Dimensional Drawing - Conscious Drawing Techniques - Lesson 4 of 6 | Crisanne Fox | Skillshare

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Dimensional Drawing - Conscious Drawing Techniques - Lesson 4 of 6

teacher avatar Crisanne Fox, Creator of Conscious Drawing Techniques

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Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (37m)
    • 1. Skillshareintro4

    • 2. 14consciousdrawingtechniqueslesson4part1

    • 3. 15consciousdrawingtechniqueslesson4part2

    • 4. 16consciousdrawingtechniqueslesson4part3

    • 5. Skillshareend4

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About This Class

creative abilities.

This is a beginners drawing course which is different to most others! While this course is filled with practical drawing skills and beginner drawing techniques for you to learn, it is also about exploring your potential as a creator and learning to have confidence to be your most creative self.  This course will help you to step into your full potential as an artist and individual creator.

Each topic is discussed in detail and every exercise is fully explained with a video demonstration.

This course is complete with exercise instructions, a comprehensive support document for you to review at any time. Download content includes 30+ pages of resources just for you!

As an instructor I am excited to share your drawing journey with you and fully available to help you at any time!

You will learn to draw with conscious intention by learning to connect the use of the mind, hand and heart while drawing.

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Crisanne Fox

Creator of Conscious Drawing Techniques


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1. Skillshareintro4: 2. 14consciousdrawingtechniqueslesson4part1: Today's lesson is all about dimensional drawing. It's about drawing shapes and forms in three days, and it's a very left brained exercise that we're doing today. Although it does float into the right brain mode workings, it's comes from a more technical place. When you start, there are many different ways that we can learn to draw dimensionally and perspective. Drawing is just one of those ways, which is with a little bit of practice, really easy to do. I find the history of perspective drawing really fascinating, and it wasn't really until the great environment times that we started to be able to draw with technical precision before that. A lot of drawings that really flat on a little bit, lifeless, excited, learning to drive perspective. We can now do in one day, which is really amazing. But before we get to that, I want to talk to you a little bit about sketching and isometric. Now, as I said, there's many different ways that we can work in perspective, and isometric is one of those. However, it is not the way that humans see humans say in 1.2 point three point perspective, etcetera. We see things at angles that get a small A and Laja, depending on how far away they are from us, I submit to drawing is different to these isometric drawing his old drawn from one angle. And it's not a realistic view, but it is a view that you could do technically and that allows you to see more signs off the object withdrawing, um, objects that a three dimensional. It's important to be able to rotate them in your mind and turn them around so that you could see from all sides. So here I have a block, and from the front few, it is a rectangle from the side view. It is a small square, but then when we turn it and we look at it an angle, we can see the different lengths in the different sides. And if I am able to draw this at all different angles, I can have a much better understanding off what I'm putting on the page. This skill can also lead you to being able to sketch things without visual references and to be able to create shapes and create drawings. Isometric drawings are a really great tool for communication. If you're wanting to do a drawing and communicate something that you want to build or that you want to make you conscripted in isometric and you can see it from all different angles . And you can also see how those different parts go together as holes when we're learning to draw three dimensional reality. It's really important to think about shape and how shape can join together at different angles to create form. Now here I have drawn some vertical lines, horizontal lines that are parallel, and I have drawn some diagonal lines going backwards that also parallel, and I have created a rectangular cube quite easily. Now, this is not exactly how we see in reality. In reality, we Seymour at a perspective you and we're going to learn about perspectives soon. But for now, I can just start to learn the different elements off how things go together by drawing boxes on top of boxes on top of boxes. Now, this box I have drawn to be transparent so that you can see through to the back lines, and you can see how that Cube is working. However, I could draw another one, and it's very easy to just project back and then draw in your back lines there to get the back of a box. And you don't have to feeling that translucent. Transparent. Sorry. Details. You can just go back like this. Great. And, um, when you're doing this practice, I want you to look at doing different sizes and also going back at different angles. So it doesn't matter what anger you draw at. It just matters that you follow the rule off vertical lines, horizontal lines and diagonal lines, or going back in the same direction when was sketching an isometric. Okay, so that rule will change a little bit in the next exercise. But this exercise is about building of three dimensional skill base and just being able to understand that in a way, the world is put together by looking at two dimensional shapes on different three dimensional planes. So if we consider this