond part of a $0°—G0° right erangle as shown in the
Small diagrams at the far right. (A $0" angle represents just
Shout theseope of human vision, When dhe ange greater than
4M digorian tevalt) Place your sation poine at the
Point ofthe tangle
"Then draw lines from the estion point to the cormes of the
roof, porch. chimney windows ud other pats af the plan that
Jou want co locate in your perspective drawing. Is mot neces
todraw these lines below the pltute plane, The Inver portion’
ft thes lines are drawn fn here revel to make the procedare
exe
‘Wire these fines cut actos the picture plane. drop paral
toesablih accurately the width of the building
A
HU
and al fis pats such a8 doors. windows, porch, chimney and
Tool peaks These are she beoken lines the diagram. We hae
borough down ondy fee of thew Tnes (des ofthe bulngs,
peak of the rook and nearest wall) to avoid confusion in the
‘Bagram. Vo sould dra al of them Fg down toa live level
svt he bottom of the Ronse fm the elevation sew.
"The mot important of these lines i ine B. whic vepresents
the comer afte bulking closest to us and which touches the
pirtue plane. This the only lie in the perspective drawing
Zia: lorethortened by perspetise and is ietelore the omly one
‘Mevcan tne for verual uusurenents taken dizetly Irom the
elevation view:
‘Next decide an che eye fvel of horizon tine. We have placed
the horizon line approximately halfcay between broken lines
Eland Dy From the sation point dave lie & parallel to Ein
the plan, and line F paralel to. Where Tings E and exo
the picture plate, drop vertical Hines to imersect.
“These locate the vaniaiog pois
"Thi rat of the proces fe imple, Just carry aioss vertical
measurements fra the elevation ¥iew to lie By and from thee
joins on ine B dra eenstruction lines to the vanishing points,
ting the regular procedure described on the preceding pages,
"The vertical Hnes dropped vom the picture plane will ast
‘table width ofthe wall, indo, doors, ehim-
fey. porch ete in the perspective drawing, The most important
thing to cemenber igh yt cam make dicectvertial messine= aeican
‘memtsonly om line B in the perspective drawing when you eatty
these mestoremente across fom the elevation view.Levon Fomow Ais Coune
Perspective forthe artist
%
Foreshortening and “free” forms
Inv pcune leg receding lor you oF a aten coming toward
it i in ponpative, Unite 4 geometric
pre, st see” oF ireguar form. Within he
; pl Hib are many curves They make fore
Shortening more diet. Knowledge and a grea al of pra:
in drawing the fare fn wats posons ate your best 3d.
oveser. thinking in erm of perspective will help yo
“The methods of rvasirement se have applied to geomet
forme can be wed many times 9 alvanage here. For ele,
the approsimate kice position on an extended eg can be de.
(eee fa es ey bet pom ee eerecee eon
of 2 door oF 2 window on 2 feceding srlsce. Most atti 3¢
‘quite, trough peutic. the ability to do this frechand, bot
thore are ime when an vnuaally ete perspective, some
te fe sen of
sm leering nee, How mach rw He
the hesd als bgwre yng diagonally, fet frst,
‘bea very important pint co ela.
