SPACE DRAWING PERSPECTIVE VOLUME 1 DONGHO KIM yt eyste- i~ PROLOGUE | didn’t expect to be publishing a drawing theory book until| was much older. But after devoting myself to spatial drawing for many years, the opportunity came sooner than | expected, and | began to dream of the book | wanted to write, I bought every single drawing theory book on perspective that was on the market and skimmed through them, Some were simple, and others were very detailed but difficult to understand, In any case, | knew that they all had their own strengths and purposes, So| wondered what my book's strength and purpose would be. | concluded that | should make use of my drawings as much as possible, since it was through those same drawings that | was offered the chance to write a drawing theory book That way, | thought, the readers would be able to understand what was going through my mind while | was drawing. | wanted this book to stick to the principles yet maintain its intuitiveness, Rather than creating a detailed framework and delving into each topic (that would have taken at least a couple of years), | just started writing based on the content that I've already been teaching, In no way do | think that I'm the best artist out there (there are just way too many talented artists...), but | love my art and enjoy the process of creating more than | _-» Fl anybody else, Every day | work hard | to get one step closer to perfection, and| believe that | have learned and improved a lot through the process of writing this book. | sincerely hope that this book can be a good influence on all those who choose to study it and continue in their artistic endeavors. on! o' ner aaneane ent SealingTable of Contents Prologue 3 Perspective From Different Angles ‘The farther away itis, the closer itis tothe eye level Allparallel ines meet at one point ous Wide-anglelens ——_—_ 43 The closer aplaneis othe vanishing point, __ Fisheyelens —~_~_~_~_ the smaller it gets 0s2 . 169£ $ & 2 2 230 EPILOGUEMU Rela a Mela lh lolol Re ge LoCo) yo Reco Tela ols fe ol Lat ACM Melee uml ieee metre Roce at Mae tala ure lM) lta ae eM nal crc Mure urturelt cell ColaleRe[e) sulle Glee om MU Molde Colt Rel Mua -Tecreavela tl acroRtareye they are easily understandable by just looking at the images even ee ete ost ae UMM Eu er Roa ole) and keep coming back to them.a WHAT IS PERSPECTIVE?These guys are my little avatars that will be explaining the material on my behalf, They may not look too important, but they'll make my book just a tad more interesting, Please use them as your guides!What is Perspective? Perspective is the technique of transferring a three-dimensional space onto a two-dimensional surface. Simply put, it's the art of expressing on paper how far or close things are. Take a look in front of you. There are so many things stretched out in front of you, without clear boundaries, It's overwhelming to try and figure out how much of what you see that you want to draw, and how big or small to draw it, There really are too many things to pay attention to, And even if you do pay attention, it's hard to guarantee that it'll turn out the way you want it to, In this book, | will not only discuss the principles of perspective, but! will also show you many examples of how to apply those principles to express spatiality naturally. Before we start, let me explain the two most important elements. If you've taken art classes before, I'm sure you've heard about them a million times, First, we have the eye level, And then the vanishing point, These two are essential key elements when it comes to drawing with perspective, Let me explain them to you in simpler terms, To begin, the eye levelis the level at which my eyes, in relation to the ground, Does that sound too obvious? Well let's see the obvious in a drawing Yep, nothing special Whatis a horizon line, then? It's the line that shows where the sky and earth meet, and this line aligns with the eye level, horizon lineLet’s say that | am 170cm tall, That makes the height of the horizon line 110cm as well, And any object that hits that line is 110cm tall, too, Technically speaking, the horizon line Isn't really a line, As the eye level moves farther away from you, everything is condensed into a line. Grasping this concept will be helpful in understanding perspective, Basically, the eye level and the horizon line are two separate things. But in most cases, we can use them synonymously. And no, it’s not because the earth is round that we can see the horizon line.Your eye level = horizon lineLet's move to a crowded place to help you understand this a little better. When you're sitting downIn the first drawing, most people's eyes are at your eye level. Of course, there is a little variation depending on their height. But for the most part, you can see that your eye level hits the same part of the face for everyone, What if you lay on your stomach? You can see that your eye levelis at people's ankles.W Let's try to find the eye level in these drawings, And we'll also try to figure out where the eye level hits for all the characters, /much smaller than everybody else, so the eye level doesn't hit her chest.)Shall we go alittle deeper? Let's see the average heights of figures or objects we draw often. Door 210cm (taller than an adult male) tall adult male 180cm Asedan 1S0cm (somewhere around the chest for an adutt male) Akindergartener 1l0cm (somewhere around the waist for an adult male) Like this, it's much easier to draw if you already know the approximate sizes of common, everyday objects.gee eeFor the people sitting down, the eye level hits them at their heads, and for those who are standing up, their waists, The woman on the far right is either much shorter or inaccurately drawn, This is what it would have looked like with some extra people in the frame.The eye levelhits most people at the shoulders, Do yousee the stairs? They're standing on elevated ground, which raises their positions, If] were to draw a car next to the woman walking past, it would be around this size,Let me summarize, We're going to understand “eye level” and “horizon line” as the ‘same concept, The same goes for “point of view” or “horizontal line." flow that we're somewhat familiar with eye levels and horizon lines, shall we talk about vanishing points? That's the point at which all the perspective lines gather, (a see all the lines eventually meeting at one point? 