Examples of one point perspective.
Single Point Perspective, straight. Single Point Perspective, curved.
Lines that go into the distance to a vanishing point converge at the vanishing point. A curving path does the same, merely stays a reflected shape to the curves.
Hills and Valleys
In this illustration we see some new words appear and a concept that will help to give scale and distance to your landscape compositions.
They are Foreground, Middle Distance and Distance. They are also known as the “three planes.” In order to show you how to drop the perspective into a valley I have used these three planes. The furthest figure is the same height as the foreground or closest figure. We know this because her eyes are at the same level as the one closest. This will also be similar as the foreground land being the same height as the land under the hill the distant figure stands on in scale to the figures. The path drops away below the foreground hill and so does the next figure on the path. Then as the path rises, they reappear, much lower than the distant figures eye line. The lower they are than our horizon or eye level then the lower down they actually are on their own level and into the valley.
Okay, now let us look at this with one point perspective, using buildings and just two figures to give us some sense of scale. The houses start above our eye level and so are taller than us. In this case, all the one point perspective goes to a vanishing point where the road meets the horizon. As we go over the foreground hill edge the houses start to drop below our eye level or horizon line. The doorways still give us an idea of scale and the buildings get smaller as they recede into the valley. Figures going down the hill would be as in the previous illustration.
Advanced Perspective
Two point perspective with one vanishing point on the horizon and one up in the sky to give the illusion of towering buildings.
Stairs
When drawing stairs the horizon is equally important, as below the horizon line we are looking down on the stairs and at the horizon level with a step surface. Any steps above this line will only show and edge and the facing vertical wall of the step. In fig.1. we are looking down on the steps so the horizon must be above the top step. The surface steps also appear to go back as I have drawn them in one point perspective. In fig.2. I have only made the steps narrow as they go up to the top. This gives a slight illusion of receding height, but we do not know at what level we are as no surface steps show, it would have to be assumed we are below the lowest step? The banister in fig.2. confirms that all verticals remain vertical and as they recede in perspective they will get closer together.
In the next illustration fig.3. shows the steps I am going to use to show you the difference your eye level makes to how you see the tops of steps.
Fig.4. takes the scale of these steps onto three similar illustrations, but take note of the horizon line that runs through each of them at different levels.
You only see the tops of steps below the horizon line. In fig.5. you see a low view point, in fig.6.a medium view half way up and in fig.7. nearer to the top you can see nearly all of the steps.
Arches.
The illustration of arches brings in a new phrase and technique we use in perspective. That of Foreshortened Form, this means that an object that comes towards us may appear shorter and narrower than when face on. If you look into a large mirror and put your arm out to one side then you will see the full length of your arm. If you put it towards the mirror then your hand will become closer to the mirror and not only become larger than your face in the reflection, but your arm will have the appearance of being shorter. My next illustration of a pencil shows this. Try it with yours?
Inventing perspective and Distortion. Seeing an Entire room.
