TWO-POINT LINEAR PERSPECTIVE: Imaginary Space

Archway demo

This week the class continued working on the Imaginary Space project. We will critique these drawings first thing Monday before moving on to Portraits. Pix to follow.

TWO-POINT LINEAR PERSPECTIVE: Imaginary Space

This week students have been working on creating an imaginary space in two-point linear perspective. We will continue working on these drawings all next week. Below are examples from previous classes.

LINEAR PERSPECTIVE: Two-Point

David

Erik

Eunice

Yesterday the class finished their two week project of developing an imaginary space in Two-Point Linear Perspective. David has created a cosmic lounge complete with large windows, futuristic furnishings and a second level, observation deck.
Erik has drawn a modern day cabin in the woods. The space is open and airy allowing for lots of natural lighting. Strategically placed house plants establish a rhythm of repetition throughout the space as do the rectangular windows, cutaways and opening in the floor.
Eunice has created a very austere and futuristic space with a repeating triangle window motif as well as floating boxlike forms and inverted pyramids.

EYE LEVEL

Georgia Bourdens

Luke Mello

Yesterday, we discussed one and two-point linear perspective and the importance of "eye level." The class made drawings of large blocks presenting a perspective challenge. The drawings were rendered in free-hand. The two drawings above have effectively rendered the space maintaining a consistent and believable eye level across the forms. Take note that the eye level is at the top and outside of the paper.

TWO-POINT LINEAR PERSPECTIVE: Imaginary Space

Last night we began the imaginary space project drawn in two-point linear perspective. Everyone will start with the same template and then make their own embellishments. The instructions are in the picture above. We will continue working on these drawings next week (Wednesday is a holiday).

LINEAR PERSPECTIVE: Imaginary Space

Jose Auraz

For the last week and a half both classes were working on Imaginary Spaces drawn in Two-Point Linear Perspective. Jose's drawing is dynamic and inventive exhibiting a combination of angular as well as curvilinear forms.

Catalina Sarmiento Cardozo

Catalina has created a fortified environment with a complex building framed with trees and surrounded by high walls. The charm and character of the space make up for the areas of inconsistency with the two-point perspective.

Nicole Stender

Nicole has created a labyrinth complete with dead-ends and walls jutting out in unexpected places.

Kathy Heglin

Kathy's drawing exhibits the interior of a cake shop rich in value and light as well as the cakes.

PROPORTIONS

Yesterday class began with a discussion on Proportions and "sighting" (see previous post and menu above for more info). We also talked about emphasizing and engaging with the negative space by employing cropping. Observe in Kyle's drawing below how cropping the bottles and shadows has isolated areas of the negative space dividing the background into four individual shapes.

The class then made drawings searching for the ideal solids within more complex shapes. Celindrea's drawing above is a cropped view of a mixer. Again the cropping helps divide and activate the negative space. She has also addressed the negative space with some tone which emphasizes the stand of the mixer while forcing the background to recede. Her preliminary marks are still visible with the base of the stand.

After the lunch break we discussed Linear Perspective (see menu above for more info). The class made drawings of blocks in one-point and two-point perspective. We ended the day with a free-hand drawing of a still life of blocks. The students were armed with the knowledge of the rules of linear perspective and eye level, proportions and sighting. Celindrea's drawing above is a well balanced composition with strong attention to the relationship between the positive and negative areas. The lighting is powerful and the textures are rich. The texture of the background is particulary inventive. Kai's drawing exhibits a more somber mood and an approach that is more suggestive of the forms. The positive and negative areas are very unified as if the blocks are emerging from fog or smoke.

LINEAR PERSPECTIVE: Building a Better Box

Liz Bufton

Michelle Reardon

Last night we discussed One-Point and Two-Point Linear Perspective. The class made drawings from a still life of blocks addressing the perspective, proportions, line quality, values and imagined textures. Liz's drawing (top) illustrates evenly, rendered gradations and complementary line quality. The mood of the piece is light with short shadows suggesting mid-day light. In contrast, Michelle's drawing is dark and solemn. The bold lines are very complementary to the slight distortions in the forms making them appear heavy and grounded. The mood of the drawing is enhanced by the grainy quality of the surface which helps to unify the objects with the space.

LINEAR PERSPECTIVE: Objects in Space

Lari Duff

Last night students were introduced to One and Two-Point Linear Perspective. The objective of last night's drawing was to use perspective, visual angle comparisons and "sighting" to establish and maintain a consistent "eye level". Lari's drawing above has done this very effectively. Furthermore, her handling of the materials has created a texturally as well as psychologically rich and powerful image. She has addressed the entire surface of the paper with course textures, smooth textures and a strong sense of atmosphere and light.

PERSPECTIVE AND COMPOSITION

Guendalina Codella

 Friday morning began with perspective drawings of blocks in one and two-point linear perspective. Guendalina's drawing above exhibits a well balanced placement of the blocks with well rendered contours and strong textural elements. The tree-like mass in the background effectively accents the blocks while bringing depth and visual interest into the space.

Natalie Pagani

In the afternoon, students applied the principles of linear perspective to objects while considering ways in which to activate the negative space. Natalie has rendered the plumbing pieces in a bold and graphic style. The values are almost hyper-realized in their clarity which is intensified by the white stroke around the exterior of the form. The cloudy smudges and blemishes are ambiguous, simultaneously suggesting a cast shadow as well as a sense of atmosphere.

