Drawing a Scene in 2-Point Perspective | Robert Marzullo | Skillshare
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12 Lessons (1h 53m)
    • 1. Introduction Video

      1:31
    • 2. The Rough Sketch

      9:07
    • 3. Fixing the Perspective Part 1

      11:55
    • 4. Fixing the Perspective Part 2

      8:43
    • 5. Fixing the Perspective Part 3

      10:15
    • 6. Adding Our Drawing Style Over the Construction Lines

      9:42
    • 7. Adding Values to the Scene

      11:24
    • 8. Making Adjustments to the Scene

      4:32
    • 9. Making Adjustments to the Scene Part 2

      9:37
    • 10. Cleaning up the Line Work

      12:10
    • 11. Cleaning up the Line Work

      14:19
    • 12. Finishing Touches on the Art

      9:40
21 students are watching this class

About This Class

Hello Students!

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In this class, you will learn how to draw a scene with 2 Point Perspective.  I will walk you through the process for sketching out an idea and then refining it with rules of perspective. We will then edit the art and continue to refine it with both freehand and ruled lines.  This will allow our design to have a more energetic and stylized feeling.  

Here is a list of what you will learn by the end of this class -

  • How to Rough Sketch a room concept
  • Implement a 2-Point Perspective Grid
  • Correct the Design in Perspective
  • Refining the Line Work 
  • Render Various Material Types in the Scene 
  • Adding Value to the Finished Artwork

I hope you find these lessons to be valuable and I am here if you have any questions that I can help you with.

More lessons are on the way so please follow the work and I can’t wait to see what you come up with!

