Building objects in perspective. Types of artistic perspective

There is also such a thing as aerial perspective. Without linear perspective, depth cannot be depicted. The laws of linear perspective must be kept in mind when starting any drawing, and drawing is the king of fine art.

Linear is the science of geometry, this is construction, these are straight lines, circles and ellipses, points and segments, etc.

aerial perspective it is easier to see in painting, in landscapes, than in drawings. Although in the picture it is also required. In short, everything that we see further from us is less bright, less clear, smaller in size, less visible details ... That is, the background, we see, as it were, in a “haze”, through a layer of air.

I won’t reveal a secret, air also has density, color, and the greater the distance between us and the object, then the amount of air (atmosphere) will be greater, and the color less juicy. If there are impurities in the air: dust, fog, smoke, rain, then the blur is greater. Therefore, the depicted subject, in the background, will be generalized.

The first artist to describe aerial perspective was Leonardo Davinci. He coined this term.

By means of drawing (graphics), we can also create ILLUSION space.

If we take our cube lesson, it will look something like this:

See examples of aerial perspective in painting below:

A. Adamov

In the pictures one can notice one general law, the background is not saturated with color and tone. Usually it is drawn with the addition of white and with the addition of a gray, gray-blue tint. Thus, the second and third plans become more faded than the main, first plan. But this is all individual, and depends on the task at hand.

For example, if the picture is in red orange colors (sunset, in the forge, military themes ...), then the background will be in warm colors (red, orange, yellow), and not in blue. However, the tone of the background should also be softer than in the foreground.

Bulygin Nikolai

It is recommended to depict the foreground in warm colors, and the distant ones in colder colors. Ahead, you need to make contrasting, bright spots, traced objects, a clear pattern and dark shadows. You can see it in the photo below.

P. M. Monsted

When depicting fog or snowfall, the aerial perspective effect should be enhanced. That is, the more impurities in the air between shots, the greater the blur, and the color of distant shots becomes more uniform.

But it is better to see the aerial perspective on the street, and even better in the countryside. This is how theory becomes practice.

The second plans are less clear in drawing. Details do not designate, make them generalized. Also, shadows from objects are less saturated. This is clearly observed in the highlands. Photo below.

Ivars Jansons

At the presentation of these masterpieces, we can present the work of aerial perspective. Used paintings by such artists as: Garmash, Nikolai Bulygin, P. M. Monsted, Ivars Jansons.

I hope you understand everything and now you can easily apply knowledge in practice. You have more chances to create pictures and become.
Good luck...

Mood video:

First you need to understand and understand the basic principles that were discovered by the Italian architect Brunelleschi in the 2nd half of the 15th century.

What is perspective? The word perspective comes from the Latin verb "perspicere" - "clearly see", "carefully consider". "Perspective" has several meanings. I will voice the concept in the visual arts. This is an image of objects obtained on any surface in accordance with the apparent changes in their size, clarity of the outline of their shape and light and shade relationships that can be observed in nature.

There will be many concepts in our subject, which we will deal with as needed. The first such concept is "horizon". In perspective, they say the True horizon is a simple horizontal line located at the level of our eyes and corresponding to the line of the sea (hereinafter referred to as the horizon or horizon line).

The position of the horizon line is always related to the eye level of the observer. Where there is an eye, there is a horizon. When defining the horizon line on the canvas, you must remember that all objects above it are located above eye level, and all objects below it are located below.

Simple constructions

The concept of perspective is based on the phenomenon that distant objects appear smaller than they actually are. This can be most clearly observed in the example of a railway with poles along it (Fig. 1). As you can see, the railway, as it moves away, converges to one point on the horizon line or completely disappears. Also, the pillars, moving away, look smaller and smaller. Everything that we see in the world around us is subject to a similar apparent reduction and change: objects, things and phenomena. All horizontal lines, if extended, will converge to points on the horizon line. From here, one most important rule of perspective is obvious: the parallel lines of objects in the picture converge at one point. The point where the parallel lines moving away from us converge is called the vanishing point.

