Since prehistoric times

mankind depicted three

dimensional
natures
on
ARCHITECTURAL
GRAPHICS -II
University of Kerala
Module IHere are
a flat surface.
the drawings by a
Stone Age artist done
32,000 years ago. This
is the oldest art known
to man. It was
discovered in a cave
located in Southern
France.
7/10/2014

SAMBATH.RD

13AR1305 ARCHITECTURAL GRAPHICS -II Module I

Perspective drawing
Leonardos window
Perspective projection concepts.
Vanishing points.
Station points.
Picture planes.
Types of perspectiveSingle point perspective,
Two point perspective.
Perspective projection of simple objects,
buildings,
Interior perspectives, human figures.
Landscapes etc in perspective,
Sciography.

Figure 1

What are the main rules of perspective?

The rules are quite simple and can be seen in our everyday experience.
The objects closer to a viewer appear bigger than similar objects located further away.

The objects on a foreground will partially or completely cover objects on the background if they
are aligned on the same ray (line) of view.
The further away objects are, the less detailed they look and the less contrasting and saturated
their colors become.

History of drawing in perspective

Since prehistoric times mankind depicted three dimensional natures on a flat surface. Here are
the drawings by a Stone Age artist done
32,000 years ago. This is the oldest art
known to man. It was discovered in a
cave located in Southern France.

The cave wall murals portray various

animals using extraordinary expressive
drawing techniques. The panel of horses
has use of perspective, which shows
several animals on the same plane.
Similar perspective is applied for lions,
rhinos and other animals. The animals that
are closer to the viewer are bigger in scale
and partially cover the animal behind.

Figure 2

Similar perspective can be found in ancient Egypt frescoes

and drawings. Human figures are arranged in planes and
the modern viewer has no are further away. In Egyptian
art, the difficulties to understand which figures are closer
and which scale of figures does not always follow the rules
of perspective as characters size often corresponds to their
social hierarchy.

Figure 3

Egyptians artists often arranged drawing compositions in

horizontal bands, which gave clear representation of different fields of view foreground, middleground, and background.

Figure 4

This parallel perspective is used in combination with one-point perspective, where two edges of
his support will eventually meet in one point.

Figure 5

Heres the fresco by Raphael The Athens School. The main vanishing point of this composition is
located on the hand of Plato; however, the background has the lower horizon line. At the same
time, the group of people, surrounding Plato, is drawn in parallel perspective, while Platos
support has clear one-point perspective.
One-, two-, and three-point perspective found a new life during the Renaissance time.
Understanding rules of linear perspective helped fine artists depicting the world in a realistic
manner.
However, many of them realized that following linear perspective to the point gives unwanted
distortions and often corrected such distortions by introducing multiple vanishing points on
various levels

These rules were known to fine artists for many centuries. Heres what Leonardo da
Vinci said about perspective:
There are three aspects to perspective.

The first has to do with how the size of objects

seems to diminish according to distance:

the second, the manner in which colors

change the farther away they are from the
eye;

The third defines how objects ought to be

finished less carefully the farther away they
are.

During the Renaissance, European artists began to study the model of nature more closely and to
paint with the goal of greater realism. They learned to create lifelike people and animals, and
they became skilled at creating the illusion of depth and distance on flat walls and canvases by
using the techniques of linear perspective.

Figure 6


Figure 7

During the Renaissance in Italy, architects and artists

investigated the question of how to draw three dimensional
objects on flat surfaces.

They began to think of a painting as an "open window"

through which the viewer sees the painted world.

They also developed a system of mathematical rules

known as linear perspective to help painters achieve their
goal of realism.

To use linear perspective an artist must first imagine the

picture surface as an "open window" through which to see
the painted world.

Straight lines are then drawn on the canvas to represent

the horizon and "visual rays" connecting the viewer's eye
to a point in the distance.

The horizon line runs across the canvas at the eye level
of the viewer. The horizon line is where the sky
appears to meet the ground.

Figure 8

Figure 9 .

In painting the Virgin of the Rocks,

Leonardo applied his understanding
of aerial perspective to create the
sense of mountains a great distance
away.

Leonardo was fascinated by the atmosphere and by its effects on the colors and distinctness of
distant objects. Though other artists had already begun to create some of these effects in their
work, Leonardo was the first to make careful measurements and suggest rules for applying them
realistically in painting. He called the subject Aerial perspective.
In morning light Leonardo observed that distant objects such as mountains look bluer and less
distinct than nearby mountains. He also noted that the more distant the mountain, the more its
color approached that of the surrounding atmosphere.