Robert A. Marzullo

Ram Studios Comics

http://www.ramstudioscomics.com

Transcripts

1. Introduction Video: Hello, everyone. My name is Robert Marcelo. And welcome to my class. How to draw a scene in two point perspective in this class, I'm gonna walk you through the process from first establishing a sketch, a rough concept of what we want to see. We're gonna be keeping perspective in mind, but we're gonna be doing this freehand, allowing ourselves to focus on creativity first and then get everything that we want to see into the scene into our rough sketch so that we can work from here. So this will be our template at the next stage of the work. We're going to establish a two point perspective grid and start to rule out more lines. So allow us to see any problems that we have in a rough sketch and start to correct those. So we're going to use a lot more of a structured approach and start to see where we can fix things, what we can add and continually improve upon this. Then, after all the base information is in place, we're going to start rendering out our line work. This is the part where we try to make different surfaces feel like different materials this is very important. That way we don't have an overly structured perspective drawing. We have something that reads as a hand drawn illustration for the final stage of the work, I'm gonna show you how to apply some value. This could be nice for clients, and also it can give you a better dimensional feel to your own work so that when you create your next scene, you can think a little bit more in a three dimensional way. So I always find this to be a usual technique. So I hope you're ready to bring your perspective drawing to the next level. I can't wait to see what you come up with, and I'm here began the questions as always, Good luck with the art and I'll talk to you soon. 2. The Rough Sketch: welcome back. So now we're gonna talk about two point perspective, and basically there's a lot of applications for two point perspective, obviously. But one of things that comes to mind is something like a busy street corner or, you know, the interior of a room where you're getting both walls angle to the viewer. So I think we should probably start there. So we'll make this something that's relatively basic so that we can get in a lot of the rules and ideas. And just remember that a lot of this will translate into your more advanced scenes. So, like anything else, the first thing I always recommend is doing some sort of thumbnail sketch and again not worrying too much about if you've taken there the lessons. Obviously not not worrying too much about confinements of, you know, right and wrong in this situation. What you want to do is think more of an idea so and let your creative misguide you. So basically, if we start with they, you know in a terror room and we say that we want to see a bit of the ceiling and we want to see a bit of the floor okay, so that in and of itself kind of gives us. You know, where we're gonna place that first wall around about. So we can loosely kind of throw that in there and instead of making something is too awfully boring where it's just a I will say the room starts to look like this, and that's just very boring. It's You were staring at a corner of a room. Let's do a little bit better than that. Let's push this wall back. But let's add another shape in there. So I'm gonna leave this line that's gonna represent the other shape that I want to add. And I'm gonna maneuver some of these lines based on the depth that I want to see in this room. So as it resides right here, you could kind of draw these lines back, and you could find your vanishing point. So this is just one way to do it. One way would be to start with the horizon line and remember that anything above the horizon line we're looking up anything below were looking down at the top of an object in this case within a room. So now, as we bring this next wall bag, something like this. These were gonna converge and give us a vanishing point. Some over here. So it seems these went pretty far off. Actually, they don't line but again, not worrying about it being too. That's not perfect at all. I was gonna say to Perfect, but we don't want to worry about perfection at all. We just want the idea in place. So let's just say this is our basic set up of the room, and we can keep maneuvering these lines and creating more and more depth and space by moving them around. So what I want to do is I want to populate or, uh I guess put props in this Ah, this room of the stage. And to do that, I need to figure out, you know, like, where we at we're we're looking into a room that it's gonna be a living room. I wanted to be feel kind of modern, so I'm gonna put a couch right here like that. It started just a big rectangular, cube like shape, something like that. And then I want another coucher love seat over here like that. I want to put a table right here. We're going to get some overlapping shapes, which is great for creating depth, something like that. I also want to see the bottom of the table. I don't see a rug under that table. So just like that, we're able to kind of start getting this idea going. Let me increase this thumbnail. Now, I still want to keep those vanishing points, you know, on the page. So what else I would like to do is add a wall, just a an area of interest where the walls are not so flat. Someone at another shape here. So it's gonna connect back to this line and come down so it could be a fireplace. It could just be a braise section. I also want there to be an indent to the ceiling here and a little bit of recessed at work . So this is one of the things that you can do to make something appear just a little bit more fancy. You could take this another stage and you could put another line and you could also do some lighting that goes up. And you can also do some can lights or something like this. So this is good for, like, interior design. But mainly I just want you to see that not that hard to incorporate these types of designs for, you know, whether it be your store boards or comic are whatever you're doing, you just got to get in some basic shapes and ideas in the preliminary stage of this. So I want there to be a window behind this culture. Love. See, Really figured out what? Yet I want there to be a window opening and actually wanted to extend back here. But over here want to put some curtains and then some, uh, horizontal slats and then some divides to the window. So, you see, I'm not using a ruler for any of this. I'm just kind of letting it be close to put some trees back here just toe kind of help sell the idea. And this would probably need some kind of trump ease up here for one attached the ceiling. So and this is gonna be some sort of brickwork here, so I'll just put it a quick resemblance of that. Just for this, Almost like a note. Just an idea for later. And then for this couch I want something that is more modern. Republican angle here. Use the perspective line to carry it back. And the arm of the couch. Come out this way. Come down, bag from over. Then we get the cushions, which will be down here at this stage. You can really guess and allow yourself to make mistakes. Allow yourself to put it in the wrong place. Not a big deal. It's my fellow in this cushion or this part of the seat won't see. Well, here, I've got on the inside. Here. It goes to the outside, so we're gonna have consistencies from side to side. I'm going back here. We could do something decorative with these cushions. We could do some divides here. And most people have pillows. So what Pillows? Just like that? We've got a basic