perspective Presentation:
In this tutorial you will find essential theoretical elements to develop in students the ability to recognize and identify the concept of perspective, its evolution throughout history and the different ways that exist to develop an image in this discipline.
Objective:
develop in students the ability to identify and establish relationships of the fundamental concepts (theoretical - practical) technical drawing in more complex structures. By conocimeinto various aspects of perspective.
class dynamics:
- Perform conceptual map of the theoretical content of the tutorial.
- enter the link found at the bottom of the tutorial and do the exercises given by the teachers in this interactive page that offers different figures with their respective solution. (Work of observation and reconnaissance).
esudio Theme:
"The technical drawing is one that is on a flat surface (such as paper), all kinds of objects, with the aim of providing the information necessary for the construction of it, either real or conceptual .
story "The history of technical drawing start due to the need to communicate with graphics or pictures. The first images we know are the cave paintings in them are not only trying to represent reality around him, animals, stars, the man himself, and so on., But also feelings, as the joy of dancing, or the tension of the hunt.
Throughout history, this need to communicate through pictures, it has evolved, leading on one side to the other artistic design and technical drawing. While the first attempts to communicate ideas and feelings, based on the suggestions and stimulating the viewer's imagination, technical drawing, aims at the representation of objects as accurately as possible, in form and dimensions.
Today, we are seeing a convergence between the goals of artistic and technical drawing. This is due to the use of computers in technical drawing, they yield 3D virtual recreations that although objects represent the true size and shape, they also carry a heavy burden for the audience suggestion " [1] .
[1] Wikipedia the free encyclopedia
"The Evolution of Technical Drawing in the story is like many of the changes that have been our present, by the conception of what the communicative expression, perhaps more dilocuente and we always will insinuate that the ideological differences for each person will never be the same. (... ...) The drawing has different ways of projecting real objects and situations in which man is wrapped to the full satisfaction of the need for spaces that this has for the daily performance of his life " [2] .
"According to the definition of descriptive geometry is" the science which teaches three-dimensional objects represented in a two dimensional surface, so that the image in perspective and offers a direct view match. " In contrast, in the history of art the term is used broadly to indicate the most diverse methods of representation of spatial depth. As a story this way coincide with the perspective the history of pictorial representation. The Latin word derives from perspicere perspective (see clearly) and corresponds to the Greek skele (vision science).
During Antiquity and the Middle Ages there was no distinction between optics and perspective, either because the treaties were overtly geometric optical (Greek texts) or because they were engaged in physical and psychological problems (and medieval Arabic texts) in no case was raised the problem of artistic representation. This does not exclude, obviously, to take place attempts to use perspective in art. For example (for a controversial piece of Vitruvius) we know that Greeks learned methods for realizing the vision of the theater stages, a reference to which can be found in Pompeian paintings (however do not seem to have ancient knowledge of perspectival systems discovered in the Renaissance). Moreover, in paintings of the thirteenth and fourteenth centuries appear geometric patterns and empirical formulas of representation in perspective and broadcast widely in the field of "workshops".
But only during the Renaissance produce fundamental qualitative leap with the passage of a scientific quest to artistic problems of the science of vision the science of representation. The rules for correct perspective construction (with the convergence of the depth contours in a vanishing point unifying two vanishing points in the case of bifocal perspective, and scientific computing depth intervals. In the early seventeenth century becomes the object of mathematical research, the term of which corresponds to the development of descriptive geometry and projective geometry. Now perspective treaties have become forms of practical rules for the reduction in perspective especially in the field of architecture and theater sets in relation to the European wide dissemination of taste by the square which took place during the seventeenth and eighteenth centuries (decorated with fake architectures that extend the real space so illusory). Such was the persuasiveness of the theory of Renaissance perspective, which for centuries was never put into question the proper perspective construction could not correspond exactly with real vision. In fact, the Renaissance was highly abstract process and it took place the said agreement presupposed a fixed observation point at a distance with vision in one eye only perfectly still " [3] .