flame one, we consider this plain truth and playing three. They're all just different shapes at different angles. And we can also use shading into a little bit of a crosshatch here, so we can use a bit of shading to, uh, sure, the light hitting this object from different angles. And if I do this, the light coming from the back here, it would look, it'll be like, Sorry. Have you people? Yeah, Well, you will be going up. Besides, And so when you're doing your box sketching, yes, you can do a little bit of shading. But I've jumped ahead because what I would really like you to do is start drawing boxes on top of boxes and think about how they go together. So let's say I've drawn something like So they're all sitting on the ground at the same level, sort off, and then I can start drawing back my diagonal lines and a summons. They all got in the same direction from every corner that I see, including these corners, and then I can draw in my vertical from my horizontal and maybe this one craze back a bit further. Comply with that perspective by joining at a different line. Aiken trade H shape at a different depth that one can disappear entirely on that one can disappear E entirely as well. And then, if I want to ground something in three dimensional reality, remember, if I put some shading around the bottom could do that. Every here as well. Then I give it a place in this world talker shading in there. So I want you to practice that as much as you can whenever you can. 3. 15consciousdrawingtechniqueslesson4part2: so moving on now to doing a one point perspective drawing. And I really like one point perspective drawing because it could really be an easy tool that we can learn very quickly. And it will help us to draw things that are in our reality. It will help us to draw not only what we see in front of us, if we set it up is a one point or a two point perspective, but it will help us to draw some things from straight for my mind without having to use a visual reference. So we're really getting into the depths off the more technical aspects of drawing now. So the rule here is that all lines laid to one point. If you spend some time observing the room you're in, you will easily see how this theory is fairly close to how we see our surroundings. If you stand in the center of a square or rectangular room on, look at the far wall, you will see the floor and the ceiling line is horizontal on the wall lines vertical and the sidelines a tapering towards one point. You can also say this principle when standing on a train track as the further you travel away into the distance, the closer your lives, big lines become type boring into one point one purpose objectives is all about everything going back to one point. So you're looking at a shape directly and we put something quarter vanishing point at the back, and then the angles that you draw out to the itches all come from the finishing point. And if I'm drawing a cube that say, I'm during something inside there, I draw the lines going around to each point, and then they let me draw them straight. They match up, and then you can rubber match the lines. Yeah, and we have drawn the inside of a box inside of a room, anything that you like. What's important is that all of the lines are going back toe, one vanishing point. And if I'm drawing these from an outside perspective, let's say I have my cube and everything's gonna go back toe one vanishing point. I can put that finishing point anywhere I like, even if it's over here, and that's a I'm wanting to draw something outside of the box. Then I simply still draw back to my vanishing point and I'm not during the lines but inside . Now I'm just following the line out, so I know the angle to draw so you can see that the lines are going back to the vanishing point like that roughly. And then I'm going to draw more vertical lines that he f m o horizontal lines. He had to join up, and I have essentially created the same thing, but in, uh, projecting out instead of projecting in way. I guess that's the best way to describe that. Starting out today, I have put a vanishing point almost in the center of the page, the center of the pages about here. But I just put it off to the side slightly to give a little bit off a dramatic angle to my drawing. And then I am going to draw so random lines doesn't matter where they placed a this stage as some guidelines, so that what I can do is sketch based Oh, no, do that when the four way across sketched based on the proper perspective and allow everything to go back to the vanishing point, and I think that will be enough lines so far to help guide me through now I'm not gonna use a rule of the hallway on what I'm doing. Today's I'm creating something called a based roaring that I am then going to trace off later because I like to draw quite quickly. And I like to look holistically at my drawing. Creating a base drawing that I trace off later means that I can work more quickly on not be so particular about the end result for this drawing. So a one point perspective, I'm used to drawing quite structured elements as a one point. However, today I'm going to be drawing a beautiful forest with a road going down the center. And I don't wanna work all the way to the edge of the page. I do want to be able to cut this drawing back a little bit later, that the first edge of the tree, that I'm going to draw his here, and I've just drawn a straight line to guide myself there. And then I'm going to draw some of mawr, uh, lines that will guide my trees going back, and this is gonna have become the edge of a pathway. Now what's important to remember about vanishing points is that as things moved further away from us, they get smaller and smaller. So here I've started out with quite a wide tree and then my trees get smaller and smaller as vague move forward. The other thing that I want to do is to deny what