It should be noted that if you look at a cube at a right angle to one of its sides, then this side will not be subject to perspective contraction. In this case, there is only one vanishing point. If one observes a cube facing the viewer, all its sides are in perspective contraction with respect to the viewer. In this case, there are already two vanishing points. A cube or any other object can be above the horizon line, below the horizon line, and on the horizon line. The illustrations show this clearly.

On Fig. 2 the object is located on the horizon line. In this case, we must remember that if the cube touches the horizon line, then we should not see the top, bottom and two far sides. Of course, we can mark the non-visible sides with dotted lines.
There is another not unimportant point, bringing the object closer to the viewer, we thereby bring the vanishing points closer to each other and make the vanishing lines steeper. Accordingly, everything is reversed to move the subject away from the viewer.

On Fig. 3 the object is located above the line and below the horizon line. In this case, there are already three out of six visible sides. Try experimenting by placing the cube at different heights and at different angles, and remember, no one forbade touching the horizon line.

Complex constructions

Let's try to complicate our cube and add a sloping roof to it. Draw a perpendicular through the point of intersection of the diagonals of the end side of the cube. On this perpendicular will be the end of the roof ridge closest to us. Note that the perpendicular does not pass through the center of the wall, but is somewhat shifted to the right corner. We mark on the perpendicular the desired height of the upper point of the roof, draw oblique lines from it, indicating the slope of the roof. Then we connect the top point to the vanishing point, which will eventually give us the crest of the roof (Fig. 4). The far slope is not parallel to the near one, the slope also has its own vanishing points and, like the cube, it is subject to perspective contractions.

Let's draw an even more complex object (Fig. 5). A house with an outbuilding and a chimney, when building a perspective, the same principle is used as when depicting a simple cube. This principle applies to everything - to all protruding parts.

On Fig. Figure 6 shows how to position multiple objects at different angles to each other. In this case, it is important to remember that each object has its own vanishing point. The larger the angle at which the object is located, the closer its vanishing point, and vice versa: the more the cube is turned, the farther its vanishing point.

Rice. 7 illustrates another important point. There is one horizon line for one picture, but for each object you can create your own vanishing points, which must be strictly on the same line within the given composition.

Image of shadows

Usually, shadows falling from objects are drawn by eye. If the shadows fall on an uneven surface, there are many examples of this: water, loosened earth, etc., then a small error is practically not noticeable. In order to avoid blunders, it is important to know the main laws of constructing the perspective of shadows.
Many errors occur due to inattention, for example, the nature of the surface on which the shadows fall is not taken into account.
The whole difficulty in building the perspective of shadows is that it is necessary to constantly take into account the location of the light source. On Fig. 8 is an illustration of how the shadow cast by our cube or any other angular object is built.

On Fig. 9 clearly shows when the light source is one, and there are many objects. Basically the same laws of linear perspective.

C Fig. 10 try to figure it out on your own.

Ellipses and Curves

As you can see, a circle inscribed in a square touches all sides of the square, the sides of the square are tangent to the circle. It will not be difficult for us to draw a square taking into account the perspective and inscribe a circle in it. Rice. 11 illustrates this clearly. Thus, we have learned to depict circles in perspective, and at the same time, cylinders, glasses and other objects of rotation. If not, then maybe it's time to learn ;)

There are objects that are very difficult to draw due to their curvilinear shape, but knowing perspective can help you. Putting your subject in an imaginary box drawn according to the laws of perspective will make it easier for you.

