1. Fooling The Eye
Brunelleschi, Alberti & Linear Perspective
Professor Will Adams
Valencia College
Tuesday, February 26, 13

2. THE INVENTION OF LINEAR PERSPECTIVE
Tuesday, February 26, 13

3. WHAT IS LINEAR PERSPECTIVE?
Tuesday, February 26, 13

4. WHAT IS LINEAR PERSPECTIVE?
 Linear perspective is a
system for creating the
illusion of a three-
dimensional space on a two-
dimensional, flat surface.
Tuesday, February 26, 13

5. WHAT IS LINEAR PERSPECTIVE?
 Linear perspective is a
system for creating the
illusion of a three-
dimensional space on a two-
dimensional, flat surface.
 It was discovered in
Florence, Italy in the early
15th century by Filippo
Brunelleschi & Leon Batista
Alberti.
Tuesday, February 26, 13

6. DEVELOPING LINEAR PERSPECTIVE
 Filippo Brunelleschi
(1377-1446 CE) was the
Italian sculptor and architect
who demonstrated the
principles of perspective
through optics.
 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.
Tuesday, February 26, 13

7. DEVELOPING LINEAR PERSPECTIVE
Tuesday, February 26, 13

8. DEVELOPING LINEAR PERSPECTIVE
 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.
Tuesday, February 26, 13

9. DEVELOPING LINEAR PERSPECTIVE
 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.
 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.
Tuesday, February 26, 13

10. DEVELOPING LINEAR PERSPECTIVE
Tuesday, February 26, 13

11. DEVELOPING LINEAR PERSPECTIVE
Tuesday, February 26, 13

12. DEVELOPING LINEAR PERSPECTIVE
 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.
Tuesday, February 26, 13

13. DEVELOPING LINEAR PERSPECTIVE
 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.
 A viewer standing in the
cathedral doorway could check
the painted illusion against the
real view.
Tuesday, February 26, 13

14. LEON BATTISTA ALBERTI
Tuesday, February 26, 13

15. LEON BATTISTA ALBERTI
 Alberti (1404-1472) was an architect
and writer who first formulates rules
that artists could follow to create
perspectival work.
Tuesday, February 26, 13

16. LEON BATTISTA ALBERTI
 Alberti (1404-1472) was an architect
and writer who first formulates rules
that artists could follow to create
perspectival work.
 He imagined the picture surface as an
“open window” through which a painted
world is seen.
Tuesday, February 26, 13

17. LEON BATTISTA ALBERTI
 Alberti (1404-1472) was an architect
and writer who first formulates rules
that artists could follow to create
perspectival work.
 He imagined the picture surface as an
“open window” through which a painted
world is seen.
 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.
Tuesday, February 26, 13

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
Tuesday, February 26, 13

19. USING LINEAR PERSPECTIVE
Tuesday, February 26, 13

20. USING LINEAR PERSPECTIVE
 Brunelleschi used the knowledge of
perspective for architectural
purposes.
Tuesday, February 26, 13

21. USING LINEAR PERSPECTIVE
 Brunelleschi used the knowledge of
perspective for architectural
purposes.
 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.
Tuesday, February 26, 13

22. USING LINEAR PERSPECTIVE
 Brunelleschi used the knowledge of
perspective for architectural
purposes.
 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.
 We can compare this drawing with a
modern photo of the actual church.
Tuesday, February 26, 13

23. USING LINEAR PERSPECTIVE
Brunelleschi’s proposal drawing of A photograph of the interior of Santo
Santo Spirito, dated 1543 Spirito as it looks today.
Tuesday, February 26, 13

24. USING LINEAR PERSPECTIVE
Brunelleschi’s proposal drawing of A photograph of the interior of Santo
Santo Spirito, dated 1543 Spirito as it looks today.
Tuesday, February 26, 13

25. ONE-POINT PERSPECTIVE
Tuesday, February 26, 13

26. ONE-POINT PERSPECTIVE
Tuesday, February 26, 13

27. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE
Tuesday, February 26, 13

28. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE
 Based on the way the human
eye sees the world.
Tuesday, February 26, 13

29. 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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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?
Tuesday, February 26, 13

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?
Tuesday, February 26, 13

41. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

42. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

43. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

44. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

45. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

46. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

47. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

48. ONE-POINT PERSPECTIVE
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

49. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

50. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

51. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

52. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

53. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

54. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

55. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

56. ONE-POINT PERSPECTIVE
Vanishing point!
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

57. ONE-POINT PERSPECTIVE
Vanishing point!
Orthogonals
Horizon Line
In one-point perspective, the vanishing point can be at any location along the
horizon line; where is the vanishing point in this example?
Tuesday, February 26, 13

58. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

59. ONE-POINT PERSPECTIVE
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

60. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

61. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

62. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

63. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

64. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

65. ONE-POINT PERSPECTIVE
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

66. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

67. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

68. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

69. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

70. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

71. ONE-POINT PERSPECTIVE
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

72. ONE-POINT PERSPECTIVE
Vanishing Point!
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

73. ONE-POINT PERSPECTIVE
Vanishing Point!
Horizon Line
Orthogonals
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?
Tuesday, February 26, 13

