£ ORAWING By JOSEPH D'AMELIO IMustrations by Joseph D’Amelio ‘and Sanford Hohauser onou u m u 0 u m 0 a < m 0 5 g 2 5 I dD 2 0 o 9 o R Fundamentals and fine points of perspective drawing explained in ‘easy-to-follow, highly illustrated form forstudents, ustrators, designers and architectsPEO PEG TIM: WAIL tauid oa‘To My Motherand Father Copyright 1964 Leon Amiel + Publisher Al rights reserved LUbrary of Congress Catalog Number 6424726 CONTENTS INTRODUCTION 7 (Chapter 1: FUNDAMENTALS. 8 Dimination,@ Poreaortening, 10 (Convergence, 11 (Overlapping... Shades and Shadows, 12 Color and Value Perepective..Detalland Pattern Perspective... cus Bit, 18 Profesional Applicstions of Pundamentals, 4 (Chapter 2: REALITY AND APPEARANCE 6 {in Pespective Drawing You Draw What You See, Not Your Idea or Ment aay of th Subject, 18 Reality and Appearance-Esample: United Nations Buildings from Different Viewpoint, 16 Reality and Appearance—Example: Park Bench from Different Viewpoints, 17 ‘Chapter 3: HOW WE SEE FOR PERSPECTIVE DRAWING 8 ‘Cone of Vision... Cente Visual Ray. Picture Plans, 18 "Bass of Porspective—Lines of Sight Through a Picture Pane, 19 (Chapter 4: WHY APPEARANCE DIFFERS FROM REALITY— THEORY 2 “Lines of Sight Through Piture Plane” Appliod to Diminutio, 20 “Lines of Sight Through Picture Plane” Applicd ta Diminution and Convergence, 21 ‘ings of Sight Through Picture Plane” Applied to Foresortning and Overlapping, 22 (Chapter 5: PRINCIPAL AIDS: VANISHING POINTS AND EYE LEVEL (HORIZON LINE) .... 23 ‘Ald No.1: Vanishing Polnts~All Lines whih in Reality are Prvalel will Converge toward a Single Vanishing Point, 29, Vanishing Points ont )—When There are Many Sts of Parallel Lines gong ia Diflerent Dretins, ‘Bach will Converge toward its ew Vanishing Point, 24 Professional Bxamples, 25 ‘Ald No.2: Bye Laval (Horlson Line) ~All Horiontal Lines ‘Converge toa Single Hortaontl Vanishing Lino, 26 ‘What Locate the Vanishing Lin for All Horizontal Lines? 27 Why tho Obsorver's Bye Level Ditates the Horlaontal Vanishing Line ~ Tory, 28 ‘What Locates the Vanishing Poin ofa Particular Set of Paralil Lines? 28 ‘Why tho "Parallol Pointing” Method of Toeatng Vanishing Points is Important, 30 [Nature's Horizon Almays Appears at Observer's Hye Level. Therefore, it Can be ‘Used asthe Vanishing Line fr Horizontal Lines, 3 ‘Why Nature's Hovizan Appears at Obeerve's Bye Level Theory, 32 ‘What Happen to Bye Level (Horizon Line) When You Look Straight Out, Down or Up? $3 Profesional Examples, 34 ‘What Happens to Bye Level (Horizon Line) When You Look Straight Ou, Down or Up (cont)? 35 ‘Reasons for Choosing a Particular Bye Level (Horizon Line), 98(Chapter 6: DRAWING THE CUBE — PREREQUISITE TO UNDERSTANDING PERSPECTIVE Tneoduction, 87 ‘Looking Straight Out the Cube, 28 Profesional Beamples, 29 ‘Looking Down atthe Cube, 40 Profesional Bxamples, 41 Looking Up atthe Cub, 42 Profesional Examples, 2 Cube Studies Applied to Drawing of United Nations Buildings, 4 Cabo Studies Applied to Drawing of United Nations Building (cont) 45. Many Cubes Orient inthe Same Direction Results in Only ‘To Set of Converging Lines, 48 (Cubes Orientd in Many Diretions Results in Many Setaof Converging Lines Why a Thorough Knowledge of Simple Shapes is Important, 48 ‘Applications ofthe Basie Cube and Brick Shapes, 49 ‘Chapter 7: “ONE-POINT” AND “TWO-POINT” PERSPECTIVE WHEN AND WHY? Thtroduton, 0 ‘rotesional Examples, 51 Distortad and Corrot One-Foint Perpective, 52 (Chapter 8: MORE ON LOOKING UP, DOWN, AND STRAIGHT AHEAD Tntedction, 63 ‘Things Seen hy Looking Strasht Out and Things Seen ky Looking Up, 4 ‘Things Seen hy Looking Down, 65 Review: Looking Up, Staight Out, Down, 58 Looking Straight Out, 87 (Chapter 9: PERSPECTIVE DISTORTION Related to Vanishing Ponts and to Cane of Vision, 3 Observe-Cone of Vision-Vanishing Points Relationship (Horizontal Distortion), 59 Vanishing Ponta Too Far Apart, 6) CCheptor 10: DETERMINING HEIGHTS AND WIDTHS Height Lites, 02 Heights Related to Bye Levelt: Heights When Observer is Standing, 62 2: Heights When Observer ifn Rlevated Poston, 6 8: Heights When Observer is Biting... 4: Heights When Observe is Lying Down, 64 eights Outdoors... Indoors, 5 Profesional Examples ‘otsrmining Widths in Perpective—Wikth Lines, 67 ” 3 EE _ EOE (Chapter 11: DETERMINING DEPTHS 6 Finding Center Points hy Diagonal, 63 Bqual Spacing by Diagonal, 69 ‘Subavidinga Surface by Diagonal, Dividing a Stace nto vel Space by Using a Measuring Line and a Special Venting oe So pune a Surface into Une! Spaces witha Measuring Line and Special Vanithng Pint, 72 ‘Detrnining Depts and Wit of Room Interiors by the Measuring Line Meth nt, Dang al ied bt Uncqualy-Spaced ElmenteVanshing Pin of Diagonal Method, 24 ‘an Aid in Drawing Coneentsic and Symmetrical Patterson Rectangiee and Suen 18 ‘Axy Designo Patter can be Reproduced in Pespetve by ‘Means of «Grid that Locates is mportant Pome Ne (Chapter 12: INCLINED PLANES a oe n Intodueton, 77 Conan iting Lin and Horizon Line ae Bas on Same Tory end Ser Sim Purpose, 78 Uphill and Down Inetined Planes), 72 ‘Sore Applications of Inclined Plane Perpectiv, $0 ‘Chapter 13: CIRCLES, CYLINDERS AND CONES . 1 Drawing the Ellipse, 82 ‘The Center of «Cirle Drawn tn Perspective Does Not Tin on ‘ho Coresponding Blips Major Aus 82 Colinders, 84 Cones, 85 ‘Professimal Application, 86 Parallel Light Rays (Sunlight) Para Anpliation Sketches, 59 Parallel Light Rays (Sunlight) Obigue to Observer's aoe, 99 Parallel Light Rays Obtique to Obervr's Face (cont), 81 Application Sktehes, 92 Profesional Examples, 8 ‘Shade and Shadow Created by Loa! Polnt Source of Liht 94 Application Sketches, 95 Profesional Pxample, 96Chapter 1: FUNDAMENTALS ution — Objects Appear Smaller As Their Distance From The Observer Inereases INTRODUCTION oe AW unDxsrasnn\c Or pasracrvis mandatory forall tudents and professionals involved with For instance, someone across the epresentational drawing. This includes a wide variety of fields, such ae: Tusteation, Interior sect appears sulle than the prs Design, Architecture, Industrial Design, Engineering Design, Scenic Design and even Fine Arts, ae ama ‘While each of these areas applies perspective technique fr diferent purposes and to vavying ‘hao way tone thee extend degrees of thoroughness, artists inal of them must be knowledgeable and experienced in baie ‘yourarm formar ith you hae bel perspective fundamentals and principles, This book provides those essentials, Te Nat boy mone clan For those concerned with mechanical (T-square and triangle) perspective it explains and {2 your hand heey while ammone ‘ives life toa the theories upon which mechanical perspective is based. (2.8 my soporte For those concerned with freehand perspective it provides all the important principles, away eaals your intra, ae insights and “shorteuts” necessary fr effective drawing an life sketching. iy meni 0 sy (a «tal blocs) equa possibiy a ng. Zurthomore this volume hasbeen planed spacial reference book forthe experienced sea loka nts po autist or delineator who Gnds that passing time has rendered certain techniques or princiles 0 auc; and the draftsman who, immersed in a maze of mechanical perspective guidelines, feels the need to review certain fundamentals ‘Dogmatic rules for memorization are avoided, for they tend to be forgotten or, even worse, ‘tly the imagination. Instead, principles are developed in step-by-step fashion, accompanied by explanstions of their origin, value and application and often by their more of less rigorous Proofs. Such a presentation hopefully will breathe vitality into these concepts and thereby result, ina clearer, more intimate understanding, Tt