2 Point Perspective Notes

Two -P oin t P e rs pe c t i v e
The two-point perspective system assumes that the

observer’s central axis of vision (CAV) is horizontal and
the picture plane (PP) is vertical. The principal vertical
axis is parallel to PP, and all lines parallel to it remain
vertical and parallel in the perspective drawing. The two
principal horizontal axes, however, are oblique to PP. All
lines parallel to these axes therefore appear to converge
to two vanishing points on the horizon line (HL), one set
3
to the left and the other to the right. These are the two
points referred to in two-point perspective.
Vertical
Two-point perspective is probably the most widely used VPL HL VPR
of the three types of linear perspective. Unlike one-point Horizonta nta l
l Horizo
perspectives, two-point perspectives tend to be neither 1 2
symmetrical nor static. A two-point perspective is par-
ticularly effective in illustrating the three-dimensional
form of objects in space ranging in scale from a chair to
the massing of a building.
• The pictorial effect of a two-point perspective varies

with the spectator’s angle of view. The orientation of
the two horizontal axes to PP determines how much we
will see of the two major sets of vertical planes and the
degree to which they are foreshortened in perspective.
• In depicting a spatial volume, such as the interior of a
room or an exterior courtyard or street, a two-point
perspective is most effective when the angle of view
approaches that of a one-point perspective.
HL VPR
To VPL
P e rs p e ct i v e D rawin gs / 1 2 9
Me a su r in g Po int Meth o d
The following is a method for constructing a two-point

perspective grid utilizing measuring points. As with the
construction of a one-point perspective, you should first
establish the observer’s point of view. Determine what
you wish to illustrate. Look toward the most significant
areas and try to visualize from your plan drawing what will
be seen in the foreground, middleground, and background.
Review the perspective variables on pages 115–120.
Plan Setup
• At a convenient scale, construct a plan diagram of the
perspective setup to determine the desired angle of
Lef
t ba
view.
line
seli
se • Lay out the major baselines of the space.

t ba
ne
l h
alle Rig
Par
VPL C PP VPR
Par
alle
l
CAV
• Establish the station point (SP) and the observer’s

central axis of vision (CAV), being careful that most
of what you wish to illustrate lies within a 60° cone of
vision.
60° cone of vision • Locate the picture plane (PP) perpendicular to CAV.
It is usually convenient to have PP intersect a major
SP vertical element of the space so that it can be used as
Plan Setup a vertical measuring line (VML).
• Locate the left and right vanishing points (VPL and
VPR). Remember that the vanishing point for any set of
parallel lines is that point at which a line drawn from SP,
parallel to the set, intersects PP.
1 3 0 / A r c hit ec tu r al Gr ap h i c s
Mea s u r in g P oi n t Me t h o d
Measuring Points
A measuring point (MP) is a vanishing point for a set of
parallel lines used to transfer true dimensions along a
measuring line (ML) to a line receding in perspective. The
diagonal point in one-point perspective is one example of
such a measuring point.
In two-point perspective, you can establish

two measuring points (MPL and MPR) for
transferring dimensions along the ground line
(GL) to the two major horizontal baselines that
are receding in perspective.
VPL MPL C MPR PP VPR
To determine the location of these measuring

points in the plan diagram:
• With the major left vanishing point (VPL) as
the center, swing an arc from the station
point (SP) to the picture plane (PP). This
intersection is MPR.
SP • With the major right vanishing point (VPR)
Plan Setup as the center, swing an arc from the station
point (SP) to the picture plane (PP) to locate
MPL.
• Include vanishing points for secondary lines

that might be useful in constructing your
perspective. For example, if you have a series
of parallel diagonals in your design, establish
their vanishing point as well.
Two- Poi n t Pe r s p ective G rid
Constructing the Perspective Grid