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?
Tuesday, February 26, 13

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?
Tuesday, February 26, 13

76. ONE-POINT PERSPECTIVE
Horizon Line
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?
Tuesday, February 26, 13

77. ONE-POINT PERSPECTIVE
Horizon Line
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?
Tuesday, February 26, 13

78. ONE-POINT PERSPECTIVE
Horizon Line
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?
Tuesday, February 26, 13

79. ONE-POINT PERSPECTIVE
Horizon Line
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?
Tuesday, February 26, 13

80. ONE-POINT PERSPECTIVE
Horizon Line
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?
Tuesday, February 26, 13

81. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

82. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

83. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

84. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

85. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

86. ONE-POINT PERSPECTIVE
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

87. ONE-POINT PERSPECTIVE
Vanishing Point!
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

88. ONE-POINT PERSPECTIVE
Vanishing Point!
Orthogonals
Horizon Line
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?
Tuesday, February 26, 13

89. TWO-POINT PERSPECTIVE
Tuesday, February 26, 13

90. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

91. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

92. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

93. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

94. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

95. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

96. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

97. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

98. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

99. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

100. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

101. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

102. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

103. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

104. TWO-POINT PERSPECTIVE
 In two-point perspective, there
are two vanishing points located
along the horizon line.
 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.
 Horizon Line
 Front edge (corner)
 Orthogonals
 Vanishing points
Tuesday, February 26, 13

105. TWO-POINT PERSPECTIVE
Tuesday, February 26, 13

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!
Tuesday, February 26, 13

107. TWO-POINT PERSPECTIVE
How To Create A Basic Image In Two-Point Perspective
 Draw in the horizon line across the picture plane and place a vanishing point
at either end of it.
 Draw a vertical front edge line toward the center of the picture plane
between the ground line & horizon line.
 Draw orthogonals from the top & bottom ends of the front edge line to
the left & right vanishing points, respectively.
 Within each of the triangles the orthogonals create on either side of the
front edge, draw in a vertical back edge line.
 The, from the top, outside corners of each back edge, draw orthogonal
lines connecting them to the opposite vanishing points.
 Voila! A box rendered in two-point perspective!
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

110. TWO-POINT PERSPECTIVE
Horizon line
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.
Tuesday, February 26, 13

111. TWO-POINT PERSPECTIVE
Horizon line
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.
Tuesday, February 26, 13

112. TWO-POINT PERSPECTIVE
Horizon line
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.
Tuesday, February 26, 13

113. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
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.
Tuesday, February 26, 13

114. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
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.
Tuesday, February 26, 13

115. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
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.
Tuesday, February 26, 13

116. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

117. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

118. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

119. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

120. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

121. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Front edge
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.
Tuesday, February 26, 13

122. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Front edge
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.
Tuesday, February 26, 13

123. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Front edge
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.
Tuesday, February 26, 13

124. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Front edge
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.
Tuesday, February 26, 13

125. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Front edge
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.
Tuesday, February 26, 13

126. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Back edges
Front edge
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.
Tuesday, February 26, 13

127. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Back edges
Front edge
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.
Tuesday, February 26, 13

128. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Back edges
Front edge
WALLS!
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.
Tuesday, February 26, 13

129. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Back edges
Front edge
WALLS!
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.
Tuesday, February 26, 13

130. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Orthogonals Orthogonals
Back edges
Front edge
WALLS!
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.
Tuesday, February 26, 13

131. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Back orthogonals
Orthogonals Orthogonals
Back edges
Front edge
WALLS!
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.
Tuesday, February 26, 13

132. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Back orthogonals
Orthogonals Orthogonals
Back edges
Front edge
WALLS!
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.
Tuesday, February 26, 13

133. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Back orthogonals
Orthogonals Orthogonals
Back edges
Front edge
WALLS! ROOF!
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.
Tuesday, February 26, 13

134. TWO-POINT PERSPECTIVE
Vanishing points
Horizon line
Back orthogonals
Orthogonals Orthogonals
Back edges
Front edge
WALLS! ROOF! THERE’S YOUR BOX!
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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

142. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

143. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

144. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

145. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

146. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

147. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

148. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

149. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

150. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

151. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

152. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

153. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

154. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

155. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

156. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

157. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

158. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

159. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

160. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

161. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

162. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

163. TWO-POINT PERSPECTIVE
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

164. TWO-POINT PERSPECTIVE
Notice that the second
cube’s top is invisible
because its front edge
rises above the horizon
line!
For a greater challenge, begin stacking boxes atop one another and
adding additional boxes along the bottom orthogonals.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

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.
Tuesday, February 26, 13

201. Tuesday, February 26, 13

202. Tuesday, February 26, 13

203. FINE
Tuesday, February 26, 13