FRONT OR PARALLEL PERSPECTIVE

Some call this perspective frontal.

We will draw the horizon line on the plane of the
Picture, and above it we will place a vanishing point
(PF). From here we will draw two divergent lines A
and B, and we will join two points of them with a line
that is parallel to the horizon line, which can be points
A and B, at a distance less than the segment AB,
then we will join two other points C and D, in this case
above segment AB, thus obtaining a square in
perspective.

It doesn't seem like it, so let's look at the

fundamentals in the following points:
1st. We will draw freehand a square as
perfect as possible, using the measurements
we will take with the pencil and the "eye
meter" and then, near the upper end of the
picture plane, we will draw the horizon line
and a vanishing point located somewhat
displaced, in this case to the right, but we can place it at any point we want on the
horizon line. (See figure 7).

2nd. We have already drawn our perfect

square whose vertices are A, B, C, D and a
vanishing point on the horizon line. Next,
from the vanishing point, we will draw lines
that join the vanishing point with each of the
vertices of the square, as shown in the first
box in figure 8. Now imagine that you have
the picture that you have drawn physically,
located on the ground plane, and you let it fall back.

CONICAL PERSPECTIVE
Graphic representation system based on the
projection of a three-dimensional body on a
plane , using projecting lines that pass through a
point; place from which the observer is supposed
to look. The final result is a representation in the
realistic vision plane obtained when the eye is at
said point, a place from which the sensation of
being inside the represented image increases.
Filippo Brunelleschi in the Quattrocento was the
first to formulate the laws of conical perspective, showing in his drawings the
constructions in plan and elevation, indicating the lines that lead to the vanishing
point .

OBLIQUE PERSPECTIVE
Projection system to represent a three-
dimensional object through a
perspective drawing in which the faces
parallel to the plane of the picture are
drawn to real scale and the
perpendicular lines have an inclination
with any angle other than 90º, generally
less than this for compensate for
distortion.

ANT VIEW
Perspective is one of the most underused
photographic resources that I see every day in
many photos that I see on the Internet. We
become obsessed with the subject, the
background, the depth of field, the shooting
speed or even the objective, and we completely
forget about a powerful composition element
that we have at our disposal but which we rarely
use: that of shooting from a different and
unusual angle.

BIRD SIGHT
English: Refers to perspective drawings that have the point of view above the
normal eye level; For other non-photographic representations from an elevated
viewpoint, where perspective is not used or emphasized, use "bird's-eye view." For
photographs taken from high places, use "aerial view" or "aerial photography."

LEVELS OF OBSERVATION

The distance to the topic

The first problem that arises when we want to draw is the distance at which we
must stand: the object must be located at a distance far enough away to be
captured at a glance, but close enough for the details to be decipherable.
It is important to remember that sight does not work like a camera: the mind makes
the necessary corrections to adjust objects and not see them distorted.
The importance lies in positioning ourselves so that the object is at eye level, and
our position in front of the paper allows us to see the object and the drawing with a
simple movement of the eyes. Also the hand with which you draw must be at the
height of the eyes.

Viewpoint height
The height of the point of view is the level at which the artist stands with respect to
the subject of the drawing. This level determines the distribution in the role of the
different elements. There are three general
possibilities:

View from above or

elevated point of
view: the subject
appears in extension,
so that the foreground
appears located in the
lowest part of our paper. We usually use this
point of view to draw landscapes, because it gives
an expanded view of the terrain.

Grazing view or frontal point of view: Everything

appears on the same plane, here the objects in front
hide part of those behind, so the depth effect is less.
It is the position we adopt to draw still lifes.

View from below

or lower point of view: This is the logical point
of view to draw a tree or a building from very
close up. It can lead to a distortion effect that
further increases the sensation of size and height,
which is why it is usually used when we want
to achieve spectacular or threatening
effects. It is a forced and unusual point of view, but
we find it in numerous murals on the
ceilings of baroque palaces and temples. It was used to impress viewers.

ELEMENTS OF PERSPECTIVE
Perspective consists of representing things as they are seen, for this purpose
various types of lines are used, parallel, oblique vertical and horizontal.

The point is an important element within perspective because lines can start from
one point to another.
To achieve perspective, the different types of lines and points are mixed, together
with the change in the size of the objects.