is a background on what is a tree. So I'm just going to draw some lines here so that when I'm tracing off, I know which part I have chosen to make a background on which part is not a background. And as my trees get further away from May, they get closer and closer together so that we see nori background. So I'm just gonna see through the trees here, here and here, and I will come back later and add some detail. I'm also going to allow followed Ege up in this area. But again, the following is going to go back to the vanishing point. So the top of my Phal Ege is still going to follow those lines back in that direction. And I'm know that I'm gonna have followed all here. I'm also going Teoh make the side of my pathway or my forest road. I guess you could call it on. I'm going to have some shrubbery going all along the bottom there so you can't see the base of the trees and I'll come back and draw some more detailed Leafs there. But you can see that my perspective is starting to become really quite strong on this side of the road. I think I'm going to blocking a bit of a stone wall. So with us doing well, I'm going to bring my ruler back into play here, and I'm going to draw some more random mines, keep them roughly the same hunch. I think that's that's enough. And then I am going to turn that into a stone wall. Now, in a perspective drawing, you have for just draw something more technical at the front. Here you have vertical lines and you have horizontal lines, so the horizontal line and the vertical line will match the edge of the page so they will be true horizontal and true vertical. And then the lines running along this plain or the side of the shape and the top of the shape all still go back to the finishing point. So Let's say that is a, uh, stonewall, and this is the end of the Stonewall. I'm looking at the end of the stone wall here, and then all of my stones will go back to the vanishing point. I can then go in and draw vertical lines to deny Brooks that again. They're gonna get closer and closer to each other as they go back and eventually fade into detail that we can't see. Uh, sir, if I got here, I can add more vertical lines in between and be a little bit random with it, and then go back to detail that you simply can't see in the drawing. Don't come out front here and I will allow these stones to continue on now. Obviously, these brick at the top would be going along here. So now I get my horizontal line and it's really easy when you're doing these toe accidentally, do a line like in Look. It doesn't look like it's in proper perspective. So I'm going to rub that out, and I'm going to make sure that my lines stay nice and horizontal as I go back. And then it does look like those bricks turned the corner. Sorry, I did these lines here just to show you how a true perspective works. So I'm going to rub those out, and I'm going to continue my brickwork so that it goes off the page a bit. So yeah, we'll have it tapering out. I had some westerns here and allow the bass part true. Continue off. And then I am going to draw a edge of a story in here. So it looks like my stonewall is kind of crumbling out of existence. So here I have these on that a little bit small. So the line here on the line here still want to go back to the vanishing point and then I'm just drawing. I guess you could say it's boxes on top of boxes and they are getting larger and larger. The closer that they come to us and to the edge of my drawing is actually going to be cut off around maybe around there. So I won't worry too much about the detail down here, but technically, that's what we would see. Okay, so now we've got a nice little step down coming towards us here with a really strong angle about wall that's going right off into the distance, and then we're also going to have some trees. So just roll. Awesome, random vertical lines coming up here with that same canopy that's going to get larger and larger as it gets closer to us came. And now this area here is going to be my road on that detail was going to get larger again . So now that we've created a true base to at one point perspective, we've got some really strong angles and strong lines, I'm going to go back in and feelings in detail. So starting at the edge of my path right here, I think I've mentioned in an earlier drawing that it's good to have some strong details in the foreground. So I'm gonna do some nice sort of shaped leaves here that is really quite large and beautiful, spilling out perhaps onto the pathway of it. But then maybe even a bit of a fern details, because we know that plants certainly died discriminate and they like to we'll be next to each other. He have. We've got some nice, detailed friends. We've got some stronger leaf details here, and then, as we get further back, but those lyft each tiles are going to get and they're going to become less defined. Sorry. By the time we get right back, we really do. You just have a suggestion of college at the bottom. We want it to. The more random that you make it, the more natural it will look. So even though the tapering line will become more consistent towards the back, we've got some real variation of shape here, coming out into the pathway, and that helps give it a more naturalistic feel. We're also going to add some details to our tree, So obviously an edge of a tree is not straight. So I want to start to bring up some beautiful branches and allow those details just unnaturally happen wherever my pencil wants to go. Perhaps there's a big not in the tree going off that way. And now that I'm getting closer to my page, this will be a trunk. But again, the drawing is going to be cut off slightly there so you won't see the opposite side to that tree. Sorry, my Phal Ege again. I do want a little bit of detail in my folate and I'm going to use a bit of scum bling here to create some random detail in my