Computers can calculate perspective angles and create a drawing for us, but the spontaneity of mark making, the tactile quality of a writing surface, the weight of a drawing instrument, and the immediacy of the human touch are sensations that keep traditional drawing skills perpetually relevant. The sensuality and convenience of the hand persists and will survive as a valuable communication tool, as will the need to accurately express your ideas on paper. As a professional, understanding the foundations of drawing, how we process images, and how we interpret what we see are principal skills. Understanding linear perspective enables artists to accurately communicate their ideas on paper. The Complete Guide to Perspective Drawing offers a step-by-step guide for the beginner as well as the advanced student on how to draw in one-point through six-point perspective and how to make scientifically accurate and helpful conceptual illustrations to cover simple and complex situations.
Recenzijos
"Full of very clear illustrations with a straightforward text, knowledge of algebra and geometry is not required. [ ...] This is an excellent guide that is easy to use. It is well laid out, allowing information to be easily accessed."
Ray Needham FAIA FFA FIPA FMAAT, Building Engineer, September 2018
| Preface |
|
vii | |
|
|
|
ix | |
| Introduction |
|
xi | |
|
1 Basic Perspective Terms |
|
|
1 | (10) |
|
2 One- through Six-Point Perspective, an Overview |
|
|
11 | (6) |
|
|
|
17 | (16) |
|
|
|
33 | (4) |
|
|
|
37 | (20) |
|
6 Measuring Point Geometry |
|
|
57 | (2) |
|
|
|
59 | (6) |
|
8 Ellipses, Spheres, Spiral Forms, and Random Curves |
|
|
65 | (24) |
|
|
|
89 | (18) |
|
|
|
107 | (12) |
|
|
|
119 | (10) |
|
12 The Problem of Distant Vanishing Points |
|
|
129 | (6) |
|
13 Falling and Rotating Forms |
|
|
135 | (13) |
|
|
|
148 | (6) |
|
15 Perspective in the 1400s |
|
|
154 | (4) |
|
16 Plan/Elevation View Perspective |
|
|
158 | (15) |
|
17 Three-Point Perspective |
|
|
173 | (24) |
|
|
|
197 | (29) |
|
19 Combining One-and Three-Point Perspective |
|
|
226 | (8) |
|
20 Combining Two- and Three-Point Perspective |
|
|
234 | (9) |
|
21 Combining Three-Point Perspective Diagrams |
|
|
243 | (2) |
|
22 Compound Inclines in Two-Point Perspective |
|
|
245 | (9) |
|
|
|
254 | (9) |
|
24 Shadows of Round, Spherical, and Curved Objects |
|
|
263 | (7) |
|
|
|
270 | (3) |
|
|
|
273 | (3) |
|
27 Shadows from Artificial Light Sources |
|
|
276 | (4) |
|
|
|
280 | (13) |
|
|
|
293 | (5) |
|
30 Reflections on Inclined Surfaces |
|
|
298 | (7) |
|
31 Reflections on Curved Surfaces |
|
|
305 | (8) |
|
32 Anamorphic Perspective |
|
|
313 | (3) |
|
33 Four-Point Perspective |
|
|
316 | (13) |
|
34 Five-Point Perspective |
|
|
329 | (12) |
|
|
|
341 | (1) |
|
|
|
342 | (6) |
| Glossary |
|
348 | (3) |
| Bibliography |
|
351 | (4) |
| Index |
|
355 | |
Craig Attebery is a native southern Californian. He graduated from ArtCenter College of Design, USA, in 1980, receiving a BFA with Honors. He then completed his MFA studies at Otis/Parsons Art Institute, USA, in 1984. Craig has worked as a freelance illustrator for advertising agencies, science books, and the entertainment industry, as well as creating conceptual art for JPL/NASA and the aerospace industry. Craigs illustrations have appeared in many publications including Newsweek and Time magazines. In addition to his commercial work, he has participated in exhibitions at galleries and museums throughout the country and internationally, including the Fry Museum (Seattle, WA), the Arnot Museum (Elmira, NY), the Art Museum of South Texas (Corpus Christi, TX), and the Oceanside Museum (Oceanside, CA). His work is in the permanent collection of the de Young Museum (San Francisco, CA). Craig is a faculty member at ArtCenter College of Design where he has taught perspective for over 15 years.