• Draw the horizon line (HL) and ground line (GL) at any
convenient scale. This scale need not be the same as
the scale of the plan setup.
• At the same scale, transfer the positions of the major
left and right vanishing points (VPL and VPR) and the
left and right measuring points (MPL and MPR) from
the plan setup.
VML
8
6
VPL MPL MPR HL VPR
GL
8 6 4 2 0 2 4 6 8 10 12 14
• Along GL, lay out equal increments of measurement • Transfer the units of measurements on GL to the
to scale. The unit of measurement typically is one left baseline in perspective by drawing lines to
foot; we can use smaller or larger increments, however, MPR. Transfer scale measurements on GL to the
depending on the scale of the drawing and the amount right baseline by drawing lines to MPL. These are
of detail desired in the perspective view. construction lines used only to transfer scaled
• Establish the position of a vertical measuring line measurements along GL to the major horizontal
(VML) from the plan setup and lay out the same equal baselines in perspective.
increments of measurement.
• From VPL and VPR , draw baselines through the • A fractional measuring point can be used to reduce the
intersection of VML and GL. length of measurements along GL. For example, you
can use 1/2 MPR to transfer a 5-foot measurement to
a point 10 feet beyond the picture plane along the left
baseline.
Two - P o in t P e rsp e c t i v e G ri d
VML
6
VPL MPL MPR HL VPR
6 2
4 6
2 4
2
0 GL
• From the major left and right vanishing points • Over this perspective grid, you can lay tracing
(VPL and VPR), draw lines through the transferred paper and draw a perspective view. It is important
measurements along the major horizontal baselines to see the perspective grid as a network of points
in perspective. and lines defining transparent planes in space
• The result is a perspective grid of one-foot squares rather than solid, opaque walls enclosing space.
on the floor or ground plane. When one-foot squares The grid of squares facilitates the plotting of
become too small to draw accurately, use two-foot points in three-dimensional space, regulates
or four-foot squares instead. the perspective width, height, and depth of
• From VPL and VPR, draw lines through the scaled objects, and guides the drawing of lines in proper
measurements along VML to establish a similar perspective.
vertical grid.
Two- Poi n t Pe r s p ective G rid
Once constructed, a perspective grid should be

saved and reused to draw perspective views of
interior and exterior spaces of similar size and 10
scale. Each unit of measurement can represent
a foot, four feet, a hundred yards, or even a mile.
Rotating and reversing the grid can also vary the
point of view. Therefore, you can use the same
8
grid to draw an interior perspective of a room, an
exterior perspective of a courtyard, as well as an
aerial view of a city block or neighborhood.
VPL HL
40 4 To VPR
20
10
8
6 2 10
8
4 6
2 4
2
0
• To draw an object within a space, begin by • You can use the grid to plot inclined and curved
laying out its plan or footprint on the grid lines as well.
of the ground or floor plane.
• Then elevate each of the corners to its • For circles in perspective, see page 143.
perspective height using either a vertical grid • For inclined lines in perspective, see pages
or the known height of the horizon line (HL) 140–141.
above the ground line (GL).
• Complete the object by drawing its upper
edges, using the principles of convergence
and the grid lines to guide their direction.
• Remember to transfer all measurements
only along axial lines.
Two - P o in t Per s pe c t iv e Draw i n g s
These three perspectives use the perspective grid shown on the preceding page.
In each case, however, the height of the observer’s station point (SP) above the
ground plane (GP) has been selected to portray a specific point of view, and the
scale of the grid has been altered to suit the scale of the structure.
• The observer views Frank Lloyd Wright’s

Kaufmann House, Falling Water, from the
HL stream below the falls.
HL
• This is a normal eye-level view—
the one to which we are most
accustomed.
HL
• Here, a courtyard house is seen in an

aerial view from above.
Two- Poi n t Pe r s p ective Drawings
This interior perspective also uses the grid shown on page

