Linear perspective is a technique for creating the illusion of three dimensions on a two-dimensional surface that was developed in 15th century Florence by Filippo Brunelleschi and Leon Battista Alberti. Brunelleschi demonstrated the principles of linear perspective through a painting of the Florentine Baptistery that created an optical illusion to fool the eye. Alberti later codified the technique by establishing rules for artists to follow, such as placing objects along diagonal lines that converge at a single vanishing point on the horizon. This system revolutionized painting by allowing for realistic depictions of space and became widely adopted by Renaissance artists.

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

2. THE INVENTION OF

3. WHAT IS LINEAR PERSPECTIVE?

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.

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.

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

7. DEVELOPING LINEAR PERSPECTIVE

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.

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.

10. DEVELOPING LINEAR PERSPECTIVE

11. DEVELOPING LINEAR PERSPECTIVE

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.

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.

14. LEON BATTISTA ALBERTI

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

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.

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.

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

19. USING LINEAR PERSPECTIVE

20. USING LINEAR PERSPECTIVE
 Brunelleschi used the knowledge of
perspective for architectural
purposes.

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.

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

23. USING LINEAR PERSPECTIVE
Brunelleschi’s proposal drawing of
A photograph of the interior of Santo
Santo Spirito, dated 1543

24. USING LINEAR PERSPECTIVE
Brunelleschi’s proposal drawing of
A photograph of the interior of Santo
Santo Spirito, dated 1543

25. ONE-POINT PERSPECTIVE

26. ONE-POINT PERSPECTIVE

27. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE

28. ONE-POINT PERSPECTIVE
LINEAR PERSPECTIVE
 Based on the way the human
eye sees the world.

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.

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
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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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
Horizon Line
In this painting, Little Street, by Vermeer, the vanishing point is hidden by the
building itself; can you locate it?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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
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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

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?

89. TWO-POINT PERSPECTIVE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

105. TWO-POINT PERSPECTIVE

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
 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!

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
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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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
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.

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.

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 in
class on March 23rd.

204. FINE