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TECHNICAL DRAWING FOR 3.

Two Point Perspective


BEGINNERS
TWO POINT PERSPECTIVE
In this tutorial, we'll be looking at two point perspective. Two point perspective is by far the best suited perspective drawing
styles available for rendering environment concept art. The reason for this is the fact that realism and proportions can be
achieved fairly quickly, and the focus remains on the composition, rather than on the technical details.

Some Points to Consider


When working with two point perspective, there are some things you should consider.
All vertical construction lines are parallel to one another
All vertical lines constructed at the intersection point of the two lines running towards the vanishing points
All horizontal construction lines lead to a single vanishing point, based on the plane on which they are located on
The two further away from each other you place your two vanishing points, the flatter your objects will appear
This style of perspective requires choosing two vanishing points
One or both vanishing points can be placed outside of your canvas, as well as inside
WHEN TO USE
Whenever you need to quickly render a three dimensional object geometrically
accurate, this is the perspective style to go with. That doesn't mean that the three
point perspective wouldn't be equally, if not better suited, but for obvious reasons,
the current style is far easier to implement. As opposed to one point perspective and
two point perspective, with the two vanishing points, offers you the ability to focus
more on your actual subject, than on the potential negative effects of choosing an
inappropriate single vanishing point and perspective direction.
I recommend using this style of perspective for the following scenarios:
Architectural exterior scenes
Complex Object concepts
Concept art of any kind, particularly larger scenes
CHOOSING YOUR VANISHING POINTS
Keep in mind that the position of your vanishing points is very important. All your lines
extend to their respective vanishing point, and as a result, this choice will affect the
degree of deformation your object/scene will display. The vanishing point placement
however, is far less strict than in the case of the one point perspective.
You can opt to place these vanishing points at equal distance from your canvas center,
on or outside of your canvas limits for example. Please note that the closer one of the
vanishing points will be to the center of your canvas, the more biased the image will
seem. What this means is that the side of your object affected by this vanishing point
will seem "squeezed".
EXERCISE
To ensure that you have a firm grasp of the basic concepts presented here, let's take a look at
this quick exercise. Let's try to create a house! Feel free to vary from the example presented
here, as this was kept simple for specific reasons:
Start off by choosing two vanishing points, preferably located outside of your canvas.
Draw your base volume. Don't forget that the height of your Horizon line should be located
around 1.80m off the ground (viewing height). Your proportions should feel right when drawing
the first vertical line, in context with the horizon.
Start defining the base of your building, as usual, making use of as many construction lines as
needed. Add a few windows, a door, and the foundation
Refine your volume, maintain your focus on proportions rather than finer details, add thickness
and depth
Start adding details, extrusions and surrounding objects. Again, when drawing surroundings,
create construction lines at the base of objects and extend them to your construction's base, to
maintain correct proportions
1. CREATE THE BASIC CONSTRUCTION LINES STEP 1
