Drawing as a visual language has its own methods of projecting space. The direction of line, composition, framing, as well as the use of colours and reflections can each create an illusion we can interpret as depth. Dick Giordano et al.²⁵ define the key principles of creating depth as: asymmetry, overlapping, diminishing, converging, breaking-up shapes and forms, tonal and colour relationships, and the objects’ proximity to horizon. These markers can be subtle, as in paintings with atmospheric perspective, or clear and straightforward as the grids on technical drawings. However, by far the most universally convincing markers of space are those of linear perspective.

The use or perspective creates more than just the depth of vision, it gives us information about the situation we are “placed in”. Whether it is one-point (used for tunnel-like structures), two-point (street corner views), three-point (looking from far above or down below), four-point (globe-shaped objects) or six-point (fish-eye lens) perspective — lining objects to such grids can create different suggestions of viewpoints within the composition. More interestingly, the eye level and horizon line not only give us clues about our surroundings: being indoors or outdoors, and the place itself, but also about the height and position of us as the viewer, the apparent distance of objects from us and our connection to others. Thus both literally and metaphorically, our vision of space is in fact a reflection of ourselves.