His experiments suggested that to correctly color objects at different distances, artists should do
as follows: Paint the nearest one its true color. Paint the one behind proportionately bluer, and
the one behind that bluer

In this computer generated scene, the colors have been made the same for nearby and distant
objects as if there were no atmospheric effects

Perspective Projection
Captures a true three-dimensional view onto a two-dimensional plane.
What is Perspective Projection?

Perspective projection is a form of pictorial drawing that gives the illusion of depth onto a flat
surface, very similar to that of viewing of the object through the human eye. In comparison to
other types of projection systems, for example orthographic and oblique, the spectator is viewing
the object from infinity. The projection rays radiate parallel to each other from the object back to
the spectator, compared to perspective projection where the projected rays radiate from the
object to a single point at a given distance from the object.

Figure 10

The Spectator

Figure 11 the spectator is the name given to the point in which the object is being viewed from.

Figure 12 the spectator in perspective projection shares many similar characteristics with
the human eye. An example of this would be cone of vision. In perspective projection the
object is viewed using one eye (a single point).

The best way to obtain the distance for the spectator is to consider the object's location within the
cone of vision shown. People tend to see most clearly at the centre of their cone of vision, which
is represented by a centre line of vision. This line is the axis of our cone of vision, and generally
tends to be a horizontal line. The centre line of vision is perpendicular to the picture plane.

Horizon Line and Vanishing Points

Figure 13
Horizon line is the intersection of the ground plane and a plane in accordance to the
spectators line of vision.

Vanishing points.

Vanishing points are points that lines

and/or surfaces vanish back to in
perspective projection. The main
principle with vanishing points is that
all lines parallel to one or another
and receding from the spectator will
have their own vanishing point on the

Figure 14

Horizon line. The vanishing points are always

located on the horizon line because the horizon

Figure 15

line is the vanishing line of the Earth. Therefore the horizon line can consist of an
infinite number of vanishing points.
The Ground Line

This is a straight line on the picture plane that represents the ground. It is important to note that
the ground line represents a plane that continues onto the horizon line.

Types of perspective

One Point Perspective.

Two point perspective.

Rules of One Point Perspective

Horizontal lines parallel to the picture plane and

remain horizontal.
Vertical lines remain vertical.

Figure 16

Figure 17

The orthogonal lines formed from the corners diverge to the vanishing point.
The vanishing point is located in front of the spectator.

How to draw in One Point Perspective

First draw the object. Plan the position of the picture plane and the position of the spectator.

Establish a ground line and the horizon line the same height as the spectator.

Extend lines down from the corner of your plan view to the ground line thus establishing the
given object's position.

Connect back the corners of the object to the vanishing point to define its position and shape.

Figure 18

Conditions for Two Point Perspective

For Two Point perspective the object is orientated so that the vertical edges are parallel to the
picture plane and all other edges are inclined away from the spectator thus the receding lines
converge on two separate vanishing points.

Rules of Two Point Perspective.

To find the vanishing points, lines of sight are drawn parallel to the surfaces of the
object until they cross the picture plane.

The object to be viewed is rotated so that all the sides are at an angle to the picture
plane.

All vertical lines retract back to their respective vanishing points

Horizontal lines remain horizontal

How to draw in Two Point Perspective

Draw the object plan and establish the orientation of the picture plane in relation to the
spectator.

Establish the ground line and horizon line. Draw lines parallel to the side of the object
until they strike the picture plane to establish you're VP's.

Join the corner points of the object in plan to the spectator and where the light rays
intersect the picture plane, and then project these points to the ground line.

Recede the established edge position in the perspective drawing to their respective
vanishing points as shown in the video to the right.

What is Vertical line of measures or measuring line perspective?

Mea su re line perspecti ve i s a ma themati cal system of making o bject s relate t o
ea ch othe r pro po rtiona tely. A pe rspecti ve grid i s ma de t o relate to the
groun d plan; u sing the gri d all ows greate r ea se in mea surin g dist ance s which

ma y n ot co rrespon d to any othe r scale when the metho d o f fo re sho rtenin g i s

put in pla ce. This t ype o f pe rspecti ve allow s a pe rson to t ran sf o rm an in -scale
groun d plan int o a pe rspecti ve drawing.
Sciography?