CHOOSE YOUR VANISHING POINTS. I'VE DECIDED TO PLACE ONE OF THEM RIGHT ON THE LEFT MARGIN OF OUR CANVAS,
AND THE OTHER A BIT FURTHER OUTSIDE. THE HORIZON LINE WAS PLACED AT 2/5 OF THE CANVAS HEIGHT AS THE OBJECT
WILL BE LOCATED FAIRLY CLOSE TO OUR VIEWING POSITION, AND THIS H EIGHT REPRESENTS THE NORMAL VIEWING ANGLE
FOR AN AVERAGE PERSON (APPROX. 1.80M HEIGHT)
1. CREATE THE BASIC CONSTRUCTION LINES
STEP 2
DEFINE YOUR PERSPECTIVE, OR BETTER SAID, WHAT YOUR POSITION AS T HE VIEWER WILL BE. IN THIS STEP, IT'S IMPORTANT
TO GET THE BASE OF YOUR VOLUME DEFINED, AND SEE HOW IT WILL LAY ON THE GROUND.
1. CREATE THE BASIC CONSTRUCTION LINES
STEP 3
NOW THAT THE PLACEMENT HAS BEEN CLARIFIED, LET'S START EXTRUDING THE VOLUME UPWARDS TO IDENTIFY EXACTLY
HOW TALL THE BUILDING WILL APPEAR TO THE VIEWER.
1. CREATE THE BASIC CONSTRUCTION LINES
STEP 4
SEPARATE YOUR LATERAL AND FRONT SIDES OF THE VOLUME BY USING TWO DIFFERENT SHADES AND LAYERS. THIS WILL
HELP YOU FURTHER DOWN THE LINE WHEN TRYING TO FURTHER REFINE YOU R DETAILS.
2. FIND YOUR ROOF LINE
STEP 1
NOW THAT WE'VE DECIDED UPON THE FINAL DIMENSIONS OF OUR VOLUME, IT'S TIME TO GO DEEPER INTO REFINING THE
PROPORTIONS. WE NEED TO THINK ABOUT WHAT OTHER MAJOR ELEMENTS NE ED TO BE BUILT INTO THIS PERSPECTIVE:
THE ROOF
THE PILLARS
THE PORCH
THE CHIMNEY
THE FENCE
IDENTIFY THE EXACT CENTER OF YOUR LATERAL WALL BY DRAWING OUT THE DIAGONAL LINES, AND EXTENDING A VERTICAL
CONSTRUCTION LINE. THE HEIGHT AT WHICH YOU DECIDE TO EXTEND THIS WILL REPRESENT THE HIGHEST POINT OF YOUR
ROOF. BE SURE TO REPEAT THIS PROCEDURE ON BOTH SIDES OF YOUR VOLUME TO OBTAIN THE CORRECT SLOPE IN THE NEXT
STEP.
2. FIND YOUR ROOF LINE
STEP 1
2. FIND YOUR ROOF LINE
STEP 2
TO DEFINE THE LATERAL MARGINS AND SLOPE OF YOUR ROOF, YOU SIMPLY NEED TO EXTEND A LINE FROM THE HIGHEST
POINT TOWARDS THE GROUND, AND PASS THROUGH A CORNER OF YOUR INIT IAL VOLUME, IN THE DIRECTION YOU'RE
EXTENDING TO.
2. FIND YOUR ROOF LINE
STEP 3
HAVING DONE THAT FOR ALL FOUR CORNER POINTS, I STRONGLY SUGGEST THAT YOU NOW SEPARATE THE SURFACES BOTH
VISUALLY, WITH DIFFERENT SHADES, AS WELL AS ON THEIR OWN LAYERS, FOR EASIER LATER EDITS (IF YOU'D WANT TO ADD
ROOF SHINGLES LATER, THIS WOULD MAKE PERFECT SENSE).
3. REDEFINE YOUR BASELINE
STEP 1: ADD YOUR PORCH
TO CREATE THE PORCH, WE WILL SIMPLY EXTEND THE BASE OF OUR BUILD ING BY ABOUT TWO METERS TOWARDS THE
VIEWER, AND AROUND 40 CENTIMETERS IN HEIGHT. OF COURSE, AS WE'RE NOT ACTUALLY MEASURING IN OUR CA SE, I'M
JUST PROVIDING YOU WITH SOME DIMENSIONS WORTH KEEPING IN MIND, S O THAT YOU CAN IDENTIFY CORRECT
PROPORTIONS.
3. REDEFINE YOUR BASELINE
STEP 2: ADD YOUR PILLARS
FIRSTLY, WE WANT THE PILLARS TO BE LOCATED EXACTLY AT THE CORNER S OF OUR BUILDING, BUT WE ALSO WANT THEM TO
BE VISIBLE, SO WE'RE GOING TO HAVE THE WALLS PUSHED IN SLIGHTLY.
3. REDEFINE YOUR BASELINE
THE EASIEST METHOD WOULD BE THAT OF IDENTIFYING THE BASE OF EACH PILLAR AND EXTRUDING IT UPWARDS. AIM TO
REPEAT THE SAME PROCESS USED WHEN DEFINING THE BASE SHAPE IN THE SECOND STEP OF THE EXERCISE, ONLY THIS TIME,
WITHIN THE INITIAL BOUNDARIES OF YOUR VOLUME.
HERE IS A CLOSER LOOK AT THIS:
3. REDEFINE YOUR BASELINE
STEP 3: PLACE YOUR WINDOWS AND DOOR
IN THIS STEP, IT'S IMPORTANT TO KEEP IN MIND THE FACT THAT DUE TO THE PORCH, YOUR POSITION AS A VIEWER IS
SLIGHTLY LOWER, AND THIS IN TURN WILL MEAN THAT YOUR DOOR WILL S EEM TALLER. FURTHER EXTEND THE HIGHEST LINE
OF YOUR DOOR TO LINE UP YOUR WINDOWS.
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 1: SEPARATE THE PILLARS FROM THE WALLS
AS THE NUMBER OF CONSTRUCTION LINES IS CONSTANTLY GROWING, I SUG GEST YOU TAKE THE TIME EVER SO OFTEN TO
SHADE THE FACES THAT YOU DEFINED, AND TO SEPARATE THEM ON DEDICATED LAYERS AS OFTEN AS POSSIBLE. YOU DO NOT