must be emphasized, though, that forthe beginner these principles will have little value unless they ae tert and experienced, This means continually observing perspective phenomena ‘in teal life and — more important — constantly sketching variations of each. As in swimming, ‘golfing or piano playing, proficiency is achieved only by total involvement, Practice should result in sound knowledge of (1.) the actual form and structure of scenes and objects, and (2.) how these objects and acenes change appearance fram different viewpoints ‘and under diferent lighting conditions. Essentially, perspective drawing deals with this appear- ance of things, i.e, with how three-dimensional reality “looks” and how i a best drawn on two. ‘imensional surfaces such as a canvas, sketch pad, of illustration board, Once these fundamentals are understood and thoroughly mastered, they might be used either in extremely “realistic” drawings or in more abstract or suggestive ones. In either caso, a work will be more vital and effective, fr it will be based on visual truths, It might be worth noting, however that all pictures area form of abstraction or symbolism. Perspective drawing nether claims nor i able to simulate what the human eye sees Our eyes ‘castantly move about, change focus, se depth and color change according to light intensity nd ‘00 things with time and therefore motion. Drawings are state, lat and of alinited sine Perspective drawing is nevertheless concerned with achieving a sense of space, of depth and ofthe thied dimension, within the limits of the fat drawing surface. There are soveral visual principles which serve this end, such as DIMINUTION, FORESHORTENING, CONVER, GENCE, SHADE AND SHADOW, ee. The following chapter and much of wha fellows explo ‘and explore these basic concepts, aD ‘The cross of mirod tracks, tos nn parking lot headin theatre, and he caso a aon ran are jst « ‘ewother examples of things that we know ate aproximataly equa in slze yt which appear o diminish with deco ‘Ths “tuth of ecog, when applied toa drawing, isa fundamental means of producing a sna of spoco end dent. Comeargnce~ Lines Or Edges of Objects Whichn Rely Are Parallel Appear Foreshrtenng~ Lins Or Surfaces Parl! To The Obeorer's Face Show Their Maximum Ste ‘They Are Revaved kway From The Obverver Toy Appeer Ieeasingy Shorter ‘To Come Together (Le, Converge) As They Recede From Obse Ros) eee | ZAI SS Lining matin Miter ta + Rite erento st ean) ed ti an na Leer kabeesaet Sena ha ota Sammie salma ‘But if the observer shifts positon and looks “own” the wall, hen these lines cease fo appear parallel snd level with sarin mae Speier a ne Pee cia CONVERGENCE EQUALS DIMINUTION PLUS FORESHORTENING: ‘The Picket of a fenct, when viewed head-on, ‘sppear equal a height and spacing Alo, the tp and bottom lines arw parallel an love (Ge esr atte) ‘while the sides Serer areata co tee oper longer. < i 4 ‘But if the observer turns his head and looks “down” the fence, then the top and bottom lines appear to converge. it et er Sew amma thi atten esis ere Sees toa pene Unt sino eee ee oe des Bt ft te eine Py da ee as . iy tev only th ad Se tint smi he ad the ‘Therefore, converge ca be thought of sth dinintion of oebapaed elements of equalize. And times foreshorenng since the arise i nol viewed heaton,[12] Overlapping, Shades And Shadows lapping doesnot exist (ight) SHADES AND SHADOWS: Naturll the shape and structure of thee dimensional objects canbe understood only twhon viewed in ame form oflight Buti ell Uh shades and shadows rose by tis ight Ut render te shapes “eda” and dsermable. So working with Light, hadoand shadow will dramatically bap to give a drawing form anda sense ofthe hid dimension. Color And Value Perspective Values black to white range) and Color are eight and clear when sen ‘ase up bat booome