= 5 Wis == i kp Sis eaten (Stim FE Hue — LL » ay ae SS eee 1Ve~ 3 C es ee SS BOSS Co ‘and Other amazing Drawing ‘Systems that Will Make Your Drawings Pop Off the P¢ = es boa : EA \ VS AOS eee SEs SEA abe Ss SES SSS ue KAS PEI S: omnes cae LLREE EIS oe o CRE yin ce 2: ae ou & ine — - KE ou oP oF HE pase DAVID CHELSEA re eae on aoe aya _ eIiCaTio nis oye err ey “z evieinzAr’ 7 Cr Inge aa wine? TO MY FAMILY Copyright © 2011 by David Celsi All rights reserved. Published in the United States by Watson-Guptill Publications, an imprint of the Crown Publishing Group, a division of Random House, Inc. New York. www.crownpublishing.com ww w.watsonguptill.com WATSON-GUPTILL is a registered trademark and the WG and Horse designs are trademarks of Random House, Inc. Library of Congress Control Number: 2010932240 ISBN 9780823026654 Ebook ISBN 9780823027163 Design by Jess Morphew a Acknowledgments 6 Preface 7 EXTRA VANISHING POINTS 3 ANAMORPHOSIS: PERSPECTIVE THAT POPS SHADOWS AND LIGHT 39 MAPPING SPACE 65 WIDE, WIDE ANGLE 74 FISHEYE PERSPECTIVE is} CYLINDRICAL PERSPECTIVE 109 PARALLEL PLAY 125 REFLECTIONS 145 PERSPECTIVE ON THE COMPUTER 156 Glossary 169 Index 175 29 ACKNOWLEDGMENTS My thanks to the unfailingly patient and perceptive editors Candace Raney and Caitlin Harpin, who managed to wade through the sometimes dense and con- fusing material in this book without once losing their way, and art director Jess Morphew, who made it all look as goad as possible. Gary Falgin, founder of the Gage Academy of Art and my first perspective teacher nearly thirty years ago, once more provided an invaluable second pair of eyes, as he had on my first perspective book. | could not have completed this project on time without the able assistance of Evan Bartholomew, Dan Cottle, Jacob Mercy and Jefferson Powers. | would like to especially single out Jefferson, a skilled cartoonist in his own right, for showing me the hidden possibilities in Adobe Illustrator. This ap- plication had been sitting on my hard drive for years without my having found a use for it, but it turns out to be ideally suited for perspective diagrams. The spiral staircase sequence in the Extra Vanishing Point chapter is entirely Jefferson's work, and following that example | was able to do the rest of the diagrams in Illustrator. Tom Lechner’s help was invaluable in creating cylindrical versions of the perspective grids, which in turn were the basis for the fisheye grids. Above all | thank my family—my lovely wife Eve, son Ben and daughter Rebecca, for their support and company during the period | was working on this book, Ben, a crawling baby when my first perspective book came out thirteen years ago, has by now acquired enough computer skills to provide his dad valuable CGI assis tance. The 3D model of the perspective gazebo is entirely Ben's work, but he has created much more elaborate work on his own, including several all-CGI video games. As perspective was the cutting edge of art in the Renaissance, computer art is the cutting edge of today, and the next generation is already swimming in seas | have barely stuck my toe in. EXTREME PERSPECTIVE! FOR ARTISTS PREFACE Welcome to Extreme Perspective! for Artists, a follow-up to Perspective! for Comic Book Artists, which appeared in 1997. Let me say at the beginning that | love comics and think itis the ideal medium for explaining a complex subject like perspective, but it does have its drawbacks. Comics are not an especially compact way to get across information; a point that another book can make in a paragraph may take me several pages. For that reason | knew on the first book that space would not allow me to cover everything | might have liked to, and a fair title for the follow-up could be Stuff Left Out Of The First Book. | always knew that there would not be room for aspects that are routinely covered in other books but which can be con- sidered peripheral, like reflections, shadows, staircases and inclined planes, which happily you can find within these pages. | had intended to include chapters on curvilinear perspective and paraline drawing, but had to drop them as my deadline loomed. Just as well, because those chapters became the nucleus of the new book. | hope those readers who have been waiting for my take on these aspects and others will enjoy exploring perspective further with me. First, we'll take the stairs. PREFACE 7 CHAPTER 1 Extra Vanishing Points In the first book, I said to Mugg, “You live in a box.” | meant that we all live in boxy rooms and rectilinear streets, which we can capture in simple one-, two- , or three- point perspective. However, almost nobody lives in a pure box. How, for example, would you depict a slanted roof, an octagonal table, or even a spiral staircase? For these complicated structures, we need to place extra vanishing points on the hori- zon. Don't worry, it’s not as complicated as it sounds, l Gig EXTRA VANISHING POINTS 9 10. EXTREME PERSPECTIVE! FOR ARTISTS