HAVE TO SPEND A LOT OF TIME ON THIS STEP, BUT THE MORE TIME YOU INVEST NOW, THE MORE PRECISE YOUR SELECTIONS
WILL BE FURTHER ON, WHEN YOU'LL WANT TO START ADDING DETAILS.
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 2: ADD THICKNESS TO THE FRONT WALL
SIMILARLY TO HOW YOU MANAGED TO PUSH THE WALLS TOWARDS THE INSID E OF YOUR VOLUME, YOU WILL NOW HAVE TO
DEFINE THE THICKNESS OF THE FRONT WALL. DRAW A SECONDARY LANE ON YOUR FLOOR, EXTENDING IT TO THE RIGHT
VANISHING POINT. PROJECT YOUR WINDOWS ON THE GROUND, THEN CONNEC T THEM WITH YOUR LEFT VANISHING POINT.
THE RESULTING INTERSECTIONS WILL HAVE TO BE EXTRUDED UPWARDS.
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 3: UNIFY THE SHADING
NOW THAT THE CONSTRUCTION LINES HAVE BEEN DRAWN, ONCE MORE, CLEA N UP THE IMAGE AND MAKE SURE TO USE THE
SAME SHADES, DEPENDING ON THE ORIENTATION OF THE RESULTING FACES
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 4: BUILD THE PORCH STEPS
AS THE PORCH IS A BIT HIGHER THAN THE AVERAGE "COMFORTABLE" HEIG HT, WE WILL HAVE TO CREATE A STEP TO EASE THE
ASCENT ONTO IT.
THE KEY IS DRAWING AS MANY CONSTRUCTION LINES AS NEEDED, AND ALWAYS PROJECTING RELEVANT POINTS ON ALREADY
EXISTENT FACES.
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 5: SHADE THE PORCH STEPS
ADD THE SAME LIGHTER SHADING ON THE TOP FACES, THE DARKEST SHADE TO THE FACES THAT ARE NOT IN DIRECT LIGHT
(OUR LIGHT SOURCE IS TO THE RIGHT).
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 6: ADD A CHIMNEY
IN ORDER TO BE ABLE TO DO THIS, YOU WILL FIRST HAVE TO DECIDE UP ON A GOOD POSITION FOR THE CHIMNEY. START OFF
BY PICKING TWO POINTS ON THE HIGHEST RIM OF YOUR ROOF. PROJECT T HESE ON THE FRONT FACE, THEN CONNECT THE
RESULTING POINTS TO YOUR LEFT VANISHING POINT.
FINALLY, DRAW TWO CONSTRUCTION LINES CONNECTED TO YOUR RIGHT VAN ISHING POINT, ACROSS THE FRONT FACE OF THE
ROOF. AIM FOR A RELATIVELY SQUARE SHAPE. NOW ALL THAT IS LEFT TO DO IS TO EXTRUDE THE VOLUME UPWARDS.
3. ADD SHADING AND ADDITIONAL SUB-OBJECTS
STEP 7: SHADE THE CHIMNEY
AS YOU CAN SEE IN THIS STEP, A MISTAKE MADE EARLIER BECOMES QUIT E VISIBLE! THE FRONT-LEFT PILLAR IS SHADED
INCORRECTLY, SAME AS THE LATERAL WALL... BUT THEN AGAIN, THIS IS EASILY FIXED IF YOU TOOK THE TIME TO SEPARATE
THE FACES ONTO DEDICATED LAYERS, AS SUGGESTED PREVIOUSLY.
4. REFINE THE SURROUNDINGS
STEP 1: BUILD A SURROUNDING WALL
GIVEN THE RATHER STEEP PERSPECTIVE, A GREAT PART OF YOUR FENCE M AY FALL OUTSIDE OF THE CANVAS AREA. DON'T
WORRY ABOUT IT, BUT DO NOT SKIP THE CONSTRUCTION PROCESS, BECAUS E THE HUMAN EYE IS VERY RECEPTIVE TO
PERSPECTIVE ERRORS, AND WHAT MIGHT SAVE YOU A COUPLE OF MINUTES, WOULD HAVE A NEGATIVE EFFECT ON YOUR
FINAL IMAGE.
START OFF BY DRAWING A RECTANGLE, SIMILAR, BUT LARGER THAN YOUR INITIAL BASE. DOUBLE THIS RECTANGLE AND
ENLARGE IT SLIGHTLY, TO CREATE THE THICKNESS OF YOUR FENCE/WALL. RAISE THE RESULTING VOLUME BY EXTRUDING
UPWARDS. NOW ALL YOU HAVE TO DO IS DECIDE WHERE YOU'D LIKE TO HAVE THE OPENING!
4. REFINE THE SURROUNDINGS
STEP 2: SHADE THE SURROUNDING WALL
THIS STEP CAN ALWAYS BE REPLACED BY ADDING MORE DETAIL. YOU COUL D USE THE RESULTING VOLUME AS A BOUNDING -
BOX FOR A MORE COMPLEX FENCE FOR EXAMPLE. IN OUR CASE, I'VE OPTE D TO SIMPLY SHADE IT, THIS TIME USING A
LIGHTER SHADE PALETTE.
5. ADD A HINT OF CONTRAST
SEPARATE THE SKY FROM THE GROUND
USE YOUR HORIZON LINE TO SEPARATE THE TWO SECTIONS. TO ENHANCE THE DEPTH PERCEPTION, I RECOMMEND USING A
GRADIENT FOR THE SKY, AND MAYBE SOMETHING MORE SOLID, BUT MUCH DARKER FOR THE GROUND.
THIS STEP OF COURSE IS ENTIRELY UP TO YOU, AND IN A REAL USAGE S CENARIO, REQUIRES A BIT MORE WORK.

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