Part Two: Advanced Theory

This part contains a great many new discoveries from the causes and behaviors of three-dimensional form to specific distortion characteristics.

Part One | Part Two | Part Three | Part Four | Part Five

8. Understanding Form – Here contains the first explanation behind the behavior of physical form. Includes a further breakdown of the three ingredients of form.

9. Form Perspective – This is about "forms from our perspective." This cuts to the fundamentals of perspective and describes what allows the appearance of any object to exist. An important advance in the field of art and science.

10. Apparent Distance – Reveals what causes any appearance of depth, along with its importance to the artist. The basis of depth perception is also put forth.

11. Apparent Size – The effects of looking smaller with distance are examined.

12. Apparent Direction – Here we learn how "viewing angles" affect how three-dimensional an object looks.

The basis of depth vs. flatness is described in great detail as well.

An old perspective premise is also totally redefined here and altered forever based on new discoveries. No artist who has studied Perspective before will approach drawing in the same way again after reading this.

13. Motion – A subject not covered in perspective books, this chapter will be particularly useful to those who deal with art forms such as motion picture, animation and computer graphics. This uniquely defines what motion actually is and its relationship with time. Demonstrates how the effects of movement create depth, along with simple guidelines that regulate how fast or slow one can make anything appear. With this, an artist can move beyond a three-dimensional form and into a "four-dimensional form."

14. Focus – A topic not often described in Perspective, its effects are outlined.

15. Aerial Perspective – Aerial means "pertaining to the air." Particles in the air such as dust or smoke between us and those things we see create heightened depth. Several myths about this are laid to rest.

16. Light and Dark – Covers how levels of light and dark affect depth. Includes contrast and shadow.

17. Artistic Depth Cues – A depth cue is "a suggestion of actual depth," such as seeing objects getting smaller as they get farther away. "Artistic depth cue" is a new term, with the aim of creating depth in more interesting, creative and unlimited ways than what is offered in any perspective book or nature.

18. Amplifying Depth – This chapter covers how to increase depth in any scene.

19. Depth Perspective vs. Form Perspective – In short, a rough categorization of depth cues and how they can be mixed to maximal effect.

20. Past Experience – Understand how the influence of your audience's past experience with a particular subject effects how a perspective scene is perceived.

21. Size Cues – Lists ten ways to suggest a subject's actual size. This is basically about "size perception." For example, filmmakers cannot merely assume that an audience will understand that their spaceship is supposed to be enormous. They have to demonstrate this to them through size cues.

22. Distinguishing Size and Distance – Our inability to distinguish an object's size and distance allows us to use miniatures in film. Still, there are several means by which we can distinguish size and distance, therefore enhancing our depth perception. This includes the benefits of working with one eye versus two.

23. Audio Perspective – A new subject to perspective, audio perspective can greatly enhance the participation of your audience. Adding a three-dimensional sound to a two-dimensional picture lends a greater three-dimensionality to the overall experience. The simple, basic factors regulating this are given.

24. Distortion – An advanced look into exactly what distortion is and why it can occur in a drawing or photo. This is especially applicable to any artist whose work is displayed on a flat surface.

Covers the characteristic looks of distortion, including a comparison between the two main distortion types. Simple, detailed diagrams of these are also provided.

Part One | Part Two | Part Three | Part Four | Part Five

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