20Let’s check out a different location, Tame also means tried-and-true, The most important thing is that it's easy for people to understand, 21a —_. i Aa ; ¥ Re | Ae Brg PFH 13 Let's take a look at the basic shape of a railroad track, Hf we zoom out, we see that the benches and trees are positioned parallel to the tracks,Hf we zoom out even farther, the train is also parallel to the tracks. Now let's try to draw this according to perspective. 23meet atone point This is called the vanishing point. It's not areal, tangible point It's not really a point at all. It's simply that objects get smaller in the direction that you're looking at, and eventually, appear to be a single dot. This vanishing point is a mathematical concept that was invented, or perhaps discovered, for art's sake. You can't even determine how far this point is from where you're standing, 2sThere are two boxes of the same size, One is placed in front of the other. Note that the lengths of the parallel lines are equal to each other. You need the one in the front to look like it’s closer to you and the one in the back to look farther away, right? a You'll notice that the lines, which were the same in length when from above, are gradually getting shorter. This is quite obvious, The farther itis, the shorter it looks, 26If you dot the ends of the lines and connect them, it meets at one point. You know by now that this is the vanishing point. This vanishing point also lies on the horizon line, In other words, the vanishing point for every object and space meets on the horizon line, Of course, that’s based on the premise that the objectis properly placed flat on the ground,30 Rone; Ieely, errs oie bons QeTry to find the vanishing points for the buildings in these photographs. And once you connect those vanishing points, you get the horizon line. connected all of them, Notice how they all fall on the same horizon line? 32Then how do we find the eye level for close-up photographs or drawings? You do the same exact thing. Draw perspective lines, find out where they meet and connect the vanishing points, It might be a little more difficult to find because the vanishing points may be outside the actual photograph,a THREE RULES TO REMEMBER WHEN USING PERSPECTIVEWe took a look at several examples, Use what you learned to practice finding the eye level in photographs or drawings as well as your everyday life, Once you really have it down, you won't ever be confused again, The next thing I'l explain is how to use eye levels and vanishing points to express spatiality in a realistic manner. Both are simple concepts, but not always easy to apply proper| These are the three rules that | will emphasize. If you master these, you won't have to worry about spatial impression anymore. Let's go through them one by one. * 1, The farther away something is, the smaller it gets, and the closer itis to the eye level, 2. All parallel lines meet at one point. 3, Top and bottom surface areas get smaller} 36First rule to always remember! The farther away something is, the smaller it gets, and the closer itis to the eye level!I've multiplied myself, That's to place the condition that everyone here is the same height. Do you see how both the heads and the feet move closer to the eye level as | move farther back? 38Compared to number 1, number 2's head and feet are closer to the eye level. And compared to number 2, number 3's head and feet are closer to the eye level. 39You might be thinking, “this is too obvious! Everyone knows this already.” So let me show you a couple samples with a wrong perspective. For the guy in the back, the head is The eye level doesn't hit both of them closer to the eye level, but the feet at the same part of the body. haven't moved much, Bring the eye level down to their Make sure that the eye level is hitting them both at the chest. knees, 4OHere's another drawing using a wrong perspective, This is from a low angle. Number U’s head and feet are closer to the eye level than Number 3's, And naturally, Number 4's a little smaller, It’s not just about making things smaller. All criteria have to be met. “1These two are different in size but their In this case, the one in the back is feet are at the same level, This is a practically standing on the big no-no, Now he looks like a mini-me horizon line, like a giant, The decrease standing next to regular-sized me, in distance between the eye level and the head, and the eye level and the feet, must be proportionate, Drawing perspective lines and keeping characters within those lines is a safe way to move people around, 42The same applies to a cylinder. The top and bottom move closer to the eye level in a proportionate manner. 43uu Take a look at this drawing, If the two cylinders are meant But if they're supposed to be the same size, this is wrong, Then what about this one? The cylinder in the back surpasses the eye level. You need to either adjust the size accordingly to be different sizes, that's fine, The top of the cylinder, not just the bottom, must also move toward the eye level. That means that the one in the backis taller than | am, Not make the top surface of the cylinder visible,Does that make sense? I've shown you some incorrect examples and explained how to tix them, so try to review and apply what you've learned and you'll master it in no time. Let's look at the next condition, Second rule to always remember! Let's practice with solid geometries whose sides all have right angles. 