theatrical one point perspective scenery design.

1. A Brief History of Theatrical
Scenery
Scenery, as we know it today, is a product of the Italian Renaissance. To a large extent, it is based on the
discovery of the rules of perspective and their application to the world of architecture. The early evolution
of the theatrical scenery is the work of a number of artists over a period of approximately two hundred
and twenty five years: 1508 to 1638.
http://www.slideshare.net/msc_benavides

2. A Brief History of Theatrical
Scenery
The Greek Influence on set Design
An example of greek influence is The Delphi theater. Even though the actors didn't have the lights and the sound
systems we have today, architects made complex cone type stages that made sound reach the whole entire
audience! that way, even people on the top row could hear, provided everyone else wasn't to loud.
Irwin, Janet. "Scenic Design: A History of Change and Innovation." Imagined Spaces. N.p., 2010. Web. 31 Oct. 2013.
<http://www.artsalive.ca/collections/imaginedspaces/index.php/en/learn-about/historyandinnovation>.
Pre - Renaissance
During the Greek, Roman, Medieval and Elizabethan periods, the rear wall of the theatre was the scenery. Occasionally,
especially during the medieval morality plays, scenic elements, such as the Hells Mouth, were introduced. Generally
the scenes location was either obvious, unimportant, or stated in a character's lines. The latter was the standard
practice during the Elizabethan era.
The Renaissance
The Italian Renaissance
Scenery, as we know it today, is a product of the Italian Renaissance. To a large extent, it is based on the discovery of the
rules of perspective and their application to the world of architecture. The early evolution of the theatrical scenery is
the work of a number of artists over a period of approximately two hundred and twenty five years: 1508 to 1638.
1 Around 1415- Filippo Brunelleschi. (1377- 1446) goldsmith, sculpture and architect discovers the secret of
linear perspective: a mathematical system for creating the illusion of space and distance on a flat surface.
2 1435- Leon Battista Alberti (1404-1474) publishes Brunelleschi's secret in Della Pitture, the first treatise on the
geometric principles of linear perspective.
3 1508- Pellegrino da San Daniele (1467-1547) places individual houses (probably as angled wings) in front of a
painted backdrop for a staging of Ariosto's The Casket at Ferrara.
4 1545- Sebastiano Serlio (1475-1554) publishes Architetura the first work detailing the design and construction
of a court theatre.

3. Serlio's playhouse was erected in a large existing room (a Hall of State) in the
court palace, the standard practice of the day. The stage, located at one end of
the room, was raised to the ruler's eye level and the perspective scenery was
designed to provide the Royal Chair with a perfect view. The front half of the
stage floor was level, the rear half sloped up towards the back wall increasing
the illusion of depth. The scenery was placed on the raked (or sloped) portion
of the stage. Serlio's sets (Comic, Tragic and Pastoral) consisted of four sets of
wings (the first three were angled -- one face parallel to the front edge of the
stage and the other angled up stage -- and the fourth wing was flat and parallel
to the audience) and a backdrop or back shutter. His sets were conceived in
architectural terms. They were not meant to be shifted.
5 1606- Giovan Battista Aleotti (1546-1636) introduces the flat (not
angled) wing in Ferrara.
6 1638- Nicola Sabbattini (1574-1654) publishes Practica di fabricar scene
e machine ne' teatri (Manual for Constructing Theatrical Scenes and
Machines), the first practical stage craft manual.
7 1600- Guidobaldo del Monte (1545-1607) publishes (Six Books of
Perspective) and reminds us that there were twenty three competing methods
of perspective at the turn of the seventeenth century.
A Brief History of Theatrical
Scenery
Sebastiano Serlio: Tragic Set

4. The English Renaissance
Ingo Jones (1573-1652),
England's first major scene designer, introduced the Italian concept of perspective scenery to the English
court theatre of James I in the beginning of the 17th century.
He visited Italy in 1600 returning to his native England four years later. In 1605 he designed a perspective
setting using angled wings and a back shutter for a production of Ben Jonson's The Masque of Blackness.
By 1608 he was framing his scenery with a proscenium arch and in the 1630s he abandoned the angled
wings of Serlio for the more practical flat wings of Aleotti.
A Brief History of Theatrical
Scenery
With the Enlightenment in the mid-18th cent. there was a revival of classicism (ancient Greek principles in art and
literature, associated with harmony and restraint) and the unity of place was strictly observed by designers. They
experimented with strong darks and lights and tried for the first time to infuse their designs with atmosphere.
Toward the end of the century the curtain was first lowered to change the scene, and the scrim (gauze drop that
becomes transparent when lit from behind) came into use.
Lighting became a problem only when the theaters were entirely enclosed. At that time Firelights and reflectors
were mainly used on the stage, and footlights came into use. Later chandeliers became fashionable. also they
used colored lights using glass and shining it through, to make colored water and shadows were painted on the
flats. The house was not darkened for the performance.

