Perspective
The Techniques of Interpreting 3-Dimensional Objects on a 2-Dimensional Plane
By Debbie Stiehler
Originally published in Needle Pointers, Oct/Nov 1995
From the editor:
Debbie Stiehler of Reading, Pennsylvania is a needlework teacher and designer who is currently enrolled in Level II of the NAN Teacher Certification Program. She has taught local and regional seminars since 1989 and is a member of ANG, EGA, NAN, and NETA. She has served the Berks County, Pennsylvania Chapter of EGA in several capacities and the Mid-Atlantic Region EGA as Study Notebook Chairman. Needle Pointers is indeed fortunate to present this product of Debbie’s research into perspective. You will find it not only educational and interesting reading but also easy to understand and fun because of her inimitable writing style.
Perspective is defined as “the art of picturing objects on a flat surface so as to give the appearance of distance or depth.” This article will show the technique of interpreting a 3-dimensional object on a 2-dimensional picture plane. Think of our canvas as a pane of window glass that is between us and the subject that we want to stitch. Then just stitch what you see! OK, so it isn’t that easy you say – well, let’s try to break this process down into a few mathematical exercises. Now I know that I really have you interested. MATH and DRAWING all at the same time (and you thought that you would never need to know geometry)!
According to World Book Encyclopedia there are two types of perspective: aerial and linear. Aerial shows distance and depth by controlling the light, shade, and color change of the objects in the picture. Distant objects would appear hazier and the outline of the objects would be less sharp than those closer to the viewer. Linear perspective shows distance and depth using form, size, and position of objects.
THREE TYPES OF LINEAR PERSPECTIVE
Click images to enlarge
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One-Point Perspective: The object we are drawing will be viewed “head on”. The height and width of the object are parallel to the picture plane. The front of the object shows no depth; the sides and top or bottom extend into the picture and create the illusion of depth. Using this point of perspective in needlework would create realistic buildings. Look at drawing above. |
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Two-Point Perspective: The object we are drawing is viewed at an angle in two-point perspective. Only the height is parallel to the picture plane; the width will recede into the picture toward the horizon. To achieve this perspective we need two vanishing points on the horizon. Study the drawing above. |
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Three-Point Perspective: This type of perspective is used when we view our object from the top or the bottom. If the object is viewed at such an angle as to make the sides appear to be oblique from side to side and top to bottom, then we must use 3-point perspective. |
Now that we know about linear perspective, let’s talk about how we would divide an area so as to give it depth or distance. Suppose we want to draw and then stitch a picket fence placed behind a row of ribbon flowers.
Mark your horizon line on your paper and choose your vanishing point for the fence. Decide where your fence will begin and end. Draw a line for the first and last post.
Let’s make eight fence posts. Divide the fence post into eight even segments using a ruler. Draw lines from each of these segments to the vanishing point.
Now we draw a diagonal line from corner to corner. Each fence picket would be placed where the diagonal line crosses the division lines. Notice how they get smaller and closer together as they approach the horizon. I never realized math could be so much fun!
What if we wanted to make a marble checkered floor viewed at an angle (2-point perspective)? Easy as pi (I know, now, that I have gone too far)!
- Draw your horizon line and mark your two vanishing points. Determine the front angle of the floor. If we were drawing a box in 2-point perspective, the floor would actually be the top of the box.
- Draw a line parallel with the horizon line from the front angle of the floor to the left side of the picture plane. Divide this line into equal segments or how many rows of tile you want.
- Draw lines from the parallel line’s divided segments to the vanishing point on the right side of the picture plane. Now add a diagonal line from corner to corner.
- Draw lines from the left vanishing point through the intersections of the diagonal line and the measured segment lines. There you have your checkered floor!
DEFINITION OF TERMS:
- Picture plane – This is the area of the picture we are drawing. It is controlled by the size of our paper, canvas, or fabric. The picture plane is the “window” we are seeing our subject matter through.
- Viewing Point – This is the angle at which we are looking through our window. When drawing a subject our viewing point must remain constant. You can not sit down halfway through your drawing if you were originally standing; every object in your picture will change and you will not have a realistic perspective.
- Horizon– This is the point at which the sea or flat land and the sky meet. The horizon is always at eye level in our drawing. If you lie on the ground to establish your viewing point in the picture plane, then the horizon will be lower in the picture plane. Likewise, if you climb a ladder, the horizon will be higher in your picture plane. The closer to the horizon you place an object, the farther away it will appear. In linear perspective all objects will appear to recede to the horizon line.
- Vanishing Point – Lines that are parallel and level with the ground in your picture plane appear to meet at the same point on the horizon line. This point on the horizon is called the vanishing point. Think of standing on a railroad track and looking down the row of wooden ties. They appear to get smaller and closer together in the distance.
BIBLIOGRAPHY:
Cole, Alison. Perspective. New York: Dorling Kindersley, Inc., 1992.
Cole, Rex Vicat. Perspective for Artists. New York: Dover, 1976.
Edgerton, Samuel Y. “Perspective.” The World Book Encyclopedia. 1987, Vol. 15, p. 304.
Norling, Ernest. Perspective Drawing. Tustin, CA: Walter Foster Publishing, 1989.
Porter, Tom and Goodman, Sue. Manual of Graphic Techniques 2. New York: Charles Scribner’s Sons, 1982.
Porter, Tom and Goodman, Sue. Manual of Graphic Techniques. New York: Charles Scribner’s Sons, 1985.
Porter, Tom and Greenstreet, Bob. Manual of Graphic Techniques. New York: Charles Scribner’s Sons, 1980.
Powell, William F. Perspective. Tustin, CA: Walter Foster Publishing, 1989.
Watson, Ernest W. Creative Perspective For Artists and Illustrators. New York: Dover, 1992.
Wolchonok, Louis. Lessons in Pictorial Composition. New York: Dover, 1967.