Reflections

The construction of an image of the reflection of an object in water or on any other strongly reflecting plane is as follows: from the highest point of the object, a perpendicular is lowered to the reflection surface, then the perpendicular is extended by the same distance to the bottom, where the end of the reflection of the object is determined.
Consider a simple reflection of a stick sticking out of the water (Fig. 12). It is important to understand here that if an object sticks out vertically from the water, then its reflection will be equal to the length of its visible part. Also, this rule can be applied to an object sticking out at an angle in a plane strictly perpendicular to the observer's gaze. Things are quite different if the stick is tilted towards the viewer or away from the viewer, in which case the reflection on the surface will be the length of the visible part of the stick or shorter, respectively.

A building standing at the very edge of the water will be reflected in its entirety. A more complex reflection occurs when the building is located not near the water itself or in the water, but at a distance from the shore. Then an additional construction is applied. Rice. 13, In this case, the key point is the segment BA 'this segment is the height difference between the base of the building and the water surface. We heard the expression "Height above sea level" and this is our case. When drawing a gentle slope of the coast or a sandy beach, this distance is determined by eye. When drawing, for example, a pier or a pier, the height of the visible part of the pier is taken as the base of the segment BA '.

aerial perspective

Smoke, dust, precipitation are all contained in the air and atmosphere. As an example, you can take the distance of the horizon, even on a clear day it is foggy, gray or gray-blue tones predominate. Of course, we must not forget about the amount of moisture in the atmosphere, because the density of the fog directly depends on this. This natural effect is the aerial perspective.

Aerial perspective is manifested in such phenomena as:

• Contrast it is the difference in characteristics of different parts of the image. In the foreground, it is maximum, with increasing distance it loses its clarity, and then completely dissolves in blue or gray tones.
• Shades of colors it is a kind of color. With increasing distance, the shades lose their original brightness, turn pale.
• Color it is coloration, the ability to emit, absorb or reflect light of a certain spectrum. Warm colors in the foreground, taking on a bluish or grayish tint in the background.

At this point, I would like to stop studying theory and move on to Photoshop.

Tools

In work, it is best to use version CS4 and higher, Photoshop programs, we use a tablet as an input tool, the more expensive the better;)
To begin with, I will list the tools that should be used when building a perspective.

And of course, such main menu items as: Free Transform, Transform, Warp, Perspective, Distort, etc.

What should you start with? Of course with a pencil and paper. Not one, even the most perfect tablet, coupled with an expensive monitor, does not give such freedom of creativity, ideas and hand coordination as a simple graphite pencil, eraser, ruler and drawing paper. Of course, this applies to the stage of sketching and building perspectives, but when it comes to color and paint, computer graphics breaks far ahead. Of course, this is all lyrics and purely my personal opinion, for sure many will argue with me, but let's not be distracted.

And so, a pencil sketch with all the lines of building perspective is ready. Scan it and open it in Photoshop. Of course, you can resort to using pasteurization or another way to clean the sketch from extra spots or leave everything as it is and continue with the color. But to put it mildly, I do not like to do this, I prefer to trace my pencil sketch and use these lines as part of the picture. A very good, fast and convenient way to paint is to use the standard hard round brush in combination with the Shift key. Put a point at the beginning of a straight line, hold down Shift, put a point at the end of the line. Experiment with brush dynamics settings, find the best option for yourself.

There are times when there is no scanner at hand and here, whatever one may say, you will have to draw everything on a tablet. In such cases, I use the Pen Tool, editing the direction of the line with the Arrow Tool. It is very convenient to use in those cases when you draw, no matter what the standard angle, the “Rotate View” tool. I use the Rectilinear Lasso Tool when I need to draw a plane. Practice using these tools.
Here are some examples from my work (the commentary for each example is below it):

This example just illustrates our conversation, which we had above, about a pencil sketch followed by a stroke on the computer.

In this example, I did all the construction of perspective and composition on the tablet, without resorting to the wave of a pencil and paper. In the work, the following tools were mainly used: "Pen", "Arrow", "Ellipse" and "View Rotation".

