MODULE 5 PERSPECTIVE DRAWING ART

What is perspective drawing in art?

PPerspective drawing gives objects on a 2D surface a sense of three-dimensionality. There are two types of perspective: linear
perspective and atmospheric perspective.

  Basics of Linear Perspective

When we talk about one, two, or even three-point perspective, we’re talking about linear perspective. It's a method of representing space in
which the scale of an object diminishes as the distance from the viewer increases. Essentially, objects that are farther away from us appear
smaller than those that are near. The position at which they meet at a horizon line (the intersection of where the ground meets the sky) is
called the vanishing point.

Linear perspective might seem rudimentary but it wasn’t until the Renaissance that it had a name. In 1413, Italian architect Flippo
Brunelleschi began developing linear perspective and the method that many artists use today. He started by painting the outlines of Florentine
buildings in a mirror and saw that when the structure’s outline was continued, the lines ended on the horizon line.

Brunelleschi’s discovery was a major influence on artists at the time. Many years later, his friend Leon Battista Alberti penned De Pictura, the
first treatise on linear perspective that explained how to correctly show distance in a painting using mathematic principles first proven by
Euclid in ancient Greece.

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ONE-POINT PERSPECTIVE
One of the best illustrations of single-point perspective is to
imagine that you’re looking at a straight road. All of the elements
of the composition—particularly the road itself—will converge at a
single point on the horizon line.

Leo
nardo da Vinci best exemplifies this in his perspectival study
for The Adoration of the Magi  around 1481. This incredible sketch
demonstrates the great lengths that da Vinci went through to
determine the focal point of the piece. Notice how the lines, from
the steps to the arches, all converge at the same spot on the horizon
line.

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TWO-POINT PERSPECTIVE THREE-POIN T PE RS PE CTIV E

Cube in two-point perspective (Photo: Stock Photos from kavalenkava /

Shutterstock)

Just as one-point perspective focuses on one vanishing point,

two-point perspective ushers in a second one. Typically, these
two points are at the opposite sides of the composition, such as
one on the far left and another on the far right.

Image: Circle Line Art School

Three-point perspective, also called multi-point, is a type of
perspective that has more than two vanishing points. This is
common, especially as the complexity of the subject matter grows.
A standard setup features two vanishing points on the far left and
far right of the composition and then the third point below them. In
doing this, you get a bird’s eye view to the subject. If you were to
place the third point above the two vanishing points, it would create
an extreme view looking upwards.

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 11 Perspective Tips for Convincing Architectural Paris Street, Rainy Day by Gustave Caillebotte

Sketches and Paintings We’ve compiled this top tips list from several of the best and
by Courtney Jordan brightest artists of today on how to take on perspective while
leaving any hint of intimidation far behind. Realistic, believable
Throwing Out the Intimidation Factor of architectural sketches, drawings, and paintings will surely
Perspective Drawing follow. Enjoy!
As an artist looking to capture the world around you with paint
And be sure to check out one of the top resources in our shop
and brush or pen and paper, have you ever been stumped
on the subject: The Artist’s Guide to Perspective w Patrick
about perspective? Wondered how to use it in order to capture
Connors.
the buildings facades and streets scenes you see? If you have,
you are not alone.
1 – Be Aware of the Horizon
The horizon line is always naturally at a viewer’s eye level and
there should only be one  per painting.

John Salminen recommends placing the horizon line low in the

picture plane. This will enhance the sensation of looking up at a
tall building. To further suggest those soaring, skyscraper
heights, John suggests that as the building ascends, let it taper
slightly (a tactic employed for three-point perspective) as this
will also suggests height.

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 2 – Perspective Is Simply an Illusion
Thomas Schaller (artists and instructor behind Watercolor
Painting with Thomas Schaller: Perspective and Design)
says, “I have given so many classes where even the very
mention of the word “perspective” will elicit a collective groan
from a large group of adults! I do understand, and my heart
goes out to them. But I just can’t agree.”