Sciography is a branch of science of the perspective dealing with the projection of shadows, or
delineation of an object in perspective with its gradations of light and shade. One of the major
professional fields that use this technique is the architectural field. In architecture it is defined as a study
of shades and shadows cast
by simple architectural forms
on plane surfaces.
In general sciography the light
source is imagined as the sun
inclined at 45 degrees to both
vertical plane and horizontal
plane coming from left hand
side. The resultant shadow is
then drawn.

Glossary

De pth s o f re ce ding su rfa ce s

T he d ep th of a rec edin g s urf ac e ref ers to th e z- axis of an obj ec t, as oppo sed to th e
obj ec ts x- axis or y- axis, (i ts wid th and h eigh t) . Th ere are two mai n w ays to disco ver th e
d ep th of a receding su rf ac e. On e w ay i s to u se diago n al lines with a sc al e th at rec ed es.
T he s econ d w ay is th roug h th e u s e of a s cal e on th e b as e-lin e or p arallel to i t. T h e firs t
method is o f ten u sed to f ree- hand sketc h thin gs s uc h as a fo resho rten ed row of f en ce
po sts.
A ccele rate d pe rspe ctive
A n in ten tion al exag geration of persp ec ti ve of ten in a s tage s etting to p ermit a sh allower
th an app ears ac tu al s tag e d ep th.
Ae rial pe rspe cti ve, at mo sphe ri c pe rspecti ve
Of ten employed in pai nti ng, aerial p ersp ec tive is th e w ay i n whic h an illusion of sp ac e an d
d ep th is c reated thro ug h th e u se of atmo sph eric tech niqu es . T hese techniq u es in clud e
makin g fo rms in th e backgro und region wi th l es s con tras t an d sof ter edg es than tho se in

th e fo refro n t of the pic tu re plan e. Of ten in atmosp h eric persp ec tive th ere exis ts a ch ang e
f rom warmer hu es to cool hu es . In g eneral, w armer colors co me forw ard, and cool er
colo rs recede (advancing and retreati ng colo r). T h e atmo sph eric eff ec t in a pic tu re i s du e
to th e degree of mois tu re su sp end ed in th e air. Chin es e p ain ters esp ecially employ
atmosp heric p ersp ec ti ve by usin g clou ds o r ins erti ng mis ts in various valu e ton es amon g
th e middl e areas of th e pic ture pl an e an d in tro duci ng f ain ter to n es in the f ar dis tanc e.
Aerial p ersp ec ti ve is of ten us ed tog eth er with lin ear p ersp ec ti ve to c reate a s trong s ens e
of sp atial d ep th in th e pic tu re.
Ae rial View
Also known as a bird s eye vi ew. T his is the vi ewpoin t s een at a high elevation. I t
in volves the vanishing poin t/s and horizo n line bei ng po sition ed o n th e upp er portion of an
i mage. I t is u su ally u s ed in referen ce to a l an dsc ap e o r a ci tysc ap e. (A erial view is no t
th e same thing as aerial p ersp ec tive.)
All-over co mpo sition
A s tyl e of pai n ting in w hich the en tire s urf ace o f th e pi ec e is wo rked o n in a more o r l ess
u niform w ay, an d th e normal way of treati ng co mpo sition (with th e pic ture having a
c enter, top or botto m) is no t co nsid ered . T he term was origi nally us ed in res pons e to
J ac kso n Pollock's d rip p ain tin gs. Later th e term w as us ed to ref er to oth er piec es th at
ref rain f ro m th e u su al co mpo sition al app ro ach es. In this w ay, th e I mpres sionis ts
"lib erated" artis ts f ro m a d ecid ed c en ter of in teres t - an d no t necess arily to on e of no
co mpo sition - bu t rath er to mul tiple o r all -over poin ts in th e pic tu re pl an e.
An gula r pe rspecti ve
A ngul ar p ersp ec tive is a typ e of lin ear p ers pec tive. All c ategori es of lin ear pers pec tive
incl ud e a ho rizon lin e an d a s tation ary poin t ( th e posi tion of th e obs erver). In two- poin t
p ersp ec ti ve, th ere exis t two poin ts fro m w hich an obj ec ts lin es radiate f ro m; th e sid es of
th e obj ec t vanish to o ne of two vanishin g poin ts on th e horizo n lin e. A n obj ec ts vertic al
lin es do no t rel ate to th e p ersp ec tive rul es of th e ho rizon tal lin es. B y c hanging th e
vanishi ng poin ts of th e obj ec t, on e can make in creas e o r d ec rease th e siz e of the
obj ec t. A ngul ar p ers pec tive is the s ame as two-poin t p ersp ec tive.
A xis
A n axi s is a line th at run s s traigh t th rou gh somethi ng in o rd er to show the direc tion and
movemen t of so mething. Th e lin e is p urel y con cep tu al i t is o f ten u sed as a helpf ul tool
fo r artis ts.
Cen ter vanis hing Poin ts CV P
T he poin t loc ated on the ho rizon lin e th at conn ects to th e ob s ervation poin t. Us u ally i t is
at this poin t wh ere th e ho rizon lin e an d c en terline in ters ec t eac h o th er. It is also at this
poin t w h ere lin es p arallel to th e pic ture pl an e dis appear.
Cente rline C L
A line, marked as " CL," th at is d rawn dow n th e middl e of a d raf ting .
C one of vi sion
T he con e of vis ion is th e vis u al reg ion disp layed b y a drawing th at relates to
a p erson s normal vis io n withou t his/h er p erip heral vis ion . In a nu ts hell, th e
co ne of visio n is th e area of s igh t o r th e an gle of sigh t. Fo r examp le, if a
p erson w an ted to s ee th e en tire theatre s tag e, usu ally a con e of vis ion
is 60 d eg rees is requ ired , so a perso n wou ld need to s it f ar enoug h b ac k to
ac hieve th is d eg ree of visio n.
C onve rgence
Con verg en ce in a drawing o r p ain ting ref ers to lin ear p ersp ec ti ve. In lin ear p ersp ec ti ve,
all lines th at are p arallel con verge to gether as th ey ru n along to a poin t at a p erson s eye
level ( also known as th e ho rizon line) in th e pic ture pl ac e. This ph eno menon is known as
con verg en ce.
Cu rvilinea r pe rspecti ve

