Handbook

© 2021 by David Dražil. All rights reserved.

 Contents
Click on any chapter to be directed to the corresponding page.

How It Works p. 8
How We Learn To Draw p. 9
Chapter 01 Design Principles p. 11
Chapter 02 Composition p. 19
Chapter 03 Types of Perspective p. 35
Chapter 04 Advanced Perspective p. 43
Chapter 05 3-point Perspective p. 52
Chapter 06 Multi-point Perspective p. 57
Chapter 07 Curvilinear Perspective p. 65
Chapter 08 Auxiliary Constructions p. 75
Chapter 09 Square Grid and Perfect Cube p. 90
Chapter 10 Complex Forms in Perspective p. 96
Correct Solutions p. 104
Final Thoughts p. 112
Next Steps p. 113
References and Resources to Explore p. 114
Recommended Tools p. 115
About the Author p. 116
 “
Chapter 02

Composition Composition is about

Composition in image-making is the single most important attribute
that can make or break your image, sketch, photo, presentation slide, arranging elements in your
or any other visual you create.

When it comes to sketching and drawing, composition deals with ob- scene in an aesthetically
jects represented in a canvas, their placement and distribution in a
format, and their mutual relationships.

Why is it so important? If done correctly, a well-composed image

guides a viewer’s attention to the most important part of an image
pleasing way.
- the focal point. Moreover, such image is easy to understand and vis-
ually pleasing to our eyes. Thus, it’s the best way to communicate our
ideas to an audience and actually be understood!

There are several composition rules which can be used as guidelines

when composing your sketch or drawing. These rules can be used to
create a clear structure in our drawing, lead our eyes to focal points, and
create a sense of depth in an image.

On the following pages, we’ll discuss some of the rules in relation to

Structure, Focal Points, Framing, and Depth.

19
Structure 1 Golden Section
Phi (Greek letter) is an irrational number that is one
x 1-x
of the a solutions to the following quadratic equation:
The Golden Ratio, Fibonacci spiral, or
Golden Section is such division of a line so that the whole x 1
the Rule of Thirds - all of us have heard = = φ = 1.618 (approx.)
is to the greater part as that part is to the smaller part. 1-x x
of it before, now, what does it all mean?
Let’s start with the Golden Ratio.
It is also called the golden section,
golden mean, divine proportion, and
some other names. There are lots
of discussions about its ‘magic’ and
whether it is a construct of human
mind seeking for patterns describing
beauty or not. Since Phi (Greek letter
for the Golden Ratio) is an irrational
Golden Section Rule of Thirds
number, it cannot be really found in
the real physical world and cannot be
precisely achieved in design.

However, this aesthetically appealing

proportion (simplified to the number
of 1.618) can be of a good use in de-
sign and architecture and it definite-
ly helps with composing our images
Fibonacci Spiral Harmonious Triangles
into more harmonious pieces.

Composition 20
Structure - Examples
These are all general visual princi-
ples, applicable to any visual area
- photography, film, 3D modeling,
concept art, arch-viz, you name it.
If you learn to have good sense for
principles of design, any visual you
create will be looking and working
much better. That’s why we start
with these before we move forward.
Composition
Golden Ratio
A ratio called the golden section, divine proportion,
and other names - is said to be the most aesthet-
ically appealing proportion to human eye.
Fibonacci Spiral
Fibonacci spiral is based on the Fibonacci se-
quence of numbers whose fractions get increas-
ingly closer to and osciallate around the proportion
of the Golden Section (φ = 1.618).
Rule of Thirds
The Rule of Thirds is basically a simplified version
of the Golden Ratio used in image composition.
21
Choosing a View

Same objects, same shading, differ-

ent views. 1/2

Here are two examples of the same

building but in different views.
1/2

Notice how basic structure of the

compositions influence the potential
1/2 1/2 2/3 1/3
and quality of an image.

On top of the mentioned compar-
isons under the sketches, pay also
attention to the balance between
lit and shaded surfaces. Which one
works better?
Static and boring composition because of
the HL position in the middle and 45°-45°
orientation of the building.
Such high position of the HL is hardly relat-
able for the viewer.
Better composition roughly following the
Rule of Thirds.
The lower position of the Horizon Line is
more relatable to the viewer.

