Creating perspective | Gabriel Ortolan | Skillshare
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7 Lessons (1h 16m)
    • 1. Intro - what this class is about

      0:51
    • 2. Horizon line

      3:34
    • 3. One vanishing point

      7:15
    • 4. Two vanishing points

      10:10
    • 5. Three vanishing points

      30:53
    • 6. Cone of vision and distortions

      23:11
    • 7. Summing it up

      0:35
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About This Class

This class is about how to create perspective, which includes a step by step of how to position the horizon line and, then, allowing you choose how many vanishing points you want: one, two or three. Finally, a few considerations about our cone of vision and the distortion that it causes. So, let's get going?

Meet Your Teacher

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Gabriel Ortolan

Illustrator & Animator

Teacher

I graduated in Technology in Graphic Arts (almost the same as Graphic Design) by the Federal Technological University of Paraná (Brazil) and also completed a Post Graduate on Comics and a Post Graduate on Game Design. Right now I'm trying to improve my drawing skills. It's not only something I believe I'm good at, but also my passion, although still have a lot to learn. And by doing that I discovered another thing I love: animation. Well, in fact, tradicional animation. Check out my Youtube channel for more videos.

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Transcripts

1. Intro - what this class is about: do you? Hi, everybody. My name is Gabriel. And how are you doing in this class? I'm going to teach you how to great perspective off one finishing point to finishing points and three vanishing points. Their protective year is to give you I step by step, to create one true or three finishing points perspective. This class is made for our artists that still face problems when try to great perspective, especially the one with three variation points. So you begin. 2. Horizon line: since this is going to be a much more practical class than theoretical, I plan to make some kind off introduction first with the explanation off the things that I'm going to do. Then comes more practical and extended part and only then any final thoughts and considerations off what I just made. All right, so straight to the point. It doesn't matter if you are choosing on 12 or three vanishing points perspective. You need horse online, but you don't want it dividing your composition in half because it's true. Perfect. As I said in my previous glass, the human eye 64 this kind of station you want the heart is a line. Okay, fine. 1/3 off the high or true thirds off the high. Be careful to not put it too much above 1/3 because, like this, you have too much ground four below true thirds because you have too much sky or too much sitting if you're doing the interior, this only works when you were working with one are two vanishing points because when you have three vanishing points, you have the third finishing point of both or below the others. If they are too close to each other. The objects resulting off the intersection off these points have ah high chance off coming out. True to form it. So in other words, the horizontal line is essential to help us Butte. What we want. 3. One vanishing point: Let's start with the most basic off, the more With one finishing point on Lee, you peak one point in the horizon line just set as your finishing point. Usually it's picked in the middle, but that's not a rule that you must follow. Well, let's see around here. Once chosen where you want the vanishing point, you begin to draw lying snapped. Start on your finishing point, the VP and go wherever you want. Let's see, Over here physically , you draw lines that you radiate from the VP. Just like sweet, um, and began draw shapes like this. - And if you won't stay until you're off the shapes, you can drop trou. Let's try true Uh, dro um why'd er shape like for the site over here? You can leave like this or you can go straight up true. The border. And usually I draw straight up to the border when I don't know what I'm going to drop. But I know that, um, you want to few the composition with, um apart off to tell use and many objects and I tend to cool like this, not going to the o barter when I already know that the object they have in mind. So whom nights draw conceit The difference. It's important to notice that both vertical and horizontal lines are perfect and street there won't be any inclining the lines. So pay attention to this fact and noticed that this kind off angle that he's generate can be also used to show from the top or thrown deceiving like this that has the VP finishing point around here and on the contrary, from beneath the floor. Or just like we look up street to this guy like this that has, uh, Phoebe Round here, although this kind off angle is way less used. 4. Two vanishing points: Now, let's see how you do with two venture points. Basically, it's the same thing that you have done with only one VP. But you're going to add now one more VP on the horizontal line. Let's see, you're going to want one C p over here and probably only outside off your composition. Probably around here. My device is that you tried to make the face. Is that gonna be able to see more first? So one over here and one over here, then second, you want to make the insight crossing the first line and for last the top face. See? No, let's try, uh, do the same thing. But over here, try it. Ah, second shape over here. - First , the true face is that you're going to be able to see more. Then Dean todo crossing the first line, then the bottom, uh, the bottom face that off course, He only applies when you don't go over the board off your composition. Well, let's try. Should go over the border. The fight this again. I only use this, um, method when I don't know. Uh, what to draw if I know what you mean to draw or I want to make more simple Troy. I go like this. Stop and go as far as the etch off the object go. So basically where the lines cross, that's where the corners off the object will be. There's a high chance that at least one VP, if not both, we wouldn't that outside the composition. See India's example. World is inside the composition and order. It's outside the composition. If you want to put both VP's in it, you encounter some informations. See, right now it may be, um, not deformed. But if you try true, put more objects in it. It will end up very deform it. The closer we put to drew the piece, the more deformity shapes that you placed. There we appear and one less thing, this style. On