Inventing Perspective

Spatial Perception can be triggered by many mechanisms. Once a few of those mechanisms are mastered then the artist will find it easier to invent persuasive spacial effects.  In the 1700s Piranesi was inventing spacial effects with his series of  prison interiors  (example 2). He referred to his series as “inventions”. They derive from an Italian tradition of capricci or, invented scenes based on collected observations and principles for constructing architecture, skies and figures.  The idea of perspective inventions continues.  In example 3  from 1987 Al Held masked out a grid of shapes which comported with principles of linear and color perspective to give an effective and almost perplexing sensation of space.

In example 1 I have a photograph which  needs to be reconfigured to give a more convincing sensation of space if some of the ice shapes were compelled (through redesign) to comply with our experience of  linear perspective. Observe the loop of red sitting within the two converging red  lines. It has been reshaped to represent a smaller piece of ice. This new shape’s  size (outside edges) was prescribed by the superimposed red vector lines.  As long as the ice piece touches both of those red lines (horizontally) it complies with the principles of linear perspective and reinforces the viewer’s sense of believable space. The red lines converge to a vanishing point on the eye level which is located above the picture (in this case, outside of the picture). This is the principle used by Piranesi.

With the Piranesi example (#2) notice that all the red lines  labeled “R” decline to a single vanishing point on the right while all the red lines labeled “L” decline to a single vanishing point on the left.  Both Vanishing points share the same Eye Level.  This is two point perspective because, we see two sides of the figure (the faces of perpendicular walls). I red-circled an anomaly ( see red letter A) in which the recessional lines do not comport with the same eye level  as the rest of the picture. No doubt, Piranesi laid this section out later. He estimated that it was close enough not to injure the credibility of the overall image.  However, I think it does destabilize the illusion.

example 1. Ice photo with diagram.

example 2. Piranesi Prison Invention.

Al Held’s perspective invention (example 3)  uses three point perspective to build a richer illusion with more spacial  trigger mechanisms. These include linear perspective, color perspective, and complex use of overlapping or occlusion. If you trace parallel shapes you will discover a common Eye Level but, many of the shapes are turned to use different vanishing points along that same  Eye Level.  Other shapes are tipped slightly down for example, compelling them to use a vanishing point below the dominant Eye Level.  This use of vanishing points below the dominant Eye Level qualifies  as 3 point perspective.

example 3. Al Held’s perspective Invention.

example 4. a detail from Held’s image.

In example 4 ( detail from example 3) notice that the overhead receding turquoise bars do not overlap a series of horizontal bands below them. This lets those bands  float into an ambiguous position . We are not sure if they are in front or behind the overhead bars because we are missing the clue of occlusion or overlapping.

Example 5. Newburyport Tug, photo with diagram.

Example 6. Newburyport Ice, 3 pt perspective.

In the photo of the Tugboat ( example 5) I have diagrammed the recessional lines receding to the Eye Level which is coincides with the horizon in this example.  Remember, parallel edges converge to a common vanishing point.  The reflections recede as well as their respective objects to a common vanishing point. Notice that lines A,B, and C all recede and converge to vanishing point #3. As the wall turns slightly left with lines D and E, a new vanishing point is established (see point #2). The tugboat and its reflections are turned to the right therefore, their vanishing point  (see green lines) is off to the right (see point #1).

The surface and submerged ice in example 6 use three point perspective. The Eye Level for the surface objects is above the picture plane (see red converging lines). The Eye Level for the submerged Ice which is declining on a downward shelf  uses a vanishing point below the surface level’s vanishing point (see the yellow lines aiming to the yellow vanishing point). As with example 1 I have drawn a red circle for the appropriately scaled piece of ice in the distance. The existing piece was too large to accommodate the receding rules of  linear perspective and therefore, it flattened the space. By making the piece smaller with its edges touching the parallel red recessional lines it can help the picture evoke deeper space.

Example 7.

Example 7a. without diagram.

Example 8.

Example 9. without diagram.

Example 7 offers a city view with apparent single point perspective but wait, the street markings offer a chance for a richer sense of flattening the street plane. By using 2 point perspective with vanishing points off to the sides of the picture (indicated by the green recessional lines) the street is made to feel broader and flatter. The picture also depends upon a color and value shift for its sense of space. The darker redder colors are closer and the paler blue territory is further away.

Examples 8 and 9 use principles applied in the cityscape to a forest/pond image. The nearer area at the bottom of the picture plane is yellower and the distant space is paler and bluer. I use the yellow/violet complementary relationship to push the colors apart geographically.  The diagram in example 8 shows the image using multiple vanishing points along a single sight line just as I did in the cityscape.

Allow me to invite you to my color workshop this Saturday ( Feb 22, 2014) at the Silvermine Art Center. If you are interested in this one day workshop call 203 966 6668 or go to silvermineart.org