Both Vanishing Points are in the Picture Vanishing Points are are located outside of
Plane which creates unrealistic Field of View. the Picture Plane which makes the Field of
View more realistic.

Composition 22
Placing People
The repetitive and equally distant distribution of People create groups and complement
Here are Do’s and Dont’s with expla- peoplecompetes with the building‘s rhythm. the rhytmical facade by their uneven distribution.
nations for placing people in your ar-
chitectural sketches and drawings.

These recommendations are based

on composition rules, avoiding visual
tangents, and best practices in visual
representation of architecture.

TIP #01: Always try to use entou-
rage or any secondary graphic ele-
ments of a drawing to complement
your design‘s form and features.
Human figures (or any other entourage) should never be People are placed to complement t he overall
placed directly on a geometrical axis of important elements composition of the elevation.
such as a gable, windows, or an edge of a building.

TIP #02: By intentional placement

of people, you can direct the viewer‘s
attention towards important parts of
a drawing to highlight the benefits of
your design.

All human figures are placed in the same level of The distribution of human figures supports the
depth which makes the image look more flat. illusion of depth in perspective.

Composition 23
Placing Trees
A tree is aligned with an edge of a building. A tree is covering architectural accent of a building.

Here you can find composition rules

to be followed when placing entou-
rage, trees in this case, to comple-
ment a building. Note that these
rules are related to drawing layout
(not architectural design per se) and
might change according to a form of
a building.

A tree is placed directly in the middle of a building. Such type of tree and its placement
doesn‘t complement a building‘s form.

Such vertical tree complements the horizontal form of a Optionally, such tree can be used when positioned properly.
building and its placement balances out the composition.

Composition 24
Focal Points

Focal points or focal areas represent

the most important parts of our im-
ages where we want the viewers to
pay most attention. Strategic position of the Focal point near the Using the converging orthogonals as leading lines
composition grid intersection. towards the Vanishing Point in the Picture Plane.

That’s why it’s a good idea to posi-

tion the focal points near the inter-
section of our composition grid (Rule
of Thirds, Golden Section, etc).

On top of that, we can use leading

lines to guide the viewer’s eyes to-
wards the point.

Lastly, we can use contrast or high

level of detail to help emphasizing
the focal point.

Grabbing the viewer’s attention by emphasizing the Focal Point.

Composition 25
 Pay attention to the positioning and shapes
of secondary elements, perspective lines, and
entourage to help guide the viewer’s attention
towards the focal point of an image.

Leading the Eye

Before we start drawing, let’s ask

ourselves ‘What do I want to tell with
this sketch?’ or even better ‘What
do I want the viewer to see in my
sketch?’

Focal points or focal areas are here

to help to show the viewer where to
look. Position it strategically while
keeping composition rules in mind
and emphasize it with higher con-
trast and/or more detail.

What’s more, you can use secondary

objects and leading lines to guide the
viewer’s eye towards it.

In case the main objects has a clear

directions towards which it’s looking,
leave room in front of an object (aka If an object, building, or a human face is looking in
the Rule of Space). a certain direction in our scene, leave more space in
front of or in the direction the object is oriented.

Composition 26
Depth

There are various ways how to sup-

port and emphasize the sense of
depth in our images.

One of them is clearly overlapping

objects to let the viewer know what is
closer and what is farther away.

Another way is to work with 3 depth

planes - foreground, middle ground,
and background.
How to Create a Better Sense of Depth in Your Image
Lastly, utilize Atmospheric perspec- Work with 3 depth planes
tive to suggest depth both in paint- Foreground
ings and in line-based drawings. Midground
Background
Follow the rules of Atmospheric perspective

Learn more about Atmospheric Add shading to increase plasticity

perspective in the Chapter 03. Use different lineweight
Overlap objects

Composition 27
Visual Tangents

As we talked about overlapping ob- Fused Edge With Frame

jects in our scenes to create a sense
of depth, there are also things which
we want to be careful about and pay
close attention to - visual tangents!

Visual tangents usually occur when

two or more objects touch in one
point or when an object is positioned
or cropped incorrectly, causing a Halved Shape Fused Edge With Shape
visual distraction or confusion.