A p ers pec tive view in w hich s traigh t lines app ear to be cu rved . Clos e-up and wid e angl e
vi ews co mmo nly relate to th e persp ecti ve.
Di minution
Di minu tion o ccu rs i n linear p ersp ec tive; i t in volves objec ts becomin g s maller and s mall er
as the sp ac e b etw een the vi ewer and th e obj ec t in creas es .
E ye Level
E ye level ref ers to th e heig h t a view ers eyes are positio ned in rel ation to th e gro und .
T here ar e variou s eye levels.
Fo re sho rtenin g
A n illusion of the eye, creating the ef fec t th at obj ec ts b eco me s maller th e f urth er aw ay
th ey are, and become l arger th e closer they are to th e vi ewer. Fo resho rtening is us ed i n
d rawing in o rd er to c reate a s en s e of d ep th and make obj ec ts ap pear to exis t sp atiall y to
each o th er.
Fo rmat
Fo rmat relates to th e size and sha pe of a p ain tin g. If i t is a rec tangl e, the o rien tation
c an b e long er in th e vertic al di mension (portrait) - o r long er in th e horizo n tal
(l and sc ap e). Format decisions b y the artis t on bo th si ze and sh ap e of th e
art su rf ace will imp ac t th e co mposi tion s trateg y and th e eff ec ts .
Groun d line
T he gro und lin e is th e loc atio n th at a pic ture pl an e is posi tioned on th e g roun d.
H o rizon Line
T he horizon line is a line drawn acros s a p ic ture. I t is es s en tial for a p ic ture
to h ave a ho rizon line if a perso n w ish es to co mmun ic ate f ro m wh at
p ersp ec tive a perso n is ob serving th e pic tu re (fro m abo ve an obj ec t, b elow an
obj ec t etc) . I t is no t n ec ess ary to inc lud e the ho rizon line in th e p ic tu re.
However, it is importan t to inc lud e a virtu al horizo n line in o rd er to make a
p ic ture fo llow co rrec t persp ec tive. T h e ho rizon line is alw ays on es eye level.
I f on e d raws a line p erp end ic u lar to the gro und o u tward ly f rom o n es eye
level, th is is wh at is cons id ered th e horizo n line.
Line ar Pe rspe ctive
Lin ear Persp ec ti ve relates to th e math ematic al s ys tem of c reating obj ec ts th at are created
th ree-dimen sion ally on a two- dimen sion al su rf ac e. I t is call ed lin ear pers pec tive
b ec aus e obj ec ts and fig ures and sp ac e are re-created in a realis tic man n er thro ugh th e u se
of in ters ec ting lines draw n ho rizon tally and vertic ally. T h ere are three typ es of lin ear
p ersp ec ti ve. T hey in clud e on e poin t p ers pec tive, two- poin t p ersp ec tive, and three-poin t
p ersp ec ti ve. All of the pers pec tives in clud e a ho rizon line and a s tation ary poin t ( the
po sition o f th e ob server). In on e poin t persp ecti ve, there is on e poi nt th at all lines radi ate
f rom. In two-poin t p ers pec tive, there exis t two poin ts f ro m whic h an ob jec ts lines radi ate
f rom; th e sid es of th e obj ec t vanis h to on e of two vani shing poin ts o n th e horizo n line. A n
obj ec ts vertic al lin es do no t rel ate to th e p ersp ec tive rul es of th e ho rizon tal lin es. B y

