Graphical projection

Graphical projection is a protocol by which an image of a three-dimensional object is projected onto a planar surface without the aid of mathematical calculation, used in technical drawing.The projection is achieved by the use of imaginary "projectors".

There are two types of graphical projection, categories each with its own protocol:

1. perspective projection (Previously Discussed)
2. parallel projection

Isometric Projection 

One Point Perspective

Oblique Projection

Oblique Projection

    

      Parallel projection

In parallel projection, the lines of sight from the object to the projection plane are parallel to each other

A.      Orthographic projection             

The Orthographic projection is derived from the principles of descriptive geometry and is a two-dimensional representation of a three-dimensional object. It is a parallel projection (the lines of projection are parallel both in reality and in the projection plane). It is the projection type of choice for working drawings.

 

B.       Pictorials

i.            Axonometric projection      

Within parallel projection there is a subcategory known as Pictorials. Pictorials show an image of an object as viewed from a skew direction in order to reveal all three directions (axes) of space in one picture. Parallel projection pictorial instrument drawings are often used to approximate graphical perspective projections, but there is attendant distortion in the approximation. Because pictorial projections inherently have this distortion, in the instrument drawing of pictorials, great liberties may then be taken for economy of effort and best effect. Parallel projection pictorials rely on the technique of axonometric projection ("to measure along axes").

ii.            Isometric projection  

In isometric pictorials, the direction of viewing is such that the three axes of space appear equally foreshortened, of which the displayed angles among them and also the scale of foreshortening are universally known.

All isometric drawings are made with the 30-60 triangle, and most of them are done in angular "perspective" where the two sides make an angle of 120 degrees with each other and 30 degrees with the horizontal. In isometrics all sides that are parallel stay parallel and will not vanish to a vanishing point if prolonged. There are neither vanishing points nor foreshortening in isometric drawing. The difference between true perspective and isometric drawing is shown in the diagram 34, where A is the perspective of a block and B is the isometric drawing of it. It is also shown clearly in Figure 35 where C is the perspective and D the isometric drawing of the same thing.

The three vertical edges a, b, and c of the block are called isometric axes, and all lines parallel to these edges are called isometric lines. Measurements can be made on the main isometric axis (b) only, for all other lines are inaccurate because they are not in true perspective.

Isometric drawing

Is made up of a series of parallel vertical lines and parallel 30 degree lines

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It is usually drawn out with the aid of a 30/60 degree set square. Isometric is 30 degrees only

Sometimes Isometric grid paper is used to aid the drawing

NOTE: THERE ARE NO HORIZONTAL LINES

iii.            Oblique projection   

In oblique projections the parallel projection rays are not perpendicular to the viewing plane as with orthographic projection, but strike the projection plane at an angle other than ninety degrees. In both orthographic and oblique projection, parallel lines in space appear parallel on the projected image. Because of its simplicity, oblique projection is used exclusively for pictorial purposes rather than for formal, working drawings. In an oblique pictorial drawing, the displayed angles among the axes as well as the foreshortening factors (scale) are arbitrary. The distortion created thereby is usually attenuated by aligning one plane of the imaged object to be parallel with the plane of projection thereby creating a true shape, full-size image of the chosen plane.

 

Method of Drawing

 

Oblique projection is a method of drawing objects in 3 dimensions. It is quite a simple technique compared to isometric or even perspective drawing. However, to draw accurately in oblique projection traditional drawing equipment is needed

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The technique for drawing a cube in oblique projection is outlined below, stage by stage. To draw it correctly in oblique projection three main rules must be followed:
1. Draw the front or side view of the object.
2. All measurements drawn backwards are half the original measurement.
3. 45 degrees is the angle for all lines drawn backwards

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A. Draw the front view. Remember to use a T-square and 45 degree set square.

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B. Draw 45 degree lines from each corner of the square. The distance of any lines drawn back at 45 degrees should be halved. For example, a cube may have sides of 100mm but they must be drawn 50mm in length. This should mean that the cube will look more realistic and in proportion

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             C. Draw 45 degree lines from each corner of the square. The distance of any lines drawn back at 45 degrees should be halved. For example, a cube may have sides of 100mm but they must be drawn 50mm in length. This should mean that the cube will look more realistic and in proportion.

 

Lettering

Your Artist Statement: Explaining the Unexplainable

Q: Why do I have to write an artist statement? It's stupid. If I wanted to write to express myself I would have been a writer. The whole idea of my art is to say things visually. Why can't people just look at my art and take away whatever experiences they will? 

A: Artist statements are not stupid; they're more like essential. And you don't have to be a writer to write one. And people already look at your art and take away whatever experiences they will. Your artist statement is about facts, a basic introduction to your art; it's not instructions on what to experience, what to think, how to feel, how to act, or where to stand, and if it is, you'd better do a rewrite. 

On this planet, people communicate with words, and your artist statement introduces and communicates the language component of your art. People who come into contact with your art and want to know more will have questions. When you're there, they ask you and you answer. When you're not there, your artist statement answers for you. Or when you're there, but you don't feel like answering questions, or you're too busy to answer questions, or someone's too embarrassed to ask you questions, or you're too embarrassed to answer questions, then your pal, your artist statement, does the job for you. So let's get busy and write the damn thing...