4sTo draw a cuboid in the correct perspective, you can see three sides: A,B, C. In this cuboid, there are four of each sides (including the ones that are invisible), These three sides always meet at one point. 46Let's take a look at how parallel lines meet in modified figures. Do you see all the parallel lines gathering towards one point, no matter the angle? 41SO This is something we'll come back to over and over again. For objects with many intersecting lines, like a window, there's a very high chance that you'll draw it wrong, Continue to practice finding parallel lines. x The bottom left corner of the windowsill is too angled, It should be parallel to the upper lines. Find the wrong lines in this drawing,Shall we figure out what's wrong with this windowsill? At first glance, nothing seems wrong... This is the correct version, but once you connect the perspective lines, they're going in all directions, ‘The perspective lines naturally gather towards one point, Always make sure that all parallel lines move in the same direction, Often people make mistakes with the smaller lines, not the bigger frame, SIS2 Did the second rule make sense? First) find parallel lines in a figure, and once it's in perspective, make sure that they all meet at one single point, Don't forget to check whether all the parallel lines are actually parallel to each other! ‘And now,,.the last rule that you've been waiting for. This ‘one's super important, \ consider this the key point, so keep it in mind and don't forget. Last rule to always remember! Top and bottom surface areas get smaller as an object gets closer to the eye level (horizon line), or vanishing point!Let’s draw some flat tiles, You can see that the tiles that are above eye level show their undersides, and the ones that are below eye level show their top sides, As for the tile that is right at eye level, if you were to look through it, you would be able to see the top and underside, SuDo you see how the top and bottom surfaces look smaller as the tile gets closer to the eye level? | guess you could also say that it appears to be thinner. ——F —— This time, let me line them up away from me, SSS6 Do you see how the closer it gets to the horizon line (and farther away from me), the smaller the top surface looks? (in fact, all sides get smaller.)Let me draw a crosswalk, There's nothing wrong with this drawing, technically. The vanishing point and eye level are well aligned, But to maximize the foreshortening, the pattern of the crosswalk lines should shrink more dramatically the closer it gets to the eye level, Texplain how and how much to shrinkin page 196. STThe center of vision is the closest point to you on the eye level For something expresse d by vertical lines like bus windows, you suppose that the perpendicular line that begins at the center of vision is the eye level, | And the closer it gets to that new eye level, the smaller the surface area becomes, but the drawing will also lack a spatial impression, | | If you forget to do that, not only will you not be able to fit all the windows that you need to, 58Lastly, let me draw some buildings and tiles, ‘Something's off, right? This version has the same vanishing point, but it looks different, Can you figure out why? The surface area of the buildings and tiles get smaller as it approaches the eye level, It's the same for the surface area of the tiles, too. bdHere’s an example of that rule being applied in an exaggerated way. 60 You can see the top surface of the table getting significantly smaller as it moves farther away from the point of view,Let's try to apply all three rules at once, 1.As the chairs and the curtains move ‘away from the point of view, they get closer to the eye level, 2.And since all the chairs are parallel to each other, they start moving towards one point, Same for the curtains, too. 3.Lostly, the farther an object is from the point of view, the smaller its surface | area gets. 61Let's review this a few more times so that we’re not confused,It might not look like it at first glance, but there's quite a bit of a difference. The surface area gets smaller as it approaches the vanishing point, 63Certainly, the some anount of time given everyones Tchwoys ponder wht! should dowith that ie, Should sketch boot tloating on he uater or 20 sinning or pop, or work, order 2 seme fried chicken, oust gohome”™ | There's no way of knowing what the | better or worse choice is, but consequences follow every decision ‘and oction And those consequences become a part of who! om Andallthese ster people ke diferent choices ondthus =F evistintheirurique selves as ell Andthey'l > ‘geonto ponder es they watch eachother 2orosiau oone-H0 ed ez 3, For everyday or travel scenes, make use of parallel and repeating objects to express spatiality. ‘My values and stereotypes break lke th waves crashing on the pi My countless stray thoughts disappear ti the skyline that fades away along the horizon, \ sketch on the Santa Monica Pier, oblivious of the sunburn settling on my ears and the back ‘of myneck, zonrmkaponerHo 64Set agoal and work for it (2: desperately, desperately, 6SAme pecrive % i aTs cH le 1 8 J 5 ( om AN iPerspective is the art of using lines to express the relationship between objects that are close up and far away. Like we've been discussing so far, itrequires that we follow rules like making objects smaller and narrower and closer to the eye level as they move farther ‘away along those perspective lines, From here on, ll explain the changes according to the different angles at which we look at an object or space, Have you heard of I-point, 2-point, or 