Basics of 1 2 and 3 Point Perspective – AKA Parallel

and Angular Perspective Lesson

www.drawinghowtodraw.com/stepbystepdrawinglessons/2011/09/basics-of-1-point-and-2-point-perspective-aka-
parallel-and-angular-perspective-lesson/
By admin

Basics of 1 Point and 2 Point Perspective – AKA Parallel

and Angular Perspective Lesson

Hold a box in your hand in such a position that you only see the front and top of it.
Observe that as we view the top, its outer edges appear to converge. This condition is
caused by an optical illusion. As the top turns away from us, the relationship between the
length and width changes or diminishes. This phenomenon is known as foreshortening.
Observe also that as we look at the face of the box, it is seen in its true form. The reason
for this is that it is perpendicular to our line of vision.

Now from your window look at a house or building. Notice the change in relationships
between their sides, dependent upon your viewing position. Also, look down the street or
road and you will observe that it seems to converge into the distance. Therefore, when
drawing in perspective, we interpret an object as it appears to be, in relationship to our

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visual position. Were we to draw the object in its true form it would appear distorted. You
should observe also that color and lighting conditions change in true perspective.
Foreground objects appear more brilliant than those in the background. This is called
aerial perspective.

PERSPECTIVE (THE PICTURE PLANE):

When drawing a picture in perspective, we are concerned with three factors. These are
the picture plane, the eye level, and the vanishing point. The picture plane means
basically that it is the scene or composition of the picture which we wish to execute
within a defined border, or the limits of our paper. If we were to go to a window and think
of its casing as a frame—that view, which we would observe within the area of the
window frame, would be our picture. Were we further to paint on the glass the view
through the window, the window glass would then be considered as our picture plane.

In Fig. A, within the limits of our picture plane, there are shown three divisions which
most pictures incorporate in order to give them depth or perspective. These are the
foreground (3), the middleground (2). and the background (1). In Fig. B, above, is
illustrated how perspective may be suggested in like manner in the sky areas. Figs. C. D,
E, and F. illustrate how these are reflected in pictorial form. Lastly, in the lower panel is

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shown a panoramic view of a winter scene. Portion (G) represents the scene as being
selected as our picture plane

BASIC PRINCIPLES OF PERSPECTIVE:

The first essential in learning to draw is the study of perspective. In this art fundamental
we shall learn how to interpret objects as they appear to us, and not to draw them in their
actual forms or sizes.

Parrallel Perspective

When creating a picture we must first consider our viewpoint as we observe the scene.
Are we looking down on the object, up at it, or is it parallel to our line of vision, etc.? This
line of vision, or our eye level, is interpreted in perspective as the horizon line (H.L.).
Observe that parallel lines of an object seem to converge to this horizon line at a point
which is known as the vanishing point (V.P.). Three lines of an object which are at right
angles to each other are not drawn in their true lengths, but are shown as they appear to
be in lengths relative to the position of the observer. Should we draw objects in their true
sizes and shapes they would appear distorted in our pictures. We shall first learn to draw

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a simple box in various positions. When we have accomplished this it will be a relatively
easy step toward drawing almost any inanimate object in perspective.

PARALLEL PERSPECTIVE:
We think of linear perspective as dealing with lines—such as the edges of a box,
building, etc., as opposed to circles in perspective. In starting our study of perspective
we shall learn to draw mechanically; that is, using actual horizon lines, vanishing points,
etc. It should be stated, however, that artists rarely draw mechanically. They know the
rules and forget about them. Until you have a fixed knowledge of perspective it is
advisable to draw in all of your vanishing lines, etc. When you are more experienced you
will be taught the freehand approach.

In the above lesson we come back to first drawing our simple box, and in easy steps
developing this box into a table or chair. Now you are on your way to learning to draw!
After practicing the above exercise you may elaborate on the design of the table and
chair—using your own furniture for ideas. Observe that the objects are drawn in parallel
perspective; that is, the table and chair are parallel to our line of vision. What is this
imaginary eye level called? The horizon line—of course. Practice drawing the table and
chair in different relationships to above and below the horizon line.

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As you have looked directly down a railroad track undoubtedly you have observed that
the rails appeared to become narrower in the distance and converge to an imaginary
point. Of course, you were aware that the rails were actually parallel, or equidistant to
each other, but in observing them, an optical illusion tricked your vision into seeing these
rails converge. The railroad track is basic in illustrating what we mean by drawing in
perspective.

Our entire picture is constructed in one-point (or parallel) perspective. This means, of
course, that all objects vanish to a single point. To space the telephone poles
mechanically—first establish the first and second poles. From the top and bottom of the
first pole. respectively, draw vanishing lines to the vanishing point. Now draw a center
line from the first pole to the vanishing point. From the top of the first pole now draw a
line through the intersection of this center line and the second pole. At the point where
this diagonal meets the base vanishing line will establish the location of our third pole.
Using a similar procedure will locate the positions of the other telephone poles.

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Look at the above picture in Kitchen Interior Design. Our drawing will be again
constructed in one-point perspective. All objects (including the floor tiles) vanish to a
single point on the horizon line which, as we know by now, is our eye level. Note that the
cabinets and intersections of the window frames, which are above the horizon line,
converge downward toward the vanishing point. Observe also that all objects below the
horizon, such as the stove, refrigerator, etc., converge up to the vanishing point. Refer
back to the earlier picture in which the boxes are shown above and below eye level. You
will see that the kitchen fixtures are basically constructed from our simple box, with
variations only in proportions and detail. When you have executed the above illustration,
create your own kitchen design using material from your own kitchen, magazines,
newspapers, etc.

