PRESPECTIVE DRAWING

(PRACTICAL FILE)

SINGHANIA UNIVERSITY

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 DATE-_________

CERTIFICATE
THIS IS TO CERTIFY THAT THE PROJECT WORK SUBMITTED BY
RABIA, HAVING ENROLLMENT NO._________________ TO THE
SINGHANIA UNIVERSITY DISTRICT, JHUNJHUNU, PACHERI BARI,
RAJASTHAN-333515 IN PARTIAL FULFILMENTOF THE
REQUIREMENT FOR THE AWARD OF THE B.SC Spl Multimedia &
Animation HAS BEEN CARRIED OUT UNDER MY SUPERVISION.

ENDORSED BY

__________________
__________________

CONTENTS

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1. LINEAR PERSPECTIVE
2. TOOLS & TECHNIQUES
3. ONE-POINT PERSPECTIVE
4. TWO-POINT PERSPECTIVE
5. THREE-POINT PERSPECTIVE

INTRODUCTION
Perspective is a powerful way of seeing.

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Whether we are aware of it or not, perspective is a
constant in our perception of the three-dimensional
world. We move through three-dimensional space
viewing everything in our world in perspective, though
we may not be consciously aware of how it works.
Perspective is an essential drawing and design tool
Perspective can be used to depict depth and volume and
to give your visual work a convincing three-dimensional
appearance of space. Perspective is one of the key
principles of drawing, and better understanding of it will
markedly improve your drawing skills. Most commonly,
artists use perspective to depict realistic three-
dimensional spaces. However, perspective can do so
much more than simply express reality. You can use
perspective tools to bring to life unreal, exaggerated, and
physically impossible subjects that could never exist in
real three-dimensional space. This makes perspective a
versatile tool for visual expression that can open doors to
your imagination and expand your creative possibilities.
LINEAR PRESPECTIVE

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Linear perspective is a geometric method of depicting
three-dimensional subjects on a two-dimensional format.
Linear perspective creates the illusions of depth and
dimension by modeling monocular vision.
Monocular vision describes how one eye perceives
depth.
Binocular vision describes how both of our eyes in
combination perceive depth.

Linear perspective operates on three basic principles that

summarize how we perceive depth through monocular
vision: diminution, convergence, and foreshortening.
Together they create the observable phenomenon that

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constitutes linear perspective. When receding forms
appear increasingly smaller, we call that diminution.

DIMUNATION
When receding form appear increasingly closer together,
that is called convergence. And when receding planes
appear to shorten, that is referred to as foreshortening.
the viewer’s location—is referred to as the station point.
The direction in which the viewer looks is the line of
sight.

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The endpoint of the viewer’s line of sight is called the
center of vision.
the center of vision often falls on the horizon line. The
horizon line is a horizontal line where the sky appears to
meet the ground. We know that the Earth is round and
does not have a straight edge, but a horizon line is a
useful perspective tool where diminution, convergence,
and foreshortening are infinite.
The ground plane is the two-dimensional plane below
the horizon line representing a flat ground, or floor, upon
which objects rest.

TOOLS AND TECHNIQUES

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Perspective drawing is made easier and more enjoyable
with the proper tools and techniques. Our main drawing
tool is the pencil.
Since precision is especially important when rendering in
perspective, harder pencils that hold a sharp point such
as 2H or 4H are recommended. Keep softer pencils like
2B or 4B on hand to darken lines.
Mechanical pencils, or drafting pencils, are an excellent
choice as they always hold a sharp point. Always keep
several pencils of various grades within easy reach to
avoid the inclination to apply too much pressure.
Erasers are another essential. White plastic erasers
intended for pencils should always be on hand. Different
shaped erasers are used for different purposes. Block
erasers clean large areas, whereas thin pen erasers
(encased in a holder) will remove select details.
To smudge or smear graphite on paper use tissue paper
or a chamois cloth to blend larger areas, and use cotton
swabs or a tortillion for smaller areas.

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Tracing paper and graph paper are also helpful for
perspective drawing. Graph paper is great for mapping
plan and elevation views. Tracing paper is an excellent
organizational tool for complex subjects involving
multiple sets of vanishing points, or when you’re using
grid overlays.
Nothing in perspective is accomplished without straight
lines, which makes rulers an absolute must.
Position at least two lights on either side of your work
area to eliminate glare and shadows. Incidentally, this is
also an optimal arrangement for photographing your
completed work.

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 ONE-POINT PRESPECTIVE
linear perspective is the concept of the vanishing point.
A vanishing point is a point where any set of parallel
edges appear to meet. The law of vanishing points
states that any set of parallel edges receding from the
viewer will appear to meet at a vanishing point.
one-point perspective is a point of view in which one set
of parallel edges recede from the viewer and appear to
converge at a single vanishing point. The other two sets
are parallel to the picture plane.

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In one-point perspective, the vanishing point is also the
center of vision. there should be only one vanishing point
for the entire drawing.