design. Now we could get in here. This is kind of modern looking or contemporary, I guess. But we could get in there. We could add, like, you know, round overs, we could add buttons. I mean, there's all sorts of different ideas that we could incorporate. I want this to be a bit more modern. Some leave it with just some straight angles like this, detailed as need be And then, you know we want to populate it or again set out our props with things that make it look more lived in So might have a plant here. We can do the big flipped over leaves, which should be fun again. We get that overlap in the scene, which makes it appear to have more depth. We could put some magazines on the table here we could put a glass of Ah, choose whatever we imagine is in that couple straw, you know, So on and so forth. So all these little details helped to really paint the picture, give it a little bit more narrative, and again breathe a little bit of life into it. So it doesn't appear so, uh, you know, like you're looking at a cut out of a catalog or something, so you can incorporate these little things. Um, don't detail is fully because what we want is just a concept in place. This is gonna be pretty straightforward, so we'll get right into, uh, detailing it. So are actually cleaning up our line work and then, you know, refining the details. So then, like maybe a picture frame back here. This could be a mirror, something back, more small frames off to the side and again, not worrying about that being in some sort of correct perspective. I just want all my conceptual information in place so that I can now, ah, line some perspective, have the idea where it's going and continue to detail this and really push it. Teoh the next level. So let's wrap this lesson up here again. Draws many of these you need. I looked at a lot of reference and things like that. So you know these ideas of fresh in my mind? Um, I'll share some reference images with you that I find that they're good, but also build your library of visual reference, study it, then draw from the mind so that you can make your own creative decisions. And now we're gonna go ahead and clean up this perspective. So let's move on to our next lesson. 3. Fixing the Perspective Part 1: Okay, so now we want to do is try to clean up this perspective. You know, we could probably even just keep drawing and focus on the two points that we have are vanishing points and correct it freehand. But I don't want to try to do anything that's too advanced. So if you feel that you need to rule out the lines, don't feel bad. That's definitely the way to go for most instances on, then, once you start to feel more comfortable, you can skip past it if need be. So what I'm gonna do is first take this. I'll probably just create a blue line version of this, and I'm gonna draw a layer over top. You know, for you this might be vellum or just strong lightly over the original artwork. But what I want to dio is actually take this and get the the perspective fixed. And I'm gonna create sort of a, um, perspective grid. Essentially. So see, my line was pretty far off there, so I need to correct that. We'll just pick the same general area for the two vanishing points it goes, and so what I'm gonna do now is just go from here and I'm a rule out some lines. So just like you would with holding a ruler, finding, you know, pretty much the main points that you need. So there's the arm. Rest to the couch might go ahead and get this other arm rest over here. That might give me what I need for the next line in the separation of the cushions over here. So on and so forth. Just so just pick as many as you need for some specific areas. You know, some of it you are just going to lend to the next line. So, for instance, you might put a line here, and then you might be a visualize is next line. But if you're still ah, bit of a beginner, then just give yourself more lines. There's no, uh, no harm in it. Like I said, eventually, you'll just kind of become more ease with it. I really don't need any right here, but I'm going to place one right next to that can light. The tricky part here, I think, is allowing yourself to go through it. So you know you're going to see some inconsistencies and go Wow, the perspective was really off in this spot. So getting used to like looking past that is kind of important. So you see it need to figure out I need to pick one of these edges to the top of the couch . I'm gonna go with this corner right there and probably look a little bit messy for a minute . But you'll see it's pretty easy to make sense of it. What you get moving? Well, McCall poorly designed. That rug was that was way off the mark. So another line over there and that's probably almost good enough near the bottom of the couch here. Well, that was really far off. Now, sometimes you're gonna feel the need to move these perspective lines. I'm not gonna worry too much about that. I think we could make do with what we got. But do keep that in mind. Sometimes you'll just feel that the perspective isn't working from your concept, and you'll have to adjust where your vanishing points are. I think we'll be pretty good with this. So now we've got the line. Work for the background are our template or our thumbnail, and we've got the perspective grid for two vanishing points. So what I want to do down, Let's create one more version and I'm gonna use different colors just so it's a little bit easier for you to follow along. But obviously, if you're working off paper, this is all gonna be the, uh, maybe the same color. You can actually get colored pencils and do it the same way. But what I want to do now is give myself some vertical reference points. So again, kind of keeping these lines then so that they're not too distracting. Oh, just a few of the points that I need to be vertical and likewise, I could do this horizontally. But there's in a two point perspective. There's really no point so we could get in here and we could even make some for the brakes are probably freehand most of those, But we'll throw a couple in there just since we're here and curtains and more obviously going to be more organic and flowing. We need the separations to the windows and that should cover it if we have to go back and add more. So now what happens is we can take these and we want these to just be visible enough where we know that they're weaken. Use them as a guide. Eso It's going to take these other lines and push them back. And let's go ahead and utilize that to work through our design now. So what I wanna dio is I'm going to convert this back to plaque here on No, you know what? I'll probably have to leave that to blue. Yeah, that'll be easier to read. So what I want to do now is draw through this again. I'm probably gonna lighten this up a little bit about the there. It's almost hard to see the me a little more about their and so the little one who's Drover top of this and really start to correct some of these major landmarks. Now, keep in mind, I really could have just did this right off the sketch. But I want you to see these other lines. Uh, So the reason why this is important is because you can just set up your grid like this with your rough sketch, and you can start to just freehand over top. A lot of artists get good at this because what happens is the lions have a little bit more of a wave to him, so you have to kind of make the distinction for yourself. This is type of art that you feel comfortable making. So you have seen plenty of artwork where this comes out beautifully. So we've obviously got Bolt that we could do here. So now the other thing is this. If I want to carry out this