BUILDING A BETTER BOX: One and Two-Point Linear Perspective

Monday night's class began with a demonstration of One and Two-Point Linear Perspective. The principles of perspective are: 1. Establishes location of the viewer (i.e. above, below, left, right, etc.) 2. Parallel lines (diagonals) appear to converge, receding to a point (vanishing point) located on the horizon line (eye level) 3. Objects and their parts diminish in size as they recede 4. Objects become more parallel to the horizon line as they get closer to it (ex. tops of objects become narrower).

The low key value range exhibited in Riley's drawing above unifies the space while evoking an atmosphere of mystery and calm. The composition moves left to right slowly alternating with the angle of the blocks. The line and tonal technique are very complementary throughout the composition and he has even accented the closest corners with a white line (reductive) to emphasize the edge. The only awkward area is the top of tallest block which is leaning towards us placing it with a slightly higher "eye level" than the other blocks. This is easily remedied by adjusting the diagonals to be more parallel to the horizon line (or the top of the paper).

PROPORTIONS AND LINEAR PERSPECTIVE

Friday morning began with some gesture warm-ups. Miranda's drawing above demonstrates the Scribble technique. Notice how she has rendered mass as well as a sense of light and place by including a cast shadow and a few strategically placed marks suggesting a ground plane.

From there we moved on to Proportions. Starting with one object and evolving to an arrangement of three objects. The important thing about proportions is "believability." They don't have to be perfect but they shouldn't be so off to draw attention. Notice in Allison's drawing the importance of all the lines. Every line either identifies a volume, a shift in planes or aids in the organizing and comparing of the forms. Another important aspect of proportions is that all the forms should be unified. In other words, appear to be from the same world. If the forms are distorted and "wonky" then everything should be.

We ended the day with a discussion on One and Two-Point Linear Perspective. Caleigh's drawing illustrates a "bird's-eye" view of the still life.  In addition, the strong contrast in the shadows anchors the objects and pops them out while adding balance to the overall composition. Like proportions, the perspective needn't be perfect but it should be consistent. All the objects should conform to one "eye-level" and diminish and recede proportionally.

PROPORTIONS AND PERSPECTIVE

Morgan Caricchio

Last night we continued working on proportions with the aid of one and two-point linear perspective. Linear perspective creates the illusion of depth by establishing a consistent horizon line (a.k.a. eye-level) for all objects. The parallel, diagonal edges of these objects will appear to diminish as they recede and converge meeting at vanishing points located on the horizon line. These were "free-hand" drawings. The objective was not perfect perspective but to establish a consistent "eye-level" and to accurately render the blocks as they approach the horizon line (eye-level). Just to be clear, eye-level and horizon line are the same thing.

THURS. 10/13 Playing with Blocks

Zoe Brester-Pennings

Students made drawings from a still life of blocks.  This project applied the theory of Linear Perspective without actually using vanishing points.  Instead, armed with the knowledge of perspective and proportion, students drew the still life free-hand. In the drawing above, Zoe has created interest and dynamics by adding a diagonal edge in the background as well as applying textural and tonal elements to the blocks.

10/4 Linear Perspective

The class began projects addressing Linear Perspective. Perspective is the concept of creating the illusion of three dimensional space.  There are a number of rules to follow when drawing in perspective. First, perspective establishes the viewer's location within the image (i.e. bird's eye view - above, bug's eye view - below, or straight on).  Second, parallel lines will appear to converge meeting at vanishing points located on the horizon line/ eye level.  Therefore, objects will appear to diminish in size as they recede towards the horizon.  The class project is to create an imaginary space using two-point linear perspective. Drawings to continue on Wednesday.

6/29 Linear Perspective: Imaginary Space

Today we discussed Linear Perspective with an emphasis on Two-Point Linear Perspective because it is generally the most common situation encountered.  In a nut shell, the rule of perspective is that all lines that are parallel to one another will appear to converge and meet at vanishing points located on the horizon line (eye level). Looking at the drawing above, most of  the diagonals on the left side will converge towards the left vanishing point and diagonals on the right side will meet at the right vanishing point.  The horizon line on this drawing is located at the center of the page.  Notice that diagonals below the horizon line converge upward while diagonals above the horizon line converge downward. 
This is the last project with me before Machiko Kondo takes over the class.  We will continue working on this drawing Wed. & Thurs. at which time it too will go in the portfolio for evaluating. 

Linear Perspective "Stairs Demo"

Monday and Tuesday Evenings are dedicated to the basics of drawing in Linear Perspective.  Slide lecture focuses on One Point and Two Point Perspective.  The drawing above illustrates stairs in Two Point Perspective.  Stairs in themselves are not very difficult.  The problem is making sense of all the lines required to render the stairs accurately.  The process is to locate the center of the side plane ( green "X") and continue to divide these sections for every two stairs. In other words, the side plane is divided with an "X" and a horizontal axis.  The side is now divide into two halves; top and bottom.  From there, divide the bottom half again.  Now the bottom half is divided into two sections whereas the top is just one.  Each section will be a stair.  To make more stairs continue to divide the sections. Repeat this procedure on the top half to match the number of divisions on the bottom.