leaves. And then I'm going to move on to my next tree, and I'm gonna allow my branches to intermingle into each other, going off to the side up into Follett's. Now it's important to remember that these trees in re alive our old roughly the same. Hotch, we have a canopy that's a lot going to be definitely above human head there. Um, So if I was a person and I was standing here on the road, just gonna block in a person, I would be about the speak. But if I was standing further down the road than I would get smaller and smaller as I go away. So I also want to make sure it's from the map that my, uh, branch details are still not getting ignored as I get further away, even though I won't see them as clearly, they still following the same line back to the vanishing point. So Aiken taper off my height. The same is I've tapered off the detail in the bushes and in the leaves above. Now I want to give a bit of life in a bit of shading to my brick wall. This is looking really blocky on really structured. And what I want to do is create more off a stone feel to my wall. And the best way to do that is to make things look round and taper off the edges. You wouldn't see a crumbling old brick wool, you know, forest with lots of moss on it with these hard lines on the corners. So I'm going Teoh curve off my hedges and I'm just going to allow the, uh, natural flow of my hand to create the imperfections in the bricks. And the quicker that I work with this, the better effect I'm going to get because it will help me to get that rustic look continue without following. So here I've done and follows coming out here here, and this is meant to look a bit like a vine, which it will when I had to be the color. But then I've left some random areas without the foliage. And so I'm just going Teoh randomize it is. I go further back and make sure that he doesn't look to patent or true well spaced. So the more random we get, the better. And would you some more find me day child coming over here growing down in that well be enough, I would say. And now I would like to mimic a similar kind of long tall forest feel on this side. So I'm just gonna go ahead and do the same effect over here except what I want to do because my vanishing point is slightly off to the side. I want it to end at the same height, but it's going to have a different angle. As you can see, this is a shorter angle. This is along that wider angle because my vanishing point is not in the center. If my vanishing point was here, these would be more symmetrical. However, this angle over here is going to be a little bit softer. This is a stronger angle. And now that I have edited all of those trees, I can clearly see all of my lines on. And I am pretty happy with the end result. It's got really a dramatic view going back to that vanishing point. It also assures Thebe principles off how to work in a one point perspective, with horizontal lines now vertical lines and then all of the other lines on the side and the top planes going back to the vanishing point, it shows how things get smaller as they go further away. They become this detailed as they go further away. It's have our eyes work, you know, we can focus on the foreground, but we can't really focus on what's happening in the background here and so out. Drawing is following the natural rules of how we see the real world, and I am going to trace this off soon and add some color over all. This drawing has taken about 20 minutes, so I look forward to seeing how you go with these drawings. Well, try and perhaps follow along with what I have done and allow yourself to create a little one point perspective of Garden wall and a forest. You can eat that. Follow my video, or you could simply look at the end result roaring and try to recreate. From there. It's up to you how you want to do this, but it's definitely a great starting point to creating drawings that have depth, dimension and distance in them. 4. 16consciousdrawingtechniqueslesson4part3: So now that we're an expert in three D detailing, I want to take this skill even further and add an extra vanishing point to create a two point perspective. Now, this can get a little tricky because the rules of the early cross over with you're drawing something as an exterior or something as an interior. However, if you follow the rules as to where your lines and meant ago and you remember about turning your three D blocks inside your head so that you know what planes are next to wash, this will become really easy really quickly. This idea is best saying in our surroundings, when we're looking at a straight scape, and if you notice when you're looking at one side of the road, you have all of your lines tapering down towards the end of the street. And then the sides of the buildings a tapering back, going away from you towards the backyard, for example, or the back alleyway. And that's the best way to describe it through my perspective, because you have both points now typing away from you. There are drawings such as three point perspectives and four point perspectives, but we won't be going into them during this course. I personally believe that at one point and a two point perspective is all you Nate. So the rules of drawing is that you draw a line first and foremost as your horizon line, and you put two points on it being a two point perspective. Now, when you troll an object all off, the lines on the science of the object are going back to the vanishing point. And on this side of the object, we're going back through the vanishing point and you will see the edge of the object being a radical line. And then wherever those points made up, you then go back to the vanishing point again. So if we're drawing a cable rectangle or something of that sort, then we can add some sides in. And then these back lines also to make the top of the object go straight back to the finishing point, and