Such tangents make our images less

clear and readable and they distract
the viewer from the real focal point
of an image.

Usual solution to unwanted tan-

gents lies in better positioning and
clear overlapping of objects. Stolen/Skimmed Edge Correct and Clear Overlap

Composition 28
 PRINT ME!

WORKSHEET

Visual Tangents

Visual tangents occur also when dis-

playing a 3D space - both in perspec-
tive and axonometry.

On this page, you can see two exam- Do these 2 boxes lay on the same ground plane, or are their top sur- Your Turn
ples of visual tangents causing con- faces aligned? Only one of the options is possible.
fusion about the spatial relationship Redraw these boxes next to the arrow - fix this confusion and make
between the depicted objects. their spatial relationship clear by overlapping them correctly.

Suggested correct solution can

be found in the chapter
Correct Solutions.

Your Turn

Composition 29
Framing

Framing is another way how to not

only make your image more visually
interesting but also how to provide an
extra layer of information to the viewer.

You can frame the whole view by the Framing a Single Object
foreground, work with the framing and
proportions of your canvas, or frame
(or mask out) a single object.

When framing a single object, keep in

mind to avoid visual tangents so the
lines of the frame don’t meet with the
object in one intersection point, but
support clear understanding of the
object’s geometry.

Framing by the Foreground Framing by the Picture Plane

Composition 30
Thumbnail Sketches

Thumbnail sketches are a very un-

derrated and often-skipped tool in
the process.

They’re here to help us validate our

ideas and first compositions. Start
iterating your ideas and visions with
thumbnail sketches - keep them small,
fast, and without too much detail.
Try to focus on composition of your
image in a sense of structure, depth,
focal point(s), and balance.
The great thing about thumbnailing is
that it’s quick and without any pres-
sure. If it doesn’t work out with the first,
never mind, try again - iterate and im-
prove. Check the examples on this page
as well as my best recommendations.
Thumbnail sketches serve for vali-
dating your composition before you
spend time on a bigger format.
work fast and in small size
focus on the biggest elements
figure out composition structure
add contrast
suggest depth
avoid little details
iterate your ideas

Composition 31
CHEATSHEET
Composition Cheatsheet
Here’s an overview of all the categories
and areas we discussed when it comes
to Composition & Design Principles.
If unsure or stuck with your image,
use this cheatsheet to go through
various categories of composition
and design principles and see what
you can do to move forward and im-
prove your image.
Composition
Composition Structure
Does your image follow any composition rule, such as the Rule of Thirds, Golden Section, etc.?
Depth of Image
Work with 3 depth planes - foreground, middle ground, and background.
Follow the rules of atmospheric perspective.
Add shading to increase plasticity.
Use different lineweights.
Overlap objects (watch out for Visual Tangents).
Focal Point/Area
Does your image have a clear focal point/area?
Is it defined by a strategic position/ highest contrast or level of detail?
Can you introduce some leading lines to guide the viewer‘s eyes towards the focal point?
Leading Lines
Use leading lines such as diagonals and curves to guide the viewer‘s eyes towards the focal point of your image.
Framing
Use framing to suggest a setting of your scene as well as to create strong foreground, adding more depth to your image.
Thumbnail Sketch
Use thumbnail sketches to quickly lay out your ideas and verify or iterate compositions.
Variation
Add variation (in size, orientation, rotation, etc.) to elements in your scene to create visual interest.
Balance
All elements in your scene represent visual weight. Is your image well balanced overall?
The Rule of Odds
Use the magical number 3 or other odd number of elements to create more aesthetically pleasing compositions.
33
Chapter 03

Types of Perspective
This chapter offers an introductory overview of different types of per- 1-point perspective 2-point perspective

spectives and their examples.

We’ll cover these 3 basic categories of perspective and their subse-

quential types:
Atmospheric Perspective
Linear Perspective
1-point perspective
3-point perspective Multi-point perspective
2-point perspective
3-point perspective
Multi-point perspective
Curvilinear Perspective
4-point perspective
5-point perspective
6-point perspective
In this chapter we’ll discuss how to distinguish these different types.
We’ll cover their main characteristics, opportunities they bring, and
when we should use each type. 4-point perspective 5-point perspective

35
Atmospheric Perspective Background

Atmospheric, or aerial perspective is a

different type from linear perspective.

