DRAWING ASSIGNMENT 7 DUE NOVEMBER 7TH (4 drawings total)This is a 2-week assignment (including fall break) so it is the equivalent of a 1.5 week assignment(approximately 12.5 hrs minimum total). If you have any time left over during the break to drawyou may use it to catch up on any missing assignments. Remember that assignments must showthat the time required has been well spent. (Some of you clearly are not committing enough time.)Continue in your reading and examination of the illustrations in chapter 5 and for some of thedrawings later in the assignment review chapter 4.In chapter 5, review the pages we read for last week (especially about the horizon line), and readthrough the remainder of the chapter, focusing especially on “1/2/3 point perspective,” “thecircle” and “foreshortening.” As you will note as you progress through the chapter, the subject ofperspective can become layered with complexity. It’s fascinating and seductive, and it can alsobe daunting, but once understood it can be enlightening.So let me reiterate our goal here: we are briefly examining perspective as another way of seeing.For our purposes learning the most fundamental principles of perspective is enough. (Reviewthem on p. 116). Don’t let me discourage you from immersing more deeply, but let me remindyou of two things: the study of perspective is most helpful if it enables you to “intuit” space morereadily. And secondly: western linear perspective (which evolved out of the Italian Renaissance)is but one way of seeing and depicting the world. Other cultures developed other perspectivesystems that have no vanishing points or no horizon lines, and a great deal of wonderful art hasbeen produced in these non-western modes. Look at figure 7.4 for example. (Does it matter thatthe floor appears to have no depth at all, but is instead flat on the picture plane? Or that the outerposts for the canopy seem to be both behind and in front of the two middle posts? Or that thepeople in the rear seem slightly larger than the people in the foreground? Not at all!)I. EVERYONE CHOOSE TWO OF THE FOLLOWING, 2 hour minimum EACH:Graphite or charcoal pencil. These 2 drawings are intended as basic perspective studies, and thetime element of 2 hour minimum implies, they need not be as fully developed as the assigneddrawings in the next section (II). The following perspective drawings may all be done in purecontour, but if you wish you may also indicate value, texture, and basic light/shade.1. Hold in your hand an aluminum soft drink can (a good, uncrushed can) and draw threedifferent ways in contour, all on the same page: a 3/4 view showing the top, a view showing justa slight angle revealing just a little of the top, and a 3/4 view showing the bottom. Include yourhand full size, and be mindful of the arrangement of the three drawings on the page as we didearlier with the hand drawings. Articulate the can shape as sharply and crisply as you can, andmake good use of an organic or calligraphic or structured line for a good detailed rendering of thehand to contrast with the clean lines of manufactured goods.2. A soda can or a drinking glass at least as tall as a can, and 2 square cd covers at the edge of adesk or table. Arrange the cd covers one on top of the other, but not aligned with each other.Holding the sketchpad vertically, use a straight edge as you divide the page across the middle,giving two spaces in which to draw. In one draw at a 2/3 or 3/4 view looking down at the cd’sand the can (or glass). For the second your perspective should be so that eye-level is at themiddle of the can (or glass), and fairly close (only 1 or 2 feet away): that is, you should belooking down slightly at the cd covers, and up slightly at the top of the can (or glass).3. You’ve seen the fantasy shapes that Goldstein likes to make. Try your hand at exercise 5bdrawing number 1, on page 135-6 (see example 5.30). Have fun with this one! Make itintriguing!4. Foreshortening in architecture: see the example 5.15, and follow the instructions for“drawing 4” on p. 127.5. A full-page interior or exterior contour view of a structure (e.g. dorm, house, staircase) at anangle, that is, not straight on, so that you see more than one side of the structure (or in the case ofan interior, a corner). Establish a horizon line on the page, and make sure verticals areconsistently vertical. Do your best to draw the structure(s) in perspective just as we drew theblocks on the model stand on Tuesday. Although we did not strictly adhere to 2-pointperspective, we were approximating it intuitively. See examples of different elements showinglines of convergence in illustration 5.10. Note for example the “folding screen” shape in thecenter, how the dotted lines of convergence go to 2 points on either end of the horizon. Althoughan example of extreme distortion by the close proximity of the vanishing points, illustration 5.11also is an example of 2 point perspective, with two vanishing points.6. A fantasy in 1-point perspective. Establish a horizon and a vanishing point. Devise forms,blocks, buildings, consisting of verticals, horizontals, and diagonal lines all converging to thesingle vanishing point.Some good examples of linear perspective to review:1-point perspective 3.2, 5.72-point perspective 3.3, 5.12, 8.5, 11.9, 12.123-point perspective: 5.6complex linear perspective example: 12.16playful distortion of perspective: 5.9, 7.18, 12.9 great fun! no need to always follow rules!perspective generalized, loosely and freely: 5.32perspective in a kitchen still life with geometric solids: 3.38hey, perspective looking UP: 6.20foreshortening on a figure: 5.34 a worthy challenge!foreshortening on a face: 5.36 make no assumptions about what you see!(For a humorous jest that purposefully demonstrates flaws in linear perspective, see Sullivan /Hogarth’s satire in figure 12.3. How many “errors” do you see? I suspect there are at least 2dozen; I counted 19 at a quick glance).Question to contemplate: Why would the discovery (or invention) of linear perspective beenespecially significant to the Renaissance? (What is implied in linear perspective?)PART II. THEN DO TWO OF THE FOLLOWING, using CHARCOAL PENCIL,ERASER, AND STUMP AS WE HAVE BEEN USING THE PAST 2 WEEKS.The objective here is much as we have been exploring the previous 2 weeks....NOT so muchperspective in this case