Are you a beginner artist and trying to add some weightiness to your drawings? Then one point perspective is an essential first step for you to make your drawing look 3D as well as more attractive. One Point Perspective is a linear perspective that uses a single vanishing point to create the artwork image in more depth.
There are several ways of linear perspective, but one-point is a single point perspective very easiest way, that’s why in this guide, we try to create a step by step complete guide about how to draw a house in 2 easy methods. Ok, without wasting time, let’s get started.
Method 1: How to Draw a House in One Point Perspective
Though this guide is so long, try to read the complete guide because we share everything in detail, so don’t miss anything. This drawing is of a modernist house with some trees. In this drawing, I used 4B pencils for the shadows.
Start by drawing a horizontal line below the middle of your page. Next to a cross on the left on this horizontal line for the vanishing point. It will be used for the sides for drawing the sides of the house.
Now draw a vertical line to the left-hand side of the house. To the right of the base of this line, meeting, draw a horizontal line for the house’s base. Use vertical and horizontal lines to draw the front side of the house. The side that we’re looking straight at and all of these lines can be suitable to each other.
As this house is in the Magnus style, it has a flat roof. So we can draw a double horizontal line at the top of the building to represent the roof. We can also draw a rectangle at the front of the building and divide this shape into a door and maybe some long windows. We can make the vertical lines on the right double lines into posts that will extend the wall.
Here at the top left, just a bit, We don’t need the horizontal line as it goes through our house anymore. So we can erase these bits now using the vanishing point on the horizon line.
Draw a line from the vanishing point to the base corner of the house and another diagonal line again from the vanishing point to the top edge of the house. We can use these two lines to create the house in one point perspective because the side of the house is going towards the vanishing point.
But the front will be square and is all made out of rectangles. But on the side of the house, the parallel lines converge at the vanishing point; at least, they look like they converge at the fantasy point. So one-point perspective is when you have parallel lines going away from you in one direction.
They meet at the vanishing point, which is always on the horizon and the horizon represents. The height of the eye of the viewer is everything above the horizon. We’re looking up at everything below the horizontal line.
We’re looking down at using more lines to repeat the shapes that we have already used. We can add more elements to our house for each of these shapes. Just draw the front of the shape first using straight lines and right angles, and then we can use the vanishing point to find the lines of the house. Going away from us to this vanishing point on the left to make the house look more three-dimensional.
By using a one-point perspective once you have the house as you wish. It’s time to draw some of the wind days, and for this drawing, I’ll make the windows long and thin as this will show the perspective lines going away to the vanishing point more clearly.
Also, rather than drawing square windows, which would make it all a bit box like these fin windows will fitter. The typical types of windows that you get on modernist houses were designed in the 1920s and 1930s. They often had Krita types of windows which are metal-framed windows with thin metal frames, and they’d have flat roofs and often white facades.
White fronts You on the right can draw a tree, or the base of the first three should be a little bit lower than the base of the house.
I want to add some shadows from this tree going up to the house to draw a tree. Just draw two lines for the tree trunk and then draw the branches the easiest ways to draw a v-shape. Each time you want to create more branches, you draw a v-shape, and then you can draw a branch on either side of the v-shape, and you can repeat that to make more and more branches in your tree.
As the tree gets bigger, the branches will get thinner, just to the right of the first tree and a little bit further back, slightly higher up on the page. So we could draw another tree.
Now this second tree could be behind the first tree because it’s further away. So as its branches touch, the first tree touches the drawing of the first tree. They can sort of disappear for a moment, and then they can reappear on the other side of the first tree.
Their branches can continue in this way. It’s an easy way to have two trees looking like they’re overlapping each other. There is also some space in this drawing on the left. So I’ll add another tree on the left. I’ll make this tree a bit smaller and nearer the house.
But I’ll also make the branches a bit more twisted because that would fit into the space that we’re left within the drawing. To have more twisted branches in this tree, the smaller branches can be quite a loose indication of branches. But the branches nearest a tree trunk need to use a v-shape to create lots of different branches.
Once you have drawn the trees, we could also add some darker tonal valleys to the left-hand side of all of the trees. We’ve drawn howls who’d like to add a shadow from the tree. Going along the ground as it were and then as the shadow hits the building. It can raise the front side of the house.
After completing the drawing of two trees, we successfully made this house.