5. 18th Century Theatrical Scenery
The renaissance of scene design began in Italy. Sebastiano Serlio, in his Architettura (some type of book),
interpreted what he thought were classic ideas on perspective and published the first designs on the definitive
types of sets to be used for tragedy, palaces, comedy, and street scenes. The first permanent theater in Italy,
the Teatro Olimpico , was an attempt to recreate the Roman type of stage with five permanent perspectives.
Vincenzo Scamozzi employed a "solid drop" background and enlarged the central stage arch to make one
perspective. In the early 17th cent., Giovanni Battista was the first to use flats (painted canvas stretched over
wooden frames) with decorative props painted on them, and in 1618 he introduced the proscenium arch. Later
in the century the mechanical innovations of Giacomo Torelli facilitated the simultaneous rapid shift of all the
flats.
Nicolo Sabbattini wrote on the use of lighting in the 16th century and in addition, they developed footlights and
techniques for colored lights and for the dimming of lights. From the Renaissance period until the triumph of gas
lighting in the mid-19th century, great use was made of lamps and candles. Although they caused smell, smoke
and work to implement , ingenious effects were produced.
A revolution in scene design occurred in the late 17th century, with the use of multiple perspectives by Ferdinando
Galli Bibiena. He used either two points of perspective or only one placed indiscriminately. The great scene
designers of the period were also the great architects and artists. Their designs, baroque and heavy with
movement and detail, became increasingly fussy; the set, in conflict with the actor, became the main attraction.
In France the first permanent theater had been the Hôtel de Bourgogne, and in England, the Theater, later known
as the Globe). The early English designer Inigo Jones was influenced by the Italians, although in his time
scenery was reserved for court spectacles. Shakespeare's plays were given on a bare stage. The Restoration
period saw the development of a "popular" theater, although it was still mostly for the upper classes.

6. The three major scenic trends during the 19th century, especially in Europe, were
• Historically accurate scenery,
• The development of the realistic box set, and
• A revolt against the two dimensional world of painted canvas.
Historical accuracy
The trend towards historically accurate scenery began in Germany around 1810 and is attributed to Josef Schreyvogel, the
director of Vienna's Brugtheater. Below are three managers-directors whose emphasis on historical accuracy has impacted
the world of design.
Actor-manager Charles Kean's (1811-1868) spectacular antiquarian (historically accurate) productions, especially of
Shakespeare's major dramas, dominated the London stage of the 1850s. He believed that "historical accuracy might be
blended with pictorial effect that instruction and amusement would go hand in hand." He brought centrality of mise en scene
to the production of legitimate drama.
Georg II (1826-1914), the Duke of Saxe-Meiningen operated a small, professional court theatre. Like Kean, his sets and
costumes were historically accurate. Although he used a realistic style of production, the plays he presented were primarily
romantic. His two most frequently revised works were William Shakespeare's Julius Caesar and Frederich Schiller's William
Tell. His acting company toured the major cities of Europe for 16 years (1874 to 1890) influencing production techniques in
both Paris and Moscow.
American producer, director and playwright David Belasco (1853-1931) is primarily remembered today for his emphasis on
naturalistic detail. In 1909, for a production of The Easiest Way, his scenic artist placed the contents of a boarding house
room, including the wallpaper, on the stage of the Stuyvesant Theatre and three years later (1912) he built on stage a fully
functioning restaurant (Child's Restaurant) for the Governor's Lady. As a playwright he provided the dramatic source
material for two of Puccini's most popular operas: Madame Butterfly (1900) and The Girl of the Golden West (1905) . For
more information link to David Belasco's production credits listed in the Internet Broadway Database (www.ibdb.com).
Development of the box set
As early as 1804, the manager of the Court Theatre at Mannheim (Germany) joined several pairs of wings with door and
window flats creating a more realistic scenic environment. Actor-manager Mme. Vestris (1797-1856) is credited with
introducing the box set to the English stage. In 1832, a critic wrote of one of her productions "the stage's more perfect
enclosure fits the appearance of a private chamber infinitely better than the old contrivance of wings." When Mme. Vestris
produced Dion Boucicault's London Assurance at Covent Garden in 1841, the critics noted the realism of the rooms with
their heavy molding, real doors with doorknobs, and ample and correct furniture.
19th Century Theatrical Scenery

