2 Point Perspective Drawing

Option 1 - Cityscape Mr. Korb – Art Department – Room 123

Summary

Many artists are very interested in making two-dimensional artworks look three-dimensional. During the Renaissance period, artists used mathematics and close observation to invent “linear perspective”- a technique that helps artists make things look three-dimensional. This method was perfected by the well-known artist/architect Brunelleschi during the 1450’s. Prior to that, perspective was awkward and incorrect and the non-linear use of size and placement had very different meanings.

Goals/objectives

·  Create a Two-Point Perspective Cityscape Drawing using techniques practiced in class.

·  Analyze and strengthen skills and techniques used to create the illusion of 3-D on a 2-D space.

·  Demonstrate the basic understanding of basic two-point perspective.

·  Demonstrate the basic understanding of pattern by adding a variety of patterns to the composition.

·  Introduce the artists’ Claes Oldenburg and Coojse Van Bruggen’s sculptural style of monumental everyday objects into the composition.

·  Introduce the architect Frank Gehry’s free form architecture style, based on the paper constructions you have already completed, into the composition.

·  Use the elements of art and principles of design we have studied so far during this course.

·  Use Chiaroscuro (from light to dark) to further enhance the 3D quality of the drawing.

2 Options

1)  You are very close to the buildings and are at ground level – OR

2)  You are very far away and from a great height looking down upon the city. These are 2 very different approaches. One is not any easier than the other… they are just different.

Suggestions

·  Consider the placement of your horizon line BEFORE you begin your drawing. Are you in a tall building looking down on the city, are you standing at street level in the city or are you coming out of the manhole cover (or subway tunnel) from under the city. Also think about how close the closest buildings are to you.

·  Consider having a common theme to your city. Maybe the entire city is based on your monumental sculpture or a hobby or passion you have in life. Are you a baseball player, a skateboarder, a gamer, a cell phone text-ologist or an animal lover? If you can make this project about you, you are more likely to become more attached to it and make it better.

·  Remember another thing- Craftsmanship, Craftsmanship, Craftsmanship!

·  DRAW LIGHTLY when you begin. Add value and contrast as you continue the drawing. It is harder to erase dark lines in the development stages than it is to erase light lines.

·  Drop your vanishing points OFF OF the picture plane and to the very edge of the paper (we have drawn the picture plane within the edges of the paper already).

Additional perspective reminders:

·  Objects get smaller as they go back in space.

·  Objects get lighter and less detailed as they go back in space.

·  Objects in the foreground will be lower in the picture plane than objects in the background.

·  Remember the RULES of 2 Point Perspective!


Requirements

Use the entire picture plane to create your cityscape composition. The following details need to be included:

  1. A minimum 5 buildings. They don’t have to all be completely visible, just show evidence that they exist (rooftop, corner of building, etc….).
  2. Some structures must overlap (foreground, middle ground, and background).
  3. An example of structures must be demonstrated above, below and on the horizon line.
  4. Include your Frank Gehry inspired building, in part or in whole, to the city design (as an additional building – this is NOT included in your minimum of 5).
  5. Include the everyday object we have already drawn from class that is scaled and represented in monumental proportions in the same manner as the work we studied by artist Claes Oldenburg and Coosje van Bruggen. If you are unhappy with your original drawing, consider a different object (ask Mr. Korb for one to look at and make reference to).
  6. You must include at least one example of at least one of the following types of pattern: row, grid, bands, half-drop, alternating or radial (planned pattern). Consider the variety of pattern, movement and rhythm that we discussed in the portrait project. How can you include those ideas into your city?
  7. Value must be added to enhance the 3-D illusion as a final aspect to your composition.
  8. Sidewalk(s) that recede properly and have a slight step up from the street.
  9. A crosswalk that connects one sidewalk to another.
  10. Road(s).
  11. One skywalk that connects two buildings.
  12. A minimum of 3 streetlights, electrical poles (electrical poles must have wires that run from one to another) or street signs that recede into space properly.
  13. A sign on one of your buildings to identify the business or building.
  14. Garbage cans or dumpsters (2 total) that are open (cylinders and/or squares).
  15. Doors and windows on ALL of your buildings (how large or small is up to you).
  16. We must be able to see inside of at least two of the buildings and you must show the ceiling and the floor.
  17. The inside tiled or hard wood floor or tiled ceiling of one or more of your interiors – OR – the bricked or full glass window exterior of one building.
  18. A vehicle or some other means of transportation.
  19. A minimum of 2 animals.
  20. A minimum of 5 people.
  21. A pitched roof with an overhang on one of your buildings.
  22. Stairs that go up at least 3 steps.
  23. 2 archways or ellipses.
  24. A cantilevered overhang or porch.
  25. A few pieces of garbage scattered around to really make it look like a city.

Remember the harder you press with your pencil, the harder it will be to erase. DO NOT USE PEN ANYWHERE IN THIS PROJECT. THIS INCLUDES SIGNING YOUR NAME. Use your ruler for ALL straight edges; you will be downgraded for sloppy lines. Precision is very important at all times, but especially crucial in a perspective drawing.