3-point perspective? There are also 4 and S-point perspectives, This means that you can have anywhere from one to five vanishing points depending ‘on where you're looking from and what angle you're looking at, 10| could explain these one by one, or all together N\ But it's most important that you properly identify the space you want to apply perspective to, and how the objects are actually placed in real life, Only then can you effectively express how objects are getting smaller. Hmm, that picture 1s zoomed in from far away| ‘and this one was taken close up. A Frpoint perspective is when all perspective lines gather at one single point in the middle, “Tis can be used in a limited way when you're looking straight ‘ahead in the middle of a room, oF when you're looking at « box stroight on It’s mostly used to exclusively express a sense of, distance between the front and the backR Realistically speaking, it's impossible for there to be a sense of distance only between the front and the back, There should be a sense of distance in every direction, excluding the point where \'m standing. Right, this is how it should be. But you definitely could use this perspective if needed, or within «limited view. It's good for producing a more focused, intuitive effect Let me explain it to you using some diagrams.Let's start by identifying parallel lines, There are three sets of four. You can distinguish the close side from the far side, The T-point perspective is used to express a sense of distance between these two sides, Let's see| what it looks lke from where I'm standing, The 1-point perspective applies if | were to look at this box shape straight on. Naturally, the back side is smaller. And the A-lines, which connect the front and the back, move towards the center, If you extend those lines (aka perspective lines), they meet at one point to become “vgrising point” the vanishing point, And like | mentioned Lf earlier, the vanishing point must exist ‘somewhere on the eye level, 13mW Let me clarify something here, | said that this perspective expresses a sense of distance between the front and the back, but the center of the front side is the real closest point to me. So if really wanted to apply all the principles, | need to draw the lines so that they are moving toward each other—to the left and right, up and down, But we're drawing with straight lines under the circumstances that we're using a I-point perspective and that the curving of the lines is not very noticeable.Let's go ahead and draw more boxes that share the same vanishing point, You can see that the cube becomes more distorted the farther out it's placed? Although | followed the perspective lines defined by the middle cube, it starts looking too long very quickly once it strays from the straight-on angle, What should we do in this case, then? I'll continue the explanation a bit later, in the fisheye lens chapter. When using a I-point perspective, it’s best not to stray too far from a limited angle of view, such as a straight-on room or alley. 1sIfthe vanishing point is in the middle of + an object, there is symmetry, and with it, a sense of stability. These two examples also have a 1-point perspective, but they've lost their symmetry and gained distortion in the corners because their vanishing points are off-center. Try it out for yourself, No matter how well you stick to the perspective lines, it'll still look awkward,~~ Draw it yourself! willLet's find the eye level and vanishing point.Waitl! What if there was a box on the table like this, positioned at an angle? eS Simply put, the lines for . the desk and the lines Since we're looking at the room for the box are not aight-on, this is a 1-point perspective, parallel to each other, But the box is at an angle, so we must find which creates new vanishing points. But this doesn't mean vanishing points, that this is a 3+point perspective! 9y Ld Practice by changing the angles for other objects, such as the desks in the background, Let me give you another example using desks, 00000 IC i 0 go0¢00 As you can see in the floor plan, the desks are arranged to be parallel with each other, s0 you get one vanishing point, 80 But if one of the desks is placed ata different angle, you get separate vanishing point. Aclines are no longer parallel with those of the other desk. We'll review this part over and over again, but don't panic if you discover another vanishing point that's separate from the one you're expecting. ‘And don't forget that the vanishing point must exist at eye level as long as the object is properly placed on the ground,Now that you have a better understanding of a I-point perspective, let's look at some tips on how to maximize the sense of distance. The last rule that | emphasized in the previous chapter was that the surface area gets smaller as an object approaches the vanishing point (eye level). Remember that? If you look at the bus stop, you see that the distance between MPS the bars appears to get smaller towards the back, The same is happening with the paving blocks, Areas closer to the point of view tend to show a greater contrast, 8182 This is a drawing of Valletta, the capital of Malta, The cute balconies mark its architectural style. Here you can make the balconies in the back gradually look smaller to express a sense of distance. As always, find the eye level and vanishing point first, Because this is a I-point perspective drawing, find the point where the perspective lines meet. And let me take just the balconies and geometricize them,This is a little different from the original drawing, but here are two balconies that are facing each other. They are at different distances from the center. Ais farther away than B. Even if they both follow the same perspective lines, B shows less surface area because it's closer to the vanishing point, Regardless of whether something is objectively closer or farther away, the closer itis to the vanishing point, the smaller its surface areais, 83This time let me geometricize some cars. Again, don't forget to align them to the vanishing point. Notice how the surface areas on both the top and the side shrink considerably. 