final drawing

Marks are just ways of giving information, your job right now is to find out more information which you will be able to put into your drawing.

Principles of linear perspective:

1. Relative scale: When forms known to be the same or a similar size differ in their scale, they indicate differences in their position in a spatial field. Thus, the decreasing scale of a row of trees or fence posts suggests near and far forms in space.
2. Overlapping or blocking: When a form is in a position that interrupts the contours of one or more other forms, partly hiding them, we have the impression of a form being be=hind another in space. Thus, seeing part of an apple’s form as located behind another apple in full view suggest forms in space.
3. Relative distance and position: When forms, not overlapping, and known to be the same or a similar distance apart show a decreasing distance between them, we perceive them to be receding in space. Thus, the decreasing distance between fence posts or railroad ties suggest forms in space. Except when such forms are seen high above our eye-level, the higher a form is in our field of vision, the farther back in space it appears.
4. Convergence: When lines known to be parallel appear to converge toward each other, they give the impression of going back in space. Thus, corridors, houses, railroad tracks, or anything with parallel boundaries in any direction, appear to recede in space if these boundaries are seen as inclined toward each other.
5. Cross-section or cage lines: When forms naturally posses (or are, in a drawing, given) a linear-textured surface, as in the sue of structural line-groups or crosshatching, the relative distance and changes of direction between objects as different as sea shells, driftwood, cornfields, or barber poles, by their textured surface-state, convey forms in space.
6. Light and shade: When value-variation of a form known no to represent local-tones are discerned, volume is suggested. Thus, a cylinder whose value-variations gradually darken as they turn around one or both sides of its body is more easily understood to b e a volume in space. When on form casts a shadow upon another, its length, position, shape, and especially its scale and value suggest the distance separating the two forms, the shape of the form casting the shadow, and the planar surface-state of the form in the area receiving the shadow.

Principles of aerial perspective:

1. Clarity: When forms grow less distinct in edge, detail, and general focus, we assume they are farther away. Thus, mountains seen at a distance appear blurred.
2. Value range: When the value contrasts between forms diminish, often becoming lighter, but always more closely related, we assume these forms to be in deep space.
3. Relative texture: When forms known to be the same or similar in physical characteristics diminish in textural activity relative to others like them, we assume the less texturally active group to be farther away. Thus, nearby grassy areas are seen as texturally active, those in the distance appear relatively less so.