7. 19th Century Theatrical Scenery
Edward Gordon Craig (1872-1966)
Edward Gordon Craig was the son of actress Ellen Terry (Henry Irving's leading lady) and Edward Godwin, a
well known and respected architect and painter. His earliest designs, in 1903, was for his mother's
acting company at London's Imperial Theatre. An exhibit of his designs in 1902 and the publication of
The Art of the Theatre (1905) created such controversy that he was soon well known throughout
Europe. In 1904 he designed Thomas Otway's Venice Preserved for director Otto Brahm in Berlin, in
1906 Ibsen's Rosemersholm for actress-manager Eleanora Duse in Florence and in 1912 Hamlet for
Konstantin Stanislavsky at the Moscow Art Theatre. He continued to set forth his provocative ideas in
On the Art of the Theatre (1911), Towards a New Theatre (1913), The Theatre Advancing (1919) and
The Mask, a periodical published sporadically between 1908 and 1929. His designs, as illustrated in his
published works, were monumental. Like Appia he broke the flat stage floor with platforms, steps, and
ramps and replaced the parallel rows of flapping canvas with an elaborate series of tall screens which
could suggest the essence of the local. Edward Gordon Craig: Hamlet (1909)
"To be or not to be..."
Adolphia Appia: Tristan and Isolde (1896)
Act II
The New StageCraft
Scene studios: Shell, TwinCity, Armbruster, Tiffen At the end of the 19th century, two designers, Adolph
Appia (1862-1928) and Edward Gordon Craig (1872-1966), revolted against the scenic practices of the
traditional European acting company. They objected to a three-dimensional actor standing on a flat floor
surrounded by acres of "realistically" painted canvas. Their controversial ideas, published in numerous
books and periodicals, would become the basis of the New Stagecraft. A stagecraft of simplification and
suggestion.
A single Gothic pillar can create in the imagination of the audience the physical reality and spiritual force of
the church that looms above Marguerite in [Goethe's] Faust.
Macgowan and Melnitz. The Living Stage. (1955). pg. 442.
Adolphia Appia: Tristan and Isolde (1896)
Act II
Adolph Appia (1862-1928)
Appia's sketches published in La mise en scene de drame Wagnerien (1895), Die Musik und die
Inscenierung (1899) and L'Oeuvre d'Art Vivant (1921) indicate a plastic, three dimensional set (steps,
columns, ramps, platforms) revealed in directional light. He believed that shifting light should create an
inner drama which flows and changes with the texture of the music; that the intensity, color and direction
of the light should reflect the changing atmosphere or mood of the work.

8. 20th Century - American
Theatrical Scenery
Robert Edmond Jones (1887-1954)
Robert Edmond Jones, the "father" of American scene design, graduated from Harvard in 1910, traveled to
Europe to study the New StageCraft and returned at the start of World War I. He shocked the American
theatre audience in 1915 with his simple presentational set for The Man Who Married a Dumb Wife.
Today he is primarily remembered for (1) his work with the Provincetown Players (1916-1929) and
Theatre Guild (1919- ) and their staging of Eugene O'Neill's early plays and (2) the vivid dramatic
lighting for Macbeth, Richard III, and John Barrymore's Hamlet.
Robert Edmond Jones's production credits listed in the Internet Broadway Database (www.ibdb.com)
Modern American design begins with the work of Robert Edmond Jones (1887-1954) and continues with those designers, such as Jo Mielziner (1901-1976)
and Mordecai Gorelik (1900-1976), who apprenticed at the master's drafting board. And they, of course, influenced the designers who followed them. In
1925 Donald Onslager (1902-1975) introduces the first college level course in scene design at Yale University. Below is a brief list of some of America's
major 20th century scenic designers.
Robert Edmond Jones: Macbeth
The Banquet Scene - Act III, Scene iv
Norman Bel Geddes (1893-1958)
Norman Bel Geddes was an American theatrical designer who was heavily influenced by the work of Adolph
Appia. He is primarily remembered for his massive theatrical designs, especially those for Austrian
director: Max Reinhardt (1873-1943). Like most designers of the period, he created both the scenic
environment and the lighting design. Probably his most famous theatrical creation was the monumental
1921 set for Dante Alagherii's The Divine Comedy. The set for this unproduced project was 124' wide
and 148' deep. The two massive side towers which framed the pit were each 59 feet tall. This
imaginative theatrical concept exists today as a notated "script", sketches, a scaled ground plan and
front elevation, and a number of photographs taken on an 8' by 8' model.
Norman Bel Geddes's production credits listed in the Internet Broadway Database (www.ibdb.com).
Norman Bel Geddes:
The Divine Comedy