84Here's a picture of a street in Malta that | specifically took straight-on, I's not too difficult to find the vanishing point and the horizon, right? The windows on this building are so close to the center that they almost look stacked together. You can barely find surface areas, (Super narrow!) It might seem like we're repeating such a minor point over and over again, but this is actually one of the most common mistakes that people make, Please take the time T {to practice expressing depth and distance. 8s86 The farther back it is, the more dramatically you should shrink the depth of the surface, The horizon is hundreds—no, more than thousands of kilometers away from the point of view, If you have a cube that’s closer to the point of view but then draw it too close to the horizon, it starts to look awkward, Itno longer looks like a cube, but instead a long box. And the cube that is farther away from the point of view doesn’t look like a cube either. Shrink the surface area accordingly,Here are some low angle and high angle drawings with a }-point perspective. In this case, the eye level is in the sky and on the ground instead of the horizon. Knowing that the vertical lines are perpendicular to the horizontal lines, you can see that the only vertical lines gather at one point,83 Let's try drawing your room, You can use your imagination, No need to draw complicated structures, such as your chair, The goal is simply to express a sense of space by arranging different objects up close and far away,Here's an electrical wire box from a I-point perspective, The distortion in the top left corner makes it look too long, You might say that | could just make it shorter, but you'll realize once you try it yourself that distortion is inevitable once the vanishing point is off-center. And it's not like | can create multiple vanishing points, since all parallel lines \ must meet at one single point. There is an incline in the ground, FYI, 892 Aa eb oesiveIta I-point perspective was when you look at a space straight on, a 2-point perspective is for when you're looking at it from an angle. Roy A point perspective expresses only the distance between the front and the back, and a 2-point perspective expresses the distance between the left and right as well 92Tpoint perspective There is one vanishing point, 93Aside from the vertical lines, A-lines and B-lines each gather at their own vanishing points, The middle edge is the one closest to me, and as the other edges grow shorter and move farther away from me, perspective lines form, \ As | explained in the I-point perspective section, it's more realistic that there is a vertical distortion 4 well, since the point of view is closest to the center. The 2-point perspective is another technique that is used in limited settings. Ss9% There is one thing to pay attention to when you draw box shapes, Because the vertical lines are parallel with each other and don't meet, make sure that every vertical line is perpendicular to the horizon. Even if the horizon is titted, maintain the perpendicular angles, Tilting the horizon is one way to maximize the impression of space, L If the horizon is tilted, you also need to 4 tilt the box accordinglyLet me test your understanding of the 2-point perspective, Using the horizon given to you below, draw a basic 2-point perspective box shape, as big as you can, Don't skip this part, There's an important point to go over if you're a beginner.Here’s how | drew it, I really filled the whole space with my box, Can you tell the difference between mine and the first two examples? 100These two have both vanishing points within the paper. a But this one has both vanishing points outside the paper. 101Let me put it this way. This is too much distortion this is a reasonable amount of distortion Both vanishing points are within the Both vanishing points are outside paper, and there's not enough distance _the paper, and there’s not enough between them, It doesn't look like a box distance between them, When you're because the distortion is too extreme, drawing an object from a normal H's hard to fill up the space with this person's view, place both vanishing kind of box. points outside of the paper.The vanishing points for this drawing are very close together. Unless done for a very specific purpose, this doesn’t look like anormal drawing, Anormal person's view or a picture that was taken on your phone would look like this, Practice giving enough distance between the two vanishing points, 103For the 2-point perspective, there is one part that you need to pay careful attention to, Unlike for a 1-point perspective, you need to decide what angle you want to draw from. ONS Le 3Tratio SS ratio 5] ‘T:3 ratio These are the three most common angles to draw from,Se The S'S ratio drawing may loo awkward and unstable compared to the other two angles. 