While linear perspective is based Foreground

on lines and geometry, atmospher-
ic perspective deals with changes of
tonal value and has been tradition-
ally used mainly in painting.

Notice thinner lineweight and a very low

This technique creates an illusion level of detail in the Background.
of depth in an image. Because of
the ‘thickness’ of atmosphere, more
distant objects from the viewer ap-
pear less saturated, with lower con-
trast, and paler/brighter than the
closer objects.

However, atmospheric perspective

can be also applied to line-based Notice thicker lineweight, more contrast and
drawings. See the example on this a higher level of detail in the Foreground.

page for more details.

Types Of Perspective 36
1-point Perspective

1-point perspective (aka frontal or cen-

tral perspective) has only one vanishing
point on the horizon line located some-
where within the picture plane and all
the orthogonals converge towards it.

Lines and surfaces perpendicular to

Frontal Interior View Structure (Central Perspective) Frontal Interior View
the axis of vision are not distorted.

When to use this type of perspective:

when you want to create a single
strong focal point in your sketch (with
orthogonals leading our attention to it)

- for close to front view, seeing one

side of an object (almost) flat
- for straight on looking points of view
- for view perpendicular to the scene

Common examples of such perspec- Horizon Line, Vanishing Point, and Orthogonals of a Frontal Exterior View Frontal Exterior View
tives depict a view down the street, rail-
ways, or frontal interior views.

Types Of Perspective 37
2-point Perspective

2-point perspective (aka angular per-

spective) has two vanishing points on
the horizon line, which don’t necessar-
ily need to be within the picture plane.
Angular Interior View Structure Angular Interior View Grid

When to use this type of perspective:

- when you’re seeing two perpendicu-
lar sides of an object, both distorted/
foreshortened
- for non-perpendicular point of view

In 2-point perspective, the focal

point of the scene is usually NOT lo-
cated near the vanishing points, but
rather following the rule of thirds
composition.

Common examples of such per-

spectives depict a street corner view
or a corner view of an interior show-
casing a single dominant object (e.g. a
bed or a sofa). Exterior 2-point perspective view - Innovation Center UC, Chile, Alejandro Aravena

Types Of Perspective 38
3-point Perspective

3-point perspective uses three van-

ishing points where two of them are
on the horizon line and the third is
either high above the horizon line
or way below it. There are two basic
Worm’s Eye View Bird’s Eye View
types of 3-point perspective based
on the position of the horizon line:

Worm’s Eye View - imagine yourself

looking high up. The horizon line is
situated very low.

Bird’s Eye View - imagine being

Superman flying over a city and
looking down.

See the sketch and the diagrams of

these two types on this page.

Learn more about 3-point per-

spective in the Chapter 05.

Types Of Perspective 39
Multi-point Perspective

The last type of linear perspective is

Multi-point perspective - it is the case
when there are more than two prima-
ry vanishing points on the horizon line.
TreeHouse Hotel by Bengo Studio, China Staircase in Figueras Polo Stables by Estudio Ramos, Argentina
Surprisingly, this is the most common
type of perspective we can observe in
the real world. Here’s when you should
use multi-point perspective:

- when objects in our scene don’t lie in

the same orthonogal grid
- when sketching curved roads
- when you want to add visual variation
- when sketching non-orthogonal ob-
jects (like pentagon shape)

See the examples of multi-point per-

spective on this page.

Learn more about multi-point

perspective in the Chapter 06. Sharifi-Ha House by Alireza Taghaboni, Tehran, Iran VitraHaus by Herzog & de Meuron, Weil am Rhein, Germany

Types Of Perspective 40
Extra Vanishing Points

Extra or auxiliary vanishing points are

points directly above or under the
main vanishing points on the Horizon
Line. They serve for inclined planes,
whether it is a ramp, a staircase, a Even though this is a simple 1-point perspective, all the extra vanishing Extra (Ascending)
points and inclined planes make it suddenly more interesting! Vanishing Point
roof, or anything similar.