134. Note that the left vanishing point (VPL) lies within
the drawing, enabling three sides of the space to be shown
and a greater sense of enclosure to be felt. Because VPL lies
within the drawing, greater emphasis is placed on the right-
hand portion of the space. If the left-hand side of the space
is to be emphasized, use a reverse image of the grid.
VPL
Point Perspective 2 Point Perspective
Slide 1 of 40: Requirements
Before we move on to ‘How to draw a two point perspective’, you will require a plan and an elevation of the ‘Object’
you wish to draw perspective of. With a more complex object you may require more than one elevation and possibly
a section as well. All of which must be the same scale.
In the example that follows the elevations are comparatively simple, so they may not be necessary. Providing you
know the dimensions it may be easier just to use a scale instead. However, on more complex objects it is not
recommended, but it is possible to do an accurate perspective without the elevation views.
Next you will require a larger worktop to layout the plan, elevation and your working drawing. Once these have been
set-up they must to be taped down. Next you will need a longer straightedge, a scale to match the scale of the plan,
and the trusty pencil. In more complex jobs it may be advisable to use a range of coloured pencils.
On more complex studies you work will tend to a little dirty the longer you work on it. To avoid this, use a dusting
brush regularly and avoid sliding the straightedge across your work.
The 2-point perspective (2PP) is so called because it has only 2 vanishing points. One on being the left side of the line
of vision, and the other on the right. Depending on the shape of the object and how it is rotated the vanishing points
will be sited differently. The steep the rotation the nearer the vanishing point. A crucial aspect of the 2PP is that the
horizon is always within the height of the object. Consequently, the vertical lines are drawn parallel to each other.
In the following step-by-step demonstration you will first see how to draw an example of a standard 2PP. After that, a
few variations will be added. The methods used are common to any 2-point perspective.
Peter Clements Art Studios Website

Slide 2 of 40: How to Layout your Worktop
The first thing you need do is position the

Floor Plan above your Working Drawing.
Rotate it to the desired angle and tape it to
your worktop.
Select a Focal Point on the plan and draw
the Line of Vision. Then perpendicular to
that at the Focal Point draw the Picture
Plane.
Next you will need to determine the
distance of the Viewing Point. This should
not be Less than the width of the viewed
elevation or Greater than twice the width
of the viewed elevation. However, this is
merely a guideline, you can position the
viewing point nearer or further if need be.
In this example the Viewing Point is
approximately one and half times the
viewed elevation.
At the Viewing Point and perpendicular to
the Line of Vision draw the Horizon.
The Horizon is always at eye level.
Next position the Elevation to suit.
As a rule the Horizon should be within the
height of the elevation.

Slide 3 of 40: How to Set-up the Vanishing Points
Next the vanishing points must be set-up.

Parallel to each front face of the building
draw a Construction line from the
Viewing Point to beyond the Picture
Plane.
Where those lines Intersect the Picture
Plane drop a Perpendicular line to the
Horizon.
These points are the 2 vanishing points.
(VP1 & VP2)

Slide 4 of 40: How to Map the Vertical Lines
With the set-up in place we can start

plotting the vertical lines of building.
From the Viewing point draw a
Construction line to the visible corners of
the building. If the Corner is in front of the
picture plane, extend it beyond the Picture
Plane.
Where the Construction line Intersects
the Picture plane draw a perpendicular
Vertical line down on to the working
drawing.
Do the same at each intersection.
In a 2-Point perspective these line will be
parallel to the Line of Vision, whereas in a
3-Point perspective these lines will regress
to the third vanishing point either above or
below the horizon.

Slide 5 of 40: How to Map the Vanishing Lines
With the vertical lines in place we must now

map the regression lines.
From each level on the elevation project a
Height lines to the Line of vision.
From the Intersection of Height Lines
and the Line of Vision draw the
Regression lines to the left & right
Vanishing points.
It is only at the line of vision that the
building is to scale. On a simple object or
building it maybe easier to use a scale
rather than the elevation.

Slide 6 of 40: Draw the first part of the perspective
Starting with those faces linked to the Line

of vision we can begin drawing the first
building faces in perspective.

Slide 7 of 40: Map the remaining Vertical Lines
At the corner between the upper and lower

portion of the building draw the
Regression lines to the left Vanishing
point and extend it to other corner’s
Vertical line.
Then from that Intersection draw the
Regression lines to the right Vanishing
point.

Slide 8 of 40: Map the Vanishing Lines & Draw
With the regression lines in place the final

building faces can be drawn.
That is the basically how to draw a simple 2
point perspective. Next we will look at how
to add various details that you could be
confronted with.

