Three Point Perspective
Three point perspective uses three vanishing points to draw an object. Two vanishing points are placed along the horizon and one is placed above or below the horizon line. It is usually used for building seen from above or below.
View from above = place 3rd point far below ground level
View from below = place 3rd point high in space
The horizon line represents eye level, therefore sometimes you are looking up at an object and sometimes looking down at it.
Vanishing points are dots on the horizon line where parallel lines seem to converge and disappear.
Convergence Lines (also called orthagonals) are lines that converge at the vanishing point. These are any lines that are moving away from the viewer at an angle parallel to the direction that the viewer is looking.
In three-point perspective all lines recede toward one of the three vanishing points.
View from above = place 3rd point far below ground level
View from below = place 3rd point high in space
The horizon line represents eye level, therefore sometimes you are looking up at an object and sometimes looking down at it.
Vanishing points are dots on the horizon line where parallel lines seem to converge and disappear.
Convergence Lines (also called orthagonals) are lines that converge at the vanishing point. These are any lines that are moving away from the viewer at an angle parallel to the direction that the viewer is looking.
In three-point perspective all lines recede toward one of the three vanishing points.
Basics of Three-Point Perspective
How to draw a box in three-point perspective
Step 1: Draw horizon line (either high or low on the page)
Step 2: Create two vanishing points on horizon line (far apart) and one above or below
Step 3: Draw triangle connecting the vanishing points. Keep your drawing in this area to avoid distortion. Place your vanishing points off the paper if necessary.
Step 4: Draw vertical line (edge of box)
Step 5: Draw lines to both horizon vanishing points
Step 6: Draw the back edge of the box by drawing lines to the 3rd vanishing point
Step 7: Draw the back of the box by going from the corner to the opposite vanishing point
*Remember - all lines should go to one of the three vanishing points
Step 1: Draw horizon line (either high or low on the page)
Step 2: Create two vanishing points on horizon line (far apart) and one above or below
Step 3: Draw triangle connecting the vanishing points. Keep your drawing in this area to avoid distortion. Place your vanishing points off the paper if necessary.
Step 4: Draw vertical line (edge of box)
Step 5: Draw lines to both horizon vanishing points
Step 6: Draw the back edge of the box by drawing lines to the 3rd vanishing point
Step 7: Draw the back of the box by going from the corner to the opposite vanishing point
*Remember - all lines should go to one of the three vanishing points
Edward Rushca
Ed Ruscha’s photography, drawing, painting, and artist books record the shifting emblems of American life in the last half century. His deadpan representations of Hollywood logos, stylized gas stations, and archetypal landscapes distill the imagery of popular culture into a language of cinematic and typographical codes that are as accessible as they are profound. Read more here...
Ed Ruscha: interview from The Telegraph
King of pop art: Why Ed Ruscha's LA-scapes fetch $4m from The Independent
Ed Ruscha: interview from The Telegraph
King of pop art: Why Ed Ruscha's LA-scapes fetch $4m from The Independent
ABOUT THE ARTIST:
American painter and photographer. While still at school in Oklahoma City, he developed an interest in Surrealism. Moving to Los Angeles in 1956, Ruscha came to prominence there in the late 1950s when he began making small collages similar to those of Jasper Johns and Robert Rauschenberg. Soon he began to refine his collages, isolating and recombining words and images in increasingly subtle and unique ways. Because he drew upon sources from the real world and embraced the vulgar techniques and imagery of commercial culture, his work is associated with Pop Art. However, unlike some Pop painters, Ruscha seldom seemed to be making art about other art. Ruscha used unconventional materials in his graphic work of the late 1960s and 1970s: he drew with gunpowder and painted and printed with foodstuffs and with a variety of organic substances such as blood and the medicine Pepto-Bismol. He was well known for his depiction of words and phrases (e.g. Three Darvons and Two Valiums, Very Angry People, He Enjoys the Co. of Women) and for the books he published of his series of deadpan photographs, including Twentysix Gasoline Stations (1962), Some Los Angeles Apartments (1965) and Thirtyfour Parking Lots in Los Angeles (1967). Such work was influential for the development of conceptual art, although Ruscha’s pieces have a characteristic low-key humour. In the 1980s Ruscha’s work was characterized by a further exploration of the image. A major travelling retrospective was organized by the San Francisco Museum of Modern Art in 1982–3, and in 1985 Ruscha was commissioned to design a series of murals for the Miami–Dade Public Library in Florida, designed by architects Philip Johnson and John Burgee (b 1933).