c h angin g th e vanishi ng poin ts of th e o bjec t, o ne c an make i ncreas e o r d ec rease th e size o f

th e obj ec t. In three-poin t p ersp ec ti ve th ere are also two vanis hing poin ts somewh ere on
th e horizo n; how ever, unlike two-poi n t p ersp ec tive, th ere also exis ts a vanishin g poin t
abo ve or b elow th e horizo n line th at the vertic al lin es di sapp ear to.
Mea su re line perspecti ve
M eas ure line p ersp ec tive is a math ematic al s ys tem of makin g obj ec ts relate to eac h o th er
p ropo rtio nately. A p ersp ec tive grid is made to relate to the gro und plan; us in g th e grid
allows g reater eas e in measu ring dis tanc es w hich may no t correspon d to an y o th er scale
when th e method of fo re sho rtenin g is p u t in p lac e. Th is typ e of persp ec tive allows a
p erson to tran sform an in-s cale g rou nd plan in to a p ersp ec tive.
Obli que pe rspecti ve
O bliq ue p ers pec tive is a typ e of lin ear persp ective. All catego ries of lin ear
p ersp ec tive inc lud e a horizo n line and a s tatio nary po in t ( the pos ition of the
ob server). In o bliq ue p ersp ec tive th ere are also two vanish in g po in ts
so mewh ere o n th e horizo n; how ever, un like two -po in t pers pec tive, there also
exis ts a vanish in g po in t abo ve or below the horizon line that th e vertic al lin es
d is ap pear to. Ob liqu e p ersp ec tive is th e s ame as three-po in t persp ec tive.

Obse rvation point OP

A n ob servation poin t (O P) i s th e sin gle poin t fro m w hich a persp ecti ve drawin g is loo ked
f rom. Imagine a ray of ligh t radiatin g f rom a man's eye u pon the scene in f ron t of hi m his eye is the obs ervation poin t. O f ten th e ob servation poin t is loc ated o n th e
c enterline.
One point pe rspe cti ve
O ne-poin t p ersp ec tive is a typ e of lin ear p ersp ec tive. A ll c ategories of lin ear
p ersp ec tive inc lud e a horizo n line and a s tatio nary po in t ( the pos ition of the
ob server). In on e-po in t p ersp ec tive, on ly on e van is hing po in t exis ts; lin es
radiate ou tw ard ly fro m th is po in t, a nd p erp end ic u lar lin es meet at th is po in t.
O n e-po in t p ersp ec tive is th e s ame as parallel p ersp ec tive.
Ortho gonal line s
Perspec tive lin es that poin t to th e vanis hing poi nt; orthogon al lines are p erp endi cular to
on e anoth er.
Pa rallel line s
Parallel L in es are lines th at ru n in th e s ame d irec tio n; th ey n ever to uch eac h
o th er b ec au se th e d is tan ce runn ing between th em is always th e s ame. In
p ersp ec tive drawin g, lin es that are p arallel con verg e in the d is tanc e at a
van ish ing po in t.
Pa rallel pe rspe cti ve
Parallel p ersp ec tive is a type o f linear p ersp ec tive. A ll c ategories of lin ear p ersp ec tive
inc lud e a ho rizon line and a s tation ary poin t ( th e po sition of th e ob server). I n on e-po in t
p ersp ec tive, on ly on e van ish in g po in t exis ts; lin es rad iate o u tward ly fro m th is po in t, and
p erp end ic ular lin es meet at this po in t. Parallel p ersp ec tive is th e s ame as o ne- poin t
p ersp ec tive.
Pe rpen dicula r line s
Perp endicul ar lines are s traigh t lin es that meet at rig h t angl es . Th e l etter "L " is an
exampl e of p erp endic ular lin es.
Pe rspecti ve grid
A grid created math ematic ally; p eople us e i t as a measu ring guid e in o rd er to make ins cal e p ersp ec ti ve drawing s.
Pi ctu re pl ane
A pic tu re p lan e is th e two-d imens io nal su rf ac e upo n wh ic h a p ain ting /draw ing is c reated .
A window c an b e u nd ers tood as a p ic ture plane as on e looks ou t to the sc en e beyon d it.
P oint o f View