HORIZON LINE
It is a line, generally straight and horizontal, that symbolizes the horizon. If we
looked at the sea, it would be the line
where the sea ends and the sky
begins. If we observe a ship moving
away, it will approach that horizon
line.
This line is always at the eye level of
the observer (the draftsman). If the
observer is standing, the line will be much higher than if he is crouched

TO NOTE: the height of the horizon indicates

the location of the observer (draftsman)
VANISHING POINT
Vanishing points are those points where
perspective directions converge.
Each direction of the object has its own
vanishing point, therefore all those directions
that are parallel converge at the same
vanishing point.

Vanishing lines and a vanishing point: FRONT PERSPECTIVE.

CHIAROSCURO
It is a painting technique that consists of the use
of strong contrasts between volumes, some
illuminated and others shadowed, to highlight
some elements more effectively. This technique
allows creating greater effects of relief and
modeling of shapes, through the gradation of light
tones. Initially developed by the Flemish and
Italian painters of the Cinquecento , the technique
would reach its maturity in the Baroque ,
especially with Caravaggio , giving rise to the style called tenebrism .
 CUT SHADOWS
The greater the angle between the direction of the light and a long obstructing
object, the shorter its shadow will be. On the other hand, the smaller the angle
between the direction of the light and the surface on which the shadow appears,
the longer the shadow will be. If the object is close to the light source, the shadow
will be greater than if the object is far away. If the surface is curved, there will be
more distortions.

DILUTED SHADOWS
If there are multiple light sources, there will be multiple shadows, with overlapping
parts darker, or a combination of colors. When a person or object is in contact with
the surface, such as a person sitting on the ground or a nailed post, shadows
converge to the point of contact.

TYPES OF LIGHTING
Depending on the type of light:
Natural: this lighting is made from light that comes from the sun, which is why it
constantly varies due to the Earth's rotation. In natural light, the quality, direction,
intensity and color cannot be controlled by man and is determined by natural
conditions. With this light it is easier to take outdoor shots and they also have the
advantage of being able to be complemented with artificial lights.
Artificial: this lighting uses light that comes from objects such as flashes, lamps or
spots. In this case, the direction, color, intensity and quality can be manipulated by
the photographer or illuminator. It requires technical knowledge and is much more
expensive than natural. In addition to this, artificial light limits the area in which
photographs can be taken according to its range.

Depending on the location of the light source:

Frontal: in this the object is in front of the subject to be
photographed and behind the photographer. The images
obtained are flat, with little texture and few shadowed
spaces. This is due to the closeness that exists between
the image taking and the direction in which the light falls.

Lateral: in lateral lighting the light

source is located on the side of the object to be
photographed, at 90º to the imaginary line created
between the camera and said object. With this
lighting, images are obtained with one side highly
illuminated and the other with a marked shadow.

Semi-lateral: in this case, the object to be

photographed is illuminated diagonally, it is an
intermediate lighting
between frontal and lateral,
forming an angle of 45º in relation to the line that occurs between the object and
the camera. This is usually the most used because it produces images whose
texture and perspective are well marked thanks to the oblique shadow.

Backlight: in this case, the light source is located in front of the photographer and
behind the object to be photographed, causing an effect opposite to that of frontal
lighting. Through this lighting, images with high contrast and unconventional are
achieved.

Semi-backlight: with this lighting the light falls on the object

intermediately to the lateral and the backlight, forming an angle of
135º. This lighting also manages to highlight the perspective and
texture, as in the case of the semi-lateral. Its difference lies in the
fact that shadows are projected in the foreground and the skies
tend to appear white.

Cenital: in this lighting the light source is located above the

object to be photographed. It is generally not done
artificially in studios, but outdoors, using natural light at
midday. The image it produces presents areas with
extremely clear lighting and very marked vertical shadows.

Low angle: in this case the light

goes from bottom to top and its position is practically
opposite to the zenith. Using low angle lighting, the
shadows of the face are inverted, for example,
generating very particular images, ideal for mystery or
horror scenes.
Basic HTML tags
<HTML> … </HTML>
Delimits and encompasses the entire web page, which consists of header and
body.