Just about all artists want as many people as possible to appreciate their art. A good artist statement works towards this end, and the most important ingredient of a good statement is its language. WRITE YOUR STATEMENT IN LANGUAGE THAT ANYONE CAN UNDERSTAND, not language that you understand, not language that you and your friends understand, not language that you learn in art school, but everyday language that you use with everyday people to accomplish everyday things. An effective statement reaches out and welcomes people to your art, no matter how little or how much they know about art to begin with; it never excludes. Rest assured that those who read your statement and want to know more will christen you with ample opportunities to get technical, metaphysical, philosophical, personal, emotional, moralistic, socially relevant, historical, environmentally responsible, political, autobiographical, anecdotal, or twisty with jargon-- LATER, NOT NOW. 

Like an introduction to a book, your statement presents the fundamental underpinnings of your art; write it for people who like what they see and want to know more, not those who already know you and everything your art is about. In three to five paragraphs of three to five sentences each, provide basic information like WHY YOU MAKE YOUR ART, WHAT IT SIGNIFIES, HOW YOU MAKE IT, WHAT IT'S MADE OUT OF, and perhaps briefly, WHAT IT MEANS TO YOU. Don't bog readers down, but rather entice them to want to know more. As with any good first impression, your statement should hook and invite further inquiry, like a really good story is about to unfold. Give too little, not too much. 

People have short attention spans. When you overload readers with details, you risk drowning them in minutia, and discouraging those who might otherwise persevere if you keep it simple. Address and answer commonly asked questions about your art. Save the complicated stuff for those who progress to the next level. Don't worry about having to satisfy your dedicated fans. You won't bore them and you won't lose them; they already love you. And if they have questions, they know how to get them answered. Remember-- your statement is about broadening your audience, not keeping it static. You'll have plenty of time to give your most recent converts the grand tour-- LATER, NOT NOW-- you have to convert them first. 

Plus this... you're statement is about you, so personalize it. Write it in the first person, not like you're talking about yourself in the abstract. Infuse it with your unique perspective. Whenever possible, make it conversational, like you're speaking directly to readers (Note: A good editor can work wonders here). The more complicated, theoretical, arcane, inscrutable, bloated, pompous, elitist, egotistical, bombastic, arrogant or impersonal your statement, the more trouble people will have trying to hack through it and connecting with you and your art on meaningful levels. Few readers want to burn calories trying to decipher complexities; they burn 'em all day long. For now, they just want to see your art, take it easy, have fun and enjoy themselves. 

Additional considerations:

* Artists are artists, not writers, so think seriously about hiring a professional writer or editor, preferably one with an art background, to help you convey what you want your statement to convey in language that ordinary everyday people can understand. 

* Make "I" statements rather than "you" statements. Talk about what your art does for you, not what it's supposed to do for the viewers. This doesn't mean you start every sentence with "I," but rather that you respect people's autonomy and allow them to respond to your art however they wish. 

* At all times, give readers the option to agree or disagree with you. Never pressure them or dictate outcomes. 

* Avoid comparative or evaluative comments that have been made about your art by third parties such as gallery owners, critics, collectors, or curators. These belong in your curriculum vitae. In your statement, they're name-dropping; in your curriculum vitae, they're testimonials. 

* Connect what your art expresses with the medium that you're expressing it in. For example, if your art is about world peace, and it consists of twigs protruding from pieces of clay, explain the connection. Arbitrarily stating that twig/clay protrusions represent world peace leaves people wondering. If of course, the object of your art or your statement is to leave people wondering, then that's OK. In art everything is OK, but in order to succeed as an artist, someone beside yourself generally has to get the point of what you're doing.

* Be specific, not vague. For example, if your art is "inspired by assessments of the fundamentals of the natural world," tell which fundamentals you're assessing and how they inspire you. 

* Avoid obscure references to music, art, literature, history, or anything else that requires detailed explanation or gobs of previous knowledge. If you have to make such a reference, explain it fast so that people know what you're talking about. If you can't do it fast, do it later. 

* Tell the story about what led up to your art ONLY if it's short, compelling, and really really relevant. People are generally not interested in progressions of antecedent events. Something leads up to everything; we all know that. 

* Avoid comparing yourself to other artists. If other artists influence you, fine, but don't say, "Like Picasso, I do this" or "Like Judd, I do that." Instead, say something like "Picasso's Blue and Rose paintings influence how I use yellow." Better yet, leave other artists out of your statement altogether. Let the critics decide who you're like. Plus you don't want to invite comparisons between yourself and the greatest artists who've ever lived. We all know who the victor's gonna be there. 

* Don't instruct people on how to see, feel, behave, respond, or otherwise relate to your art. Nobody likes being told what to do. Instead of saying "You will experience angst when you see my art," say "This art expresses my angst" or "I express my angst through my art." Or see a therapist and work it all out. 

***

Before you go public with your statement, get feedback. Show your art and statement to friends, friends' friends, and maybe even a stranger or two. Make sure they get it, that they understand what you want them to understand. When they don't, or you have to explain yourself, do a rewrite and eliminate the confusion. If you need help, find someone who writes or edits and have them fix the problem. Many times, a little rearranging is all that's necessary to make your statement a clean clear read.

No matter how good your statement is, know up front that most people will read it and move on; only a few will want to know more, fewer yet will want to know everything, and fewer yet will ultimately progress to the point where they actually buy something. That's simply the nature of art and personal taste. Having said that, never underestimate the power of an effective statement to intensify, enhance and advance how people experience your art.

Adding boxes to 2 point perspective grid

This Video you Will find instruction on how to use the two point perspective grid to help in constructing a cube.

Adding a Cube to a One-Point Perspective Grid

This Video you Will find instruction on how to use the one point perspective grid to help in constructing a cube.

Two Point Perspective - Grid

One Point Prespective - Grid