Orthographic — where it appears
Named by 26 essays across 7 fields — each of them below, with the objects they name alongside it.
Parallel projection is not primitive perspective
Isometric and oblique drawing are not what people used before they worked perspective out. They are a different answer to a different question, and the difference is one measurable quantity — a parallel projection preserves the ratio in which a point divides a segment, and a perspective projection destroys it by 7% of the segment's drawn length at a comfortable depth, rising to 13% over the range the slider covers.
A scroll is a camera that moves
A Chinese handscroll is not a picture with a wandering viewpoint or a picture with no viewpoint. It is the image of an eye that travels along a track and records one vertical line at a time, and that object has an exact geometry — orthographic along the roll, perspective across it.
What the removed roof buys
The Japanese convention of drawing an interior with its roof lifted off is usually explained as a way of seeing inside. What it actually buys is uniformity — every room reports the same share of its floor, to the last sample, where the eye that frames the same building reports three different numbers.
What isometric actually means
The three axis scales are equal to each other. They are not equal to one. Every unit along every axis is drawn at 0.8165 of its true length, which is √(2/3), and a great deal of confusion about isometric drawing comes from the word promising something it does not deliver.
The eye taken to infinity
A parallel projection is a photograph from infinitely far away with the lens lengthened to match. That is not an analogy — it is the limit, it can be watched happening, and it explains why a long lens flattens a scene and why an isometric drawing has no viewing distance to state.
Which axis scales are possible
An orthographic projection's three foreshortening ratios always satisfy one identity — their squares sum to two. Isometric's famous 0.8165 is forced by it rather than chosen, and cavalier's 1, 1, 1 sums to three, which is the arithmetic saying cavalier is not the ORTHOGRAPHIC projection of anything. A later rung shows what the departure is a measurement of.
A mirror ball is an equal-area fisheye
Photograph a mirror ball from far enough away and its rule is ρ = R·sin(θ/2), which is the equal-area fisheye — not an approximation to it, the rule. Measured, the departure falls from 4.27% of the picture's radius at 3 radii to 0.01% at 2000, while the next-best named rule stays 21% out at every distance. And the ball reflects 100.0% of the directions there are, which no designed surface does.
A carpet and the people on it
A Persian miniature draws the ground as though from above and the figures standing on it as though from in front. The two views want optical axes exactly ninety degrees apart, and the plan view does not shorten a standing figure — it replaces its height with its distance from the point under the eye.
Assembled from several views
An Egyptian relief takes each part of a figure from the direction that identifies it — head in profile, eye and shoulders frontal, a pond in plan. What that buys is exactly measurable: any single viewing direction keeps at most √k of k perpendicular aspects, so the best compromise view retains 58% of each.
Any three lines you draw are a cube
Four earlier essays said that cavalier projection is not the projection of anything — because its axis scales sum to three where every orthographic projection sums to two. That is true of orthographic projection and false of projection. Three lines from a point, drawn by hand, are a picture of an actual cube seen from an actual direction, and the cube and the direction come out of the drawing in closed form.
Oblique is a shear, and the shear is the whole system
Cavalier and cabinet are usually introduced as easy perspective for people with a set square. They are not a simplification of anything — they are the answer to a demand no orthographic projection can meet, which is a front face at true size and a depth axis at full length at the same time. The two are locked on a unit circle, and buying both costs exactly 45° of obliquity.
A ruler on an isometric drawing
Isometric drawing has one scale — 0.8165 — and every account of it stops there. But that number is about three directions and a drawing has infinitely many, so a length measured off the paper and divided by 0.8165 comes back anywhere between √(1/2) and √(3/2) of the truth: 29.3% short to 22.5% long, with nothing in the picture to say which.
The ellipse the drawing office draws
Every isometric ellipse template is cut to a construction of four circular arcs, and every account of it calls the result an ellipse. It is not one and cannot be: a circular arc has constant curvature and a conic's varies, so the two can agree at four points and nowhere between. The four-centre curve reaches 2√2/3 of the true semi-major axis — 5.72% short — and its minor axis is 3.53% too long.
A narrow view keeps a second answer, inside out
Six pictures of a courtyard through a 3° field, every mark exact. Started from the scene turned inside out, the adjustment settles there — near points far, far points near — and misfits the marks by under a pixel. The misfit grows in proportion to the field and to the sweep of the cameras, and vanishes only where perspective does.