Slide 9 of 40: How to Map the Window Opening
A typical example could be openings.

Here a window has been added to the plan
and elevation.
First the vertical line need to mapped.
To map the vertical lines of the window
draw a Construction line from the
Viewing point to both sides of the
opening.
Where the construction line intersects the
Picture plane drop the Vertical lines to
the building face.

Slide 10 of 40: How to Map the Window Vanishing Lines
Here we will add a window opening.
First the window heights are Projected to

the Line of vision.
From that intersection draw the
Regression line to the left Vanishing
point.
After the Regression Lines have been

mapped the window opening can be drawn.
10

Slide 11 of 40: How to Map the an Opening on the far side
To map a window on the far side the

Vertical lines are mapped in the same way
as the previously and extended on to your
working drawing.
Then the heights of the opening are
extended from the elevation to the Line of
vision.
Next the heights must be mapped from the
line of vision down each building face to get
to the opening.
Firstly, from the Intersections on the Line
of vision add the Regression lines to the
Right VP.
Then where the regression lines Intersect
the corner, draw the second set of
Regression lines to the Left VP.
Then where those regression lines
Intersect the near corner, draw the last set
of Regression lines to the Right VP.
11

Slide 12 of 40: Draw the Window Opening
All that is left is to draw the opening.

If this perspective was to a larger scale, it
would probably be necessary to include the
window revile and glazing.
12

Slide 13 of 40: Draw second Window Opening
With the Vertical lines and Regression

lines in place the opening on the far side
can now be drawn.
Here again if this was to a larger scale the
window revile and glazing would also be
added.
13

Slide 14 of 40: How to Map a Splayed Face
Here is how to draw a face that is not

parallel to the others.
This is in fact a multi point perspective.
Where the splayed wall will require it’s own
vanishing point.
However, in this simple example it would
probably be easier to do it under the 2-point
perspective method.
All we need to do is map the position of the
vertical lines as per previous examples.
Draw a Construction line from the
Viewing Point to the 2 corners of the
splayed wall.
Where they Intersect the Picture plane
draw the Vertical lines and bring them
down to the working drawing.
Once you have the position of the 2 corners,
the roof line a floor line can be added.
14

Slide 15 of 40: How to map the Gable end
Here we have an example of how a pitched

roof can be added.
First plot the position of the Ridge and map
the Vertical line.
Next the Height of the ridge must be
extended to the Line of vision.
From that intersection draw a Regression
line to the left Vanishing point.
15

Slide 16 of 40: Draw the Gable end
The height of the gable will be the

intersection of the Regression line and
Vertical line.
Once you have the height of the gable in
perspective, draw the gable end.
Finally, the roof can added by adding a

regression line from the near gable ridge to
the right VP.
16

Slide 17 of 40: Summary
That is how a typical 2-point perspective is

drawn.
A simple example with little detail and no
attention to depth beyond the front face. As
said earlier the windows would probably be
recessed and the roof would probably have
an overhang.
But the important aspect of this
demonstration is to shown you how to map
those key points that will shape the
perspective. Thereafter the details can be
added.
In the next example we will be looking at a
more complex example where you will be
shown how to map points that are not
related.
17

Slide 18 of 40: Plans & Elevations of Proposed Perspective
Here we have the Upper & Lower floor plan

and 2 elevations for the proposed
perspective. All of which are to the scale.
18

Slide 19 of 40: Set-up
First set-up the working drawing at the

lower right side of your work-top. Then
above that place and rotate the floor plan to
suit.
On a real point on the plan set-up a Focal
Point. From the Focal Point add the Line
of Vision, perpendicular to that at the
Focal Point add the Picture Plane.
Then at a set distance position the Viewing
Point, and perpendicular to the Line of
Vision add the Horizon.
To map the position of the vanishing points
draw a Construction Line from the
Viewing Point to the Picture Plane. Both
must be parallel to the 2 sides of the
building.
At the Intersection drop a perpendicular
Construction Line to the Horizon.
The 2 VP's are at the intersection of the
vertical Construction Line and the
Horizon.
19

