Vancouver Film School

Lesson Two :: Compound Objects and Object Design

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

Finding Centres of Rectinlear Objects

Through the construction of a 1pt and 2pt grid, any number of perspective illusions may
be achieved (tile floors, checkerboards, sidewalks, etc.). The nature of 1pt and 2pt
objects is such that perfect squares of both may be development by aligning the centers
and corners of each with the other. Not only does this allow for the creation of perfect
squares (and cubes as a result) but also opens up the possibility of creating any variety
of rectangular shape by doubling, halving, etc. the created square. Ill.1 shows a step-by-
step process of creating first a 1pt square, and from that a grid of 1pt and 2pt squares.

Ill.1: 1pt and 2pt square perspective grid

The alignment of 1pt and 2pt squares in this grid has a number of useful applications
which can be extended to non-square rectilinear objects. The connection of the
diagonals of the squares in Ill.1 identify the center of each square.

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

By flipping the grid from Ill.1 on its side (thereby using the Station Points in the same way
the 2pt vps were used to establish the horizontal grid squares), we can see the
recessional division on a verticle plane. in Ill.2. This makes it possible to establish
squares, along both hoirzontal and verticle planes, and as a result cubes in both 1pt and
2pt perspective.

Ill.2: Station points now act in the same way as 2pt vps to establish the equal recession of squares along a verticle plane.

The shape need not be a perfect square. Once the centre of the object in Ill.3 has been
identified, a line can be drawn from this central position to its respective vanishing point,
and then by drawing a diagonal line through the midpoint of its back edge from wither
the top or bottom of the front edge, until it intersects with the recessional lines of either
the bottom or top edge, the position of the next block of space is identified.

Ill.3: Another method of establishing consistent recession. The shapes may not be squares, but they are equal.

By locating the center of the object it can the be further subdivided into quarters, etc. ;
or expanded to create larger shapes with equal scale proportions. This process may be
applied to objects of any dimension rectilinearly to achieve consistent perspective

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

recession. The rectangles in Ill.4 in the topmost image are not only equally sized, but the
verticle lines that control their size are also equally spaced. This creates a believable
sense of consistent recession, that can be used in many instances, such as the recession
of fenceposts in the bottommost image of Ill.4.

Ill.4: By equally dividing the front edge of this object into 5 sections, connecting those points to the central vp, and then drawing
a diagonal through those receding lines the intersecting point identify where equally sized rectangular units will be.

Applying the basic premise of this

process makes it possible to more
easily construct both large and small
perspective objects, and maintain a
believable sense of scale. This has
been applied to the house, tennis
court and billboard in Ill.5. Finding
the center of the house in the
topmost image allows to extend a
center line to locate the peak of its
roof. The center line of the middle
image allows for the location of the
net on the tennis court, and the
center point on the billboard in the
bottom image allows for the centering
of the advertisement on its surface.
It is a small step from this knowledge
b a s e t o t h e c re a t i o n o f m o re
elaborate interior and exterior
spaces, such as the one in Ill.6. This
concept is also the key to developing
other shapes such as cylinders, cones
and pyramids, when developing more
Ill.5: The center of all these objects is located by the intersecting
complex compound objects. point of the diagonals extended from its corners.

2D Design :: Lesson Two :: Compound Object Design

 Vancouver Film School

Ill.6: Consistent perspective recession and simple geometric shapes provide the foundation for a convincingly realistic space.

Ellipses in Perspective

Ellipses tend to be more difficult to draw convincingly in

perspective, but the job can be made easier if the circle it
actually is, is first related to it associated square. An ellipse
that is meant to represent a circle with perspective distortion
will vary depending on how far above or below the hl it is(if it
is horizontal), or how far removed it is from the cov to the left
or right. Because circles very conveniently fit into squares in
a very specific way, if the amount of perspective distortion
attached to a square can be found, so too can be that which
affects its associated circle. Ill.7 shows how squares and
circles ‘fit’ each other and how the appearance of both
square and circle vary depending on the position with respect
to the hl (the same would be true if the square/circle were
flipped on a verticle axis and moved to the left or right of the
cov).

Ill.7:A perfect circle ts perfectly into a perfect square. Both the square and the circle
change perspective shape when they are moved above and below the hl, or to the left or
right of the cov.