perspective line, I can kind of envision it based on these other two lines. So we've got this point in this point, and what I want to do is try to imagine from this point out where that's that now, obviously, if I've got a ruler on the page, it's really not that hard to set the ruler. But just to show you, you know, that you can come pretty close. That's where my vanishing points. So I was able to do that visually off these other two lines, So just be aware that sometimes it's I think it's a good kind of exercise your mind to do this anyways, but a lot of times you're just gonna drop through on the line. Come back to that point if you working digitally and just drop the line. That's kind of how I do it anyways. And like I said, some of it I tried to draw Freehand. I don't know. Maybe it just makes me feel a little bit better about myself. But basically it's, Ah, I think it's good exercise. Somebody used that next line toe. Find that direction there. I can draw through this or shift click on this particular program that amusing meant for here. I'm gonna go from this point all the way back to find the position, but then carry it back to here and drop that in place. And this is only for the back edge of that council and you see how far off that was so I could raise all this bag to this point, and then I was just kind of picks it up. I guess we'll draw one line and quick. The other of everything is this. If you draw everything square, then it's gonna look just a little bit boring. But it's not hard to draw in ah, square shape and then add a little bit of a radius. It's actually pretty easy. Once you put that square in place, so just keep that in mind. This may take a little practice, but it's worth it so that you don't get everything looking just to overly tents and overly structured. And one of things that you can do is you can just put tiny little round overs. I need change and really play a round of it. So you see the back of this couch. It's just really stiff. So just tiny little edges. We're radius is on the very edge. Can do a lot for it. So pillows I can't organic shapes, and they're obviously get the divide here on the couch from this line. Out of that falls right on one of those perspective lines, which is life's. I think that once you do more of this, it becomes easier and easier because you start to drop in more and more reference points. So it's a fun game of connected ads. Let's find this table shapes will go here. Gonna kind of guess at this lame. You know, you keep in mind. It's not hard to fix this stuff. You're wrong anyway. So what I'm doing is using the next closest line and then I'll go back, check the work real quick and it's right on point. So I think that's a little bit of a confidence booster to, and you start to do this and then you get it right. You start to feel a little bit more ease with your perception in the perspective. So okay, another pillow right here. So we got a match, this slope here. So that's going to stay consistent. Faras like the angle across here. And obviously there's ways to, ah, map out the angles in perspective and carry that through. I'll actually cover that in some future lessons. In this particular instance, I really want to focus on showing you how to, ah, use your eye and kind of make adjustments, so we're gonna probably make a few mistakes as we carry through this sketch. But then we'll talk about ways to correct that. And again, I just think it's really important to strengthen your eye and get used to making adjustments that way. So there's that again. We can check this by going across there. That's about right kind of looking at the position of the the round over. It's a little off. It could be a bit tighter, but that's it's about where it is, just like, you know, trying not to have tangents or lines that converge. So, for instance, if if you're the designer and it doesn't matter much, it's probably makes more sense to bring this cushion down past the table with a table of higher. No certain, you know, having these lines meet too closely together. Want your design. And for this table, I think I wanna look where it goes right down to the floor and maybe another trump ease. So again, I'm gonna kind of guess this and I don't have a line close enough to really read this, but I'm gonna try it anyways. Yeah, not too bad. Well, just like that. Go there to go back to this edge. Dropped the line a little bit past the edge here. Not a big deal. No, Probably add a little bit of, ah, base trim to this, but I don't know it kind of like this simplistic shape of the table, so we'll see how that goes. But I need to fix this corner here. We are hoping this is coming together. So let's go ahead and wrap up here. Let's head to the next lesson where we continue to drop in these shapes and refine the scene. So with that, let's press on. 4. Fixing the Perspective Part 2: All right, so let's continue to tighten up this perspective. So we've got our vertical lines here for the sides of the picture frame. Notice that I didn't drop in the lines for our perspective, though, so just kind of go to hear another way you can do this. If you are working disease, you can actually attack the line down, hover over where the cursor meets. You know that it meets to that corner. It commands the Control Z. If you're on a PC and they're just backtrack it. So again I can check that. Make sure didn't veer off too much. Just little things like that being pretty good at kind of ovary over it like this and then seeing where it lines up. And the perspective is generally generally has to be pretty far off for you to notice it. And you know whether or not you're that critical within your own art style that, you know, depends upon you. Very subjective, I guess, but But basically, you know it's you're going to see it if it's off and that this is up to you to go back and correct it, so you can really stage this work with just a few different sketches so I could draw in these smaller frames based upon the lines that already kind of there. And we know that the closer we get to this rise in line right there, the more those lines are going to straighten out. So these ones are actually off a little bit. But like I said, we've got plenty of opportunity to correct these as we go eso Now let's get in. Let's figure out where the other edge of this ceiling is So something right about here and then let's get in this recessed area right there and we're gonna figure out the depth here . So we're just gonna kind of, ah, guess a depth. Make a connection there. And just like that, it gives us a one recess. And then, like I said, if you wanted to, you could just continue on with this. You could create another angle here, and then you could shade this in, and that's gonna give you that effect that there's a kind of a drop into that area. I don't think we need to take it that far, but I just want to show you that generally If you want to make something look more fancy, you're just gonna give it more trim, work, more edging. There's really the sky's the limit for something like that. But you do have to be careful that you don't just, I don't know, maybe do edge work just to do it because you kind of get any getting a pattern, doing something that you think looks good and then doing too much of it. So, like anything else, too much of a good thing can be a bad thing. And that actually pertains to perspective in art and all that jazz. So we'll take this out to here. This will be our rug. You see our perspective line. I'm going pretty far outside of the great here, but our perspective line is somewhere in this range. So you see that based on the way I've added