 CREATING ONE POINT PRESPECTIVE DRAWING

We can construct a rectangular prism in one-point
perspective by first marking a vanishing point (VP) and
horizon line (HL). A rectangular prism begins with any
rectangle, which establishes the front plane of the form.
Then connect all four corners to the vanishing point. This
establishes the receding planes. We complete the shape
with another rectangle, ensuring that the corners

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connect with the receding edges. This forms the rear
plane of the shape. Then erase hidden edges to model a
solid shape.

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The rectangular prism can be rotated to any orientation.
Just make sure the front and back planes remain parallel
to each other and parallel to the picture plane.

We can construct many forms in one point perspective

by remembering that the front and rear planes should be
the same shape. This applies to basic forms such as
triangular prisms and cylinders, as well as more complex
forms. When you add multiple forms within the same
composition, be sure to use the same vanishing point.

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A common pitfall is adding different vanishing points for
each form. This is incorrect—there should be only one
vanishing point for the entire drawing.

To draw a one-point perspective interior, think of the

viewer as located inside of the rectangular prism. The

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line of sight is perpendicular to the far wall. The left and
right walls, as well as the floor and ceiling, recede to the
vanishing point. The far wall is a rectangle, front-facing
and parallel to the picture plane.

Start with a rectangle for the far wall and position a

vanishing point and horizon somewhere on the wall.
Extend lines from each corner of the rectangle to form
the ceiling, walls, and floor.

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To construct objects within the interior space, it is best to
start with their footprints, or bases. Footprints not only
help with layout but also ensure that each object rests on
the floor.

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Objects within the room can be constructed from
rectangular prisms, and all will use the same vanishing
point that was used to construct the room itself.

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 TWO-POINT PRESPECTIVE
Two-point perspective is a point of view in which two
sets of parallel edges recede from the viewer and appear
to converge at two separate vanishing points. Only one
set of the rectangular prism’s edges are parallel to the
picture plane. In a two-point perspective interior, the
viewer is located inside of the rectangular prism.

 CREATING TWO POINT PRESPECTIVE DRAWING

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Constructing a rectangular prism in two-point
perspective requires establishing two vanishing points
(VPs) on the horizon.

Make the rectangular base using the right and left

vanishing points. Then extend vertical edges from each
corner of the base.

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Complete the shape by using the right and left vanishing
points to form the top plane, ensuring that edges
connect at the top corners. Erase any hidden edges to
form a solid shape.

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when you add multiple forms within the same
composition, you must use the same vanishing points. Do
not add more—there should only be two vanishing
points for the entire drawing.

In a two-point perspective interior, the viewer is located

inside of the rectangular prism. The line of sight is
perpendicular to the far vertical corner where two walls
meet. Note that the right wall recedes to the left
vanishing point and the left wall recedes to the right
vanishing point.

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To draw a two-point interior, begin with the farthest
vertical corner. Use the right vanishing point to draw the
left wall. Use the left vanishing point to draw the right
wall. Notice that this also forms the floor and ceiling.

Three-dimensional forms can be added to the room using

the same vanishing points that constructed the room
itself. Take care to develop all three dimensions of forms
when relevant, and pay attention to footprints for
objects within the room. In two-point perspective it is

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usually best to position for vanishing points to be farther
from the subject in order to minimize distortion.

If the vanishing points are too close to the subject, the

forms will be misshapen. For this reason, the vanishing
points in a two-point composition are usually located in
the margins, outside of the composition’s frame.

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 THREE POINT PRESPECTIVE
Three-point perspective is a point of view in which three
sets of parallel edges recede from the viewer and appear
to converge at three different vanishing points. In a
three-point perspective interior, the viewer is located
inside of the rectangular prism.

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  CREATING THREE POINT PRESPECTIVE DRAWING
In three-point perspective, none of the planes or the
edges of the rectangular prism is parallel to the picture
plane. Everything recedes from the viewer. To construct
a rectangular prism in three-point, begin with a horizon
line (HL) and two vanishing points (VPs). Then place a
third vanishing point either above or below the horizon,
roughly equidistant from the first two vanishing points. A
third vanishing point above the horizon line is described
as a worm’s-eye view, looking up at the subject. A third
vanishing point below the horizon is called a bird’s-eye
view, looking down at the subject. In both cases, we
connect all three vanishing points to form a triangle.

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Then use the two vanishing points on the horizon to
draw a rectangular base inside the triangle. Connect the
corners of the base to the third vanishing point, forming
the vertical edges.

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Complete the shape using the first two vanishing points
for the top plane, ensuring all the edges connect at
corners.

Hidden edges can then be erased to model a solid shape.

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A common modification to a worm’s-eye view is to
extend the base of the form below the horizon so that it
rests on the ground plane.

There should only be a total of three vanishing points for

all the forms within the same drawing. The line of sight
will point either to the far bottom corner for a bird’s-eye
or the far top corner for a worm’s-eye.

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A bird’s-eye interior begins with the floor and walls. You
can add details using the same three vanishing points. All
vertical edges will originate from the third vanishing
point below the horizon line. Right and left edges will
originate from the left and right vanishing points,
respectively.

