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Graphics 2 - Lecture 1 - Fundamentals of Perspective

The document discusses the fundamentals of architectural perspective. It begins with definitions and a brief history, including Filippo Brunelleschi's early experiments. It then covers key concepts like diminution, foreshortening, convergence, overlapping, shades and shadows. The techniques allow architects to represent 3D space and objects on a 2D surface. Overall, the document provides an introduction to linear perspective for architectural drawings.

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AL HAYUDINI
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291 views12 pages

Graphics 2 - Lecture 1 - Fundamentals of Perspective

The document discusses the fundamentals of architectural perspective. It begins with definitions and a brief history, including Filippo Brunelleschi's early experiments. It then covers key concepts like diminution, foreshortening, convergence, overlapping, shades and shadows. The techniques allow architects to represent 3D space and objects on a 2D surface. Overall, the document provides an introduction to linear perspective for architectural drawings.

Uploaded by

AL HAYUDINI
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Page 1

PAMANTASAN NG COLLEGE OF ARCHITECTURE


LUNGSOD NG MAYNILA AND URBAN PLANNING

GRAPHICS 2
FUNDAMENTALS OF
ARCHITECTURAL
PERSPECTIVE

ALNIE KHAYZER HAYUDINI, RLA, RMP


What is an Page 2

ARCHITECTURAL
(LINEAR) PERSPECTIVE?
a s y s t e m f o r re p re s e n t i n g t h re e -
dimensional space on a two-
dimensional flat surface, a
m e t h o d f o r c o r re c t l y p l a c i n g
t h re e - d i m e n s i o n a l o b j e c t s i n
pictorial space and illustrating
t h e d e g re e t o w h i c h t h e i r f o r m s
appear to diminish in size as they
re c e d e i n t o t h e d e p t h o f a
drawing. the uniqueness of a
linear perspective lies in its
a b i l i t y t o p ro v i d e u s w i t h a n
experiential view of space
A brief history of perspective Page 3

In 1415, Filippo Brunelleschi painted his


p i c t u re o f t h e B a p t i s t e r y o f S t . J o h n o n t h e
s u r f a c e o f a s m a l l m i r ro r, r i g h t o n t o p o f
i t s o w n re f l e c t i o n .  

To d e m o n s t r a t e t h e f a c t t h a t h i s p a i n t i n g
w a s i n d e e d a n e x a c t re p l i c a t h a t c o u l d f o o l
the eye, Brunelleschi drilled a small hole
i n t h e m i r ro r a n d t h e n s t o o d d i re c t l y i n
f ro n t o f t h e B a p t i s t e r y, l o o k i n g t h ro u g h
t h e p e e p h o l e t o s e e t h e re a l b u i l d i n g .  

H e t h e n h e l d u p a s e c o n d , c l e a n m i r ro r i n
f ro n t o f h i s p a i n t e d p a n e l .   T h e s e c o n d
m i r ro r b l o c k e d t h e v i e w o f t h e re a l
b u i l d i n g , b u t n o w re f l e c t e d h i s p a i n t e d
v e r s i o n o n t h e o r i g i n a l m i r ro r.  
Page 4

Leon Battista Alberti was


the first to formulate rules
that artists could follow
i m a g i n e d t h e p i c t u re
surface as an “open
w i n d o w ” t h ro u g h w h i c h a
painted world is seen, he
showed how a perspective
“checkerboard pavement”
i s c re a t e d w i t h i n t h e
p i c t u re s p a c e — i n w h i c h t h e
re c e d i n g p a r a l l e l l i n e s
re p re s e n t t h e v i s u a l r a y s
c o n n e c t i n g t h e s p e c t a t o r ’s
eye to a spot in the distance
Page 5

A l b e r t i d e v i s e d t h e m e t h o d o f p e r s p e c t i v e f o r a rc h i t e c t u r a l p u r p o s e s . H e i s
s a i d b y M a n e t t i t o h a v e m a d e a g ro u n d p l a n f o r t h e C h u rc h o f S a n t o S p i r i t o
b a s e d o n w h i c h h e p ro d u c e d a p e r s p e c t i v e d r a w i n g t o s h o w h i s c l i e n t s h o w
i t w o u l d l o o k a f t e r i t w a s b u i l t . We c a n c o m p a re t h i s d r a w i n g w i t h a
m o d e r n p h o t o o f t h e a c t u a l c h u rc h .
Diminution
Page 6

objects
appear
smaller as
their distance
from the
observer
increases
Page 7
Page 8

Foreshortening
lines or surfaces parallel to the
observer's face show their
m a x i m u m s i z e . a s t h e y a re
re v o l v e d a w a y f ro m t h e o b s e r v e r,
t h e y a p p e a r i n c re a s i n g l y s h o r t e r.
Convergence Page 9

L i n e s o r e d g e s o f o b j e c t s w h i c h a re p a r a l l e l a p p e a r t o c o m e t o g e t h e r a s t h e y
re c e d e f ro m t h e o b s e r v e r
P a g e 10

Overlapping
this obvious and very
simple technique not
only shows which
o b j e c t a re i n f ro n t a n d
w h i c h a re i n b a c k –
i t ’s a l s o a v e r y
important way of
achieving a sense of
depth and space in
drawings
Shades and Shadows P a g e 11

n a t u r a l l y t h e s h a p e a n d s t r u c t u re o f t h re e - d i m e n s i o n a l o b j e c t s c a n b e
u n d e r s t o o d o n l y w h e n v i e w e d I n s o m e f o r m o f l i g h t , b u t i t ’s re a l l y t h e
s h a d e s a n d s h a d o w s c re a t e d b y t h i s l i g h t re n d e r t h e s h a p e s re a d a b l e a n d
discernable
P a g e 12

Thank you &


*Images used in this presentation is not the property of the presenter.
Reference/s:
• D’Amelio, J. (1964). PERSPECTIVE DRAWING HANDBOOK. Tudor Publishing Company. ISBN 0-486-
43208-4.

keep safe.

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