anager, weaker, fand generally more neat ar thet <) Weal it ning poin i fs } ‘Here agnin a sories of key points has ‘Here, the box top like the box fron, \ ‘een nated on i, which ashen {aval othe canrver' aco (re teen drewa In perspective. ture plana), therefore toss not co | “The scing ofthe polis waa eros (Vanishing points renin | tenant to the peespeatve view bp ( ny) ing tearing nes Ato" ad gee a 1 (Meazring ine “Oto 6° was I= af - eve teva pot cated simply by sliding & paper with faa ats licked spacings back and’ forth ' | Har, the box top point fr stove {ttl exact teen the proper vaste com gon (Ge bead to ie deta. iting ] ) satis i 2 ] pa - etavestan - _ y Hered bo top ana pol WN stil above eve lve, bat elser i= i ! lr aly, the box ad box op ate agin ff | I il} al, therefore tay pont fend | theses vaniahing pomLine And Horizon Line Are Bated On Same Theory And Serve Similar Purposes 78] Vertical Vanish First les review: The top and bot- tom edges ofeach page of the books trig son boeacnal plane (one ide view). Therefore, they mas ll fonvorge fo dv horizon Tine (eve IevoD wich we reall alge on ‘ horisontal plane Uough the eb Servers eyes — icy parallel to the planes in question. (See pages 28 {and 29 for frtherreviau:) /\ '\ I [Now suppose we eld the book this tony Cine pee) mat ee the "top and “bot” Chere, let fad right) edges ‘of the popes ae now bounded by vertical, rather han ye caves. noRZoN Un Irina, parallel lance Aabowe, nh ome / tim at acs an at : ifn ta i eee (ee og Bat Be oh 1 ote waatby te 2 vote t Scene er ee t eda ene \ ease oers est a Sb Gesieicatn oe LL woe i VT t + i \\ ade darmmattcrane twit §— GH | Shares ence the plane rough oberver a |) Ses ott ft at terelor the \ pepe Ses Gees \ ight. \ We Se 4 o Tor view Sa itis important to realize that vertical vanishing ins ane the horizon line (aye lol) serve tho same purpose and ae similar in eocept. Both “contain” the vanishing poits fr parallel sot of lines which loon parallel planes. ‘The horizon lie serves al sels of Hines on orion panes while a verti vanishing Tine serves ll sts of lines ‘on parallel vertical planes Both are found in tho same manner; infact the drawings above and below are eatin! ‘rcept for beng tumned 00 degrees rom each dhe. "Tho diagrams at tho bottom ofthis page and on tho provious page ale show thatthe vanishing point for parallel linen an inclined planes (eg, the oes of the book pages er the ides ofthe bax tp) isalways dzetly above or blow ‘he vanishing plat thse lines would have if hey were pote toa horizontal pasion. Uphill And Down (Inclined Planes) [78] jaa oe 4 My "Tho building linen, the windons, the bik S198 view cousing, and tho stops, are all horizontal fn the horizon lino (oye lve). "The sidewalk, stroc, car, baby carriage, auto, and ine of Intersection between side ‘wal and house, are all inlined upwards, {therfore dey canerge toa point directly ove the fst. [Now note the ion cream vendor's wagon and the pushcar. Tho wagon ison the level part of the street, so it lines raturally convene to vanishing points on tke horizon line. The lines of the pusherton the inclined pane, om the ‘ther hand, converge ta point along te vaniehing line of tho inlined plane. But nce both vehicles ae ured atthe ‘rac ath angle from the sidewall hele vanishing points (left and ight) lie onthe same vertical vanishing lines, rectly above and blow one another. ‘sie View Here again (oreground) lines that are hoe- fontl converge foward hoelaon line vane Sting point (near conver), and those that fre inclined (downward) converge a Doint aired below. "Now, when the rod turns to the ght, what happens tothe horizontal lines of he Face? ‘Thie vanishing polnt zenaina on the alzon line but simply silts acord- fngly othe ght ‘And if the rood slp goat down ts vanishing point is dietly below this new horizon pont. (Note hat boda ‘nl viehing point re on the same horizontal vanishing line beease the ange of nein is tho sno.) ‘TO REPEAT: THE VANISHING POINT FOR PARALLEL LINES ON AN INCLINED PLANE IS ALWAYS DIRECTLY ABOVE OR BELOW THE VANISHING POINT THOSE LINES WOULD HAVE IP THEY WERE PIVOTED 10 A HORIZONTAL POSITION. (See p. 77.)