Study the examples on this page and

try to apply them using the work-
sheet on the next page.

Horizon Line (Primary) Vanishing Point

al
go n
tho
Or

Advanced Perspective 49
Chapter 05

3-point Perspective
3-point perspective offers more dynamic views thanks to all the three
spatial directions converging towards their own vanishing points and cre-
ating more diagonals in our scene.

It’s a great type of view for diagrams and product design sketches. The 3rd
Vanishing Point can make our objects look more convincing and realistic as
it’s closer to how we perceive the world in real life.

The 3rd vanishing point makes it a tiny bit more complicated but otherwise
every other technique and hack used for 1- or 2-point perspective would
be applicable in the same way (divisions, modularity, shadow construction,
extra vanishing points, etc.)

Birds’ Eye View Worm’s Eye View

52
 orthogonal, perpendicular to the curve,
converging toward the 3rd vanishing point

Best Practices

The 3rd vanishing point is usually locat-

shallow curve
ed in equal distance between the other
two and quite far away - far from the
picture plane.

To estimate the orthogonals converg- The 3rd vanishing point is usually located
ing to the 3rd vanishing point, you can far away from the Picture Plane.

draw a shallow curve accros your pic-

ture plane and estimate the orthog-
onals by drawing perpendicular lines
towards the curve.

See the diagrams on this page for more

visual clues.

3-point Perspective 53
 PRINT ME!

WORKSHEET

Skyscrapers

The suggested view here doesn’t play

by the usual rules. The 3rd vanish-
ing point is quite close to the Horizon
Line and it’s not positioned in the
middle between the two other van-
ishing points.

Therefore this view is exaggerated

and with a little bit unnatural dis-
tortion - but it’s a very dynamic and
good-looking view.

If it’s intentional and on purpose, it’s

okay to bend or break the rules.

Your Turn

3-point Perspective 54
 PRINT ME!

WORKSHEET

Worm’s Eye View

Now that you’ve tested the water

with 3-point perspective, it’s time to
let your imagination play.

Use this Worksheet as an opportu-

nity to experiment with a worm’s eye
view - maybe you can try to draw the
same skyscrapers like in the previous
Worksheet, just looking up instead of
down.

Either way, have fun with it and hap-

py sketching!

Your Turn

3-point Perspective 55
Chapter 06

Multi-point Perspective
Multi-point perspective is probably the most realistic type of all.

When you look around yourself right now, chances are that not all ob-
ject are aligned to just one orthogonal grid. Objects tend to be po-
sitioned and rotated in so many directions - and that’s what we are
used to look at.

So for most real life scenarios, multi-point perspective is the best fit.
On top of that, it introduces visual variation and interest, breaking out
from a (boredom of a) single orthogonal grid.

Let’s look into it more in this chapter!

57
When To Use It

We can use multi-point perspec-

tive to draw curvy roads, different-
ly oriented orthogonal objects, or
unorthogonal shapes & forms, such
as hexagon.

Simply, anything that cannot be

easily described by just one orthog-
onal system.

Using multi-point perspective views

make our compositions more visual-
ly interesting as the objects are no
longer confined to a simple rigid 1- or
2-point perspective grid.

Notice that the 2 vanishing points of the rotated box are positioned
outside of the picture plane (final crop of the image).

Multi-point Perspective 58
Examples

Here are some more examples of

multi-point perspective views. In the
case of the staircase, even though
it might look like a 1-point perspec-
tive view, each of the step is actually
converging to its own vanishing point
which makes it multi-point.

Multi-point Perspective 59
Step-by-Step

Study the drawing process of the

Sharifi-Ha House by Alireza Tagh-
Step 01 | Basic elevation structure Step 02 | Establishing the main
aboni, Tehran, Iran. suggestingthe floor levels and the vanishing points for multi-point
position of the Horizon Line. perspective and adding depth to the view.
On the next few pages, you can take
inspiration from step-by-step pro-
cesses of drawing other examples of
multi-point perspective views.

Feel free to take them as a reference

and follow along on your own.