How to Draw a House in One Point Perspective Tutorial
Method 2: How to Draw a Modern House in Two-Point Perspective
First, draw a horizontal line and then a vertical line. Next, I’d cross at each end of the horizontal line. These two crosses will be the two vanishing points in a two-point perspective. Now I’ll mark a point towards the top of the vertical line and draw two diagonal lines to each vanishing point. Now make a mark towards the bottom of the vertical line. Again two diagonal lines go one to the left vanishing point and one to the right vanishing point.
Next, we could draw another diagonal towards the top, which will be the thickness of the roof on the right. Then a vertical line about here and will be the edge of the building. On the far right and dark, these two lines up a little bit. So that I can see the lines are going to be most essential and then extend that line to get to the baseline.
Then on the left-hand side again, the thickness of this modernist building will go all the way to the left vanishing point. I’ll make a mark here that might not be the end of the building but maybe some architectural detail. Then long here, I find the inside of the building will have an inside sort of pouch-like area. The diagonal goes to the left vanishing point. The verticals will stay upright, and then the baseline of this shape will also go to the left vanishing point because that’s its general direction.
Then long here for the base of the building from the right vanishing point, I can read this line across at the bottom and at the top to find a wall like an interior wall. Then maybe just put a little thickness at the end of the building here. So the walls get a thickness to it and then find a place where this wall can stop. It doesn’t need to stop on the original vertical line. I can make it go a little bit to the left, which might make a better composition.
Just where something is in relation to other things in a picture. Again reading across from the left vanishing point and finding how this wall is. It went to the left and would become a more cube-like shape. So then this bit here I’m going to take that into the girls sort of buttress thing. So, that is vertically upright, and then it will go towards the right vanishing point at the top and the bottom. Then it will need another side to it on the left-hand side to be about here.
Now draw a vertical straight line straight edge coming down there. Then I want it to sort of funnel away to the left-hand vanishing point and again just read it across to that vanishing point. In that way, you don’t need to think. You can see that if lines go towards the left, they’re keeping that shape of the building. They will end up at the vanishing point on the left. If lines go away towards the right of the black cue building, they will all end up on the vanishing point on the right.
So I just again make this line a little bit darker to see which lines are essential. Now this sort of structural shape that I’m putting on the left. I will put another one of these beams on the left and again work out where the top of this beam would go to the right.
The uprights would stay upright at the bottom of the beam. It also goes to the right-hand side of it. I move the pencil way to the vanishing point, and that would give me a good indication. It is here on the left where they go and because it’s near the vanishing point.
It will be smaller than the column in the foreground of the picture. So I have two clubs here, and then this wall on the left-hand side needs to continue at the base. Also, logically, it needs to continue up this line, and then the roof would extend along there. I just darkened this line here, so we’ve got the basics of the building already.
Maybe I’ll put a column here, so that’s like an ellipse or a circle on its side. Then I’ll draw a vertical line coming straight down on the right-hand side. Then for its fitness just coming straight down the left-hand side too.
Then work out where the sort of little ellipse will be at the base. I didn’t draw the back in front of the ellipse at the same time but needed to the front of the sort of squash circle shape. So now, behind this wall, find you another sort of shape to put down. It follows the same rules that we did before so that the lines will go towards the right-hand side and the foreground.
Here I’m going to put a swimming pool so the top line here will go towards the left vanishing point. Then as the swimming pool comes towards us, those lines need to sort of funnel away to the right vanishing point. The little dot can be placed any way you want, but once they’re in, they’ve got to stay where they are, so using the original vanishing point. I extend this line across so the swimming pool can come right towards us.
The swimming pool needs a little thickness, so I’ll make a vertical line there and again read from the left vanishing point. I find the thickness obviously well, not the pool but the side of the pool. Then below this line, it could be some water or something like that. I’ll figure that out later on.
So now we’ve got the basic shape of the building. The basic shape of the swimming pool is on the left-hand side. So here I can make a path, and the path would be two lines coming towards us. Which are parallel, and because of perspectives, they’re going to look as if they meet at the vanishing point.
Then maybe on the left here, I’ll draw a wall or something like that. Maybe that would be a bit too solid, but again these two lines will not be parallel. They’re going to sort of be going towards the right vanishing point.
If I draw a shape within this, we can see the paths going towards the vanishing point so that we’ve got a depth of field here, which might be pretty helpful.
So the next step would be here if it’s going to the swimming pool, it will need some reflection, which will also follow perspective. I guess it will go towards the proper vanishing bite, and that’s just a quick way of finding out where it goes.
Then this thickness of the swimming pool will also have a consistency of its reflection, and again these lines here go towards the soup’s right vanishing point.
So the next step here is that the upright column will have a little bit of reflection. So now I think I need to use an eraser and rub out some of the lines, which were the guidelines at the beginning of the drawing.
Maybe those guidelines we don’t need anymore, so the horizontal line goes through this drawing. I’ll tidy that up but maybe before I do that, I will just put a door on the left-hand side of this wall. So the upright will just be vertical, the top of the door will go to the left vanishing point.
Then the other side of the upright will be another vertical line. So I think it’s time to use an eraser and rub out some lines that I no longer need. I’m using a 4b pencil and some watercolor paper because I think I might add some watercolor to it. But you could color it in any way you want down.
On the right-hand side, if I draw a diagonal at the top and the bottom of the height of a tree, just draw a tree here. Maybe I’ll make them slightly higher, so I put another diagonal there, and then the next, we will go behind the tree in the foreground.
Then the tree after that will also be somewhat obscured by the tree in front of it. So it’s a series of trees, and each one is sort of behind the tree in front. So there’s only one tree that we can see fully. Even that is behind the building, so this overlapping effect and the fact that the top and bottom of the trees go away in perspective will make sense of distance, and I think on the right-hand side, I’ll put a path which will just go to the vanishing point.
If I do a right angle in the path as it goes around the right angle, the two lines will also go towards the left vanishing point. Hence, there are paths two of its lines go to right benching point, and then when it changes direction, the other two edges about go towards the left venturing point now this sort of wall here I don’t think that works it confuses the building.
I’m just going to extend the building if I put another sort of Avenue of trees here, and I can read them across from the trees on the right, so they’re roughly the same size, and this would be a more sort of obscure angle for these trees so they really will be overlapping quite a lot. So I just raised the horizontal line and replaced it with dark lines, and then if I have the Sun on the left-hand side and have long shadows of everything, that would be pretty useful.
If I put some watercolor or some tone on this, reading things like the column or the trees, which will be thin angled shadows, I could put an angle of the shadow on the building on the side here, which would be pretty useful. These shadows on the left will sort of overlap, and the building will have a shadow.
I guess on the trees as well, so I’m mapping it out now maybe put a door or structure here mapping out so that I can add some time so to do that, I’ve decided to go to use wood color, and first of all, what I’m going to do is paint this guy just with some water, so the paper is wet and then get an old wood color ting and mix up a blue and whoops of paper still wet if I put the blue on it it’s going to run in or bleed it’s called in watercolor bleed across.
It will sort of fade through and if I just continue to do that, as you can see in the speeded up a bit of the drawing that it will sort of blend through to some extent so it’ll be darkest at the top and then lighter as it comes towards the horizontal baseline which is obscured by the trees in the building.
So anyway, once that’s dry, it will look like that, and then I can do something similar swimming pool here, so it’s a bit thicker here, and as my paint runs out, it will sort of blend to a bit thinner, which will be helpful to create some sort of depth in the swimming pool.
Then on the side of the building, I just use a sort of light mid-tone to create some sense of shadow now with watercolor; it’s quite a good idea if you mix up enough of a shadow sort of color, but if you mix up enough of it. Before you start and then you don’t need to sort of re we discover the color that you’ve chosen and now by making those dark sides of the building darker it will make the white of the paper seem brighter, because it’s contrasting to something which is darker next to it.
So in the picture, if you want to have higher contrast, you can’t just keep things light you have to create some areas which are dark as well then with the trees some localized color to the trees and then on the paths, I just make those a sort of mid-tone brownish sort of color and then maybe now that’s dry I might just add a little bit more time to the sides of swimmable here that would have a tone on it because it would be in shadow.
Then next, I could just use a pencil, probably a pencil again, and just put it across the lines of the path to create a stronger sense of perspective so these lines will get closer together as they get further away towards the horizon. I hope most of all that you find it useful for your drawing.
Thank you very much.
How to Draw a House in Two-Point Perspective Video Guide
Hopefully, our complete guide about how to draw a house helps you a lot to easily paint. you can also read out related articles to easily draw other things.