[00] Some Applications Of Inclined Plane Perspective Hine Une” \ 4 AS Chapter 13: CIRCLES, CYLINDERS AND CONES: 8) @-@] ao=— Gham a anare seers peo ly when “ent an” Wh rol ered tr i rr rae eayaan ein reve the ones far ta the left and orous mechanical perspective circles iit ot center line of obmerver® at fr left and eight would come out ‘ison, should all be dravm as true as distorted ellipses. Circles And Elipses: Circles, Except Whon They Are Parallel To ‘Observer's Face, Will Foreshorten And Appear As Ellipses 4 mot ‘erver (pete plane) wil appenr as} increasingly roundor elipwes the further they are my levelborizo line. (Hig)| | | [62] Drawing The Ellipse ‘The twodimensonal cles on the previous page could represent coins, Phonograph records, panel, lense, ‘te. (night). But ltl ae leo key pari of thcodimensonal objcts Sch ab cylinders and canes, and 25 ‘nich have wide application in wep. feniatinal” drawing, Cylinders are the bares of an endlew number of @ (hinge moc a6 clgoretes, ol tanks, ‘treadepool, chimneys, ete. Cones {te the bas of es era cans, Bout ise, martial lossy funnels, ete ‘Therefore, the importance of laming to daw cteles In perspective Ley ‘lipaee-can hardy be overestimated ‘What ls An Ellipee And How Car We Lear To Draw I ‘An lps i an oval figure with two ‘Unequal axe (enajr and” minor) ‘which are alice at ight angles to (be another. Those axes connect, re pecively, the Agur's longest and ‘hortst dimensions, and about each ‘of them the. curve of the elias ie iteoluely symmetrical. ‘This means for identical quadrants, with cack ‘ls diving the eter exzely in hall ==) ‘One should lear to draw an ellipse ‘reshand with aloes, fre-swinging iroke Elipec 4 ae B are ates thie, Anyone familar with ellipses fam visuals the major and minor Site ad see hat Ae good while 2 leek the necessary ayminetry. Cf we draw B's two axes, we can seo the from mich more leary. Note howe ‘ach quadrant die) So a good way to begin lonening to raw (and to visualize) elipecs if start by setehlng these sues. Teo. ual dimensions on either side of the canter to locate extrmiion ‘You might find it helpful to shetch 2 rectanglo around tha tick marks This ‘Sustes four tare pd Hee within ‘whlch ‘the sbapes ean be Judged and compared (afore). “The Center Of A Circle Drawn In Perspective Does NOT Lie On The Corresponding Elipse's [83] th Major Axis It lz Always ‘Away (From Observer) Than Major Axis ‘This astonishing fact is often a cause of tween the czl's centr and tho elipe's exes? ‘A true circle can always be ur ‘uni by a true square, Th conter ‘ofthe suave (found by draving two ‘iagonas) also the centr of the ele (et). "The ciela in porepetive (right) can also be surrounded by a foe- a Shortened aque. Drawing tho diag nals will totter give the center ‘of both eque and clr. We Jnow from page 68 that this point isnot amldway betwoon top. and bot { ines. So the etle’s diameter drawn ‘through thi enter point i ao not ‘day between top and bet, "Yet we know (right) that the ma Joe axis ofan elles mst be mi ‘way between top and boom lines. Se, combining the two deavines (ight) wosee hat the eel's iam Lrlale slightly behing the elize's Inajor arin, (Noto, too, that tho minor ass i always Identical with the moet forchortned dlameter of te cielo.) "re top wna (oft) plane thie seating paradox. he wiest part of the cite (om or projected onto the tare plan) is nota dimetr bat ply a chord (ehown dated). Tk [shi chord which becomes the ma- Jor axis of the eli, while the {tes