3D street art

The world's largest 3D painting is unveiled at Canary Wharf. Joe Hill's anamorphic pavement painting covers 1,160 square metres.


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Welcome...

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This site is intended as a resource for perspective drawing. It is aimed principally at students of architecture, but the techniques should also be relevant to other subject areas. There is more to be added to the site and the history section is currently incomplete, but there should already be enough material for the site to be of value. A lot of the research into the literature of the subject was carried out in the 1990s. I thought it would be useful to place all this in the public realm, but some of it may need updating. Please provide feedback if you think there are any omissions or if the techniques are not clear. Paolo Uccello - Perspective Study of a Chalice, c. 1430-40 (source: Wikimedia Commons) A reconstruction of Uccello's chalice. This CAD model is based on exactly the same principles of perspective geometry (image copyright © Russell Light)
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Perspective illusion and David Nash's steps

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As part of his recent retrospective exhibition at Yorkshire Sculpture Park, David Nash created a site specific piece entitled 'Seventy One Steps', which forms part of the walking route between the two sides of the valley. " The intervention consists of seventy one oak steps, carefully charred and oiled, which follow the lie of the land up the hill. The steps are embedded in thirty tons of coal, to create a useful artwork that will gradually erode as it is walked on. The steps are an evolution of an abiding theme within Nash's sculpture that connects up and down, root and branch, and inspired by his primary interest in wood and trees. " (taken from the information board on site) The width of the steps gradually decrease as they rise up the hillside, with those at the top being roughly half the width of those at the bottom. This creates an accelerated perspective effect, which makes the stair appear longer and more impressive as one begins the ascent. By contrast...
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Vermeer: beyond the perspective frame

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The current Vermeer exhibition at the Fitzwilliam Museum, Cambridge has reopened the debate about the significance of perspective in the construction of paintings. The Music Lesson, 1662  (source: Wikimedia Commons) The role of perspective and more specifically the use of a camera obscura in the work of Johannes Vermeer has been explored in recent years by a number of authors. Dubery and Willats (1983) demonstrated that the accurate perspective constructions that underlay Vermeer's paintings made it possible to work backwards from the finished painting and reconstruct the architectural space in three dimensions, using Leonardo's distant point method. In 2001, David Hockney and Philip Steadman both proposed convincing arguments that indicated that this accuracy was based not on a geometrically constructed perspectival space, but was instead derived from the use of a camera obscura. The camera obscura (literally a 'dark room') is based on the optical principles of lenses ...
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