it, that my rug would not be centered. So I need to chop off some of this area over here. What is this bag? It's a little bit more correct. Ah, what we'll do now is go ahead and get this other wall in the place over here and you weaken toggle on the visibility of the sketch layer and see what we got. So another way I like to do this is actually save again if I'm working digitally because you know, this isn't gonna pertain to people working on paper, But advice if I'm working, did you save these colored layers into a group? And I can toggle all those off at once. So eso again, We're gonna get the beside arm of the chair here. Or probably love seat, I guess, is what will go with follow this line back, You know, kind of noticed what we got here. So this arm goes back, and then it meets the top cushion. So we want this to match. Nobody likes mismatch furniture, so we'll do the same thing here. Arm goes back, meets the top cushion. We're gonna use this line. No. Notice that right there with this meets. We're right next to that horizon Lines. We got to be kind of careful with this particular angle. It's very slight, but it's there. So again, I'm gonna kind of backtrack from this point. Find that line. Let's see, as far as it dropping down the pillows covering it. But we could say that this arm rest cuts back like this, which would probably make sense because since this is sloping downward, you know, it's probably not gonna cut like that. It wouldn't really make sense in the way that it bumps up. So we want to angle that bag to sever still slightly again. We could start a bit angular at first, but then we'll round over some of these edges so it doesn't look like a, you know, a cardboard cutout of a couch or something. So we'll bring this line back. We'll find this, uh, I'm here somewhere in this range again, I'm guessing based on the two lines on the outside. Uh, I'll check the work just to make sure it's pretty close. Extras A tiny bit off. Somebody tried to crack that. Oh, yeah, that should be good right there. And let's go ahead and draw down this way. I kind of find this divide. We could really say these cushions or roughly, you know, roughly squares. Remember, you can always find center to the square in perspective by crisscrossing your corners. We don't need to for this particular design, but if you want to place buttons this would actually be a perfect way to do that because we could put button here and then we could map out the distance across and do whatever configuration we want. Eso crisscrossing your corners comes in handy for a lot of different illustrations. Just always keep that one in your back pocket. Bring this land over. And I would say probably just too. So look more like a love seat. And then again, we're gonna bring this line up. So it's the vertical line carrier perspective back our perspective. Line back places next shape worked back. We can just use this light gray line. That's right. There a existence process. Draw this one over ST meets right about here. And but actually, what's gonna happen is this line is gonna be replaced. Now, this needs to fall center to this area, so we'll just settling a little bit. Okay, so now we've got the love seat. While let's get this other cushion right here, something like that. So and then we'll do our round overs like we did on the other one again. We want some kind of continuity from the design of these. So probably slight little round overs on the top just makes it look a little bit softer anyways. So again, that kind of gets us going. We can add our pillows and you know, that's probably something that's gonna make it look like it makes more sense and more lived in. And, you know, keep in mind, too, that when you do this, you can actually do something that's not in this two point perspective. So if you wanted a table, it was offset, for instance, was tilted in the room. You could put a table right here, but you're just going to draw back to the horizon line, and you're going to create a new vanishing point for that item, so we'll get into that more. But I just wanted to be aware that, you know, when you do a two point perspective three, Whatever one point. It's not that every single thing has two conversion and definitely more on the two point perspective. But, you know, objects that are floating overhead, you know, like a plane or a ship or, you know, spacecraft. Whatever you're doing, it doesn't. It's not gonna fall into the same exact um, vanishing point. Is everything on the ground so there's different rules. Will again. Like I said, Well, we'll cover that in future lessons. So let's go and wrap up here and we're gonna continue under the next lesson finish tightening up our perspective. And then we're gonna drop this out of our perspective lines, and we're going to refine this and give it a little bit more of a hand drawn field. So with that, let's move on to the next lesson. 5. Fixing the Perspective Part 3: Okay, So what want to do is get in our major placeholders. So we're almost there basically things like, you know, the segments of the windows here. We're gonna draw on some curtains. Folds are pretty easy. Just kind of overlap some shapes. You're gonna notice Weise and, you know, whatever drawing current, just keep in mind that it's kind of like lasagna noodles. All right, Something like that. And you're gonna air. Is that a recessed in areas that are raised? So you have to get used to thinking of the material like that. Eso Even when you draw up, right, you want to kind of think about that. Generally, that'll give me these crisscross folds. If you're going to see the bottoms, you'll see the was on the noodles. So a Sfar Aziz slats these air gonna be horizontal slats. So they do need to go to this perspective line. But what we can do, there's actually a couple cheats here. You could really just copy the lines in a straight pattern that distort him into place. And the other way is just to make a couple landmark spots. You know, if you're not worried about them being too overly tight and correct. You'll notice a lot of blinds. There's, you know, maybe a space to one or something like that. But he can really just draw these and Freehand again. It's gonna matter. It's going to depend upon how critical you are and what you're what you're after. You could do some of the the lines from the string, something like that, just to give it a little bit more of Ah, I'm feeling realistic vibe. So there's that. Here's this Ah, a vertical line for the separation of the windows so we can do a front, uh, two lines for the front like both and then another line for the recess. Then we could obviously shade that bag. That's gonna help. Give us that feeling that this is a you know, the term of a window. And obviously we get our little tree designs in here and nothing to anti just something that looks like, uh, shapes of the tree. What's more birds out there? What is going to do? I wait on the birds on, then you know, you can generally do like a little bit of a glare line on the windows to whatever you know , this is just your bits of style that you might want to see, so that's gonna very dependent upon what you like. So now we've got pretty much everything in place, you know, things like the flowerpot. Keep in mind that whenever doing any year circles, you still want to think about perspective in the sense off, creating a square. So, for instance, we've got these lines here probably in this line back to about here entirely. Way too crooked. It's good about here, but again in perspective. And actually, I don't think that's enough with Let's just bring that out to hear because I did just loosely