Slide 20 of 40: Set-up
This is the basic set-up to map the

perspective for both the upper and lower
floors.
20

Slide 21 of 40: Map Lower Floor Building Points
Start by mapping the lower floor building

points.
From the Viewing Point draw a
Construction Line to each visible Building
Point.
21

Slide 22 of 40: Map Vertical Lines
Where the Construction Lines Intersect

the Picture Plane draw a perpendicular
Vertical Line on to the working drawing.
22

Slide 23 of 40: Regression of Font Faces
Next project the Heights related to the

lower the the Line of Vision.
At the Intersection of each Height Line
and the Line of Vision draw a Regression
Line to the left VP.
Then from the same Intersections on the
Line of Vision draw a Regression Line to
the right VP.
With the Vertical Lines and Regression
Lines in place draw the 2 Outer Faces of
the lower level.
23

Slide 24 of 40: Regression of Ground Slope
To map the plinth the 2 ground Levels must

be extended to the Line of Vision.
Where the Higher level intersects the Line
of Vision draw a Regression Line to both
VP's.
Because the lower ground level is on the
Line of Vision it is not affected by the
regression.
Thereafter, draw the plinth on both Faces.
24

Slide 25 of 40: Regression of Recessed Faces
Next the recessed faces related to the outer

faces must be mapped.
From the top & bottom of the 2 columns on
the right side of the building draw a
Regression Line to the left VP.
Thereafter, draw the 2 exposed Faces.
Because the Glass face is on the same line
it can added as well.
25

Slide 26 of 40: Regression of Other Recessed Faces
Next, from the top & bottom of the side

column on the left side of the building draw
the Regression Lines to the right VP.
Then from the top & bottom of near corner
to the glass face draw a Regression Line
to the right VP.
With the Regression Line & Vertical line
in place draw the side Wall & Glass face.
26

Slide 27 of 40: Regression of Floor & Ceiling
Finally the Regression Lines from the

recessed corner must be drawn to the left
VP.
All that is left to complete the lower floor is
to add that small portion of Wall next to
the window plus the Floor & Ceiling.
27

Slide 28 of 40: Map Offset of Upper Floor
Before we move on, the upper floor plan is

added in the exact same position as the
lower floor.
The first thing we notice is that there are no
visible common point to map the upper
floor. So we have to create our own.
First extend the Line of the recessed face to
the outer face of the building. There a
temporary Off-set point is placed.
Then from the Viewing Point draw a
Construction Line to the Off-set point
and the corner Building point. Where those
Construction Lines Intersect the Picture
Plane drop a perpendicular Vertical Line
on to the working drawing.
28

Slide 29 of 40: Map Regression Heights
Next extend the heights [1] [2] [3] to the

Line of Vision.
At the intersection of [1] [2] [3] draw a
Regression Line the the right VP.
29

Slide 30 of 40: Map Regression Heights
Then where the regression lines [1] [2]

[3] intersect the Vertical Line of the
Offset point draw the [1] [2] [3]
regression lines to the left VP.
30

Slide 31 of 40: Regression Heights to Upper Floor
These [1] [2] [3] regression lines are the

3 relevant heights on the the recessed face
Line.
31

Slide 32 of 40: Map Upper Floor Building Points
Now we can start mapping the upper floor.

From the Viewing Point draw a
Construction Line to each visible Building
Point.
32

Slide 33 of 40: Map Vertical Lines
Where each construction line Intersects

the Picture Plane draw a perpendicular
33

Slide 34 of 40: Draw Front Faces
Now we can start drawing the faces to the

upper floor.
Firstly, from the Intersection of the [2]
regression line and the corner Vertical
Line draw a Regression Line to the right
VP.
With the mapping done, the Front recessed
face and Side face can be drawn.
Note: The Side face is temporary as it does
contain a window that will be mapped later.
34

