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