Finally, the last example, here you probably will not find more than one straight line of construction. The sketch was made on the computer without resorting to the wave of a pencil, with a standard brush, without auxiliary tools. Only the Rotate View tool was used. Notice how you can distort the perspective, in such cases, all objects in the picture are distorted, otherwise you will get a mess. ;)

Used literature, for those who want to expand their knowledge in the huge topic "Linear perspective": M.N. Makarov "Practical Perspective", Ray Campbell Smith "Perspective", N. Lee "Fundamentals of Educational Academic Drawing".

And academic drawing is a noble direction based on classical art education. To learn it, you should get acquainted with the pillars of a realistic image: the basics of perspective, composition, proportions. Without their free use, nothing will work. Take a pencil, do exercises for your eyes, sit on a chair more comfortably - there is a difficult, but interesting volume work ahead.

What do you need to know?

perspective- this is the principle of transferring the real world to a picture with visual distortions of the proportions of bodies, to convey their position in space. The academic direction strives for a realistic depiction of people and objects. But art is only imitation.

Drawing an object, the artist transfers it from the three-dimensional world to a plane - a sheet of paper. To make the drawing look "like in life", it must convey the 3D features of the depicted. For this, perspective is needed - it conveys the volume of the world in the visual distortion in which a person sees it, with the artistic refinement of a painter or graphic artist.

What does it mean? Have you ever watched the road while traveling by car? The road borders far ahead converge, surrounded by very small trees. But if you drive closer - the road is as wide as in any other section. The situation is the same with the far corner of the cabinet - it seems smaller than the close one, although it is not. This is the visual distortion that helps to perceive the world. This is what the picture needs in order to convey spatial relationships on a 2D plane.

Drawing with the basics of perspective must be accurate. When starting work, the student chooses a point of view, which he will adhere to until the work is completed. This point lies on the horizon line, and all other lines of the figure converge to it. Divergence of lines is a sure sign of an error. You can not change during work. Because then the composition of the picture will shift, the angle of connection of the lines will be different.

Types of artistic perspective

• Reverse perspective- discrepancy between the relative forms of the object and the projection of perspective in painting, icon painting. This is it, if the farther the drawn figures, the larger they are. The concept was introduced in 1907 by the art critic Oscar Wolf.

It is believed that such a distorted image is due to the inability to correctly convey the volume. This is also connected with the perception of the world, where a person is not in the center - therefore, there is no specific reference point, there are many of them. The reverse perspective is fixed, for example, in the icon-painting images of the Trinity.

• Direct linear perspective- assumes a single vanishing point of all receding lines, located on the horizon line. This technique began to be actively developed in the Renaissance by the architect Filippo Burnelleschi, the scientist Leon Battista Alberti. She quickly penetrated the painting Albrecht Dürer, Leonardo da Vinci, Raphael Santi and etc.

Artists came closer and closer to the realism of the image, monumental paintings often began to appear. Artists are guided by the same principles of depicting space today.

Before starting to study what it is all the same - linear perspective- you need to remember such a thing as an eye. But, if suddenly you cannot find the decoding of this term in your head, and images of all sorts of pieces of iron from the field of surgery persistently climb into your thoughts, it’s not scary.

You can always fix it, that is, read what kind of terrible tool this one is.

Returning to the concept of prospects, it (eye gauge) can be presented as an observational perspective. But in order to have a phenomenally accurate observational perspective, you need to get a little familiar with (okay, not quite a bit) with the laws of linear perspective, which is a piece of the very geometry that many do not like at all since the time of school - I know for myself.

Everything that our eyes see actually appears to them in a distorted form. (yes, yes, it is), because otherwise it would be difficult for them to see and notice everything, you see. But this does not mean that things, landscapes, people and everything else (cats, dogs, mice and even ants), actually endure change - they don't change. But we see changes. These changes are reflected in the figures.

Do you know what this is about? You won’t believe it for anything - all with the same perspective, or rather, a promising ratio of forms. Well, for example, we will never be able to transfer to paper, say, the sunset horizon in the middle of a flowering field in all its volume and size. But we can reduce it, and still depict it due to distortion.