The dish no outline reaches
An outline is a pair of numbers per direction and nothing more, so a shape built from outlines has two errors that behave differently. The part outside the convex hull falls as one over the square of the view count. The part inside a concavity is the same area at four views and at a hundred and twenty-eight, because no pair of supporting lines ever reaches into a bite.
A picture in bands
A register picture stacks its scene in horizontal bands, each with its own ground line and every figure drawn at one height. The feet line and the heads line of any pair are then parallel to the arithmetic floor — 0° against 15.4° in a photograph of the same figures — so the picture has no horizon anywhere in it, and what a reader recovers is an ordering with no metre attached.
A cylinder has two different ends
The two end circles of a cylinder image as two different ellipses — 14.4° apart in the direction of their major axes and 0.918 against 0.839 in aspect — and the outline's straight sides touch neither of them where its major axis ends, missing by 28° round the ellipse and 35 pixels. Walking the cylinder away removes the difference between the ends and does not remove the offset of the touch, which settles at 7.3° off the principal ray and at nothing on it.
The pond with its trees laid flat
An Egyptian garden pond is drawn in plan with its trees rotated outward about the bank they stand on. A rotation is an isometry, so every length in that drawing is exactly the length it is in the garden — zero error, not a small one. What is spent is the angle between any two faces, which reads 180° across every hinge and is 90° in the garden, and the four walls admit sixteen assemblies, so a reader supplies four bits to fold it back up.
A start needs the sign of its depths, not their size
Started part of the way from a courtyard toward its inside-out twin, a bundle adjustment returns to the truth from every start less than 42 per cent of the way — a start with a sixth of the true relief, the right way round — and falls into the twin from every start past 56. Between, neighbouring starts settle in different answers. The band sits in the same place at a 3° field, where the twin misfits by under a pixel, and at 25°, where it misfits by seven and a half.
The cameras decide where a narrow view settles
Scatter a narrow-field bundle adjustment's starting depths and the answer it reaches stops following them: of eighty scattered starts whose depths had the right sign, twenty-six fell into the inside-out twin, and of a hundred with the wrong sign, forty-three came home. Split the start in two and the reason is plain. With the cameras where they are, the courtyard comes home from its own inside-out points; with the cameras on the twin's side, it falls in from the true ones.
No solid casts an aspective figure
Fitting the best single rigid view to an aspective figure — head and legs in profile, eye and shoulders turned square — misses its own marks by 2.6% of the drawn height, and no yaw does better than 3.0% in a full sweep. A genuine single-view drawing of the same body fits to 7.6e-13 pixels, and the five rotations recovered from the marks alone match the convention's own list to 0.0e+0°.
The ball a drawing does not draw round
An orthographic drawing of a sphere is a circle wherever the sphere is, and its centre is the image of the sphere's centre, exactly. A cavalier oblique drawing of the same sphere is an ellipse of aspect exactly √2 — and the drawing office reaches for a circle template. One formula covers both and the camera as well, and only the camera moves the centre.
No view draws a curved plate true
The auxiliary view is descriptive geometry's answer to a foreshortened plane — turn until the plane is parallel to the paper and it draws at true shape. A bent plate has no such direction and a dished one has none twice over: the best view of the first is out by 1 − cos w and the best of the second by 1 − cos²w, worse by exactly 1 + cos w, because its normals need two parameters rather than one.
The drawing and the development
A bent plate gets two flat pictures on the same sheet and each is exact in what the other loses. The parallel drawing keeps the generators at one scale and stretches the arc over a factor; the development keeps every length on the surface and keeps nothing of the shape in space. Neither is the plate and the pair of them is.
A drawn fold has a phantom
A Necker cube has two readings and so does a drawn fold, and the fold's second reading is not the supplement of the first. The drawing fixes each plate edge's component in the picture and leaves its component along the ray free up to a sign; a reflection identifies two of the four sign pairs, so there are exactly two plates — and a hundred-degree fold reads as eighty-seven as well.
Two outlines are two curves
The whole method of multiview drawing is the transfer line — a feature at a position in the front view is at the same position along that axis in the top view. On a flat-faced solid the feature is a vertex and the rule is exact. On a ball the two views draw two different great circles, meeting in exactly two points, and the transfer line joins places that are √2 radii apart.
Named alongside it
The objects these essays reach for when they reach for this one.
DemonstrationDrawing systemForeshorteningIsometricOblique projectionParallel projectionPicture planeAxonometricfield of viewArea scaleDepth reversalIdentifiability