4. WHAT IS LINEAR PERSPECTIVE?
Ò Linear perspective is a
system for creating the
illusion of a three-
dimensional space on a two-
dimensional, flat surface.
5. WHAT IS LINEAR PERSPECTIVE?
Ò Linear perspective is a
system for creating the
illusion of a three-
dimensional space on a two-
dimensional, flat surface.
Ò It was discovered in
Florence, Italy in the early
15th century by Filippo
Brunelleschi & Leon Batista
Alberti.
6. DEVELOPING LINEAR PERSPECTIVE
Ò Filippo Brunelleschi (1377-1446
CE) was the Italian sculptor and
architect who demonstrated the
principles of perspective through
optics.
Ò In 1415 CE, Brunelleschi painted
a picture of the Florentine
Baptistery on the surface of a
small mirror, right on top of its
own reflection.
8. DEVELOPING LINEAR PERSPECTIVE
Ò To demonstrate the fact that his
painting was indeed an exact replica that
could fool the eye, Brunelleschi drilled a
small hole in the mirror and then stood
directly in front of the Baptistery,
looking through the peephole to see the
real building.
9. DEVELOPING LINEAR PERSPECTIVE
Ò To demonstrate the fact that his
painting was indeed an exact replica that
could fool the eye, Brunelleschi drilled a
small hole in the mirror and then stood
directly in front of the Baptistery,
looking through the peephole to see the
real building.
Ò He then held up a second, clean mirror in
front of his painted panel. The second
mirror blocked the view of the real
building, but now reflected his painted
version on the original mirror.
12. DEVELOPING LINEAR PERSPECTIVE
Ò By holding up the panel and
pressing the hole to one eye
while holding a mirror with
the other hand, the viewer
could see the painting’s
reflection.
13. DEVELOPING LINEAR PERSPECTIVE
Ò By holding up the panel and
pressing the hole to one eye
while holding a mirror with
the other hand, the viewer
could see the painting’s
reflection.
Ò A viewer standing in the
cathedral doorway could check
the painted illusion against the
real view.
15. LEON BATTISTA ALBERTI
Ò Alberti (1404-1472) was an
architect and writer who first
formulates rules that artists could
follow to create perspectival work.
16. LEON BATTISTA ALBERTI
Ò Alberti (1404-1472) was an
architect and writer who first
formulates rules that artists could
follow to create perspectival work.
Ò He imagined the picture surface as an
“open window” through which a painted
world is seen.
17. LEON BATTISTA ALBERTI
Ò Alberti (1404-1472) was an
architect and writer who first
formulates rules that artists could
follow to create perspectival work.
Ò He imagined the picture surface as an
“open window” through which a painted
world is seen.
Ò Showed how a perspective
“checkerboard pavement” is created
within the picture space - in which the
receding parallel lines represent the
visual rays connecting the spectator’s
eye to a spot in the distance.
18. LEON BATTISTA ALBERTI
▪ Based his system on the height of the human figure, being 3 braccia tall
▪ Drew a rectangular picture plane, imagined as an open window
▪ Divided the ground line into 6 scaled braccia
▪ Fixed the central vanishing point by drawing a vertical line three braccia high from the center of
the ground line
▪ Drew diagonals – orthogonals - joining the ground line to the vanishing point
21. USING LINEAR PERSPECTIVE
Ò Brunelleschi used the knowledge of
perspective for architectural
purposes.
Ò He is said to have made a ground plan
for the Church of Santo Spirito on
the basis of which he produced a
perspective drawing to show his
clients how it would look after it was
built.
22. USING LINEAR PERSPECTIVE
Ò Brunelleschi used the knowledge of
perspective for architectural
purposes.
Ò He is said to have made a ground plan
for the Church of Santo Spirito on
the basis of which he produced a
perspective drawing to show his
clients how it would look after it was
built.
Ò We can compare this drawing with a
modern photo of the actual church.
30. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE
▪ Based on the way the human
eye sees the world.
▪ Objects that are closer appear
larger, more distant objects
appear smaller.
▪ To create the illusion of space
the artist creates a vanishing
point on the horizon line.
31. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE
▪ Based on the way the human
eye sees the world.
▪ Objects that are closer appear
larger, more distant objects
appear smaller.
▪ To create the illusion of space
the artist creates a vanishing
point on the horizon line.
▪ Objects are drawn using
orthogonal lines, which lead to
the vanishing point.
32. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
33. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
34. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
35. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
36. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
37. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
38. ONE-POINT PERSPECTIVE
▪ Horizon Line: The place
where the land and the sky
meet.
▪ Vanishing Point: The single
point on the horizon where
all the lines on the ground
level seem to come together.
▪ Orthogonals: Lines that
connect to the vanishing
point.
39. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
40. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
41. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
42. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
43. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
44. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
45. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
46. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
47. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
48. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
49. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
50. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
51. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
52. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
53. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
54. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
55. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
56. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
Vanishing point!
57. ONE-POINT PERSPECTIVE
In one-point perspective, the vanishing point can be at any location along
the horizon line; where is the vanishing point in this example?
Horizon Line
Orthogonals
Vanishing point!
58. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
59. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
60. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
61. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
62. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
63. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
64. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
65. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
66. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
67. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
68. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
69. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
70. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
71. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
72. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
Vanishing Point!
73. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Horizon Line
Orthogonals
Vanishing Point!
74. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
75. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
76. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
77. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
78. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
79. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
80. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
81. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
82. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
83. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
84. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
85. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
86. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
87. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
Vanishing Point!
88. ONE-POINT PERSPECTIVE
Sometimes the vanishing point can be obscured by subjects within the composition or
placed outside the picture plane itself; where is it in da Vinci’s The Last Supper?
Horizon Line
Orthogonals
Vanishing Point!
90. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
91. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
92. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
93. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
94. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
95. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
96. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
97. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
98. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
99. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
100. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
101. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
102. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
103. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
104. TWO-POINT PERSPECTIVE
Ò In two-point perspective, there are
two vanishing points located along
the horizon line.
Ò This allows an artist to create a
three-quarter view of a structure,
as if you are standing at the
corner of a city block.
Ò Horizon Line
Ò Front edge (corner)
Ò Orthogonals
Ò Vanishing points
106. TWO-POINT PERSPECTIVE
▪ Notice how the corner of the
building is facing the viewer.
▪ This is a simple example of
two-point perspective.
▪ Where are the vanishing
points?
▪ Sometimes vanishing points
are not on the picture plane
at all!
107. TWO-POINT PERSPECTIVE
How To Create A Basic Image In Two-Point Perspective
Ò Draw in the horizon line across the picture plane and place a vanishing point at
either end of it.
Ò Draw a vertical front edge line toward the center of the picture plane
between the ground line & horizon line.
Ò Draw orthogonals from the top & bottom ends of the front edge line to the
left & right vanishing points, respectively.
Ò Within each of the triangles the orthogonals create on either side of the front
edge, draw in a vertical back edge line.
Ò The, from the top, outside corners of each back edge, draw orthogonal lines
connecting them to the opposite vanishing points.
Ò Voila! A box rendered in two-point perspective!
108. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
109. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
110. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
111. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
112. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
113. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
114. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
115. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
116. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
117. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
118. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
119. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
120. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
121. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
122. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
123. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
124. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
125. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
126. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
127. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
128. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
129. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
130. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
131. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
Back orthogonals
132. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
Back orthogonals
133. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
Back orthogonals
ROOF!
134. TWO-POINT PERSPECTIVE
Any structure’s form can be reduced to a simple box. All convergent lines are
drawn from each of the corners. Notice how the side of the box must be
perfectly vertical.
Horizon line
Vanishing points
Front edge
OrthogonalsOrthogonals
Back edges
WALLS!
Back orthogonals
ROOF! THERE’S YOUR BOX!
135. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
136. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
137. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
138. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
139. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
140. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
141. TWO-POINT PERSPECTIVE
Next, try lowering the horizon line. Notice that the viewer’s position in
relationship to the box appears lower. Also, note that if the front edge is
higher than the horizon line, the box’s roof will be invisible.
142. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
143. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
144. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
145. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
146. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
147. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
148. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
149. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
150. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
151. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
152. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
153. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
154. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
155. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
156. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
157. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
158. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
159. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
160. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
161. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
162. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
163. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
164. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Notice that the second
cube’s top is invisible
because its front edge
rises above the horizon
line!
165. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
166. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
167. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
168. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
169. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
170. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
171. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
172. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
173. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
174. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
175. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
176. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
177. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
178. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
179. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
180. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
181. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
182. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
183. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
184. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
185. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
186. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
187. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
188. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
189. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
190. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
191. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
192. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
193. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
194. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
195. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
196. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
197. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
198. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
199. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
200. TWO-POINT PERSPECTIVE
Finally, add details like windows, doors, or signs to your boxes to give them
visual interest. To do this, simply draw bands stretching from the box’s
front edge back to the vanishing point.
201.
202.
203. HOMEWORK ASSIGNMENT
YOUR ASSIGNMENT
▪ Create a fantasy city using two-point
perspective!
▪ Sketch out in pencil first
▪ Add forms and details to create
your city
▪ Outline with black marker or pen
▪ Paint with watercolor, colored pencil
or marker to complete your city
▪ Your fantasy city will be due next
class meeting.