A poin t of view in d raw in g is s imp ly wh at pos ition an obs erver is in relation to

th e obj ec ts in a pic tu re. T he poin t of view is determined b y wh ere a view er is
s tation ed in relation to everyth ing else h e s ees. Fo r examp le, if on e h as a
b irds- eye view, on e w ill s ee o bjec ts b eneath h im. If on e h as a normal view,
obj ec ts will app ear how h e normally s ees th em. If on e has a worms- eye view,
obj ec ts will app ear muc h larg er th an normal.
Re ce ding pa rallel lines
Receding p arallel lines are lin es p arallel to each o th er th at g rad ually mo ve
aw ay fro m th e view er. T h ere are a nu mb er of ru les th at rec ed ing parallel lines
fo llow in n atu re. F irs t, all lin es in n atu re th at are p arallel to each o th er
app ear to con verge at th e s ame poin t as they rec ed e fro m the viewer.
Second , all level lines th at rec ed e in nature ap pear to co nverge on the
ho rizon . T hird ly, in clin ing p arallel lin es in n atu re th at rec ed e app ear to
co nverg e at a po in t immed iately o ver the poin t th ey wou ld h ave co nverg ed IF
th ey h ad b een level lin es. Fourth ly, p arallel lin es in n atu re th at recede wh en
inc lin ed downw ard app ear to meet at a po in t immed iately b eneath th e po in t
th ey wou ld h ave co nverg ed had th ey b een level lines.
Relati ve S cale
Relative s c ale is a method us ed to c reate and d etermin e th e s patial pos ition of
a f ig ure or obj ec t in 3D p ic ture p lan e; obj ects or figu res th at are mo re d is tan t
are drawn s maller in s iz e th an thos e ob jec ts o r f igu res th at are c los er to th e
view er. A nd the o bjec ts o r f igu res that are c los er are d rawn b igg er. In this
w ay, th e relative size of an obj ec t/figu re creates the illus ion of sp ace on a f lat
2D p ic tu re p lan e.
Scale (pro po rti on )
S c ale in draw ing ref ers to th e p ropo rtio n or ratio th at d ef in es th e s iz e
relations hips. Mod els, arc hitec tural p lan s, maps and p ain tings/d rawings all
u s e sc ale to c reate the illus ion of co rrec t siz e relatio nsh ip s b etween obj ec ts
an d f igu res.
Shallow S pace
S h allow s pac e ref ers to a 2D flat sp ac e th at may h ave wid th an d d ens ity, bu t co n tains o nly
a limited amoun t of d ep th . For examp le, a picket f en c e is an example of an obj ec t th at
d emon strates s h allow s pac e b ec au se of its lack of d ep th .
Sot to in su
I n Italian this means "f ro m b elow upw ards. " U sed in referenc e to a ceiling pain ting
wh erein th e p eop le, f ig ures , and sc en es are d ep ic ted fo resho rten ed so th at th ey app ear to
b e s usp end ed in sp ac e - an d no t con tain ed w ith in th e f lat s truc ture of the p ic tu re p lan e.
Stati on Point
A s tation poin t is us ed i n linear p ersp ec tive as a s tation ary poin t fro m whic h a view er i s
rel ated to th e obj ec t/figu re b eing rend ered . I t c an be thou gh t of as th e poin t o f ref erenc e
f rom which all thi ngs in th e artwo rk c an b e related to . Th e s tation poin t may b e very high
o r very low. Hig h = bird's-eye- view. Low = worm's eye view . I t is importan t to
d etermin e th e corr ec t s tation poin t wh en s tarting a piece o f work, bec aus e the s tation
poin t h as a key role in d etermining how th e view er u nd erstands o n es co mposi tion an d
rel ates to th e subj ec t matter. I t may also b e referred to as " van tag e poin t".
Th ree point pe rspe cti ve
T hree-poin t p ersp ec ti ve is a type o f linear p ersp ec tive. All c ategori es of linear
p ersp ec ti ves inclu de a hori zon lin e and a s tationary poin t ( th e posi tion of th e obs erver). In
th ree-poin t p ersp ec tive there are also two vanis hing poin ts so mewh ere o n th e horizo n;
how ever, unlike two- poin t p ersp ec tive, th ere also exi sts a vanishin g poin t abo ve or b elow
th e horizo n line th at th e vertic al lines dis ap pear to. Th ree- poin t p ersp ec tive is the s ame
as o blique pers pec tive.
Tw o point pe rspecti ve
Two-poin t pers pec tive is a typ e of lin ear persp ec ti ve. All catego ries of lin ear p ersp ec ti ve
incl ud e a ho rizon lin e an d a s tation ary poin t ( th e posi tion of th e obs erver). In two- poin t
p ersp ec ti ve, th ere exis t two poin ts fro m w hich an obj ec ts lin es radiate f ro m; th e sid es of
th e obj ec t vanish to o ne of two vanishin g poin ts on th e horizo n lin e. A n obj ec ts vertic al
lin es do no t rel ate to th e p ersp ec tive rul es of th e ho rizon tal lin es. B y c hanging th e

