1. THE THIRD DIMENSION: DEPTH AND VOLUME

2. Projection All the objects, and their relationships, seen by the artist form the scene of the painting or the photograph. When this scene is reproduced point by point on a surface, such as a picture, the result is a projection of the scene. There are many different methods to reproduce depth and volume on a picture plane.

3. Convergent perspective (convergent projection) AIM Convergent perspective organizes the picture around the point of view of a single, motionless observer.

4. There are many machines that produce convergent perspective

8. In this machine, the “eye” is replaced by a needle on the wall.

15. BASIC ASSUMPTIONS OF CONVERGENT PERSPECTIVE 1. The visual pyramid Rays of light from the object converge (meet) at the eye of the artist, forming a visual pyramid.

16. In this way, perception can be described in geometric terms. When painters use the visual pyramid as a foundation, the resulting space is known as pyramidal space.

17. 2. The picture plane Any (flat) geometrical plane located between the surface of the object and the station point must intersect the visual pyramid. Such a surface is known as the picture plane.

19. 3. Tracing on glass Image a perfectly vertical, transparent picture plane. We can compare this vertical picture plane to a window through which we see the object.

20. If we trace the edges of the object on this vertical picture plane, we will produce a perfect reproduction of the object, as seen from this particular viewing point: The image drawn is a perspective projection of the object onto the picture plane. Two objects of the same actual height located at different distances from the viewer will, when traced on glass, appear to be of different height.

21. Two objects of the same height appear to be of different height.

22. Two objects of the same width will also appear to be of different width.

23. The basic rule of convergent perspective All receding lines that are actually parallel appear to converge (meet) in the distance. The theory of tracing helps to explain why this convergence occurs.

24. BASIC ELEMENTS OF CONVERGENT PERSPECTIVE 1. The horizon line The horizon is the distant circle that appears to surround us and beyond which we cannot see. Land and sky appear to meet at the horizon.

26. Although the horizon surrounds us completely, we normally experience it as a straight line ahead of us. The horizon line is a perfectly horizontal line that is situated at the eye level of the artist.

28. The position of the horizon line will depend on the elevation of view. The higher the elevation, the higher the horizon line.

30. 2. The place where the painter stood, or was supposed to stand, in front of the scene is known as the station point or viewing point.

31. The choice of station point can be a powerful dramatic device. This scene is presented using an eye-level station point.

32. Here is the same scene presented from various different station points:

35. Train yourself to find whether the painter was standing above or below the people depicted.

41. 3. Imagine a perfectly level line extending from the station point, and perpendicular to the horizon line. This is known as the line of sight. 4. The point at which the line of sight intersects the horizon is known as the Principal vanishing point (PVP) of the picture. All the lines that are parallel to the line of sight converge at the PVP.

43. 6. In addition to the principal vanishing point, there are other vanishing points throughout the picture. All parallel level lines that are in nature on or parallel to the line of sight will of course also meet at the PVP. All parallel level lines which are in nature not on or parallel to the line of sight, but which are at a level position (not seen from above or below) will meet on the horizon line, at a VP other than the PVP.

44. Although many artists used “perspective machines”, others developed techniques to draw on perspective without the use of such machines. Example: How to draw a pavimento (checkered floor).

45. One method, invented by Alberti, involved two different diagrams.

46. First diagram a. Determine the height of the painter. b. Divide the baseline into equal parts. c. Mark the PVP. d. Connect every division of the base to the PVP.

47. Second diagram a. Determine the distance of the painter from the picture. b. Mark a “distance point” outside the painting. c. Connect the divisions on the base to this point.

48. The final step combines the two diagrams into one drawing.

50. There are other alternative methods to make a checkerboard floor in perspective. Some artists tried using more than one distance point, and/or placing them inside the painting.

52. FORESHORTENING This technique represents the lines of an object as shorter than they actually are, in order to create an impression of depth. The aim of convergent perspective is to produce a correct foreshortening

58. “The art of foreshortening, or perspective, are one and the same thing” Delacroix

59. Compression effect The convergence of parallel lines on a vanishing point can create a strongly dynamic impression:

61. The sizes of objects in the scene appear to decrease dramatically as our eye approaches the center. This is known as the compression effect.

64. The compression effect can also be achieved with unusual angles.

65. The rate of change in the size of objects affects our perception of space: Figure b produces the impression of a curved fence, because the rate of change is not regular.

67. Perspective Illusion

69. BASIC TYPES OF CONVERGENT PERSPECTIVE Different types of convergent perspective can be classified depending on the number of vanishing points.

70. 1. One-point perspective Used for objects seen frontally. In the case of frontal images, all of the lines in the painting converge onto one and only one vanishing point: the PVP.

72. One-point perspective often creates a strong sense of geometric order. It can be used to highlight key figures.

75. Use of depth for dramatic purpose

76. 2. Two-point or oblique perspective.  Used for objects seen from an angle (an oblique p.o.v.).  This technique contains two vanishing points situated on the same horizon line. Neither of these two vanishing points is the PVP.