In sonia views, 38 het to fe the Rigure iy a vee
tango form. Thik cin quickly determine i and where 2 part
ssl be seen wid its approsimate shape, In doing thi, use only
the bie Form. Although you muy not dea the many perspec
tive lines, you snus have the appreaimate form and ics perspec
tive in enn. If you ge ito eouble. perspective i the cure. Go
lack tothe the bani needs: station point, eye level and van
ishing point. Im drascng the figure ne moat mall objets, be
ude the ation pot i wot ww exe tothe objet. 1 i, you
‘wll find t20 muth distortion. Do aot have a lotesortened ar
1 long usa city atest Renneraber that drawing is inking.een Famous Ariss Coe
16 Perspective for the artist
a eer The figure in perspective
Tia nana oa Theres roll ein mere xpeaig na plete, han
4 igure that fs not sanding on the Boor oF one th
than the door. To place the figure in is cortect position is
limporatve, Furthermore, the figure s the artist's yastick, Peo
ple ate an approximate height. Anyowe viewing a picture auto
fatally detraines proportions, sale and sizes a6 they relate
to the figure. A iree's height fs gauged by the figure standing
next to it bulking Is large or mal 5 relates wy te person
fotering i Everything in a picture is relative. The figure and
ite podion in perspective ate the yardaick
Azan it the vanihing point that docs it. The vertical dis
tance between the guide lines wich go (0 the vanishing point
‘etablises che height of figure anywhere in depih. To move
the figure to the lett o right of these guide ies, simply exten
horizontal Lins fom the head and feet f you determine the
height of one figere, she correct eight ofall the ethers i e
tablish by the two horizontal lines erssing the lines tha lead
lroat the Figure tothe vanishing point
‘After some practice snd experience this becomes second na
tute to you. Few aris continue to we this process. There are
times chen you may need ie 36 well co hove. W's 2 means
ot checking however, and not a mus. Study che diagrams axl
‘yom will quickly andetstand whae we mean.Femows Ais Cow
Perspective for the artist
“10
VW
Method of procedure
For practical working condone thre ste nursrous short euls
To many toa eve Att thro race discover maey
so mt ther needs For the profesional rust these short cua
{Sve te and iabos, General, drawings are «combination of
ffechand and insiromen dawing Fur ion purposes dow
dng hoor, Tune rangle and comps are all you no
‘Rough in your drawing tread to get the Siew you wth
‘Then tab the eye level and eximate the postion of the
Sanding pins Ine ie trier nay tha the ote. if he
Postion of your drawing on the board to aecommodne the
Uiterenc: Line up the eye level horizontally wth the Tsquare
Sut fry ork oo dhe paper To correct any eror in your
Tough sketch, you may need t hi our vanishing pois along
theborzaea ey eve When the vanthing poise correct
‘xblihed, pts ack opin Semi teat pnt. Tur he T
quate pe down aul fet plvot from the tack. This the
Simplest way to deae your pespuctve line. or veriad ines,
Fl the Taqusrehosisntalserstehe paper and use rangle
I the vanishing pins ate wide apart (as dey should be in
sont eves) nd are beyond the edge of yout Board, 2 good
tucdhod to ws is one of measurement. Proced ‘with the rough
Sich and shew appronimate the eener and two ena verticals
Esta the eye level ard abo the major horizontal perspective
lines Althoogh the vanishing points may be four feet aay, be
sare they ave hth on the eye Teel. You may nied use a Tong
pte of sting to establish them. Then drave several guide lines
Ss proceed se thw in the tom diagram
Thobtain + fat alge, ue your T-quare upside down, pivot
ing fom stack placed a the sanishing pli. Use yor T-quare
ftom: the side of your board for al hort Has3
omounAtiss Gove
Perspective for the artist
-10
Reflection
An object sells in the water or a mirror as far at projects
emmalins constant but the ves 3 rellectel one. For example,
the station point isthe sme but the ey looks donon at sees
Ivut the "water 60” Looking up. Another explanation iy this
the ee level i bone a object, you ae looking daw the
object. Av this objec reverses in efetian, the proporions re
Iain the ame but the “view fe up” or fom below it IF dhe
Drawing shadows in perspective
Light eaves im straight tins. From he light soure, draw Tines
that touch the connels of te form and continue them until they
Strike the sorface of dhe plane on which the form is standing.
vith single sure of li
anishing poine The ekadnc’s vanishing point vil fll ow the
horizon dretly elon the source of light. Shadows follow the
Contour ofthe plane on sehich they fall
ject iscloce to the ee Hevel, the sellecton will be nearly a
Alupticae fn reverse, but not ifthe objec ie well below eye level
‘Study the drawing above and exablh in your sind the pee
specive of the foeground stump and Sgere. Thea turn the
Atrawing upside dows aad nutice the difeence in the “wiew’
fr beter sill, ace the figure, reeere it and compare Ie with
the reflected igre in the drascng. Ths wil show you exactly
how thi gr ie detoreed fn relerion.
jvteen Fomoss Ais Couse a4
20 Perspective for the artist coon
Attitudes towards perspective
[A sound knolodge of perspective isa valuable tool for the-FANOUS ARPISTS COURSE
Student vork
Taeson 10
Ferepective for the artist
HOW 10 FRACTICE AND PRKPARE FOR THIS LESSON
In thia Lesson ve chow you hov to ute the fund
tmentals of perspective to make better pictures.