tue ameter, yng beyond, ‘appears and “projets” smaller. ‘Thi i true regardless ofthe ansle ‘or position ofthe eps. So don’t make the mistake of Araeng &foresbortned equre ane ting ir canter to loente the major fais of nelle, "Tho vaulting Azure would lock something ike this ‘Another god technique isa draw the ; ure carefully in one quadrant. Then transfer (lacing paper woeks well) {is shape to the other three quad- ants using the ma forence tines ‘above. eh) cielo (or inder) you camot draw feline and conser athe side ‘ofthe major auto be half of fore Morlened cucle. Hg, tho figure at Tet isnot bat but em. ‘The two at right, however, ae ‘ach proper halves, because the ‘Sree diameter uted as te vid. Ing ine ‘Aloo, if you wish to deaw balla 4 difclty (even in books on the subjzet), What it the relationship Lots: points of tangency between ‘lips and aguate (1,2, 8,4) aeex ‘ely at dameter ines, juste inthe ltue op view (upper lel). / 7‘Regarles ofthe potion orange ofan lip, it major and minor sess awa appeat at rght angles WHEN DRAWING A CYLINDER - ITS CENTER LINE MUST ALWAYS BE DRAWN AS AN EXTEN. SION OF THE RELATED ELLIPSE'S MINOR AXIS. Therefor, this centerline (Sh axe of wheels the crossbar ‘of bar bells th shaft ofa yrossop, et.) alazye appears at rght angles to the major axis ofthe ellipse asnestd ‘with "Bat note that this contr line cannects to the elipe atthe cantar point ofthe circle and nto the center of dhe Slips Othariee th shaft wold ecco ~ Mterally “olf enter.” See previous page.) By redrawing two of the objects {Be cele’ center.) Deawing cone is similar to drawing eyindes. The centerline ofa cone is also an extnsion of tho relate elipae'a Ininor exist lina ight anges tthe lips’ major axa .-. and It connects tothe ellipse not atthe elipae's fanter point, but Bund i, Study these various principle in tho drawings above, ‘Th cane within Ub elindar (right ‘eturally fas ta conter Tine parallel {othe table op. Therefore the cae's PLANES ON WHICH THEY ‘Th simuelty ofthe lips af right Indias that these cones are Hl levy iene but of diferent lengths. ‘While here the varying ellipses and eet tothe lip tangentially.)Chapter 14: SHADE AND SHADOW First, lt laity our forms: SHADE est when a urtos is tured away from the light source. SHADOW east when a turtace ie facing the light source but ls prevented trom reosving light by come intervening Obj. nate ss — SS 3c in Hight ane “hase tured away from the Tight). se table top. ie tamed toward ently "in igh ‘Show “aston thy the cube above ‘Wo might say that the intervening objects shade surface has “east” Stdow on the ighted sure. "The SHADE LINE i that lin which axparates these portions of an ject that are "Sn shade” from thse that fare “in light” Ia other words tie ‘the boundary line betwen shade and light This shade tine important be- ‘use i essentially ass shapes, and Setermines the shadow. (igh) "Note that the shadow Ine of «Bat, ‘vo-dimensional objet is its eontine- us ede ine (Ono side of the abject. Sin igh, tbe otber in shade) ‘Shade and shadow naturally exist ‘only when theres ight Light genee= ally 1 of twa types, depending on its feurce. One type producas a patie of parallel light rays, the other a ‘ala plier. Nye Fj eo — — —_ / /1s ofcourse adits ight i all dretions, bt tho rays reaching the earth, being 88 milion mils from thee ‘soure, are ezentially asa! handfl of single rays virtually parallel to one another. Tersfore, when deaing with fnlight eb rays of ight should be considered parallel ‘The othor type of light oviginats from local pt source Sieh as 4 bulb oe candle Fler, the eosenas of ‘th light souteo moans tat objects tte reclving light raya that radiate ‘outward from a single point. ‘There fore, when drawing with lea! point sources the rays of light shouldbe radi Circles, clipes, cones ytnders and eperes