Lee, the vertical lines hurt street and perfect. If you find ah, vertical line that is a leader, incline it, you have done something wrong. So this is how it's done with true vanishing points 5. Three vanishing points: Finally, let's see how it's done when we have three vanishing points. The beginning is the same as with true VP's. You put them on the hards online. Um, let's see. Let's put them outside the composition. So this time, only this time I advise you to go to the border because I think that's easier. Then you are able to choose if you want it. Third VP above or Bigelow the horizontal line. Let's put it. Ah, both first. But first, let's try to, um, fix this now . Then you are able to, um, put any farm that you want over there. So, um, and if you want to make Lou, the heart is online. It's the same principle. Sometimes you you must get out off the the composition. But first, I'm going shoe. Continue. Uh, the third, uh, PP the alliance that come out off the 3rd 50 Go. Um, there you go, baby. Just indeed. Or off there. And And that's how you do. Uh, beneath the Haris online. See, if you choose to put it above like we did the third a VP, you have a low angle, and I'm bottom top. If you like this be careful to not put that the top repeat too close to the order a piece, because if you do, the objects that you place there in the composition reappeared deformities. As I said in a previous class, the higher you put it third EVP, the more characterized your low angle will be. This is most used when you need to show the greatness off the environment, showing the sky or seeming. Now let's put the Phebe below the horizontal line. The same is we did before. Let's try to put them outside the composition. The VP's outside the composition. That's true. Boots over there more. It's true over here that's fine nights now, trying to put in the third finishing points. And first as usual. Let's try true. Oh, make signs and adjust them right after is falling. Becomes possible. When you were working with the computer. Unfortunately, he's he's perfect, that one that there are off. - The only problem with that is when you try to fix the wound one line you end up, uh, Mansingh Mm. Around orders. It is correct. Something like that. See? Ah, the same way. If you want to put right on both the horrors online. You connect the same away first. Um, that's true. Over talk over the border. We've deterred Vanishing Point. You can do any order you want. There is no right order. Um, you put two more. Decide. Actually, this is supposed to with beyond the composition. - And I think this Rick Yep, he's ready. - And well, I think one line that I forgot to do and I think that's ready if you choose to put the third EVP middle the Horace's line like please, you have high angle like this and a top bottle with you again. Be careful not to put too dio vp True. Close to the other piece Because if you do the things that you place there were a pure deform. It did lower. You put 1/3 of a p the more characterized your high angle we'll be This is most beautiful when you need showed how fast the environment is, how far it goes. Or if you want to make sure that it to use that are edit, we appear showing the ground. Maybe so you have the option off putting the third VP both the hurries online like this, which generates a bottle top view and he's called loaf angle Or be low it, which creates a top bottle view. And it's called High Angle. Basically, that's almost all the things that you need to know when Korean Perspectives. 6. Cone of vision and distortions: no, a few last considerations. First, perspective is not purely math. If you heard get from someone, they are wrong. There is math in it. Like, for example, are cone off fusion, which is a 60 degree angle. Here he is the horizontal line. And here is our Phoebe vanishing point that coincides with the center. Both You sure no disease. What we can see. It is a circle over here. That's Ed No. So rectangles in our cone off vision and outside off it. So for excellent, - right ? No. What did they just do? Believe it or not, they are the same. Each one off. The five rectangles are the same. It's the perspective that makes this distortion. Let's see what the inside angles off the It's a one off here, and that one over there are why this one on the left has true on the bottle area that seem like they are close. True, 90 degrees that went over there hiss one obtuse and one acute angle. Papa choose means that angle, his bigger then 90 degrees and a cute daddy's this motor. So, to sum it up, why this one? Over here, presidents, true fuel do starship that one over here presents To whom much Just starship that rectangle is requiring that another VP is created. It's like it's bagging, so it wouldn't be too much destruction. So let's great with to be number one right here and VP number True, right there. Remember to always set between the VP's to make ah, a 90 degree angle from the corner off vision like this. Then let's at some elements in that space. - It's fine. And the only there we can see over here that whatever up years insight, Cole of Usual is going to present less distortion. Then whatever appears, uh, outside the corn off vision. Like over here, we have our shape that is practically, uh, it's hold piers as a whole inside cold innovation. And over here we have a shape that is half inside Con Division buddies half outside the Contra vision. So whatever appears inside the corner vision is going to present last distortion. Then what appears outside the corner vision? Let's trying their example with defeat be what Number one over there We were there and B number choo inside. Stick on a vision. Remember to always set like it's going to generate 90 degree angle between the two VP's. So let's try this time I'm going to try to make the shape the as a hold inside the cone off vision. I see almost no distortion at all. Can you see the difference between shapes that you put inside and outside off Perricone off vision? So perspective is not Onley math. By what we could see through the examples, it's something more than just math. I encourage you to create one and true vanishing points. Oh, it's kings to experiment and see which suits you the most and try to create with three piece in one space only may come out wrong at first, but don't be afraid and try again, minimizing your carers. Practice does make perfect. They see 7. Summing it up: So to sum it up, the step by step that I gave you about great in perspectives. There were hurries, online perspective, with one finishing point. True finishing points in three vanishing points. Corn off vision in distortion. So that's it.