sketched that end. So there's our square in perspective off the obviously off the frame. But what do you want to do? There is, You wanna again crisscross your corners to find center mark center in perspective? Well, that was off his well, because really, I should be coming from The Vanishing point would make more sense. And then, from there, this one's a little bit trickier, but we just need to kind of find it backtracks over there across there, and then what you want to do. You can obviously draw diamond the other way. Mark center. You know, you can do all these extra measurements and, well, talk about that. Another lessons. But really, you can just go from here and visualize it. So draw any lips and just keep in mind that it's not gonna be, uh it's kind of not gonna pay what you expect. Like you need to do this a few times in an exercise and you notice I probably see right there that my kind of my muscle memory or my thought of what a circle in perspective would look like is off, like I need to pull tighter to this corner. So I feel like I have to, like, stretch that corner race this back, hopefully see it better. So that's kind of the weird thing about drawing ellipses that they're not. Not as simple as you might imagine, but a lot of times I visualize it, and then I correct it. So to me, this looks pretty far off, so I'll lately erase it back. Fortunately for this particular illustration, it's on the edge of the paper. I could probably just get this one side to look correct and then work down and create the bustle for the pot. You go down from there and so forth. But again, I'm gonna do a lesson specific on this because it is a There's a couple techniques there. But don't underestimate the power off, you know, trusting your eye, you know? So getting a portion of the Seine and then correcting it, that's actually what I'm gonna go for their fix that bottoms off to. But I'll fix that as well. And once we dress it up with the plan and everything, it should cover up nicely. Okay, so there's that. Let's just make sure there's nothing else landmark wise that we need, and I think that's about it. We're gonna also drop in, uh, some recess lighting right here. Same rules apply for those clips is, but probably just visualize these ones. Not a big deal or not. I don't need to be amazingly accurate, but I actually like that one. So I'll just try to get that look right there. Okay, so now from here, we should be able to just build, enter out from what we've got. We've got enough landmarks and perspective lines within the scene to see where we're at to keep adding to it and tweaking it, and we're finding it. So now we can get rid of the colored lines, which you know, but distracting or the perspective lines. Eso those are a bit distracting. We could get rid of the red lines and there we go. So we're starting to get a scene that, you know, that reads. And now, um, like I said, we could probably just utilize what's here. Probably don't even need the horizon line anymore, because there's enough of it where we can kind of guide off of this. But what we'll do now is will render over top and you'll see this is what really kind of you know, puts life into the drawing so the perspective lines can kind of make it a little too tense , make it a little too rigid. And then now we have to do is use your ability to, you know, to draw basically and look past that. So I always feel like if I see a scene where every line is ruled, unless it's like maybe a role techie type, futuristic, you know, spacecraft type, seen something like inside of a spaceship, then maybe it makes a little more sense, but even then you have to try to put in the right amount of organic shapes. If not, it just appears to Richard to stiff, you know, to lifeless. Basically. So, like this one, you know, the curtains help. You know, we could maybe show a little bit of the bottom of the curtains there just to get some organic shapes. An open book right here. My vest with pages. Kind of, you know, fold it open again. It's off. You know, if you were toe, try to find a vanishing point, it would do something like that and me down the horizon line. So it's kind of that floating object type of idea, but not floating. It's sitting in a table. Other things, though we could put designs into the rug. You know anything that we can again make this look a bit more lively than it does now. But that's what we're gonna do now. We're gonna keep rendering on this and giving it some. I know some style, Cem. I don't know what I want to see in this picture here. Maybe just a scenery of some kind trees, trees and mountains about that. But, you know, something will put something in there. We could make these look like their family photos and do silhouettes of people. Uh, you know, I guess the only thing you want to be aware of here, though, is like, you know what, your focus and what are you trying to convey in this picture? Are you gonna populate this with people, or is this gonna be, you know, just ah, room shop for a commercial lad, whatever. So the only thing you have to do here is make sure that the details you're adding makes sense for what it is. For instance, you don't want to put a lot of effort in detail into the picture frame when the focus is the table or the furniture s Oh, so again, just be aware of your focus and use your time in detail in the right way. You know where it needs to be. But generally, if you're working with a team setting of people, they're going to, you know, hopefully fill you in on that. But it's I think it's something as an artist you need to be aware of because we fall in love with the idea of drawing and illustrating eso. Sometimes we just, uh we don't let time factor in or someone who thronged with what we're doing. So be aware of that. We'll do some folded over leaves here to try toe give it a little bit more designed. Take your attention away from that Mr Ron flowerpot texture in there for the whatever is in there. Dirt, I would imagine. Okay, so, no, that gets us a little bit closer. So let's head over to the next lesson. Now we're gonna drop in some texture and some some more details. We're gonna fix a few things and really start to make this look like a hand drawn room and not something that's been ruled out so much. So with that, let's move on to our next lesson. 6. Adding Our Drawing Style Over the Construction Lines: All right, So now at this point, we want to draw a little more freely again. So we've got a lot of our construction lines in place and we just want to apply are drawing style over top. This way, we kind of soften up some of the construction lines to our drawing by doing this. And I also find that if you don't confine your drawing process to an idea of perfection than your creativity shines through a bit more now, that doesn't mean you shouldn't fix things as you see fault in them. So, like, with this table, I kind of notice this edge right here is incorrect. So I want to just said as I go, But again, just trying not to think everything needs to be perfect. So we have to kind of follow this shape, and then we've gotta work back to our perspective over here. So obviously we could still draw back from this line. Actually, no, that's not the right line anymore. Is that we're gonna have to drop that perspective back on just for a minute. Where is it? Right there. So let's go from this point. Yes. You see, it ends up past here, which would make sense and, uh, title that back off. We just needed that for at least one more line. But you have the best and the most creative ideas always feel come from a state of just drawing freely. And the only bad thing I feel whenever