applied to 8 “Space Ago" drawing,[68] Parallel Light Rays (Sunlight) ‘The Simplest C: = + T Top views ‘The top vow at let shows obsrver Toking at table which has pent (mall ree) stick Int it The pa allel light rays arriving from the lft fe parallel othe aserve' face and {o the picture plane Therefor, the pencils shadow most le along the Tight ay shown dots the angle the light ny, ut theca ‘only be seen In perspective (right). Alongs are possible, Het, we se 45 gree, which males the shadow’ length etal tothe penll's loath, ‘Tho light rey fom eraser to dated line leat the eraser shadow hd Inence bes the length of te Pon's tre shadow Similar ponla wil as similar sac ‘own. The shadows at lf are all pa {lel tone another and to the pitare plane. Therefore in peespectie they "ein pall. Note india Light eraser shadows on Hero, the two pencil at lower eft ae “bridged” by thd penal which cass anew thadow line connecting the eraser shadows of the Sere two. This now shadow must be parallel to jis shade. Tine (bridging peel), ‘therefore, in perspectise, both shade lise end edo os te ae rani Ing polat. "Tho thor pencils in his drawing are “led ix” 0 form an fpaqun, twodimenslonal plane te ‘thdow is outlined exnety ot belae, 0 in both eases the ouline pencils fe the shade lines which determine the shadows shape tedow' length depends on ‘The Follow lel Light Rays (89) Applicalion Sketches All Have Shadows Cast By Ps Tho Observer's Face ‘Therefore, the principles developed on the previous page willbe evident. Note: Arvowed Lines aro light rays wed to locate important shadow pola. Dered lines are temporary guid line required to loate shadows. LAI eve Lever = Homzon Line Now let's build two cubes using the —— ‘existing two planes at des This frentes now shade points at and 2 (whlch tat shadow pointe and 2 ‘Those points help locate the shadow lines (chown dotted in top view) of ‘ho mew tap ad verte! shod Inc, "Note th to vertial shade line of — {he above drawing that havo onto bo shedo lines here, singe they are no Tanger boundarise betwee ight end sae4, When the ray are not pale to | heer face (and pleture plane) them they must appear to converge. ‘This meane more complex drawing but it dove enable us lo represent ‘adams the way we usually seo ther ‘maunlght In the top view below, light rays aurive atthe angle shown by aos ‘qual peaells cast equal en parlil Shadows: In this eas, thou, the indows are oblique to pletare plane, fo in perpective (right) they com ‘Verge (oa point on tbe horaan Ine ‘shabu vane 4 Now bridge a pencil across dae | Theugh dnt ime, rane ends ofthe to lower lt pe stow Iteshadow onthe table wil, ‘aturally connect the shadows of the ‘rer ends Since the upeaht panels ‘ht shalons of equa length tis new ‘Show mot be parla othe bed Sng penal (ead Lino) “Tooter wo pons “led in” to create an opaque, twodipensional Plane Again the new Yop shade ine | SHADOWS vAN.ROWT fats pale shadow line om the ‘ableton. ture Plane) 2, How dowe daw thelight ays that determine the shadow Leng? Pre- owsly, ven the mye were parallel to the plcture plane, we simply dew thet parle one snater But now, fring oblique, dey must converge. “Thelr vanishing pin, furthermore, nit Heo dhe eae verte vanish Ing ine ae the shadow! vanishing pint, Why? Because both te rays {End the shadows eon parallel plana (lee top niu Fore review of vertical anishing lines, see pages 77-80). “Gnco this point fed, light raya aig through the eraser oat tha orect shadow lent. 44 In perspective, ete to new ots pov horizontal Lines wl ach fentverge lo a vanishing point. Note, though dat these new vanishing points are not easetial to the des The, seal key sadow points ean ‘edetrmined by the same light ryt td shadow linen at above. (The ne anihing pala ean help, ower, to verily Ui els) 5, Now le agnin build two cubes ‘sing the