Step 03 | Adding another layer of Step 04 | Adding shading and Step 05 | Finally, adding extra touch to the drawingwith
linework with details to the geometry of texturing to suggest materiality. entourage, incl. people and vegetation.
the building, like stairs and railings.

Multi-point Perspective 60
Step-by-Step

This is an observation drawing pro-

cess based on a photo reference of
VitraHaus by Herzog & de Meuron,
Weil am Rhein, Germany.

Each of the stacked houses has dif-

ferent rotation which makes this a
perfect example of multiple vanish-
ing points on the horizon line.

Step-by-step drawing process of VitraHaus in Weil am Rhein, Germany.

Multi-point Perspective 61
Chapter 08

Auxiliary Constructions
In this chapter, we’ll cover a number of useful construction techniques
in perspective. The techniques include division into equal segments,
angle derivation, circle construction in perspective, and a lot more.

The point of these techniques is to make your life easier, make your
drawings more precise, and allow you to draw even more complex
geometries.

This is personally one of my favourite chapters and I hope you’ll en-

joy it, too!

75
Modularity
In architecture, modular grids with
equal distances between repetitive
elements are very common. Such
Step 01 Step 02 Step 03 Step 04 Repeat
grids help to establish structural or-
der and make the actual construction
process easier and cheaper.

Some examples of modularity can

be found on facades with repetitive
windows, in structural grids with col-
umns, or on a floor tiling.

Follow the diagrams on this page to

learn how to create these helpful mod-
ular grids in both 2D and perspective.

Auxiliary Constructions 76
Modularity
Let’s apply the principles of modu-
larity to spatial repetitve structures.

Follow the step-by-step exam-

ples on this page to draw repeating
load-bearing structural elements and
imaginary historic facade with verti-
cal modules of windows and arches.

Imaginary load-bearing structural elements

Imaginary historic facade

Auxiliary Constructions 77
 PRINT ME!

WORKSHEET

First and Second Pole

Follow the principles described on

the previous pages to draw six poles
in total - with the equal distances
between all of them.

This worksheet provides you with the

first two poles, determining the dis-
tance which should be repeated be-
tween other new poles as well.

Find the step-by-step process in

the chapter Correct Solutions.

Auxiliary Constructions 78
 PRINT ME!

WORKSHEET

First and Fifth Pole

Follow the same principles for mod-

ularity in perspective to finish this
exercise.

This time the process will be re-

versed. Instead of adding more poles
in the distance, you should sketch a
specific number of them in between
given poles in the worksheet.

The poles in the worksheet have giv-

en positions - the first and the fifth.
Draw the other three poles in be-
tween so they have the same dis-
tances in between them. You can
also draw additional poles farther in
the distance.

Happy sketching!

Auxiliary Constructions 79
Divisions
Cross sections and divisions of ob-
jects into equal segments help us
both with constructing more com-
plex geometries as well as presenting
them in more understandable way.

These basic divisions will help your

objects look correctly and with the
right proportions, especially in per-
spective views.

Study the diagrams on this page and

try to recreate them on your own us-
ing the Worksheet on the next page.
Halves
Divide the surface of a rectangle with
two diagonal lines. Draw a horizontal or
a vertical line through the intersection of
the two diagonals to find mid-points of
the sides.
Thirds Quarters Fifths
Use the mid-points to draw diagonals After the division into halves, repeat the Once you have quarters, draw diagonals
of the halves. The intersection of these process once more to divide your object of each of the quarter. The intersections
new diagonals with the first diagonals into quarters. with the very first and longest diagonals
mark the division into thirds. mark where your object breaks into fifhts.

Auxiliary Constructions 80
 PRINT ME!

WORKSHEET

Divisions
Use this Worksheet to practice di-
viding an object into equal segments
both in a 2D view and in perspective.

Halves Thirds Quarters Fifths

Auxiliary Constructions 81
Rubik’s Cube Exercise

Time to practice your free-hand

3-point perspective. This will get a Step 01 - Description
little tricky since no lines are strictly
horizontal or vertical.

This is a great exercise on your imag-

ination and precise technique. You’ll
also need to rely on your good visual
intution to estimate all the converg-
ing lines.

Use the Worksheet on the next page

to try this exercise on your own!