That is, in essence, linear perspective is a way to create space on the sheet plane. But it is not enough just to know the laws and principles of this perspective. This is exactly the case when you need to understand and be able to use it.

It will not work here, as in mathematics: I will write it down, memorize it and be a great artist. No, here you can not memorize, the main thing is to understand the application.

Your eye without understanding these laws and principles will be like ... well, let's say watch without hands. They're coming, right? But we don't know the time. So here: you can draw, but the drawings will still be ... unnatural. Blind copying is what you might call it. Do you really want to draw?

Let's slowly understand the concept linear perspective I know you're already very eager to do it. First, let's see it in action. For this you you need to take a little break from the screen and look in different directions- just look without getting up from your comfortable chair - at the wall on the left, at the wonderful chandelier above, at the classic cabinet at the end of the room, at the front door ...

You can also look out the window - there, no doubt, you will also see a lot of things, from trees to houses. So, all this lends itself to apparent (a kind of "pseudo") changes, in the form of reduction and reduction.

For example, we know that that tree or that house over there will by no means fit in our hand, but, nevertheless, we can freely hide it from our eyes with one palm. This decrease in the visible is so familiar to us that in everyday life we ​​do not even notice it. I am leading this to the fact that our main and most important task is learn to transfer what we see onto paper, and in accordance with our vision and perception - to endure it convincingly.

Well, we got to the practical part of mastering linear perspective. cook (or a pen, or a felt-tip pen, or a crayon, or a marker - yes, everything that can rightfully be considered a writer), paper of any size (like a leaflet from an old notebook on algebra, history, or whatever else is there - it is advisable, of course, to take an album leaf), do not forget also about the eraser (well, or a blotter).

If you are talented, but don’t want to spend too much money, use a piece of brick and any concrete surface (and that is also an option ...)

Ready? Great, now sympathizers take a look at the unfortunate leaf and get to work.

Square perspective

For starters, feel like great artists - that is, remember Malevich and his most famous creation. In other words, (not necessarily black). No matter how boring it may sound, but according to the laws of mother geometry, a square has right angles and the same sides, so ... we reach for the pencil case of our beloved sister / brother or for our own and fish out a ruler into the light of God - it will come in handy for you (at least for starters).

The square is ready, you can even admire its ideality for a few seconds. Have you admired it? And now let's continue.

Now we need draw the so-called horizon line. In geometry (which we are currently doing) this line is usually set, so we draw it at an arbitrary distance from our ingenious square. But in general, it is generally accepted that the horizon line is at the level of your eyes.

You can determine it with a glass of water: take a glass, pour water up to half and drive it in front of your eyes - the place where your gaze and the water level line in the glass will meet directly, and will be considered the horizon line.

Next, according to our plan, we have a new monster - this is vanishing point. Such a point is a place on the horizon line where all the parallel faces of the drawn object collide. (in our case a square). To make it easier, let's push our vanishing point right in front of our square - it looks like we're looking directly at the "face" of the square.

To determine the level of the vanishing point on the horizon line, we need to cross the square- but carefully cross out like that, with diagonals from corner to corner. At the place where these same diagonals intersect, we draw a no less accurate perpendicular to the horizon line itself. And who is here with us? And this is our starting point. We found her.

Now let's get busy turning a simple square into a perfectly simple cube(picture on the right). To do this, we need to find the back face of the cube - such a small segment, which we will call ... let it be A-B. In geometry, it is usually calculated, but we are not mathematicians, right? Therefore, now we will determine it, relying on sensation, and in the future - an eye to help you.

Now it’s quite easy to finish the remaining back faces and - bravo! - we got a wonderful cube (picture on the left), built according to the laws of that very incomprehensible thing called linear perspective. And even without the use of an eye.