Anne Livet
From Grove Art Online
© 2009 Oxford University Press
American painter and photographer. While still at school in Oklahoma City, he developed an interest in Surrealism. Moving to Los Angeles in 1956, Ruscha came to prominence there in the late 1950s when he began making small collages similar to those of Jasper Johns and Robert Rauschenberg. Soon he began to refine his collages, isolating and recombining words and images in increasingly subtle and unique ways. Because he drew upon sources from the real world and embraced the vulgar techniques and imagery of commercial culture, his work is associated with Pop Art. However, unlike some Pop painters, Ruscha seldom seemed to be making art about other art. Ruscha used unconventional materials in his graphic work of the late 1960s and 1970s: he drew with gunpowder and painted and printed with foodstuffs and with a variety of organic substances such as blood and the medicine Pepto-Bismol. He was well known for his depiction of words and phrases (e.g. Three Darvons and Two Valiums, Very Angry People, He Enjoys the Co. of Women) and for the books he published of his series of deadpan photographs, including Twentysix Gasoline Stations (1962), Some Los Angeles Apartments (1965) and Thirtyfour Parking Lots in Los Angeles (1967). Such work was influential for the development of conceptual art, although Ruscha’s pieces have a characteristic low-key humour. In the 1980s Ruscha’s work was characterized by a further exploration of the image. A major travelling retrospective was organized by the San Francisco Museum of Modern Art in 1982–3, and in 1985 Ruscha was commissioned to design a series of murals for the Miami–Dade Public Library in Florida, designed by architects Philip Johnson and John Burgee (b 1933).
Anne Livet
From Grove Art Online
© 2009 Oxford University Press
See more of his work here: http://edruscha.com/works/
ART 2 Project: Ruscha Cityscapes
Objectives:
Demonstrate your understanding of three-point perspective
Demonstrate good painting techniques
Become familiar with the work of Edward Ruscha and utilize his style
Draw the exterior of a building or equivalent structures using three-point perspective.
Incorporate text in a style similar to Ruscha
Use acrylic, tempera paint or colored pencil
Create strong shadows by using solid areas of color.
Limit your color palette and avoid "normal" colors (sky does not always have to be blue)
Be creative!
Interesting composition: use the entire paper, overlapping shapes
Demonstrate your understanding of three-point perspective
Demonstrate good painting techniques
Become familiar with the work of Edward Ruscha and utilize his style
Draw the exterior of a building or equivalent structures using three-point perspective.
Incorporate text in a style similar to Ruscha
Use acrylic, tempera paint or colored pencil
Create strong shadows by using solid areas of color.
Limit your color palette and avoid "normal" colors (sky does not always have to be blue)
Be creative!
Interesting composition: use the entire paper, overlapping shapes
Rubric
Three Point Perspective City Drawing Rubric
A:
All items drawn in correct perspective
Strong painting technique - clean edges, solid areas of color
Consistent light source shown on all items, Shadows are present
Creative use of text. Text is well-integrated into the image
Very neatly drawn: ruler used for perspective lines, guide lines fully erased
High level of creativity
B:
Nearly all items drawn in correct perspective
Strong painting technique - clean edges, solid areas of color
Fairly consistent light source shown on almost all items. Shadows are present
Creative use of text. Text is integrated into the image
Neatly drawn: ruler used, guide lines erased
Some creativity shown
C:
Most items drawn in correct perspective
Acceptable painting technique - a few messy edges, mostly solid areas of color
Light source is inconsistent. Shadows are present on some objects.
Text is used but is not integrated into the image
Drawing somewhat messy: limited use of ruler and some guide lines visible
Limited creativity shown
D:
Few items drawn in correct perspective
Weak painting technique
No light source shown, not consistent or on few items. Shadows on few objects
No text is used
Messy: Ruler not used or guide lines visible
Little creativity shown
F:
Very few items drawn in correct perspective
Poor painting technique. Very messy/sloppy.
No light source
No text is used
Very messy, no ruler used, guide lines visible
Little creativity shown
A:
All items drawn in correct perspective
Strong painting technique - clean edges, solid areas of color
Consistent light source shown on all items, Shadows are present
Creative use of text. Text is well-integrated into the image
Very neatly drawn: ruler used for perspective lines, guide lines fully erased
High level of creativity
B:
Nearly all items drawn in correct perspective
Strong painting technique - clean edges, solid areas of color
Fairly consistent light source shown on almost all items. Shadows are present
Creative use of text. Text is integrated into the image
Neatly drawn: ruler used, guide lines erased
Some creativity shown
C:
Most items drawn in correct perspective
Acceptable painting technique - a few messy edges, mostly solid areas of color
Light source is inconsistent. Shadows are present on some objects.
Text is used but is not integrated into the image
Drawing somewhat messy: limited use of ruler and some guide lines visible
Limited creativity shown
D:
Few items drawn in correct perspective
Weak painting technique
No light source shown, not consistent or on few items. Shadows on few objects
No text is used
Messy: Ruler not used or guide lines visible
Little creativity shown
F:
Very few items drawn in correct perspective
Poor painting technique. Very messy/sloppy.
No light source
No text is used
Very messy, no ruler used, guide lines visible
Little creativity shown