Slide 35 of 40: Draw Bay Window
Then from the Intersection of the [1]

regression line and the recessed corned
Vertical Line draw a Regression Line to
the right VP and extend it to beyond glass
face Vertical Line.
Where that Regression Line intersects the
glass front face Vertical Line add a
Regression Line to the left VP.
With the vertical lines and regression in
place draw the Font & Side face of the bay
window.
35

Slide 36 of 40: Draw Roof
At the Intersection of the corner Vertical

Line and the [3] regression line draw a
Regression Line to the right VP and
extend it to outer corner Vertical Line.
From the intersection of the right
Regression Line and the outer corner
Vertical Line draw a Regression line to
the left VP.
With the last regression and vertical lines in
place draw the Front & Side faces.
36

Slide 37 of 40: Draw Wing Wall
Then from the top corner of the wing wall

draw a Regression Line to the right VP.
Thereafter, draw the wing wall on the upper
floor.
37

Slide 38 of 40: Map Window Offset
All that is left is to add the window on the

side face.
Because we do not have a point that relates
to the existing, we have to create one as we
did with the upper floor plan.
The Offset point is far corner of the side
face and the back.
From the Viewing Point add a
Construction Line to the Offset point and
the Window.
Where the Construction Lines Intersect
the Picture Plane drop a perpendicular
Then from the elevation project the
Heights to the Line of Vision. At that
Intersection draw the Regression Lines
to the right VP.
Then where the Regression Lines
Intersect the offset Vertical Line 2
Points are added.
38

Slide 39 of 40: Map & Draw Window
Then from those 2 Points on the offset

Vertical Line draw the 2 Regression
Lines to the left VP.
Where those Regression Line intersect the
window Vertical Line is the heights of the
window.
Then from that intersection draw a
Regression Line to the right VP. Because
the lower portion of the window is obscured
there is no need for a regression line.
39

Slide 40 of 40: Summary
This is a typical example of a 2-point

perspective of the 2 level building.
40

2 Point Perspective Notes

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2 Point Perspective Notes

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Two -P oin t P e rs pe c t i v e

The two-point perspective system assumes that the

• The pictorial effect of a two-point perspective varies

The following is a method for constructing a two-point

se • Lay out the major baselines of the space.

• Establish the station point (SP) and the observer’s

In two-point perspective, you can establish

VPL MPL C MPR PP VPR

To determine the location of these measuring

• Include vanishing points for secondary lines

Constructing the Perspective Grid

Once constructed, a perspective grid should be

• The observer views Frank Lloyd Wright’s

• Here, a courtyard house is seen in an

This interior perspective also uses the grid shown on page

Peter Clements Art Studios Website

The first thing you need do is position the

Peter Clements Art Studios Website

Next the vanishing points must be set-up.

Peter Clements Art Studios Website

With the set-up in place we can start

Peter Clements Art Studios Website

With the vertical lines in place we must now

Peter Clements Art Studios Website

Starting with those faces linked to the Line

Peter Clements Art Studios Website

At the corner between the upper and lower

Peter Clements Art Studios Website

With the regression lines in place the final

Peter Clements Art Studios Website

A typical example could be openings.

Peter Clements Art Studios Website

Here we will add a window opening.

First the window heights are Projected to

After the Regression Lines have been

Peter Clements Art Studios Website

To map a window on the far side the

Peter Clements Art Studios Website

All that is left is to draw the opening.

Peter Clements Art Studios Website

With the Vertical lines and Regression

Peter Clements Art Studios Website

Here is how to draw a face that is not

Peter Clements Art Studios Website

Here we have an example of how a pitched

Peter Clements Art Studios Website

The height of the gable will be the

Finally, the roof can added by adding a

Peter Clements Art Studios Website

That is how a typical 2-point perspective is

Peter Clements Art Studios Website

Here we have the Upper & Lower floor plan

Peter Clements Art Studios Website

First set-up the working drawing at the

Peter Clements Art Studios Website

This is the basic set-up to map the

Peter Clements Art Studios Website

Start by mapping the lower floor building

Peter Clements Art Studios Website

Where the Construction Lines Intersect

Peter Clements Art Studios Website

Next project the Heights related to the