But it is so easy and simple to draw a perspective only where we look in the forehead, that is, if the object being drawn is directly opposite us. If we move to the side or even steeper, move to the left (or right) of the depicted object, then the picture will completely change, and most importantly, the vanishing point will change. Moreover, there will be two of them, because we will also need to take into account both sides of the cube - both the right and the left.

Let's try to move away from our imaginary cube a little to the left and gradually draw what comes out.

We depict the boring medium-sized square already known to us (with a small one it will be very uncomfortable, as well as with a large one), then the horizon line and proceed to the definition of two vanishing points O 1 and O 2 - after all, we are looking at the cube that will come out from the side.

The points are at an unequal distance from the square and one of them will be closer, and the other, respectively, further.

According to the laws of linear perspective, this distance is set by the dimensions of the depicted object, determined by them. But our future cube exists only in our head, and, therefore, we will determine it by feeling - to our taste, so to speak.

Then we repeat the same as in the previous figure, only now there will be more lines, because you will have to connect the corners with as many as two vanishing points. After you still cope with this task, segment B-C (that is, one of the back faces of the future cube) will emerge on its own, without difficult searches and reflections.

We complete the remaining lines in the same way as in the previous case.

Perspective constructions helped us a lot in building this cube. (well, all these horizon lines, vanishing points and other segments). But don't forget, it's part of the math, and we're the ones who create, right? And that is why there is no place for perspective constructions in drawing - after all, this is a creative process, creating space on a piece of paper, and not some kind of dry drawing.

When we make a drawing from life, the observational perspective is the most important for us, and the linear perspective is already like a support, it should act if necessary. It's like two parts of one whole. In the illustration below, you can see by eye how these two perspectives interact and how it will be most correct and easiest to convey a convincing image of the object being drawn.

If you look closely at the figures above, you will notice that how exactly the eye and linear perspective interact. First, with the help of an observational perspective (that is, an eye gauge), we determine the main dimensions and quantities (that is, angles, distances between faces, rotations, aspect ratios and, most importantly, the position of the drawing on the sheet). And already linear, as it were, confirms these definitions and, if necessary, corrects them.

While drawing, all sorts of vanishing points and horizon lines can be slightly outlined - but only to make it easier for our eye. Think for yourself: these lines against the background of a completed completed object will make it not at all beautiful, but quite the opposite - amateurish and rude.

With time and enough perseverance in training, I think it will not be difficult to move the concept of perspective into the imagination and manage it from there.

In order for this not to be a problem, as mentioned earlier, you need to persevere in training your eye. For example, you can try to draw some more perspectives, changing the look at it, that is, the angle from which you will draw it - left-top, right-bottom, and so on. This will give you the opportunity to see the change in the subject in the picture.

Cylinder in perspective

If you are still here, and have not rushed to hone your eye, then let's see how it will behavecylinder drawn in perspective (see picture on the left).

And now the big big secret: . It follows from this that the shape of the circles of our cylinder depends entirely on the shape of this very rectangle in which it fits. That is, the circumference of our cylinder will need to be built based on the bases and tops of the rectangle. But, again, back to the diagram-drawing: the curve is highlighted in red, which underlies the construction and is determined again by our eye.

If you have not yet lost the desire to hone your drawing in perspective, then respect and respect to you. Finally, I propose start training and draw three-dimensional forms- any, at your discretion. And do not forget, as soon as you change the horizon line, at the same time, the whole drawing changes - from the edges to the corners.

Your understanding of linear perspective should reach such a level that you don't even have to think about using it while drawing an object in your head. (as already said, do not sculpt all these perspective constructions on your unfortunate image object)

Fortunately, the ability to correctly depict space and the objects that fill it is an acquired skill. Perspective in drawing is studied by theories and formulas; just as once at school everyone learned to write and count correctly, you can also learn to draw and paint pictures correctly.

The concept of perspective

Perspective is not limited to drawing and other fine arts. In fact, this is a technique for correctly conveying spatial volume in a plane. Applicable to fine arts, perspective in drawing and painting is an artistic distortion of the proportions of objects and bodies in accordance with their visual perception.