9. 20th Century - American
Theatrical Scenery
Boris B. Aronson (1900-1980)
Boris Aronson was born and educated in Kiev, and worked in Moscow and Germany before
coming to America. His first success in this country was the The Tenth Commandment
produced by the Yiddish Art Theatre in 1926. His first Broadway show, Walk A Little Faster
(1932), was followed by some of New York's most successful productions -- Clifford Odets'
Awake and Sing (1935), Tennessee William's The Rose Tattoo (1951), Arthur Miller's The
Crucible (1953), William Inge's Bus Stop (1955), and The Diary of Anne Frank (1955) by
Frances Goodrich and Albert Hackett. He will always be remembered for the imaginative
settings he created in the mid 60s and early 70s for Fiddler on the Roof (1964), Cabaret
(1966), and four Stephen Sondheim musicals -- Company (1970), Follies (1971), A Little
Night Music (1975) and Pacific Overtures (1976). His last design was for Mikhail
Baryshnikov's staging of The Nutcracker (1976).
Boris Aronson's production credits listed in the Internet Broadway Database (www.ibdb.com).
Modern American design begins with the work of Robert Edmond Jones (1887-1954) and continues with those designers, such as Jo Mielziner (1901-1976)
and Mordecai Gorelik (1900-1976), who apprenticed at the master's drafting board. And they, of course, influenced the designers who followed them. In
1925 Donald Onslager (1902-1975) introduces the first college level course in scene design at Yale University. Below is a brief list of some of America's
major 20th century scenic designers.
Boris Aronson: Cabaret
Mordecai Gorelik (1900-1976).
Gorelik, a native of Minsk, Russia, like Mielziner, was an apprentice to Robert Edmond Jones. He designed
the sets for more than 50 Broadway shows during his 40 year career as well as being the principal
designer for the Group Theatre. At the end of World War II Gorelik introduced his action-documentation-
metaphor approach to design in the theatre class (The Scenic Imagination) he taught to American
service men over seas. He became a research professor at Southern Illinois University in Carbondale in
1960 where he continued to design, direct and teach until his retirement in 1972. He authored the scene
design unit, "Designing the Play," in Producing the Play edited by John Gassner (New York: The Dryden
Press, 1941)
Mordecai Gorelik's production credits listed in the Internet Broadway Database (www.ibdb.com).
Mordecai Gorelik: RUR

10. 20th Century - American
Theatrical Scenery
Jo Mielziner (1901-1976)
Jo Mielziner designed the sets and lights for some of the most successful shows produced in the
American theatre. Included in this list is Tennessee William's The Glass Menagerie (1945)
and A Streetcar Named Desire (1947), Arthur Miller's Death of a Salesman (1949) and After
the Fall (1964), and Rodgers and Hammerstein's Carousel (1945), South Pacific (1949), and
The King and I (1951). His designs were characterized by a strong poetic feelings, skeletal
scenic forms and a liberal use of scrim and gauze. Mielziner apprenticed under Lee
Simonson and Robert Edmond Jones. His memoir and a portfolio: Jo Mielziner: Designing
for the Theatre was published in New York by Bramhall House in 1965.
Jo Mielziner's production credits listed in the Internet Broadway Database (www.ibdb.com) Jo Mielziner: Death of a Salesman
Early sketch
Donald Oenslager (1902-1975)
Donald Oenslager designed his first production, a ballet entitled Sooner or Later, in 1925, the same year he
joined the faculty of the newly formed Yale School of Drama. For the next forty-five years, he commuted
weekly between New York City and New Haven, Connecticut (the home of Yale University). He is
credited with establishing the first professional university course in scenic design and is responsible for
training several generations of American designers. He designed both sets and lights and worked in
opera, ballet, musical theatre and drama. Some of his most important projects include the original
Broadway productions of Cole Porter's Anything Goes (1934), Kaufmann and Hart's You Can't Take It
with You (1936) and The Man Who Came to Dinner (1939), and Garson Kanin's Born Yesterday (1946).
Donald Oenslager's production credits listed in the Internet Broadway Database (www.ibdb.com).
Donald Oenslager:
The Birds

11. 20th Century - American
Theatrical Scenery
Oliver Smith (1918-1994),
Oliver Smith, originally a student of architecture at Penn State, was one of Broadway's most
distinguished and prolific scene designers. He created the sets for the original New York
productions of Leonard Bernstein's On the Town (1944) and West Side Story (1957), Lerner
and Lowe's Brigadoon (1947), My Fair Lady (1957) and Camelot (1960) and Neil Simon's
Barefoot in the Park (1963), The Odd Couple (1965), and Plaza Suite (1968). In addition to
designing the sets for multi-scene musicals and light situation comedies he also worked in
dance (Fall River Legend (1948) for the American Ballet Theatre), opera (La Traviata (1957)
for the Met), and film (Oklahoma! released in 1955 by RKO).
Oliver Smith's production credits listed in the Internet Broadway Database (www.ibdb.com).
Oliver Smith: My Fair Lady
Santo Loquasto (1944- )
Santo Loquasto, a native of Wilkes-Barre, Pennsylvania received his MFA in 1969 from the Yale School of Drama and
began work as a costume designer in the early 70s with New York producer Joseph Papp. He has designed both sets
and costumes for theatre, film, dance and opera. His work in the New York theatre has won him both Tony and Drama
Desk awards for the set design for Café Crown (1989) and the costume designs for Grand Hotel (1989) and The
Cherry Orchard (1977). He received Tony nominations for set design for Long Day's Journey into Night (2003), The
Suicide (1980), American Buffalo (1977), The Cherry Orchard (1977), What the Winesellers Buy (1974) and That
Championship Season (1972) and nominations for the costume design for Fosse (1999) and Ragtime (1998). In 2001
he designed the sets and costumes for the Metropolitan Opera's production of Verdi’s Luisa Miller. Beginning in 1980
with Stardust Memories, he has collaborated with Woody Allen on more than twenty films . His costume designs for
Allen's Zelig (1983), and production design for Bullets Over Broadway (1994) and Radio Days (1987) received
Academy Award nominations. He has worked with most major international ballet companies and enjoyed ongoing
relationships with choreographers James Kudelka, Paul Taylor and Twyla Tharp. For the 2002-2003 Broadway season
he designed the scenery for Twyla Tharp's Movin' Out and scenery and costumes for the Goodman Theatre revival of
Eugene O'Neill's Long Day's Journey Into Night.
Santo Loquasto: Faust
(Act IV, Sc 1)
Ming Cho Lee (1930- )
Ming Cho Lee was born and raised in China. In 1949 he emigrated to California where he enrolled as an art major at Occidental College. At the suggestion of
Eddy Kook, the president of Century Lighting, he moved to New York in 1954 and became an assistant in Jo Mielziner's studio where he remained for the
next four years. He passed the union exam in 1955. His first Broadway show, The Moon Besieged by Seyril Schocken opened (and closed) at the Lyceum
Theatre on December 12, 1962. Many of his design credits are in the institutional and regional theatre. Between 1959 and 1963 he was the opera designer
at the Peabody Institute of Music in Baltimore. In 1961 he was the resident designer at the San Francisco Opera. In 1962 he began his 21 year career as
the principle designer with Joseph Papp's New York Shakespearean Festival. During his residency he designed over twenty of the Bard's plays. In 1970,
after Donald Oenslager's retirement, he joined the teaching staff at the Yale School of Drama. Probably his most famous Broadway design is his Tony
Award winning set for K2 (1983).
Ming Cho Lee's production credits listed in the Internet Broadway Database (www.ibdb.com).

12. 20th-21st Century Scenic
Design - Theatrical Scenery
What is now modern set design was started in the early 20th century. At the time, electric lights weren't used very much, but that
was about to change. Actors tried to be as fancy as possible, and Sound editing tech didn't really exist yet.Stage construction,
and non-electrical lighting for the stage were used a lot during the times of 1900 to 1970, which was a highly innovative time for
many scene designers. Influenced by the Bauhaus Movement, Stage design made a name for itself, and became an important
part of performances.
20th Century
after centuries of using the most similar types of stages, people started to hate same old sets. This also caused people like the
german architect Walter Gropius (in 1927) to build something similar to a theater in the round (a theater where people view the
stage from three different sides) which hadn't been done since medieval times. In 1939 the University of Washington in Seattle
built the Penthouse Theater, which proved to be a more practical model for the numerous theaters-in-the-round that followed. At
almost the same time, a number of theaters designed to imitate Elizabethan theaters like the indoor Madder market Theater, (in
Norwich, Eng) and the open-air Old Globe Theater (in San Diego, California) were built around the world, and more being built
in later years. including the Swan Theater in England, the Globe Tokyo, and Shakespeare’s Globe in London. this lead to the
building of thrust stages all around the world. In the third quarter of the 20th century, theater designers focused their efforts on
the creation of spaces that could easily be changed into two different forms. at the beginning of the 21st century people focused
more on performing-arts complexes in which several different styles of theater were incorporated.
Citations
"theatre design". Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 03 Nov. 2013
<http://www.britannica.com/EBchecked/topic/1542181/theatre-design/284390/The-19th-century>.
20-21st century cont.
The staging challenges of the works produced under the influence of Romanticism(a time of inspiration in all art forms during the
1800's) caused people to not use painted sets as much. Painted scenery was replaced by three-dimensional scenery with
which the actors could interact. This led to the creation of the wooden stage, which, through a combination of traps, slots, and
elevators in the stage floor, was able to provide better effects that gradually drove perspective scenery from the stage. People
also began to use gas in 1803—and, electricity made it possible to control lighting as never before. It also reduced the need for
the actors to work on the apron part of the stage in front or barly in the proscenium. When, in the last quarter of the 19th
century, the lights began to be turned off regularly in the house during the performance, the experience of going to the theater
was made to seem less like a social event and more like an experience in observation.

13. Outside Reading…
Oscar G. Brockett. History of the Theatre. Boston: Allyn and Bacon, Inc. 3rd edition. 1977.
Kenneth Macgowan and William Melnitz. The Living Stage. Englewood Cliffs, NJ: Pentice-
Hall. Inc. 1955
Santo Loquasto's production credits listed in the Internet Broadway Database (www.ibdb.com).
Text copyright © 2002-2006 by Larry Wild, Northern State University , Aberdeen, SD
Artwork copyrighted by the artist.
A Brief History of Theatrical
Scenery

14. 1
PERSPECTIVE
* One point perspective
* Two point perspective
* Three point perspective

15. The ability to produce good sketches with convincing perspective is an
important skill to master helping you to visualize your ideas. There
are many ways to gain these skills. Practicing drawing objects can
help you see how perspective works and will help you with freehand
sketches. But this will take time.
What we need are methods of constructing objects in using a reliable
system. There are three main perspective systems which allow you
to construct an object using a ruler.
One point perspective, Two point perspective, Three point perspective
PERSPECTIVE

16. PERSPECTIVE
The art of drawing solid objects on a two-dimensional surface so as to
give the right impression of their height, width, depth, and position in
relation to each other when viewed from a particular point.
All objects we look at have
perspective. Objects closer to
us are bigger than objects
further away. In other words
as objects get further away
they seem to 'vanish into the
distance'.

17. REVIEW one point perspective
Using one perspective, parallel lines converge to one point somewhere in the
distance. This point is called the vanishing point (VP). This gives objects
an impression of depth.
When drawing using one point perspective all objects vanish to one common
point somewhere on the horizon.
The sides of an object diminish towards the vanishing point. All vertical and
horizontal lines though are drawn with no perspective. face on.

18. Vanishing Point
1. Draw a horizon and place a
vanishing point (VP) somewhere
on this line.
2. Draw a square somewhere
beneath the horizon. This will be
the front of your box
3. Draw four lines, one from each
corner of the square which also
pass through the (VP) vanishing
point.
4. To complete the box, draw in the
back vertical and an horizontal
The final box in all its glory!
Constructing a
box in one point
perspective
REVIEW one
point
perspective

19. • Cassette Tape in one point perspective
Although it is possible to sketch products in one point perspective, the
perspective is too aggressive on the eye making products look bigger than
they actually are.
REVIEW one point perspective

20. One point perspective though is of only limited use, the main problem being that
the perspective is too pronounced for small products making them looking
bigger than they actually are.
So when would you use one point perspective?
One area where one point perspective can be quite useful is for sketching
Architectural room layouts and theatrical scenery design.
a kitchen in one point perspective
REVIEW one point perspective

21. The National Theater of Paris

25. PERSPECTIVE assignment
Your assignment is to Design and Draw a One Point perspective idea
for our school musical this year.
The chosen one will be constructed.