Thomas tells us that perspective does not have to be thought of

as some kind of arcane scientific study requiring years of
laborious study to perfect. For him, it is simply acknowledging
and reminding ourselves that in drawing, perspective is just an
illusion. The surface of the paper is in two dimensions only —
height and width. So perspective is simply the illusion of three
dimensions on a two-dimensional surface and the graphic
depiction of the fact that things tend to look smaller when they
are farther way from us.

3 – Above and Below the Horizon Line

Imagine you are on a beach, staring out at the sea. Where the
sky meets the water, this is the horizon. Notice that there is
visual information above the horizon line, and visual information
below. “Everything above the horizon line appears to slope
down to meet the horizon,” says Schaller. “And everything
below the horizon line appears to slope up to meet horizon.”

4 – What Distance Looks Like

There will always be exceptions in painting, but in general,
Flatiron II by John Salminen objects in the distance are:

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  less defined, there. Some reflect the sky. Others reflect light bouncing off
adjacent buildings.
 have softer edges,
 have less value and color saturation Think of surrounding buildings as shapes but abstract ones in a
than objects that you wish to appear closer. All these simple “ general form. That way the star of your show, whatever it is,
tricks” will help enhance the illusion of perspective — objects stays in focus.
seeming to gradually disappear as they become farther away.

5 – Where Vanishing Points Go

Nancie King Mertz tells us that vanishing points are always on
our eye level or “sight line,” which is the horizon line.

If you as the artist are several stories high, looking down on a

scene, your horizon line or eye level is parallel to the ground
(straight out from your face), when you hold your head erect. 
All those lines then lead up to the horizon line, which holds the
vanishing point.

Conversely, if you are at street-level (horizon line) and looking

up at buildings, the roof and windows of each building will lead
down to the vanishing point.

Great exercise: place boxes on a tall bookshelf and draw the

boxes at each level of the shelves, from top shelf to bottom.

6 – Leave Details Behind

The interesting part about establishing perspective is that it is Hotel de Ville by Alvaro Castagnet
definitely not in the details. With any architectural sketches you
create or incorporate as parts of your painting, simplify. No 7 – Start with Drawing
need to paint each window. Just indicate that windows are
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Drawing is an essential skill for all artists. “It is interesting to
note that the more freedom you seek with your paintings, the
more developed your drawing skills need to be,” says artist
Alvaro Castagnet.

A successful painting will always begin with sound drawing.

This creates the framework for the painting and will encourage
the confidence to adopt a more relaxed, expressive approach in
terms of brushstrokes and color.

So spend time creating architectural sketches and studies. That

way you get comfortable with these components and will be
able to add them to a painting with much more ease.

8 – Squint
“Concentrate on the focal point and the relationships between
the shapes you see,” says Castagnet. Don’t look for details,
look for shapes that interconnect and merge into a pattern.

How? Squint. Squint your eyes to minimize and reduce the

thousands of shapes into the overall and major ones, then
stress the focal point with sharpness and the use of color. Boulevard des Capucines by Claude Monet

9 – With Values 10 – Mark It, Literally

The meaning of perspective used in art involves creating an The establishment of vanishing points gives depth to any
appearance of depth. To represent a three-dimensional image streets you are depicting. If you look at most of Tim Saternow
on a two-dimensional surface you need to use well the range of you’ll find a pin-hole on the horizon line if you look closely. This
color values at your disposal in order to achieve that. is from a T-pin stuck through the paper so he can use this point
to easily hold his straight edge for all the lines going to that
vanishing point.
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 11 – Try Expressive Perspective
Certainly you have to stay mindful of perspective basics that
keep your drawing from looking wrong. Like remembering
where your eye level line is, and that everything angles towards
it. But that doesn’t mean you have to get strict and tight with
your drawing.

Saternow suggests “expressive perspective.” You exaggerate a

feeling you have for how the structure you see swoops down
from the sky or rises up into the clouds. Don’t count stories in a
building or get exact in ways in which exactness would interfere
with drawing freely. Balance what you see with what you want.

Broadway to the Flatiron Building by Tim Saternow, 2015, watercolor on

paper, 60×40

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