where they cross over is the back corner of the items. So now we have two fronts and a top, and it's quite a strong, um, perspective to look at it from this point, however, your object doesn't need to be under the line. It can also be directly in front of it. So if I draw here and I'm going through the same process, However, all I am doing is placing my object at a different angle to where, Uh my horizon line is now my medical in control here, and I draw my lines back to my vanishing point and make them much up. And then I've got the same furry says here way. If I rub out the lines that we don't need, you will see that I have the front two sides of Hey box and we've got one side here. We've got one side here, okay? And the other thing that we can draw with the two point perspective is the inside of the box. So if I take this model over here and I do the same process, however, this time I'm going to draw outside. I'm sorry. I just get that straight outside edges here and here. Oops. And then I'm going to have lines that project towards the finishing point. I don't need to take them the whole way, though, because you'll see why in a moment and they come back here and back here and whatever those lines join up. I joined in the center and I have the corners of a room. Let's say that's my floor. This is my ceiling. And so therefore, I've got different ways that the two points perspective works to get the I. And for today's exercise, I am going to, uh, keep my shapes quite basic. I'm going to put a vanishing point over here in the corner. My other vanishing point is going to be almost off the page. So I think I'm just gonna do it or over there and see how we go. I'm going to draw the edge of my item, which is a vertical line, and I'm just gonna do some ruled edges to get me started. Uh, but I have created the angle that will allow me to see more of this side and less of this side because my vertical line has Sorry, because my vertical line has been placed closer to the start. So if I then go over here and I draw my guidelines out this way, then I see more off my object on the side. So I'm going to create an edge to my objects now on one side and an edge to my object on this side. And now that I have drawn those basic guidelines, I can start to sketch over the top of that and create more detail in this drawing. And I don't like to use ruled lines, so I'm just gonna go over them all and give them a little bit more, uh, character and also building the relationship with my friend by drawing these straight lines here. Now, every line that I draw in relation to this object is still going back to my vanishing points so I can draw down here and I can see that as my lines get further away, they get closer together. So I'm going to jury bit of a roof of here, and I know that that's gonna go back to my vanishing point and this one as well. And I'm also going to add a roof on top. Sorry, I'm going to allow that to project out this way a little bit and making sure that I'm going back to the vanishing point means that I'm going a little bit higher with that. It's lying there and this one projecting straight up, and I'm still following the room that I'm either during vertical lines or all lines that go back to the vanishing point. In at one point perspective, we were also drawing horizontal lines. However, horizontal lines are gonna come into play with, um, the drawing that I'm doing now with a two point perspective. Because all of our other lines of going back to this point and even this edge here that I have drawn is following back to this point. If we every looking our guides and go back there and now I've drawn a little bit of a roof on our object, I'm also going to make a little people here nice and round. And when I'm looking in perspective at a cut out circle, I want to think about what EJ will I see. And I will actually see that edge inside this little PayPal because that unites the thickness of the wood that has been cut out. And I can come back later and enhance that with a bit of shading. If I don't make it nice and Jack, you know, there we go. It's starting to look a little bit like a birdhouse So I'm going to prop it up on a column here just by drawing a random piece off timba, and I'll make that some ranch timba. I'm going to rub out the lines that I so it made because I like to build objects. I know that I would have some wood joins here and possibly here as well. So the one at the front I'm going to do a little bit wider than the one at the back so that I can do you know it's something that he's coming closer. Chamie. And there we have a cute little bed house that I could possibly draw some trees around and add a bit of shading as well. Drink that I like to use to help intrigue Kate, my shaving where it needs to be. Just replace the ruler when it's a straight line where I don't want my shading Ghar. So now I can show you right up to that point without having to be check, and I also want to remember my natural shadow rules. So this part off the post is going to be in more shadow because it's going to have that item, uh, shadowing onto it to say that I have done up here. So my lights coming from this direction and I've got a bit of a shadow on this side of the box from the little room of the box. And I am using Cem sort of really cool, loose texture techniques. He that I've spoken about alia in creating ticks job, and that just helps to keep the drawing, um, looking like a drawing. And this is being really quite a quick Parsis. I've taken about 15 minutes to shape the scene and just finish off here and sit back and have a look, and I think that looks pretty cool. I do like having a background that he's just sort of a background of nothingness, and I've got some really strong lines going back to my vanishing point, and it's a really simple shape just to show you how this process works. 5. Skillshareend4: