The document provides instructions for students to create a one-point perspective drawing of an art corridor. It discusses key concepts like horizon line, vanishing point, and orthogonal lines. It then guides the students through various stages of the drawing, including adding color, pattern, texture, and collage elements for a surreal effect. The goal is for students to use perspective and creative techniques to depict the corridor in an imaginative way.

2. After Only a 20 Min Helicopter Ride
Autistic Artist Stephen Wiltshire Drew an
18ft Sketch of the NY Skyline from
Memory
https://www.youtub
e.com/watch?v=bsJ
bApZ5GF0

3. Learning objective
• To use rules of perspective drawing to draw a corridor
from OBSERVATION.
• To use understanding of ONE POINT PERSPECTIVE to
draw the corridor accurately.
• To use colour coding learnt previously to explore
stages of perspective drawing.

4. Starter: can you remember the keywords
and what they mean?
VANISHING
POINT
PARALLEL
PERPENDICULAR
ONE
POINT
TWO
POINT
HORIZON
LINE
ORTHOGONAL

5. Today you will be drawing an INTERIOR ONE
POINT PERSPECTIVE drawing of the art corridor…

6. Orthogonal Lines
•Horizon
Line
•Vanishing
Point
•Orthogonal
Lines
•Horizontal
Lines
•Vertical
Lines
•True shape

7. Start by placing the horizon line.
Where would the horizon line be
placed?
EYE LEVEL

8. Then, place the Vanishing point.
Where would the vanishing point be
placed?
The vanishing point is that spot on
the horizon line to which the
receding parallel lines diminish.
It is the point at which something
that has been decreasing disappears
altogether.

9. Use the orthogonal (diagonals) lines to place all lines that travel
away from the vanishing point.
ALL ORTHOGONAL WILL CONVEREGE FROM THE VANISHING POINT

10. Surfaces that face the viewer are
drawn using their true shape. Can
you identify a true shape?

11. To begin placing door frames/walls
you use vertical lines.
ALL VERTICAL LINES RUN PARALLEL

12. If all vertical lines run parallel then
so do the horizontal lines.

13. When your guidelines are rubbed
away…

14. RULES AND EXPECTATIONS
• 12 students on top floor (art) , 12
students on lower floor (food tech).
• You stay in the pairs that have be
assigned to you. As a pair you SHARE
the pens. You as a PAIR are
RESPONSIBLE for these pens.
• MINIMUM NOISE. If there is too much
noise we will come back to the
classroom.
• NO LEAVING the floor/area you are
ASSIGNED to.

15. You will have to simplify some
areas – for example…
• I have left out the staircase
and columns.
• Do not attempt to draw any
artwork on the walls etc – NO
DETAIL
• Aim for SIMPLE OUTLINES.
• PLEASE MAKE SURE YOU USE
THE WORKSHEET and colour
coding.

16. Orthogonal Lines
•Horizon
Line
•Vanishing
Point
•Orthogonal
Lines
•Horizontal
Lines
•Vertical
Lines
•True shape
ONLY USE THE
SPECIFIC
COLOURS FOR
EVERY GUIDELINE
LISTED

18. Homework
•Parts 3 & 4 of ‘little and large worlds’
perspective project. Parts 1 & 2 are
optional
Due: 12th July

19. Your corridor drawing
should look something like
this…
What do you think the next
steps are?
Make some suggestions…

20. My Example

21. Learning objective
• To begin adding COLOUR and PATTERN to the corridor
drawing inspired by the work of David Hockney and
Patrick Caulfield.
• To effectively blend oil pastels to show GRADUATED
COLOUR and to block in areas using pen.

23. David Hockney is a
British painter, born in
Bradford he is famous
for painting Yorkshire
landscapes and LA
homes.

24. What do you notice about the way Hockney
uses COLOUR and PATTERN? Can you use any
descriptive words…

25. Paintings of
landscapes…
How does the colour
change towards the
vanishing point? Do
you know the
keyword for this
technique?
AERIAL
PERSPECTIVE

26. Inspired by Hockney
– how could you
incorporate COLOUR
into your drawing?
Suggest
materials/processes
/techniques
BLOCK
COLOUR
BRIGHT
COLOUR
USING
MARKMAKING
HARMONIOUS
PEN
PASTEL

27. Recently David
Hockney has produced
work using an Ipad…

28. English painter and
printmaker known
for his bold
canvases, which
often incorporated
elements of
photorealism
within a simplified,
often linear scene.

29. What do you notice about the way
Caulfield uses COLOUR and
PATTERN?

30. Inspired by
Caulfield – how
could you
incorporate
PATTERN into your
drawing?
Suggest
materials/processes/
techniques
GEOMETRIC
SHAPES AND
PATTERNS
PATTERNED
PAPER
HAND
DRAWN
REPEAT
PATTERN

31. You could use
LINEAR PATTERNS
on top of block
colour….
This could look
effective inside a
window space >>

32. REPEAT
PATTERN
BRIGHT
COLOUR
MARKMAKING
HARMONIOUS

33. PATTERN COLOUR
HARMONIOUS

34. YOUR TASK: Adding COLOUR:
• Using Berol pens add BLOCK
COLOUR to areas such as the
walls, ceiling and floor.
• Using oil pastels add
GRADUATED colour to areas
such as the ceiling, walls and
floor – this will look effective
for creating AERIAL perspective.
• Work within the chequered
ceiling and floor pattern boxes
to create contrast between
colours.
Adding PATTERN:
• Using the patterned papers add
areas of PATTERN to walls,
ceiling, floors and doors.
• Using the coloured paper add
smaller areas of BLOCK COLOUR.
• Consider outlining window
frames/objects/door panels in
black pen to achieve Caulfield’s
style.
FILL THE PAGE WITH PATTERN AND COLOUR

35. This is the
stage you
should be at…
Leave areas
white for
placement of
FROTTAGE and
COLLAGE

36. Learning objective
• To consider SURREAL elements in order to add
objects/figures to the corridor outcome.
• To use COLLAGE technique in order to paste SURREAL
and REAL elements inside the corridor IN
PERPSECTIVE.

38. Canadian artist
Rob Gonsalves
produces
perspective
paintings
inspired by
surrealism and
architecture.

39. Gonsalves cleverly uses
perspective to incorporate
his surreal illusions.
What do you notice
about the way Gonsalves
is introducing the surreal
elements? Can you use
any keywords

40. Inspired by Cheval
and Gonsalves
ideas – how could
you incorporate
SURREALISM into
your outcome?
Suggest
materials/processes
/techniques
COLLAGE DISTORTION
JUXTAPOSITION

42. • Although your outcomes are different to
these examples…
• You can incorporate SOME SURREAL
ELEMENTS –
• For example making a hole in the floor to
reveal sky – the sky could then be collaged in

43. COLLAGE –
•Adding REALISTIC
or SURREAL
people, objects IN
PERSPECTIVE.
•Using
juxtaposition to
add surreal
elements.

44. Looking at the work you have
produced so far, how is
Mach’s work going to
influence your development?

46. LAYERS
How would you describe
Measure’s work?
BLOCKS
PHOTOGRAPHIC
ENLARGEMENTS

48. YOUR TASK:
Adding COLLAGE:
• Use the images and magazine
clippings to incorporate
REALISTIC or SURREAL elements
into your outcome.
• These elements MUST BE IN
PERSPECTIVE (e.g smaller objects
towards the back)
• Be creative with the placement –
e.g the collage could be placed
inside of a window to show the
outside.
E.g.

49. Learning objective
• To use FROTTAGE technique in lead pencil and oil
pastel in order to add TEXTURE to the corridor walls,
ceilings, floors, door frames.
• To carefully cut and arrange pieces using COLLAGE
technique.

50. Self-Assessment
Look at your CREATIVE PERSPECTIVE drawing (1 or 2 point) set for
homework and consider…
• Have you accurately used one/two point perspective achieving
DEPTH? Ensuring correct placement and use of HORIZON LINE,
VANISHING POINT/S and ORTHOGONAL LINES.
• Have you been CREATIVE using shapes, letters or creating an
image?
• Have you considered COLOUR and/or TONAL VALUES to add
DEPTH and REALISM?

51. Peer-Assessment
Look at your partners EDUARDO RECIFFE collage and
consider…
• Have they considered a CREATIVE COMPOSITION?
• Have they used a range of PAPER COLOURS and PATTERNS
the backgrounds and collaged shapes/areas?
• Have they included TEXT? Does this realte to surrealist key
terms or ideas?
• Have they included any hand drawn elements?
• Have they included an image or more of a person e.g.
baby, child or adult?
• How SURREAL is the outcome? – ideas of
DISTORTION/JUXTAPOSITION?

53. • Frottage involves
creating a rubbing of
a textured surface
using a pencil or
other
drawing material.
• German born artist
Max Ernst discovered
the technique of
Frottage.

54. • German born
architect (1886-1969)
• He reveals the
industrial materials
used in construction
through his drawing
techniques.

56. Step 1 – find a range of textured surfaces – the embossed
wall paper samples.
Step 2 – take some tracing paper and a pencil/oil pastel.
Place the paper over the surface and begin to rub the
pencil/pastel over the paper using the width of the
lead/pastel.
Step 3 – ensure you press with the right amount of
pressure so that the texture surfaces. CREATE A RANGE OF
BOTH PENCIL SAMPLES AND OIL PASTEL SAMPLES.
YOUR TASK: FROTTAGE

57. YOUR TASK:
Adding TEXTURE:
• Using your range of FROTTAGE SAMPLES in
both LEAD PENCIL and OIL PASTEL you need
to fill areas of walls, ceilings, floors and door
frames with TEXTURE.
• You can place OVER PEN WORK to reveal
colour underneath OR work over any white
spaces.

58. Learning objective
• To explore hand-drawn skills by TRACING figures and
objects to place inside the corridor IN PERPSECTIVE.
• To explore tone through cross-hatching technique.

60. YOUR TASK:
Adding FINELINER OBJECTS/FIGURES:
• Use the images and magazine clippings to
trace FIGURES/OBJECTS from.
• Trace over in FINELINER PEN and use CROSS-
HATCHING to show TONE.
• Pritt stick onto a colour paper background,
cut out and place onto the collage IN
PERSPECTIVE.

61. Please remember the
RULES OF
PERSPECTIVE.
Small figure
Large figure

62. Use the images and magazine
clippings to trace
FIGURES/OBJECTS from. Measure
against the background (IN
PERSPECTIVE).
Trace over in FINELINER PEN and
use CROSS-HATCHING to show
TONE.
Pritt stick onto a colour paper
background, cut out and place
onto the collage IN PERSPECTIVE.