I do perspective drawing is that if I stay too tight to the concept, you know what here too tightly to the perspective, drawing the creativity will kind of fall to the wayside a little bit. So that's why I really recommend drawing everything freehand at first and then also finishing for him. So, for instance, if you wanted every break the same or in just the right spot, you could do your edge work like this. You could even measure these off to the side with a ruler, obviously. And then you're gonna draw from each one of these lines over in both directions and over here gonna have to kind of guess a little bit. But you could also have started on this side. Or you can get ah, few of these. Yeah, innocently actual perspective. But I'm actually just gonna draw these in there Gonna be a little bit off, but we'll see if I can get to that. Let's at least do this. I want to shave it. You know, I can usually free and, uh, decently well enough, But let's go ahead and duplicate. I'm gonna duplicate the existing layer, but I want to get rid of all this kind of mess in the middle. So it's gonna believe this. Yeah, I'll show you. Why Here in a second, Back to the sketch layer. So, yeah. So I want this guide over here. That's the correct vanishing point. And one of the techniques that you can try is, And this is gonna be horrible at first because I'm out of practice. I need to do it more myself. But you practice shooting in the line, and I'm really out of practice. Well, at any rate, I need to practice more, but you practice shooting the line across like that. But remember that we can still kind of cheat and get the line, but we want, but I'm just gonna draw these in. But I'm also going to be looking over at that vanishing point as I do this. So I'm not saying that these were gonna be entirely accurate, but I can correct him as I need, Teoh. So I'm just going along myself to do that. Another technique that makes things a bit easier for me to do this is to also rotate the canvas. I'm actually trying to keep that to a minimal so I don't distract from your viewing experience. I just noticed, too, that once I got past that horizon line, I'm now tilting up again as I sketched these. I'm looking down at this Spanish point since I can't seem to throw the line as well right now. Same thing. Follow these points, go back. It's kind of staring at that vanishing point. And I said if you were to check these, I'm sure you would see that I am far from perfect. But that's OK. I just want to get some resemblance of the idea. And then I could go down skipping every other brick, going back and forth just like that. And oftentimes with this, I'll even allow myself to make mistakes and change things. You know, make one break, stick out a little more 11 line, a little crooked. It just adds character. If even study brickwork. You're never gonna find that all the bricks were just perfect. Uh, if if they are than you're probably dreaming and you need to wake up because things just we're not as perfect as you just tend to notice that as an artist, as you start to develop more your studies get more your visual library going, whether it be from photo reference that you take actually recommend, do you take your own photos and you start to realize there's a lot of imperfections where you thought things were so entirely well designed. And I mean, except for things that are mechanically engineered, like a new car and things like that, those air pretty spot on pretty clean. Um, well, until they're owned and driven and lived in, Obviously, but yes. So pay attention to stuff like that. Take a lot of your own photos, try to build that. You know your understanding of us. Now, as far as mapping out the next bricks, you confined center and you go from corner to center of each one, and you can get that exact exactly mapped out in perspective again. I'm not gonna worry about that. I'll cover that in some additional lessons for those of you that want to know. But I do recommend you just draw these and it's a lot quicker and again. You don't need to hold yourself to accountable. We'll see the by 10. We complete this these along just fine. I was kind of in, You know, the other thing you can do if you want to show light source over by the window more. You could even fade out this detail. So it's another way to kind of convey light is the lines would get a little bit lighter thinner. Most like the light is kind of taking it over. I really just something like that. They don't all need to be in place, but that's the ball. Come right there and we've got our curtains up here. This is our ceiling, so we probably need to do some sort of. It's work right here. This can come in front of the break a little bit. Maurice, he's back. And then obviously, if this is sitting over top of the curtains, there could be a little bit of ah shadowing. It's occurring from the overlaps. So just remember, lasagna noodles get some of those shadows in there. Okay, so now let's go ahead. And we could probably going to get rid of what we got to get our wall back here. That would make sense. That's a term off the wall. This fancies with his fancies. You need to write their based upon. You know, what type of homeless is a nicer the home? Usually, the more trim things like that not always, but depends on the style as well. On also, you know, you can throw something right here so you could put another table if you just felt like the room was to plane could put another table. And you could put, you know, maybe a picture frame or something like that. You see the back of the frame and the little stand holds it up. So if you feel it needs that extra element like that, I actually don't like that because you can't see the side of the table kind of reads poorly . It almost looks like it's on the floor or something like That's We don't want something distracting and this is really centered. So we probably move that over, Yeah, and then also what we're gonna do is drop in, uh, going to go to the next lesson. Don't want to show you how to drop in some basic light sores. Even if you're gonna fully render this is a line drawing. I still recommend this technique because it really helps you to feel this out and kind of a three dimensional way. We know our light source is gonna be here because we've got an open window and it's, you know, pretty much. So far, we've established that it's more of a daytime type. Seen eso with that. Let's move on to the next one. Let's get rid of the rough lines and establish a light source and go from there. Eso Let's move on. 7. Adding Values to the Scene: Okay, so now we can drop out the rough finishing point on that. We can drop out this blue line, which was originally a rough sketch or thumbnail. So you see, it's starting to clean up, but obviously still needs from refinement, but it's starting to kind of appear of a little bit more free. And I mean, you could definitely tell her some straight ruled lines, and they're still. But the other thing that I like to do at this stage is to find some kind of light source. This is just one way that I do it plenty of ways to do this. It's kind of like using a marker and, um, you know, just kind of brushing him with a marker tip. So that's what kind of got me started doing, because I would do this with my traditional art, and I thought I might try that my digital stuff and one of the other things that can add it . I would always do this great kind of wash just to fill out again. The plane changes the light source, you know. So I'm thinking about the light source being from the window there, so I'm gonna get drop shadows from the pillow. This side of the pillow is gonna