85. 3. Three-point perspective Used for images seen from above or below, not seen at eye level. There are three vanishing points, one located above or below the horizon line..

89. Four point perspective If you are looking at a very tall cube that projects above you and also goes below your eye level, these up and down lines must project toward two points. If you were on the twentieth floor of a skyscraper, looking out the window at another skycscraper, forty stories high, you would see this type of effect.

90. Five Point perspective Like carrying a transparent hemisphere with you to draw a 180 degree environment in front of you. The same effect can be achieved on a flat surface with 5 v. p. 1.North on the left 2.East in the middle 3.South on the right 4.A point above your head 5.A point below your head.

91. Five point perspective allows you to draw half (a hemisphere) of the environment around you. You cannot yet draw what is behind you To draw the whole environment, one more vanishing point is needed.

92. Six point perspective Artist: Dick Termes

95. ANAMORPHOSIS Anamorphosis is a form of perspective that produces a distorted or deformed image of an object. The object can be viewed normally by looking at the picture in a special way: –For instance from an unusual angle or reflected on a special mirror.

96. The object is “hidden” until seen from the correct viewing position.

103. Sometimes, to view the picture correctly, it is necessary to place a cylindrical mirror in the center of the image. The mirror can also be shaped like a pyramid, a sphere, etc.

106. THE RENAISSANCE Convergent perspective was developed during the Renaissance (from the 14 th to the 16 th centuries) period by Italian artists like Bruneleschi (1377- 1446), Alberti (1404-1472), and Leonardo da Vinci (1452-1519).

107. ALTERNATIVES TO CONVERGENT PERSPECTIVE A. Divergent perspective Parallel lines diverge (separate) in the distance.

110. Pablo Picasso was a master in the use of unconventional perspectives, including divergent perspective.

113. By the way, Picasso sometimes also used inconsistent light sources to produce strange, impossible spaces.

116. B. Isometric projection (or perspective) Parallel lines in the scene are represented as parallel lines in the painting. Many Asian artists employed this method. It often emphasizes the diagonal line.

125. M. C. Escher used isometric perspectiv e to create an impossible waterfall. The water continues moving in an endless cycle.

127. Escher’s work resembles another impossible object: The Penrose Triangle

129. Modern artists who want to escape from convergent perspective sometimes use isometric projection. For example: Marc Chagall

131. Juan Gris

132. Giorgio de Chirico: inconsistent perspectives

135. Let us now compare the method of projection used in different types of perspective.

136. Convergent perspective

138. Divergent perspective: The lines converge to a point “behind” the object.

139. Orthographic projection This method is often used by architects. “Ortho” = “perpendicular” or “right angle”. In orthographic projection, an object is placed within an imaginary box. Its projection is perpendicular to the “walls” of the box:

141. Basic elements: (Ground) plan, (front) elevation, side elevation

142. It is possible to combine plan and elevation into a single image.

144. Perspective and David Hockney Influenced by Picasso, artist David Hockney employed many different types of perspective in his paintings. This example uses mainly convergent perspective. Notice the strong contrast between (a) receding lines, and (b) lines parallel to the picture plane. There is also a contrast between elements that are (a) frontal and (b) in profile.

146. This composition is similar to the previous one, but the perspective is isometric.

147. More examples of isometric perspective

150. Divergent perspective

151. Divergent perspective using photomontage

154. LEARN TO USE PERSPECTIVE FREELY!!!! COMBINING DIFFERENT FORMS OF PERSPECTIVE INTO ONE IMAGE CAN BE A POWERFUL ARTISTIC TOOL….

155. APPENDIX TO THE LECTURE Light, color, texture, and depth

156. LIGHT, COLOR, AND TEXTURE ALSO CREATE A STRONG IMPRESSION OF DEPTH AND VOLUME a. Modeling and tonal contrasts The contrast between light, shadow, and half- shadow can create a powerful impression of volume

159. Shadows can separate different planes in an image.

162. Shadows can collaborate with convergent perspective, to produce a strong impression of depth

163. The painter Caravaggio was a master of tonal contrast.

164. Rembrandt

167. Cast shadows on the floor or on a wall can enhance the impression of depth and the solidity of the object: an object with a shadow seems to be firmly on the ground.

169. Elongated shadows can suggest the setting sun

170. c. Atmospheric perspective Objects that have blurred edges and detail, and smooth textures, tend to appear recessive (further away) than objects with sharp edges, clear detail, and rough textures.

172. d. Colour perspective 1.Warm colours tend to advance while cool colours (including greys) tend to recede: Paainters would often create a series of increasingly cooler colours, using, for instance, green in the middle ground and then blue in the extreme background. 2.Saturated colours tend to advance, while unsaturated colours and greys are reserved for the more distant objects. 3.Darker colours (especially red) in the distance tend to acquire a bluish cast; Lighter colours (such as yellow) in the distance tend to acquire a reddish cast.