Research Point – Linear Perspective

Linear perspective is a device used to give objects portrayed on a flat surface (such as paper or canvas) the appearance of distance and three dimensions. 

In order to achieve this, an artist has to make objects smaller as they diminish into the distance and use vanishing points so that all parallel (horizontal) lines recede towards the horizon (which can either be a drawn line or an implied one) and is usually sited on the artist’s/viewer’s eyeline.

One point perspective

This is probably the easiest to draw and explain!  The most common example of one point perspective given is a train track, or a fence bordering each side of a road.  In this example the viewer is standing centrally between the parallel lines and looking directly towards the vanishing point .  All lines parallel from this point lead to the vanishing point – see drawings below.  Any verticals must always remain vertical or else is appears that an object is tipping forwards or backwards.  The horizontal lines (eg, railway sleepers) also get smaller and closer together as they recede into the distance.  The other thing to remember here is that all forward facing “cubes” (buildings, books, etc) must be parallel to the horizon line

One point perspective is also commonly used in interior spaces (see basic drawing of room below).  One of the most common, early uses of perspective is the “checkerboard” floor that can be found in many paintings of the Renaissance and interior paintings from the Dutch Golden Age.  This uses basic one point perspective and uses the converging lines and narrowing parallel lines to give an effective sense of depth and recession in a painting.

The Last Supper by Leonardo da Vinci is another example of one point perspective;  the lines of the walls and architectural detail on the ceiling all converge at a single vanishing point, in this case the head of the figure of Christ.

Two point perspective

Commonly used for buildings, boxes, books, etc, which are viewed from the corner rather than face on.  One vanishing point is used for each face of the object at opposite ends of the horizon line and objects can be above, below or central to the horizon.  Using two point perspective gives a three dimensional object, although, depending on the angle of the object and proximity to the viewer, the vanishing points may be a long way out of the actual dimensions of the paper.

Three point perspective

This is normally used for buildings or square/rectangular objects seen from above (eg looking up at  a skyscraper) - the same two vanishing points are used as for two-point perspective, but a third is added, either low down on the ground if looking down, or high up in the sky if looking up.

Linear perspective does have some shortcomings – it can only be used when parallel lines (i.e. hard landscaping – roads, fences, buildings) are in the view, otherwise there can be no “vanishing point”. This is quite common in landscapes and natural scenes, and perspective here must be shown by the relative size of objects and aerial (colour) perspective instead.

Exercise: Quick Sketches around the House

For this exercise, I choose to draw sketches in my dining room.  This room is quite decorative – I have a large table, chandelier, large bay window, high ceilings, picture rail, large gilt mirror and quite a number of ornaments (vases, plates, picture frames, etc).

I sketched this room using graphite, charcoal and indian ink drawn with a stick. 

As there is a large table in the centre of the room, it is difficult to the full height of the room, and so show the perspective fully.  The above drawing demonstrates this – although it has plenty of interest with the furniture, mirror and ornaments – you don’t really get the interior perspective because of the lack of converging lines.

This drawing is in the opposite corner and, because it is next to the window, gives very good tonal variations as the corner is in quite deep shade.  Although the lines of the drawers on the sideboard are well out, it the view was broadened to include the ceiling, and because of the corner, would provide a good view to demonstrate interior perspective.  The shade under the lampshade also adds another layer of contrast here.

This view is from in front of the piano and mirror, looking across the table, into the hall, and into the study on the opposite side of the house.  As this view has the corner of the room, foreshortened door and the reduction in scale for the opposite doors, it is interesting in terms of perspective, but unfortunately, there is not much interest in terms of ornaments (except the cups and plates on the shelf on the wall).  Tonally, it is also balanced in terms of darker shaded areas behind the door and in the corner, with the light coming from the window (out of view) in the study.  I am also not too sure of the angle of the floor – think it may be too steep, and the diamond tiles on the floor were difficult to get right – think the space between the doors is too wide and should have been narrower.

This view is slightly too closed in to get the full corner of the room in (standing by the window for this one) although the angle of the door, sideboard and boxes give an impression of the perspective.  Sadly I couldn’t move back any further to widen the view.

This view is sitting down at one corner of the dining table and looking across towards the piano.  I did this view because I liked the interesting objects and the dark shadow areas under the piano and behind the chair, although it doesn’t really show perspective very well!