existing planes as one side (of ench, This ereates two new shade pont and 2 whidh eat shodow Therion hs 2, In all examples a0 far de sun Bas foam in front of the observer, and | therefore the vanishing point of the parallel ight raps ae bon infact Teun Hal ‘What vanishing point ie usd for (he rays when the sun is bein dhe theerver “(op slew Below)? The ‘oor is exactly the sama, In per pecive (right) the ncined parallel rays converge to a polnt, and, tele, this point Is loeated on the vertical vanishing Tino. that pases Through the vanishing polnt of the Pencil’ shadows (since rays and ‘dows Tie on parallel planes). \ Za Note that each cube ha only tp serial ahade ins. Tho fier vrials that had been shad shade; and. therfore do not crt ‘hadows. Only thei thade points (*) romain to ‘cant shadow point (*". But two important diferences do tet) Ts vanishing point not the can elf but simply vanishing Point for a sct of inclined parla Fines 2) Ita aboays below to hoe zope. Ifabove, it would mean the fun ie in font of and visble to the bearer) "The sid views below, pleturng the sobeerver polntng fo vanishing points, ‘should explain why this is. “ Zlave Shadows Cast By Paral! Light Rays (Sunlight) yy oservers Face (And To Pleture Plane) Yj} ‘Therefor, the principles develope on the previous two pages wil be evident. Note that when the vanishing point for light ay cace to the horion the aun slow inthe ky and the shadows are lng. A de valaking pont inereasea_| Jn distance from Use orlzn ~ either above or bela ~ the sun ite higher and the aadows become srt. | Note: Arowed Hine At the correct shadow directions. (95) ‘Two unique example of shade and shadow resulting from sunlight {ce Glare, by Charles Bureheld Cl- lection of Whitney Museum of Amer- ‘ean Art, New York ‘Under the Sings, by Raber Vickrey. Collection of Dr. nd Mrs. John M. ‘Shuey, Deri Courtery of Midtown Gallerie, New Yore[94] Shade And Shadow Created By Local Point Sources Of Light ‘A ight bb hangs above a table atthe point shown in top view. The diversng light rays mutt cast shadows slong {the dotted ine, In petepctve, these tame shadow lice are found by drawing the same diverging lies from the Same tale point (ateris) though the same pene points. Tose lines, natrally re not light rays, forthe ectual ‘Sour of light somewhere above the lable To determine the exact length of the shadows slong them, etal ays fre drawn (from dhe Hight source) through erases. [RULE: A local point sourenradites diverging light rays which locate exact shadow points. But the shadow ivcton of upright lines on plane i determined by lines diverging from the point on the plane Wat is diecty below the lig sure. Placing “bridging” pel over fhe lower lft pencils and “fling in the otber two to erent an opaque plane (Below) ‘esuls in two new fo chad lines 'Thene ines cat shadows paral o theless parallel eta lower ft being allt pletre plan, remain parallel in perspective. ‘The parallel ot nght converge to the horizon. RULE: As (cutlight) a stright ine cating a shadow on a parallel surface casts a shadow parallel {Now lotus again bulld two cubes using the existing planet as one side of each (below). This creates three new shade points (1.23) which east sbadows points 1, 2%, 3% The three new top shado linet again east shadows pull to themselves, Therefore, n perspective, these shadows wil converge to ho vaniching points oftheir shade Tines, (Note how the letion of he light ereatee tree top shade ins on one cube but ony to on the other.) Tor view —— ‘The Following Application Sketches Have Shadows Cast By Local Light Sources [95] “ens Gash eh cn ei sarin py arene eer nanicntpetet rs — ltl inn hp ea gv rl le) yee rom igs de rv perce fac (The ose ware marked by asterisks.) - Deticareved ine (raat rom ha) ae th lin tt teria dro shoe cnt sad in psa to fen ua