For the first time, artists thought about a more realistic representation of reality in a drawing in the era of the Proto-Renaissance, and by the end of the High Renaissance, developed theories, types and rules of perspective already existed. They focused not only on the shape of the objects, but also on their color scheme and level of detail.

Perspective types

Before aerial and straight linear perspective in drawing became the norm, paintings that were mostly icons were painted according to standard rules with a lot of conventions in the image. Very often, reverse perspective was used, which made the images distorted and "flat".

After the formulation of the basic rules for linear and aerial perspective in art, there was a need for more complex and complex images, where it was necessary to change the object in accordance with other conditions. Thus, the concept of perspective received a more complex definition, which was no longer easy to divide into linear and airy.

In contemporary art, there are several types of perspective - some of them relate to a change in the shape of the depicted object, others - to the distortion of the color palette.

Changing the shape of objects

Depending on the distance, the angle of view and the surface on which objects are depicted, various types of perspective are used, among them:

1. Linear perspective - a geometric way of constructing spatial objects on a plane using straight lines. For linear perspective, the center is important - a fixed point (or several), at which lines converge, passing through objects that go far from the foreground.

There are several types of linear perspective:

• Straight line - the center of perspective is on the horizon, which coincides with the eye level of the viewer. All lines drawn through objects that are evenly moving away from the foreground converge to this point.
• Reverse - the center of perspective is at the eye of the beholder, so it seems that objects increase and expand when removed. The reverse perspective was used in Byzantine and Russian icon painting and is designed to create a symbolic image of the “insignificance” of the beholder in comparison with the depicted reality. When using reverse perspective, there can be more than one horizon line, as well as many fixed points of view.
• Angular - used when transmitting a spatial image of an object standing at an angle to the viewer. The geometric construction of angular perspective is much more complicated than direct or reverse.

2. Panoramic perspective - used to build images on a cylindrical or spherical surface. When using panoramic perspective, the point of view is located in the very center of the circle, the horizon line is determined by the immediate or desired eye level of the viewer.

3. Spherical perspective - a distortion of real space, in which the center of perspective is always at the eye level of the viewer and in the very center of the image. The only straight lines in spherical perspective are the main vertical, horizon and depth lines. All straight lines converge at a central point, and lines that do not pass through it have a curved shape, and the closer to the edge of the image, the greater the bend.

Change the color of objects

When moving away, approaching, angular or curved arrangement of an object, not only its shape changes, but also the palette of its color image. Two types of perspective are responsible for tonal, textural, textural and color distortions - tonal and aerial.

Tonal perspective considers the change in tonality of the surface of an object. Under the tonality is meant the shades, texture, texture, clarity and contrast of the image. Tonal perspective is used in painting and photography, in drawing, especially landscape, the rules of aerial perspective are used. In fact, the rules they also include the rules of tonal, so novice artists are advised to focus on it.

Aerial perspective in drawing and painting considers the color and tonal distortion of objects as they move away from the eyes of the beholder. The rules also consider the vagueness and fuzziness of the forms of distant objects and the change in their contours.

Linear perspective in drawing

In the drawing, there is the concept of frontal linear perspective, which includes direct and reverse, as well as angular perspective, which is built using straight lines, but according to different rules. Reverse perspective is very rarely used in drawing and painting, so its rules are studied only with a deep acquaintance with the subject.

When constructing a direct linear perspective, two basic rules apply:

1. Objects decrease in size as they move away from the point of view. From this rule it follows that the object located in the foreground of the picture will be significantly larger than the same object shown in the background.
2. Parallel lines moving away from the observer's eyes into the distance are connected at the "intersection point", which is located on the horizon line.

Rule One

The main feature of the first rule of linear perspective is uniformly decreasing objects as they move away from the viewer's eyes. Focusing on this rule, artists build the composition of the drawing, for example, the perspective of the street - the drawing can contain only part of it (literally several houses), a long segment or the entire street.