[2] www.agustinianodesannicolas.edu.co Section of learning JUAN CARLOS PINEROS Monday, August 22, 2005.
[3] Taken from Encyclopedia of art. Garzanti-Ediciones B. Barcelona, \u200b\u200b1991. Page 743
prospects Classes
Linear Perspective
When an image of parallel lines seem to merge in the distance, it creates an impression of depth, this is known as linear perspective and can be used on the picture to catch the eye of the observer within the scene.
If you look at a road appears that the lines gather more each time till they touch at a point near the horizon, there is an example of what linear perspective, so you can see the train tracks, the avenues, the reflection of sun in the sea at sunset. The choice of perspective and the objective is important in intensifying the effect of linear perspective. The steeper the angle of the converging lines in an image, has three-dimensional effect.
P VERVIEW oblique We begin by tracing the line of the horizon and it indicates the point of Fugue 2 (PF2) and the vertical from our point of vista.Desde the (PF2) will draw two lines not too far apart from the horizon and it will build a the cube or hexahedron (Fig. 11)
then from the upper left corner, draw the line C until it intersects the horizon, which indicates the point of Fugue 1 (PF1), trying that line C with the line to form an angle greater than 90 º. (Fig. 12). 
Then we draw from the point PF1, line D to the lower left corner and proceed to build other side face. (Fig. 13). 
To build the top, we will draw from the vanishing point (PF1) and (PF2) paths lines E, F, to the upper lateral corners (Fig. 14) 
visually
We have formed the hub, but to ensure that truly is a cube we draw the lines and faces, opposite which naturally do not see, for it will draw from the vanishing points 1 and 2, paths to the lower vertices lines side (blue lines H and G) and finally to the perpendicular J after joining the vertices. (Fig. 15) 
Aerial perspective the outset say that very rarely will you see the need to make use of aerial perspective in your pictures (if ever), but I explain it to at least know what's going on, this kind of perspective is Comprised of 3 vanishing points, two for diagonals as the oblique and a third that can be above or below the horizon (LH) as we see the object well below or well above it; a picture is worth a thousand words, represent a parallelogram (which could be a building), been greatly from above (imagine that going on a plane and you see it), go figure 7:
and now would be the opposite view, that is, you are in any plane and see the same building at the very bottom, which you have already guessed that the line LH as always before you, the very PF3 building up and also above the LH but not because I want to send you figure that you could wear as an exercise and try to be able to represent correctly. When we're doing a sketch these lines of flight are generally drawn freehand without rule, and this is only achieved after many tests with objects in different positions and provided by leaks and other freehand lines. That's why if you want to master the perspective view to later paint pictures (and consequently to make the preliminary sketch on the canvas), you should exercise often in sheets of paper, leaves or even wrapping paper, changing the line of the horizon (higher, lower) and seeing how it changes the representation of the same object in each case. Believe me-and I repeat it many times - there is no other way to learn to draw and paint to PRACTICE the time it takes, do not try to memorize it around a few months you may have forgotten.
isometric
be accomplished the extension of the views of the figure to 30 ° the horizontal and 90 ° vertical planes.
theory for your consideration Sex in New York is that if you ask many things, one has to fall. Just ask and it is understood that award for Best Film, Best Director, Best Actress, Best Screenplay, Best Actress (for 4), Best Supporting Actor (at 4, too), Best Original Score and Best Song. "I was a prize? I guess they tried to Best Costume but someone reminded them that they do not give this award at the Golden Globes 
Why not ask for anything we get? That's what I have thought to propose Sony Pictures Quantum of Solace. After seeing the Sex in New York I thought "oh no, the Quantum of Solace as their faces are submitted to all the possibilities" but did not. They know it is best to avoid asking embarrassing Best Screenplay and comply with what they can achieve: Best Sound Editing, Best Sound Mixing and Best Visual Effects. 
why people liked the movie? All the better to remember him with a smile. After that he will realize what we deserve and what we do not deserve. Ask what you can not get: Best Supporting Actor for a fake movie. 
Cabalero Perspective 