Find the full 9-step process

with explanations in the chap-
ter Correct Solutions.

Your Turn

Auxiliary Constructions 82
 PRINT ME!

WORKSHEET

Rubik’s Cube Exercise

Result Your Turn

Auxiliary Constructions 83
Any Division
Now we can divide objects in per- Step 01 Step 02 Step 03
spective into halves, thirds, quarters,
and even fifths.

But what if we want to divide an ob-

ject into a different number of equal
segments? Let’s say seven.

Then we’ll use the process layed out

on this page. The key part is step 02
when we measure the desired num- Step 04 Step 05 Step 06
ber of segments in non-distorted
perspective direction from the begin-
ning of the object we want to divide (7
segments => 7 cm). Then we connect
the end of the measured line with the
end of the object we’re dividing to find
a special vanishing point on the HL.

If you have any doubts when looking

at this process, try to draw it on your
own following this sequence.

Auxiliary Constructions 84
 PRINT ME!

WORKSHEET

Any Division
Follow the process from the pre-
vious page and utilize the division
technique to draw these simple lin-
ear stairs.

Find the full step-by-step

process with explanations in the
chapter Correct Solutions.

Your Turn
Auxiliary Constructions 85
 PRINT ME!

WORKSHEET

Circles in Perspective

Combine different approaches -

start with the construction using
number “1”, then try to guess the in-
tersection points on your own, and
finally, try it without any auxiliary
constructions.

Your Turn

Auxiliary Constructions 88
 Step 01 | The first module is determined by the distance Step 02 | Draw diagonals between the poles and find the
between the first two poles. center point at their intersection. Draw an orthogonal line
First and Second Pole from the center point towards the vanishing point.

Follow the steps on this page to cor-

rectly construct a number of equally
distant poles in perspective.

Step 03 | Draw a straight line starting at the bottom of the Step 04 | Repeat the process to draw more distant poles
first pole through the mid-point of the second pole to find with the same distances between them.
the correct distance of the third one.

Step 05 | Finish your drawing as you prefer.

Correct Solutions 107
Rubik’s Cube Exercise

Precision and solid technique is key

part of this exercise. After dividing
the cube into thirds in all directions,
feel free to draw even the hidden
edges to help you navigate in your Step 01 - Description
cube composition.

The light direction is chosen deliber-

ately and it is defined through a cor-
ner of one of the cubes.

Correct Solutions 108

Any Division
Here’s the full step-by-step pro-
cess of this exercise. If you have any
doubts about any of these steps, re-
fer back to the chapter on Auxiliary
Constructions for a more explanato-
ry guide.

Correct Solutions 109

References &
Resources to Explore
As Cormac McCarthy says: “Books are made out of books”. Here’s
the list of the ones I referred to when creating this PDF Handbook:

Publications
Dease, Carole, and collective, Complete Drawing Course, London, 2001,
Rani, Ruzaimi Mat, Sketching Masterclass, Singapore, 2010,
Stanyer, Peter, The Complete Book of Drawing Techniques, London, 2004,
Sýkora, Jaroslav a kolektiv, Architektonické kreslení, Praha, 2003,
Wilk, Sabrina, Construction and Design Manual - Drawing for Landscape Architects, Berlin, 2014,
Tihomirov, Sergei, Interior Sketcher (ebook),
Leeuwe, Mitch, How to Draw Backgrounds (ebook).

Online Resources - Click to Explore

My Online Courses on Architectural Sketching: www.SketchLikeAnArchitect.Teachable.com
Previous PDF Handbook ‘Sketch Like an Architect’: https://gumroad.com/l/Joveu
Articles, Video tutorials, and more: www.SketchLikeAnArchitect.com
Olga Sorokina’s Interior Sketching Courses - CLICK HERE
Matt Laskowski’s Perspective Drawing class - CLICK HERE

114
The Tools I Use
Analog Sketching Tools:

CLICK HERE to read the blog about the specific sketching tools I use

Digital Tools:

iPad 2018 9.7 inch and an Apple pencil

Wacom Tablet Intuos Pen & Touch

Apps/Softwares:

Morpholio Trace
Photoshop
ProCreate
ShadowDraw

115