10SAnother obvious piece of information that is helpful to keep in mind, If you look in this drawing, the vanishing point on the left side (small surface area) is closer, and the one on the right side (large surface area) is farther away, ratio In this drawing, the vanishing points are equidistant from each other, Lastly, in this drawing, the lett vanishing point is farther away than the right one. 7:3 ratio To sum up, to draw a box with a 2-point perspective you must: Place the vanishing point outside of the paper. ~Place one vanishing point closer to the object and the other farther away. 106Here's a photo that was taken from a 2-point perspective angle. If you connect the vanishing point on the lett and the one on the right, you get the horizon, You can see that the vertical lines, are perpendicular to the horizon and parallel to each other. There's another thing to note in this photograph, I'm sure you know it by now, Take a look at the visible surface area of the windows, The farther back itis, the smaller it gets, This is something that will continue to emphasize, 107Let's find the horizon line and vanishing points in this photograph as well Can you point out what I've been ‘emphasizing? The top surface area of the stairs gets smaller as it moves closer to the horizon line. 108Since it might be a little boring and confusing to only look at photographs, let's come back to drawings. Because the surface areas of the crosswalk lines and the cars are noticeably decreasing, there is a good impression of space. Although the vanishing points are in the right places, there's less impression of space. That's because there isn't much change in surface area, 109n0 2-point perspective! . F (00) It's possible to make it look like a ee d Technically speaking, this window is from an up angle, so you need to use a 3-point perspective. But if you take a picture of the building from far away, it can look like a 2-point perspective. And if you imagine zooming in to just the window, you can apply the 2-point perspective to itaes etm Dalgehe. Unlike the drawing in the I-point perspective section, | corrected the ground so that it's flat and level, mn2 Although I'm emphasizing the 7:3 ratio, you don't need to always follow that Feel free to experiment! The vanishing point on the wider side (left) is much farther away than the vanishing point on the narrower side (right). And both vanishing points are outside of the page. This is essential for drawing natural looking spaces and objects, fete Deigcheny We look at spaces and objects from many different angles, And there is always some amount of distance between where we are and what we're looking at. Simply put, most of the things that we see are from different angles not just laterally, but also vertically.1-point perspective: perspective lines gather at one point, This is a |good perspective for expressing abiects that are straight-on 2-point perspective: perspective lines gather at two points, The positioning of and distance between the two vanishing points is important. 3+point perspective: we've now added can up/down angle, Along with the two vanishing points on each side, there is now a third vanishing point above or below the object As it wasfor the 2 point perspective, the positioning of and distance between the two vanishing points are important. ns116 From a 3¢-view, the commer of the box s the part that’s the closest to you. And from there, three lines move away from you. If you follow these lines, you'll, ‘three vanishing points, ‘Two vanishing points like the ones we had in the 2-point perspective, and another one underneath the box because we're looking down, The vanishing points on the left and right can be found on the horizon, but the location of the bottom one depends on how extreme the down angle is, The same goes for! Jost lke for the 2-point perspective, one vanishing pointis closer to the object and the other one is farther way.sms The horizon line in this photograph is tilted because the camera was tilted, Pay close attention to the perpendicular lines, ‘As always, I'mgoing to emphasize that the walls get narrower as they move farther back (as they get closer to the vanishing point, horizon line) The same with this, handrail, too, Using consecutive windows m1First, check how far out the vanishing points on the left and right are from the paper, This is @ good reference photo. You see the shrinking in both the balconies protruding from the building and the three windows in the middle, You'll see this when you try drawing it for yourself, but this perspective is trickier because you have to shrink vertically as well 120Let's take a look at a different reference photograph since = I don't want you to think that shrinking is all there is to = perspective, Think about where I'm standing as I'm looking at this tower. It's from a good distance away, 121122 In this case, the vanishing points should be much farther away than what we've been looking at so far. But of course, it'll ook more natural to vary the distance between the tower and each vanishing point, And this time, the windows shouldn't shrink too dramatically, And the top vanishing point is positioned far away too, Because this is a view from far away, the shrinking in the windows cond overall shape is not as dramatic, In conclusion, faraway objects don't ‘experience as much deformation caused by perspective,In this case, the windows shrink dramatically, and the top vanishing points are much closer to the paper. I'm going to place the left vanishing point close to left side. But what if we get closer to the tower and look right up at it? 123The farther away the box is, the lower the horizon line is. You can't even see the horizon line for example number 1 because it's so high up, but in number 3 the horizon line is within the page. Also, the farther away the boxis, the farther the vertical vanishing point i. It's visible in example number 1 but not in number 3 In conclusion, the farther back the box is, the more two-dimensional it looks. 124SSS} 1 el 2 cL 3 -~ | The farther away the building is, the more obtuse the perspective line's angle becomes, and the higher the horizon's position is. At the same time, the vanishing point where the vertical line gathers moves farther away. Regardless of whether it's an up or down angle, the farther you get, the more two-dimensional it starts to appear.126 Since | didn't draw this with careful calculation, it's not perfect, When you practice geometricizing a photograph or drawing, consider it practice for finding vanishing points and horizon lines, and try to get it as close to pertection as you can. More than anything, it’s important that you set the vertical vanishing point at the right location. Remember that the location of the vanishing point changes based on where the vantage point is,~ Draw it yourself! 