vanishi ng poin ts of th e obj ec t, on e can make in creas e o r d ec rease th e siz e of the

obj ec t. Two-poin t persp ec ti ve is th e same as angul ar p ers pec tive.
Value
A rtis ts ' term fo r s c aling of a co mpo sition 's ligh tn ess with d eg rees o f g ray b etw een
end poin ts of black and whi te. Colors c an also b e ass es sed in th e same w ay for valu e.
D arker relates to "lower" in valu es. I n sci en ce, val ue is "ligh tn es s".
Vani shing P oint
A poin t th at rec eding p arallel lin es app ear to con verge to . I t is u sed in lin ear persp ec ti ve
in relation to a s tatio nary poin t ( the placemen t o f th e ob server). Obj ec ts s eem to
dis ap pear at th e vanis hing poin t.

Vanta ge point
A van tag e poin t is u s ed in lin ear pers pec tive as a s tation ary poin t f rom which a vi ewer is
rel ated to th e obj ec t/figu re b eing rend ered . I t c an be thou gh t of as th e poin t o f ref erenc e
f rom which all thi ngs in th e artwo rk c an b e related to . Th e van tag e poi nt may b e very
hig h or very low. Hig h = bird's-eye-vi ew. Low = worm's eye view . I t is importan t to
d etermin e th e correc t s tation poin t wh en s tarting a piece o f work, bec aus e the van tag e
poin t h as a key role in d etermining how th e view er u nd erstands o n es co mposi tion an d
rel ates to th e subj ec t matter. I t may also b e referred to as " s tation poin t".
Wo rm's-eye view
A drawing or pai nti ng s cen e th at is seen as tho ugh th e obs erver is lookin g u p fro m a
po sition below i t. Prop erl y u sed i t relies on the o bliqu e p ersp ec tive. All ver tical lin es will
co nverg e u pward an d b e p arall el to th e pic ture pl an e.
Zero point pe rspe ctive
Z ero-po in t p ersp ec tive is a type of linear p ersp ec tive. A ll of typ es of lin ear p ers pec tives
inc lud e a ho rizon lin e an d a s tation ary po in t ( th e pos ition of th e obs erver). In zero -po in t
p ersp ec tive, no van is hing po in ts exis t; as a resu lt, the imag e co n tains no d ep th .
Zone s o f re ce ssi on
T he area of a pic tu res s urf ace is apportio ned to a foreg rou nd, a mid dle dis tanc e, an d a
b ac kg rou nd wh en con s truc ting sp ati al dep th. V ari ations and hazing o f th es e resp ec tive
zo n es influ enc e d eg ree of red uc tion an d s everity of con tras t in the linear p ersp ec tive.
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Best wishes to my all students. May god shower his

bless on my kids to achieve their goals.
-Sambath.
Presented by
Sambath RD
MFA (Broadcast Journalism and Video Production) ,
Master in Media Business Management
UGC.NET in Visual Arts.
Asst. Professor.
Architectural Graphics
Department of Architecture
T.K.M COLLEGE OF ENGINNERING .