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).

4/27 Two from Tuesday

Here are two drawings from the T/Th class.  (Above) Stan Mishanetz has approached this drawing with distortion and a surrealist/ outsider sensibility.  The drawing has broken away from straight forward linear perspective and in effect has created a more dynamic and intriguing composition.  The space is basically broken down into three sections. 1. A large ground plane. 2. A medium sized shape on the left. 3. The busy compartmentalized shape of the lockers on the right.
(Below) James Conrad has also taken some liberties with his rendering of the space at Analy Hall.  By arcing his converging lines, he has created a push back into the hall that creates a rolling sensation.  It makes for a more animated sense of the space, as if we were moving through it.  He has employed atmospheric perspective by giving more clarity and richness to the lines and tonalities of the objects in the foreground while lessening the intensity and allowing the shapes to fade as they recede into space.  Both of these drawings are perfect examples of "Making Something Out of Nothing".  In other words, their drawings are infinitely more interesting than the actual space they reference.

4/26 and 4/27 Atmospheric Perspective

Atmospheric Perspective takes into consideration the atmospheric conditions when rendering deep space.  There is more to rendering the atmosphere than just fog, smog, or rain.  Even clean, clear air has an effect on the way we observe space.   The concept of Atmospheric Perspective divides a space into three levels: 1. foreground 2. middle ground 3. background.  Objects in the foreground have sharper details and textures, richer values and brilliant colors.  As objects recede into a space details and textures diminish while values and colors lose their intensity.
The drawing above by Alan DeMarche uses a combination of concepts. The space is rendered in One-Point Linear Perspective.  He also uses the element of atmospheric perspective that diminishes details as they recede into space. The use of dark values also aids in pushing the space back as the lighter values in the foreground advance.