127This is a view of the Kyobo intersection in Gangnam from a 20-story building, You see the hill in the background and all the other buildings that are at all sorts of different angles? How should we go about this?in n, But al section, But all t must eventually meet at one vanishing point/ as long as the buildings are flat on the ground. 129Someone taking a smoke break Someone who's atouristinthe iy, ‘Someone on a date ‘Someone eaving for rp, Someone teking @ walk ‘Someone who siluses phone booths, ‘Someone going home ater work ‘Someone out working —Acroqus of people in Jongro Saga. 2010, 10 Kim Dong-ho This is a 3-point perspective from not too far above, Try cadiusting the vertical lines and the vanishing points to produce different effects, 130Let's draw this electric wire box using a 3-point perspective, First, find the eye level and vanishing point, || The vanishing point on the left is farther \ away, and the one on the right is closer, 131It's good practice to take pictures of everyday items around you and draw them, 132~~ Draw it yourself! 133PART OW LENS=SPECIFIC METHODS OF PRODUCTIONWideoAngls LensSo far, we've been looking at the changes that occur when we vary the point of view, Now it's time to understand and apply various angles according to each point of view. Even when you're looking at the same thing, you can vary the wideness of your angle to produce different effects. | guess you could say that we're about to step into camera lens territory, A typical person's viewing angle or what a cell phone camera picture feels like, vale With a wide-angle lens, the viewing angle increases dramatically and you get more of the background in the picture, 138Acamera with a wide-angle lens A clip-on wide-angle lens for your phone (that’s why they call it the selfie lens) 139140 Let's find the vanishing point and horizon line in this drawing, Like | emphasized in the 2- and 3+point perspective sections, one vanishing point is closer to the paper than the other one. Let's try this one, The distance between the two vanishing points is much shorter. One is actually within the page now,~~ Draw it yourself! Wi12 Let's apply that to a real-life space, This is a typical viewing angle.This drawing is distorted because it’s trying to express what's outside of the normal viewing angle. In this drawing, the front top corner of the bus appears to be jutting out quite a bit, That's why | said in the 2-point perspective section that the vanishing points should be outside the paper, and that one should be closer and the other farther away, One of the reasons for using a wide-angle perspective is to fill the page with more of the space that you're trying to capture and to intentionally allow for distortion to add character to the drawing. 143e's a drawing from a typical viewing angle. Nothing special, Her right? 144You might not think so until you have the two versions side by side, but the original viewing angle might seem too limited in comparison to the wide-angle perspective. This is useful when you want to explain a certain situation or express as much information as possible in one scene. wswindow, view from a Uth floor Here’sa 146WT148, But everything must be used in the right circumstances, For example, | might want to focus on the character in a cartoon, I want to really focus on the character's facial expression and lines to express the mounting tension...So there's no need for me to try too hard to express the background space at the expense of the author's intention (of course, I'm not saying that a wide-angle perspective always breaks the tension). 19Here | am again, stealing a peek, | think | want to emphasize the character's facial expression and the overall tension, :: 1? i} Woes 4 150| don’t need to lose the audience's attention to the background details. But in moments where wide-angle perspectives are needed, such as for scenes that are meant to give information about the situation or show the construction of the space that the character is in, feel free to go all out, 1s)= This looks alittle awkward, right? But you can still tell where the horizon line and vanishing points are, The horizon line, which you get by connecting the two vanishing points on the left cand right, must always be level | exaggerated -__ this in this drawing, Because the distance between the vanishing points is so short, Vhad to moke the building on the right tlt towards the right side to keep it stable, This is an example of how a drawing can \ change based on the distance between the vanishing points. 182Alittle alleyway right outside of exit ‘one of the Yeongdeungpo-u Office Station, What a great location, T'have to come back, | 7 \used the wide-angle effect on a 2-point _/_ perspective. The horizon line is level, ‘as always, And note how the distance between the vanishing points is much 183Ise InShinsholi, Narita, The masterHere’sadownangle, | 3+point perspective * \ \ drawing that has \ \ \ | a wide-angle effect \ |One tip is to have the leftward perspective line curve a little when it approaches the right vanishing point, 156\ ; Ng1S8 Although the forklift isn't parallel to the other objects, its vanishing points must still meet at the horizon line because it's parked flat on the ground,| Note how the surface area of the | windows and outdoor a/e units is | shrinking, This is the part that you | want to pay attention to, | | Aligning all the vertical lines to the vanishing point is very important, especially with wide-angle perspectives. 