Indeed, for most subjects it is only necessary to
understand the basic rules of perspective – that parallel
lines focus upon vanishing points, which are spaced along
your eye level. This simple principle applies irrespective of
the angles of the object (in plan) or changes in the level of
the ground. Of course, if there are slopes or ramps to
draw, these are not level and hence have their own
vanishing point above or below those for horizontal lines,
depending upon whether the slope or ramp is angled up
or down.
Single-point perspective is the easiest to employ in the
field and the most useful for townscape and landscape
drawing. It focuses attention upon the space rather than
the object, and for this reason is a great aid when drawing
squares, streets and interiors. The buildings or walls at
right angles to the observer are simply elevations drawn
without angle to left or right. Single-point perspective
suits the sketching of towns laid out on axial planning
principles, or interiors with parallel corridors and plenty of
right-angled spaces. Hence it is very useful for drawing
classical compositions, whether in terms of buildings or
whole towns. Since the streets are normally straight and
often have terminating features at the vanishing point,
perspective allows the artist to quickly construct the
parameters of the drawing.
Two-point perspective tends to concentrate the eye
upon objects rather than on the space between them.
Both vanishing points must be on the eye level and are
usually so widely spaced that they are off the sheet they
are drawn on. There are no parallel horizontal lines with4.3
These three reconstructed
timber houses at the Black
Creek pioneer village in
Ontario show how perspective
enhances the spatial pattern.
Notice how unnecessary detail
has been left out to allow the
observer to focus upon the
buildings.4.4
This diagram shows how
Figure 4.3 is composed in terms
of eye level and vanishing point.40 Understanding architecture through drawing