We are not concerned with the cenplicated de-
tails of perspective required to make archivec=
tural or engineering dravings, but with the
eimpler, beste kind of perspective that every
artist needs to knev. With this in mind, hore
fare some things to do for stuly and practic
2. Read through this tesson carefully unttt
you thoroughly undorstand the baste principles
of perspective. You'll find it helpful to ze-
‘view pages 16 through 23 of Leeson 2 at thie
ine." then apply what you have lesmed to the
following exercises.
2, Select several photographs of the interiors
or exteriors of buildings. You can find many
exauplee in magazines. Place cach picture be-
neath a sheet of tracing paper. Locate the
venishing point or points on the horizon line
by extending the lines of the interior or ex-
terior valls of the buildings. Complete the
Giagram by craving in the other cain lines of
perspective,
3: On your tracing pea, make many sketches of
‘Objects cuch as chairs, tables, vindows, house-
hold gpplisnces, dishes, etc. These can be
rouga, but should be reasonably accurate in
‘ems of fora and proportion. Then place a
clean tracing sheet on tap of each sketch and
anke a careful perepective draving.
4, Make avavings of some of the rocas in your
house, using the principles described on page
13. Drew the fumiture, doors and wintove £ol-
loving these sane principles. Place figures at
Yarious points in the room, applying the method
shown on page 16.
‘THE ASSIGIOGNTS YOU ARE 10 SEND IN FOR CRITICISM
ASSTGNMI 1. wake en accurate one-point per.
Bpective draving from the rough Sketch on
Plate 1. Put a sheet of vieuslizing paper dir
eetly over the rough sketch and make your éray-
ing the same size ani in the sme position on
the sheet, ‘Tate vill alloy reca for the circle
you draw fo construct the ellipse of the rus.
(Gee dingran on page 10.) Consider the nearest,
wall of the roca to be the picture plane. Place
‘the horizon about 1 inch above the top of the
Acorvay. Be sure to indicate this eye level and
fhe vaniening point. “Shey eit constuction
Divide the vindow on the right yall into nine
panes of the sane size. Drav the sofa against
fhe left wall and rev the ciroular rug on the
floor 4n approximately the position indicated.
Place the center of the mug dizectly below the
vanishing point. Locate the position oF e cim-
pie square Uigising fixcure ct tho center of
fhe ceiling. In the position marked X on the
floor, drew standing f1gure whieh relatee
corredtly to the figure in the doorvey. poth
figures re 6 feet tell.
Before doing this draving, restuiy the dia-
grans on peges 6, 9, 10 and 16. Nake your
‘raving with an R oF 2H pencil in line only,
on 8 sheet of visualizing paper 1 inches vide
dy Lb inches high
Mark this draving -- ASSTGMANT 1
ASSIGNGNT 2. Yake a tvo-point perspective
draving i pinctl of the Sorat tease Bown
fon page 12.” Construct this house 20 tust the
eye level is located about one-third of the
Gictance dom from the eaves of the roof 0
the ground. Draw a large window centered on
‘he wall above A.
Draw the howe about 4 inches high on a sheet
of visuslising paper nearuring 1 snenee wide
by 1 inches high. To avold Alatortion, place
your vanishing points sbout 2h inches apart
for a draving this size. To accomplish thi
tape three i x ih-ineh sheets of paper to-
gether. Yake your araving on the center sheet
fand usa the right and lefe sheets to place the
vanishing yoints. These sheets can be folded
‘back over your drawing for convenience in
mailing.
Moke your Araving in pencil line with all of
the sajor constriction lines shoving. Do not
shade the draving. Concentrate on the con
struction -- do not edd any detatie such af
(corr, please)Student work -+ Lexson 10
shingles, gutters, ete. Put in soue lov, roll-
{ng hidie a the distance but don't a@@ any
other background. Be sure to indicate the hor-
igen Line, Do your draving vith an or 2H
penedl.
Mark this drsving -~ ASSTOMENT 2.
vege 2
In judging your work ve vill be looking for
‘bro things: First, and most important, your
umderst of the perspective principles
geplained in the lesson; secon’, the accuracy
of your éraving.
SWGURDAND: Ee sure to letter your nano, address,
and student mmber neatly et the lover left
comer of each assigmont. Tn the lover right
comer, place the lesson muaber and easigaent
muaber
‘Your lesson carton should contain:
Ascloment 2
Asnignsent 2
{Return shipping Ishel filled out completely.
Mai this carton to:
‘PAMOUS ARTISTS COURSE, WESTPORT, COM.
o-tno