189WR oe ys Mh NS Py} Y. MALTA, o-9 This is a 2-point perspective drawing with a wide-angle effect, Shall we analyze the process of constructing the space? 160You can draw anything, as long as you get the horizon and vanishing points right, That requires a lot of practice and experience, of course. oo qaooo 0 161162 We've covered a lot of information so far, There are many points to pay attention to, But if you take your time and master each one of them, drawing spaces will come naturally to you in no time, Here's another important piece of information for you, It is alittle tricky to explain it in writing, but let's take it one step ata time, If you look at the first drawing, you can see that the buildings are shrinking ‘adequately and that the vanishing point is on the horizon as well, There's nothing wrong or off about it, But think about the distance between the vantage point and the horizon, How long do you think it is? Ten thousand kilometers? A hundred million kilometers? No, it's infinitely long, There is no end, And it would be impossible for five buildings to nearly fill this infinite distance, the horizon, There needs to be different scenes or objects in the background, which should obscure the horizon line.There are more buildings in the background, 163164 Let's take a closer look at the background buildings, The perspective lines for the buildings in the front gather at the vanishing point, but the ones in the back get flatter and flatter,Let me go over eye level one more time, If 'm being precise, point of view, eye level and horizon (horizon line) are all different concepts, Eye level refers to the distance between the ground and the eye, ‘and the horizon refers to the line between earth and sky. Every drawing or photograph can be interpreted by eye level, and horizon lines are usually synonymous with eye levels in these cases. That's why there's no need to distinguish the two. \ Let's say that my eye level when I'm sitting down is 80cm, That means that everything and everyone that is at my eye level is 80cm tall. And when something is so far away, the height ‘of 80cm becomes insignificant and almost indistinguishable from the horizon. This is why we can say that eye level = horizon line, And I've already told you that the vanishing point is a made-up concept that was created because perspective lines that are parallel to each other are infinitely long and far away, and appear to meet at one point, 16SLet me stand on top of a SOm tall building, SOm yy Now the horizon line is at the SOm point as well, The four buildings that rise beyond the horizon must be taller than SOm, and all the other buildings must be shorter than that, 166Here's a drawing with some perspective, But what's wrong about this one? Allthe islands must be taller than my eye level. 161110 “Fisheye” means, well, the eye of a fish, Some people say that the term came from the fact that from a fish's perspective, the world outside of the water looks distorted because of the refraction of light, Other people say that the name comes from the shape of the lens, which is round and protruding like the eye of a fish. None of that is too important, What we need to know is that we call perspectives with a fisheye lens effect 4-point or S-point perspectives. You can understand it as a type of a wide-angle perspective. More precisely, this is an ultrawide-angle perspective. \ NY ae el This is the typical viewing angle, For 2- or 3-point perspectives, the distance between the left and right vanishing points must be quite long. This is the viewing angle of a wide-angle lens, As much as the field of vision increases, the distance between the vanishing points decreases. This is the viewing angle of a fisheye lens, I's fair to assume that you can see everything in front of your eyes, You can even see your toes because they're also past where your face is,If regular~ and wide-angle perspective was about expressing The fisheye (ultra wide-angle) lens is about what you see when you look in one gathering all views from all directions and direction in varying viewing angles. combining them into one view, Hi Ll OOG 5 eo! © Oa OC i ae iy EC | \ me IL Ty TOY & It's a combination of images from different angles, For the sake of demonstration, I'm counting nine, but there are many more angles between these ‘ nine, Imagine number S is a I=point, 2,4,6,8 are 2-point, and 1,3,1,9 are 3-point perspectives, . You're looking straight on (1-point) but you also look to the left and right (2-point) and up and down, diagonally too (3-point), In conclusion, you have one in the middle, one above, one below, one on the left, and one on the right, so five vanishing points in total. 1I2IfI may reiterate, I- and 2-point perspectives are concepts created for convenience’s sake, They are not realistic, Why? The whole point of perspective is to express an impression of distance from the point of view, Everything, except for what's right in front of your eyes, should have some distance, The closest point The closest point The farther itis from the eye level . (point of view), the more it shrinks, 113Let's say that the red dotiis the closest point to me. I'll show you how to create an impression of space using that as the center. It looks like the middle is swelling. But if you understand that everything except for the middle is shrinking because it's moving away from me, this drawing will make more sense. m4If use the fisheye lens effect on a 2-point perspective, we get a U-point perspective. TIS16 THISISAPANINI PLACEIN FLORENCE, ‘FIRENZE’, THE CITY OF FLOWERS, LOVED THIS CITY SO MUCH THAT| WALKED UNTIL MY BUTTCHEEKS WERE CHAFED, 2018 09M DONGrHOHow can we interpret this into a S-point perspective drawing? lwent and geometricized it, Can you find the five vanishing points? m