2D Design :: Lesson Two :: Compound Object Design

fi

 Vancouver Film School

Basic geometry tells us that the widest part of a

circle is its diameter. By finding the central
bisecting point of a square as in Ill.4 we also find
the widest section of the associated circle.
However, in so doing we do not find the widest visual
part of the ellipse associated with that square once
it has been perspectively distorted. The widest
visual part of an ellipse is its visual axis. The visual
axis always occurs in front of the diameter. This is
because as we look at an elliptical object (circular
or otherwise) in perspective, the curvature of of the
object itself obscures our view of its diameter.
Thus, the object appears to be wider at a point
other than its actual widest part (Ill.8). The visual
axis of an ellipse is a line running parallel to the Ill.8: The diameter is the widest part of the circle,
but when that circle is perspectively distorted its
diameter at approximately the half way point widest section is its visual axis.
between the front and back edges of its associated
square (Ill.9).

Ill.9: The visual axis of an ellipse is a line running parallel to the diameter at approximately the half way point between the front
and back edges of its associated square

The same would be true of a

square and circle on its
verticle axis. It is easier to
find a verticle square and
ellipse by first finding a
horizontal one to compare it
to. The only significant
difference between a verticle
and horizontal ellipse is that
the visual axis will be at the
halfway point between the
left and right edges in Ill.10
(which are also, and still, the
front and back edge).
Controlling both is a critical
Ill.10: The visual axis of a verticle ellipse is still the halfway point between the skill in developing elliptical
front and back edge (or left and right edge in this example). objects.

2D Design :: Lesson Two :: Compound Object Design

 Vancouver Film School

Another critical point to remember when drawing cylinders and cones, is to firmly
establish your verticle and horizontal axis. Unless the object is tilted, these will
perpendicular and parallel to the horizon line respectively. As Ill.11 shows, there is no
such thing as a 2pt ellipse. Circles do not have edges, so even though the square that is
associated with a circle changes its visible appearance when rotated 45 degrees, a circle
does not.

Ill.11: The verticle and horizontal axis of a cylinder (or cone) must be perpendicular and parallel to the hl respectively, unless
the object is tilted .

Underlying Shapes in Object Design

Reduce the object to a single mass shape to define the basic space the object occupies.
Rotating a square or a cube that encompasses the entire kettle in Ill.12 to reveal
alternatuve angles of description is a much simpler undertaking than rotating the entire
kettle and all of its individual parts. The kettle is reduced to its simplest form to handle
the shifting perspective more effectively. Each individual element of the kettle is handled
in the same way, so that they may be understood separately and then reassembled to
construct the final form of the object.

Ill.12: The verticle and horizontal axis of a cylinder (or cone) must be perpendicular and parallel to the hl respectively, unless
the object is tilted .

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

You can clearly see from the underdrawing

of Ill.13 how the lamp has been constructed
from much simpler geometric shapes. This
allows the object to be rotated into multiple
positions with a limited amount of invested
time, as well as developing a much clearer
understanding of how the object is
constructed. In order to do this, you must
imagine that you can see through the object
as if it were invisible, so correctly attach
these basic shapes together. For example,
the cross-hair underneath the verticle post
of the lamp in the lower left example, tells us
not only where the centre of the ellipse is,
but where that ellipse is in relation to the
base upon which that post is situated. Each
element of the lamp has been constructed
and assembled in a similar manner.

Ill.13: Multiple viewpoints of a single object are more easily achieved when the underlying geometric shapes of that object are
clearly understood and assembled properly.

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

2D Design :: Lesson Two :: Compound Object Design

 Vancouver Film School

ASSIGNMENT TWO

To be included in submitted assignment package (as per examples in class):

1. ONE page: 18-square grid - Vertical and Horizontal with ellipses in

Grid.

2. All requested Spheres, Cylinders and Cones (17 total)

3. Development of Building (as per example) through 3 stages:

3.1. Orthographic drawing and Mass Shape in 3 different perspectives

3.2. Subdivision/Addition of all basic geometric shapes

3.3. Pattern and Details

Save as SINGLE PDF document. Save document as: YourNameFD#.pdf

Label your drawing: Name and Class (bottom right corner of image)

UPLOAD to designated assignment folder on MOODLE before next class (unless

otherwise indicated)

LATE Assignments will not be accepted (no excuses).

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

2D Design :: Lesson Two :: Compound Object Design

Vancouver Film School

2D Design :: Lesson Two :: Compound Object Design

 Vancouver Film School

2D Design – Jay Senetchko

Assignment 2: Compound Object Design

Name: Class:

Presentation: /10

Objective: /30

Creativity and Effort: /30

Line Quality: /30

Total: /100

2D Design :: Lesson Two :: Compound Object Design