The sketch appears as if I was sitting further away (a longer train carriage!) This result demonstrates a problem I sometimes find when using one point perspective for interiors – it artificially causes the viewer to sit straight on to the end ‘wall’ of the space and anything out of the standard 60 degree cone of vision becomes distorted. The doors were too long and the overall space looks wrong. When I did this all the angles were more accurate but I ran into a problem on the right side. My next step was to setup a one point perspective of this view starting with the same middle ground area, but this time drawing the space first rather than drawing the grabrails. They look ‘bearable’ to me in the original sketch but on reflection, I think the wrong angles I drew might be the result of a different head position, and therefore a different vanishing point. The major ‘errors’ where the lines to the doors. Note: Although I wasn’t thinking about perspective, the general principles are ingrained into my visual thinking so I am always unconsciously relying on them.Īs I often like to do, I did a quick perspective review of my sketch, determined where the vanishing point would have been and then checked my lines. I was pleased with the end result, as it felt like the space I was looking at, even though I knew I didn’t achieve perfect perspective.
I wasn’t thinking about a one point perspective at all, simply drawing what I saw and relying on relationships. I then extended my sketch up, down and across drawing the additional parts purely by relying on relationships – relating the yellow grabrails and doors to the parts that I had already drawn.ĭoing this involved moving my head to a number of different positions. So anyway when I did this train sketch, the only part of the view that I could see without moving my head was the middle ground section with the stairs – the black square in this sketch. This single fixed viewpoint is also what traditional linear perspective describes. We move our heads around a lot when we sketch, so our view is never the static single viewpoint we see in a photo. When we are out sketching, we often want to sketch a scene that is wider/broader than what we can see from a single position. In her case, she was sketching inside a cathedral and thinking about perspective and distortion caused by drawing a very tall close-up subject – she wrote an amazing blog post about it here. Last week I was thinking about ways to improve accuracy as that was the topic I was teaching in my architect’s workshop, but I also had had a discussion with Suhita about wide angle views. I shared the thoughts which prompted me to do the sketch, but I want to come back to it and explain these in a little more detail. If you watched my recent vlog you would have seen a brief discussion about this simple sketch looking down a train carriage.
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