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Basics of 1 2 and 3 Point Perspective – AKA Parallel
and Angular Perspective Lesson
www.drawinghowtodraw.com/stepbystepdrawinglessons/2011/09/basics-of-1-point-and-2-point-perspective-aka-
parallel-and-angular-perspective-lesson/2/
By admin

This above picture may seem difficult to you, but don’t let it “scare” you. Never be afraid
of drawing! As has been said, it is not my purpose in this to develop master artists, but to
show you the way to fun self-creation in art. Therefore, in our lesson we shall take it easy
—doing the best we are able to, and not worrying too much about the results.

Study the above illustration, and you will note that the houses are really basically boxes
in form—drawn to a single vanishing point. To the left of the picture, you will see the
method of constructing the houses, while to the right of the picture are shown
suggestions of simple renderings.

In starting to draw this picture first establish your horizon line quite high on your paper,
allowing sufficient room for your houses which are shown below eye level. On this
horizon line place your vanishing point and proceed to first draw in the street, converging
to the vanishing point. Now establish the frames of the houses, first drawing their basic

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forms in the shapes of boxes; then proceed to add the roofs, and finally the architectural
detail.

ANGULAR PERSPECTIVE:

Up to this point we have been concerned only with objects which have been parallel to
our line of sight, or what we know as parallel or one-point perspective. Instead of seeing
one face of the object parallel to our line of vision (as in true parallel perspective), we
shall now learn how to draw objects which are viewed at an angle. Whether the top or
bottom of the object may be seen is determined by its relationship to the horizon line.
Thus when objects are viewed at an angle we term this angular perspective. In as much
as we are now concerned with two sides – an individual vanishing point is needed on the
horizon line for the perspective construction of each side. Therefore, to repeat, in angular
perspective we use two vanishing points to draw our sides.

In the above diagram the horizon line is drawn first. The two vanishing points are then
established in any relationship on this line—preferably at a reasonable distance from
each other. If the two vanishing points are too close together the object, while basically
correct, appears distorted. Now proceed to construct the box as demonstrated.

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In the further study of drawing objects at an angular view, we shall learn how a box is
observed in relationship to its horizon line. In Fig. A, the box is shown above the eye
level, in Fig. B, it is on a plane with our eye level, and in Fig. C, it is viewed from an angle
below eye level. Particularly notice in diagram C that each side recedes as it is seen in
the distance. If these sides were to be extended each would eventually meet at its
imaginary vanishing point. This premise would hold true also in the other drawings of the
box. To emphasize, we of course know that in actuality the edges of each box are
parallel to each other, but in a perspective drawing. they are shown as converging or
becoming narrower in height as they recede. In order to create greater interest in
compositions, most objects are drawn in angular perspective in pictures, and it is
important to remember the above facts. You have been instructed to first establish the
edge of the box nearest you—the other edges are determined by the proportions of the
object. The top or bottom of the box should be drawn last.

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The drawing of the building may appear complicated, but it is really not difficult to
execute. At the top of the diagram is shown three successive steps in its construction:
First, draw a box so constructed that its horizon line is slightly above center; second, add
a second box on top of the first—thus forming another tier to the building; third, next to
the latter, a third box is added, somewhat larger, which will add height to the building.
Make certain that all edges of the boxes vanish to the left and right to their respective
vanishing points. Remember that the two vanishing points are both on a single horizon
line.

Now that the basic skeleton of our building is constructed, proceed to draw in the
windows, doors, etc. Note that as the windows recede into the distance, they appear to
be smaller and closer together. Observe this optical illusion through studying an actual
building. Windows, etc., on the left side of the building will vanish to the left vanishing
point, while those to the right will vanish to the right vanishing point. Note particularly the
manner in which the marquis vanishes. Your building may be made more convincing by
adding cornices, suggesting texture, etc.

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It will be my purpose to make each of these lessons exciting and challenging. More
important. is that following this simplified instruction, you can execute these problems
with relative ease. Remember, you don’t have to have talent to draw!

We are continuing to deal with angular perspective. In our top view is shown the basic
box construction of the house. Observe that it is drawn both above and below the
horizon line.

To start the house, the eye level is first drawn, with the two vanishing points established
on it. Keep these two vanishing points as far apart as the width of your paper will allow,
thus giving your house convincing proportions. Proceed now to construct your basic box
—vanishing each side respectively to its own vanishing point. Now establish the pitch of
the roof by drawing diagonals through the front of the house. Any point on the
perpendicular through the intersection of the diagonals may be used as a basis for the
start of your roof. From this point, vanish the roof to the right vanishing point. Notice
particularly that the top edge of the roof is found through a third vanishing point known as
the oblique vanishing point (O.V.P.).

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Now we shall make a drawing of a skyscraper looking up at it. This representation in
perspective is referred to as a worm’s eye view. We proceed to construct this quite
similarly to that of the previous building.

However, in the drawing of the skyscraper, we add a third vanishing point, the oblique
vanishing point (O.V.P.). All of the vertical lines will vanish to this point. The horizontal
lines will vanish respectively, on each side, to the left and right vanishing points.

In order to accentuate the height of the skyscraper use a low horizon line—keeping your
two vanishing points widely separated. If you wish to draw a skyscraper “looking down”
on it from above, this may he accomplished by placing your oblique vanishing point
considerably beneath the horizon line. Proceed then to construct the building similarly to
that of above. Drawing an object from a skyward position is termed a bird’s-eye view.You
will find me often repeating myself in these lessons. Please bear with me, as I believe in
using repetition as the best type of instruction.

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