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 IMPORTANT GLOSSARIES
 Angle of Incidence-The angle of incidence is the
angle at which a subject is positioned in relation to a
reflective surface or mirror.
 Angle of Reflection- The angle of reflection is the
angle at which a subject’s reflection appears on the
reflective surface or mirror.
 Atmospheric Perspective- Atmospheric perspective
is the perception of depth resulting from the color-
shifting effects of the atmosphere. The more
particulate matter or the greater the distance
between the viewer and the subject, the more
muted in value, muted in saturation, and cooler in
hue the subject will appear.
 Center of Vision- The center of vision is the endpoint
of the viewer’s line of sight, indicating the direction
of the viewer’s gaze. The center of vision is often,
but not always, located on the horizon line. It is
abbreviated as COV.
 Cone of Vision- The cone of vision is the range of
sight of the viewer, with the center of vision as its

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 center. Subjects rendered outside of the cone of
vision appear distorted. Normal monocular vision is
a 60-degree cone of vision; however, artists more
often employ a 90-degree cone of vision to maximize
useable composition area.
 Convergence- Convergence is one of three principles
of linear perspective in which receding forms appear
increasingly closer together.
 Diagonal Vanishing Point- A diagonal vanishing
point is the point where a set of parallel diagonals
receding from the viewer appears to converge. We
abbreviate as DVP.
 Diminution- Diminution is one of three principles of
linear perspective in which receding forms appear
increasingly smaller.
 Elevation View- An elevation view is a side view of
the subject on a two-dimensional grid. An elevation
view depicts the relative height and location of
forms.
 Field of Sight-The field of sight is a concept specific
to five-point perspective. It is analogous to the line
of sight used in one-, two-, and three-point

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 perspective. Field of sight represents an area of
observation where the viewer simultaneously
observes 180 degrees of the scene in all directions.
 Focal Point- The focal point is an area of interest,
detail, contrast, or anomaly within a composition
that draws an observer’s attention. Focal point is a
tool used by artists and designers to describe or
express a visual idea or narrative, and it should not
be confused with a vanishing point.
 Foreshortening- Foreshortening is one of three
principles of linear perspective in which receding
planes appear to shorten.
 Ground Line- The ground line represents the ground
plane in an elevation view. The ground line is located
below the horizon line,
 Ground Plane- The ground plane is the two-
dimensional horizontal plane below the horizon line,
representing the ground or floor.
 Horizon Line- The horizon line is a horizontal line
where the sky appears to meet the ground. The
horizon line is an illusion and represents the place

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 where diminution, convergence, and foreshortening
are infinite. We abbreviate as HL.
 Isosceles Triangle- An isosceles triangle is a three-
sided shape with two sides of equal length.
 Law of Vanishing Points- The law of vanishing points
says that any set of parallel edges receding from the
viewer will appear to meet at a vanishing point.
 Linear Perspective- Linear perspective is a geometric
method of depicting three-dimensional subjects on a
two-dimensional format. Linear perspective uses
rectangular planes and prisms to model monocular
vision, creating an illusion of depth.
 Line of Sight- The line of sight represents the
direction of the viewer’s gaze. Line of sight is usually
perpendicular to the horizon line and always points
to the center of vision.
 Monocular Vision- Monocular vision is sight from
one eye with the other eye closed. Unlike binocular
vision, which combines sight from both eyes for
depth perception, monocular vision can be modeled
with linear 249 perspective.

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 One-Point Perspective- One-point perspective is a
point of view in which one set of parallel edges
recedes from the viewer and appears to converge at
a single vanishing point. A rectangular prism is
assumed.
 Perpendicular- A perpendicular angle is a 90-degree
angle.
 Perspective Center- The perspective center is the
middle point of a rectangular plane in perspective,
found at the intersection of the plane’s diagonals.
 Perspective Grid- The perspective grid is a three-
dimensional grid in perspective that can be based on
either square or rectangular planes. There are one-
point, two-point, three-point, four-point, five-point,
and infinite-point perspective grids.
 Rectangular Plane- A rectangular plane is a flat
surface that has two dimensions and 90-degree
angles at each corner.
 Rectangular Prism- A rectangular prism is a form
that has three dimensions and 90-degree angles at
each corner.

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 Station Point- A station point is the fixed location of
the viewer. We abbreviate as SP.
 Two-Point Perspective- Two-point perspective is a
point of view in which two sets of parallel edges
recede from the viewer and appear to converge at
two separate vanishing points. A rectangular prism is
assumed.
 Three-Point Perspective- Three-point perspective is
a point of view in which the three sets of parallel
edges recede from the viewer and appear to
converge at three different vanishing points. A
rectangular prism is assumed.
 Vanishing Point- A vanishing point is the point
where a set of parallel edges receding from the
viewer appear to meet. Vanishing point is
abbreviated as VP.

BIBLOGRAPHY

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 PERSPECTIVE DRAWING- SARAH
HALEY

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