<HEAD> … </HEAD>
Delimits and encompasses the header of a page, which contains a set of
information that is not shown in the window, including the title of the page, but that
can help browsers and search engines to interpret or find the page correctly.

<TITLE> … </TITLE>
Within the HEAD, what is included here is displayed in the title bar of the browser
window.

Metadata
The header supports many other tags (see notes 6 and 6.1.)
<BODY> … </BODY>
It delimits and encompasses the body of the page, which is the set of information
(text and images) that is displayed on the page, as well as the instructions on how
it should be displayed.
Admits attributes (see jac 8 and apuente 5.3 and 14.3) .

Paragraph formats
The text of the page can be structured into headings of the different sections of the
page, which can have different levels from 1 to 6 (1 being the most important) and
normal paragraphs.

<H1> ... </H1> or <H2> ... </H2> (up to 6)

Paragraphs that are headings (with different levels).

<P>... </P>
Normal paragraphs.

<P align="center">... </P>

The align attribute allows you to align the paragraph text. The same can be applied
to the tags <H1>, <H2>, etc...
<BR>
Allows you to break a paragraph by starting a new line but without leaving a space.

<HR>
Put a horizontal line of separation. (Admits attributes) (see note 11.1) .

<BLOCKQUOTE>…</BLOCKQUOTE>
Indent the paragraph.

Text formats
The character format allows you to change both the font type and its size and
appearance.
Various HTML tags can be used to format a group of characters in different
formats:

Physical Formats:
 Bold: <B>…</B>
 Italics: <I>…</I>
 Underlined: <U>…</U>
 Teletype: <TT>…</TT>
 Strikethrough: <STRIKE>…</STRIKE>
 Large: <BIG>…</BIG>
 Small: <SMALL>…</SMALL>
 Superscript: <SUP>…</SUP>
 Subindex: <SUB>…</SUB>
Logical Formats:
 Quote: <CITE>…</CITE>
  Code: <CODE>…</CODE>
 Definition: <DFN>…</DFN>
 Emphasis: <EM>…</EM>
 Thick: <STRONG>…</STRONG>
 Keywords: <KEY>…</KEY>
 Examples: <SAMP>…</SAMP>
 User: <KBD>…</KBD>
 Variables: <VAR>…</VAR>
 Literal example: <XMP>...</XMP> (ignore the HTML tags inside)
Possibility of combining tags (nesting them, that is, one inside another):

 <B>…<I>…</I>…</B> (Correct)
 <B>…<I>…</B>…</I> (Incorrect)
<FONT COLOR="red"> ... </FONT>
Express indication of the type of font to be used, in this case the color (see jac 8.2)

<FONT SIZE="+1"> ... </FONT>

Express indication of the type of font to be used, in this case the size (see jac 8.1-
second part)

The FONT tag allows any combinations of the COLOR, SIZE and FACE attributes
Special characters
There is a series of ISO-LATIN-1 characters that cannot be represented directly in
an HTML document, since they are part of the language's own vocabulary, such as
the symbols <, >, &, etc.
Additionally, stressed vowels and some punctuation marks must be specified
differently, since browsers may not understand the character code used and
convert it to a different one.
The most used special characters are:

 &aacute; to
 &eacute; and
 &iacute; Yo
 &or; either
 &uacute; or
 &agrave; to
 &ntilde; ñ
 &lt; <
 &gt; >
 &amp; &
 &ccedil; ç
 &quot; “
 &nbsp; blank space
(see note 10.1)

Lists
(see note 7)

<UL> ... </UL>

Numbered list.
<OL> ... </OL>
Unnumbered list.
<LI> ... </LI>
Elements of a list.
Links
They are used to access from one page to another page or to another available
resource (see note 15) .

<a href="http://server/recurso.html">link text</a>

Absolute link to a page

<a href="resource.html">link text</a>

Link relative to a page

<a name="bookmark"> ... </a>

Bookmark (internal link) within a page

<a href="#bookmark">link text</a>

Link to a bookmark on the same page

<a href="resource.html#bookmark">link text</a>

Link to a bookmark on another page (which can be given with an absolute or
relative address)

<a href="resource.html" target="_blank">link text</a>

Link to another page (absolute or relative, with or without bookmark) that opened in
another window.