How many objects will be depicted depends on the choice of composition. How realistic and three-dimensional the image will look depends on how the perspective of the street is built. The drawing can gain or lose from the chosen number of objects, and it all depends on the perspective.

For the first rule, it is important to choose the right point of view, that is, the position from which the artist paints the picture, as well as the eye level of the author of the picture and how the image should be perceived by the viewer. From the point of view depends on the angle and field of view, which, in turn, depends on the perspective of the picture.

Rule Two

Linear perspective is constructed using exclusively straight lines. In this case, not only parallel lines converge at a certain point on the horizon line, but also all lines that have a horizontal direction. If you draw straight lines through all the main objects of the picture, directing them horizontally into the distance, then they all connect at one point.

For the second rule of linear perspective, the horizon line is of particular importance. It is correct to build it at the level of the artist's eyes, if it is a drawing from nature, or at the level of the eyes of the "beholder" - a fictional character, whose eyes what is happening is observed. A sketch of the sea, made lying on the sand, and a bird's eye view of the city - a landscape in perspective. The drawing, however, is performed from radically different points of view, and therefore the level of the horizon line and, accordingly, the construction of the perspective are different.

Building an Angular Perspective

Angular perspective is a kind of linear geometric construction that requires a horizon line and two points on it. When constructing an angular perspective, it is important to be able to extend the horizon far beyond the drawing.

In one drawing, objects can be positioned frontally or at an angle to the viewer, so it's important to know how angular perspective works. For its correct construction, a long horizon line is needed, protruding beyond both vertical frames of the picture. It is not necessary to lay a physically existing line, it is enough to be able to clearly imagine it.

Several straight lines must be drawn through all the visible faces of the corner object. For example, you need a corner house in perspective, while the drawing depicts not only this house, but also the street, or part of the city landscape. Typically, a house at an angle shows two faces; straight lines are drawn along each horizontal surface of both faces: doors, windows, cornices, roof and others. With the correct projection of the corner object, all lines passing through its right side will intersect at one point on the horizon line; this point is usually outside the drawing. The same will happen with lines that intersect the left side of the object.

Aerial perspective in drawing

The basic rules of aerial perspective allow you to correctly draw up the tonality of the picture and convey the volume. Among the rules of aerial and tonal perspective that are important for every artist, there are several fundamental ones, without knowing which it is impossible to correctly depict space in a drawing.

These rules are as follows:

1. The shade of the depicted object changes when moving away from the first plan. Dark objects in the distance appear lighter, while light objects become darker.

2. Depending on the density of the air, the time of day and the brightness of the light, distant objects are depicted with the addition of shades of white, gray, blue or purple. This is due to the fact that the air is never transparent, and if near the density does not affect the color gamut, then objects in the background pass through the prism of various impurities.

3. The law of contours - even Leonardo da Vinci said that distant objects cannot have the same clear contours as those that are in the foreground. Consequently, the objects depicted in the foreground are outlined with a sharp, clear outline, the objects of the second plan are softer, and the distant plan is drawn with completely blurred contours.

4. The law of details - the human eye is not able to distinguish small features of objects at a great distance, therefore, the nearest objects of the picture should be more detailed than the distant ones, the distant plan is depicted with their minimum number.

5. The law of volume - objects closest to the viewer's eye should be depicted in volume, and distant ones - flat.

6. The law of color tone - the palette of the first plan of the picture is richer and more detailed than the palette of the second and distant plans. For monochrome images (lithography, engravings, pencil drawings), the color tone perspective focuses on the play of light and shadow.

To sum it up, a drawing of a street or cityscape will look unrealistic if each object is depicted with its inherent tonal nuances and correct form. Linear and aerial perspective, drawings and paintings, made according to the rules, allow you to transfer three-dimensional reality onto a horizontal sheet of paper so that the image does not lose the sense of space inherent in the landscape.