102 Chapter 5
One-Point (Parallel) Perspective.
The law of perspective is that parallel lines that lie in the same plane will appear to converge to a single
point somewhere on the horizon (at the eye level), called the vanishing point (VP). This point is usually
positioned within the view and gives objects an impression of depth. To draw a one-point perspective,
simply draw a horizon line (HL) and draw a vanishing point anywhere on it. The horizon line may be lo-
cated above, below, or at any other location on the drawing. Vertical and horizontal lines are drawn nor-
mally, and all receding lines are drawn to the vanishing point. Thus, the sides of an object diminish to-
wards the vanishing point, whereas all vertical and horizontal lines are drawn with no perspective—i.e.,
face on (Figure 5.24).
A normal-view angle places the HL at a natural height as if the viewer were looking straight ahead
without tilting the head up or down. Figure 5.25 shows two examples of normal-view one-point perspec-
tive. Altering the position of the VP changes the view of the object being drawn. For example, to look
down at the top of the object, the vanishing point must be above the horizon line while to look up at the
object, it must be below the horizon line. It is advisable to practice identifying the best locations for van-
ishing points to achieve the desired results. One-point perspective depicts a building or interior space
with one side parallel to the picture plane (perpendicular to the observer’s line of sight).
To set up a one-point perspective, connect the corners of the elevation to the vanishing point and mark
off the depth through the lines of sight in the plan (Figure 5.26). One-point perspectives are often used to
draw interiors, as they give an accurate depiction of the facing wall, in addition to both receding side walls.
They are also typically used for roads, railroad tracks, interiors, and buildings viewed so that the front is di-
rectly facing the viewer. Objects that are made up of lines either directly parallel or perpendicular to the
viewer’s line of sight can be drawn with one-point perspective. However, it is of limited use, mainly because
the perspective is too pronounced for small products, making them appear larger than they actually are.
Two-Point Perspective.
Sometimes called angular perspective drawing; in this method only the vertical lines are drawn vertically.
The horizontal, depth, and length receding lines are drawn to the vanishing points located on the hori-
zon line. The front view is no longer true in shape but is now drawn in an isometric configuration. Again,
the location of the horizon line and the vanishing points on the line will provide many different “looks” of
the object.
In two-point perspective the sides of the object vanish to one of two vanishing points on the horizon.
Vertical lines in the object have no perspective applied. Our distance from an object seen at an angle
determines where the vanishing points lie on the horizon. Two-point perspective is a much more useful
drawing system than the simpler one-point perspective and the more complex three-point perspective.
Objects drawn in two-point perspective have a more natural look. Figure 5.27 illustrates a typical archi-
tectural application of two-point perspective for a department-store interior.
To set up a two-point perspective, connect the corner height line to the right and left vanishing points,
and, with the lines of sight in the plan, mark off the depth of the object. The procedure for constructing
a two-point perspective view is essentially the same as for one-point perspective except for the addi-
tional step of establishing two vanishing points. In two-point perspective you can make the object look
big or small by altering the proximity of the vanishing points to the object (Figure 5.28).
Shade and shadow are often used in perspective drawings to give a better perception of the depth
and form of a space or object. The drawing of shadows and reflections both follow the same immutable
rules of perspective.