appear a little bit darker and I'll start a little bit heavier because I know I can bump this back with my capacity slider, but just little transitions. So you know, some edges to the besides of this pillow area. You know, I could get a little bit of the plane change from the top to the side, but I haven't seen one to make this a little bit later because it's on a ah, front plain compared to the you know, the top here is probably the most light minus anything covered by the pillow here, Maybe a little bit of transition from the back to the front, things like that. So just kind of play around this. This isn't meant to be or really rendered, but it could be very useful, especially for doing client work. Teoh. Show them a little bit more of a dimensional representation oven. Otherwise, basic landscape. So this is actually used a lot in a store boarding. Did this quite often. Where would do a little bit more of ah gray scale or ah, you know something with some total value always just helped to make it to look a little bit more fancy. So this side's gonna get some shadow a little bit lighter. So my it doesn't have to be all that, you know, perfect to rendered, but and I think it helps. I actually feel that this helps even just when creating your line work. So something about it helps to, uh, lose for me Anyways, it helps to make me feel a little bit more confident about what I'm gonna do with line work , especially if it's an overly rendered style where I want to add a lot more drawn in kind of cross hatching and shadows. I usually always do this first. Maybe I just like to do it at a low. But you see, we can do that. We can. We can even establish that things are darker on the scene. So if we wanted these curtains to be darker and I would say we can just hit this with more shadow and tried to ah, you know, envision this being a lot darker material, trying to get some of those folds evident in there. I appreciate this being or like some white blind so any shadow will be very little. A little bit there will be in the trees. Definitely gonna see here here is pretty simple. And you could take this as far as you wanted to. So, for instance, you'll notice with things like a wall like this, you're obviously going to get a drop shadow or cash shadow from this fireplace or brickwork , I should say. And so with that, you could incorporate some straight edge channels like this. I mean, that's actually texturally grow different brush air. You know, you could do stuff like that. It's how ever far you decide to take it. You could even isolate this wall and do a kind of radiant from you have to skip around so it actually eliminate the plant for a minute and then come back detail through it. But I might add a shadow that comes from back here. Just maybe a slight tonal difference from the wall, too. The couch in different materials in the room. And as you progress through it, doing that, you could really again kind of paint this picture. Give yourself a lot of accused toe. What will look better with your Leinart even so kind of play wrote that concept, we could go in and say that this isn't gonna be lit. Appear. Actually, it's just making more sense to do, uh, political line selection, your digital artists that know what that applies just like that. And you also got to think about drop shadows from the furniture. So friends that you might, uh, keep in mind to I'm not gonna get into drawing the shadows with perspective. I'm just gonna do is visually but again, you can use thieves banishing points in conjunction with shapes here, and you can pinpoint where the shadows land. So again, I'll approach that in another lesson for now, just going too well, make sure I'm gonna do it horribly skewed because it's not correct right there. But I'm just going Teoh Charlie's them. So probably the way that I find the most hopeful to do is I'll draw men with a solid brush . This overdo it. I'm just thinking about the side coaching right now. Be a little bit of an angle on it. I doubt the light source would be exactly ah, parallel with the couch here. And then I just need to figure out where the top of it would come out and then I'll just say it meets to the back of the wall, something like this. And there's a good chance that it goes up the wall and meets the back of coach so I would do it something like that. You see, it's not entirely correct looking, but it's close enough. And then I would go back and actually erase it or, you know, maybe use a second layer and then just push that back. There's something like that. It's basically just representational at this point. But that's Ah, that's what I would do and I would go through. Each structure could do this, But again, I'm not going to sit here and pretend like I would make every one of these perfect. Especially when it was something like commercial art where if a deadline was looming, then you know, maybe your shadows are so perfect. But the main thing is that there there, that they read properly they read, is a shadow, and I think this conveys the information decently enough. Okay, so just continuing to add in some of these shadows and ah, this value range really does help you feel out dimension and seen. So I like doing it. I know not everybody would probably find the need to put this in their work. But I think it's a ah, another good thing to add to your scenery. You know, obviously, if you're gonna ditch, repaint this, then that's where you're going to utilize this anyways. But I think it really helps for again kind of client work showing him, uh, how this might look a bit more depth because you got to remember, they don't always see as much, um creatively as we do. So line work to them might be not is fulfilling. Um, fortunately, a lot of people can tell a great deal by sketches in line work. But, you know, I feel like they need that extra helping hand, and this would be one way to do it. So thinking, I might want to darken up that frame, but not quite sure yet. So, looking at this, I am just trying to think about areas that I need to be darker, need to be lighter and have some contrast. I also like incorporating a little bit of angular shadows like this. I think it looks a little bit more like maybe a wall nearby and overhang is casting a shadow. Something like that. So I love to do that as well, just to add another kind of angle into the work. And I want to take the pi line tool here and select this top edge and drop in another quick shadow there. So I think if this has just a little bit of, ah, you know, a darker tell him like that, it'll make more sense. Read a little bit better. So I do this comparatively. I just kind of add a section and then analyze it and then move on. So maybe soft. Erase this shadow back on the planner there and lighten up these curtains, they look a little too dark, so that's it will wrap up right here. Let's head over to the next lesson and continue our line work 8. Making Adjustments to the Scene: All right, So we're going to start cleaning this up a little bit more and you can see I dropped in the perspective lines again. There's just a couple things I want to fix about the scene. So let's go ahead. I'm gonna add a new layer. So remember, whenever I save layers, are you just gonna refer that to working with vellum or a light table? Eso If I take this line, I want to make sure that I had a bevel. Does this table just looks a little too flat? Or maybe a lot too flat. So what I want to do is use these vanishing points to establish just a basil like that. I could, you know, obviously, while I'm here, I could think about if I want to see some trim at the very bottom of it. So whatever I want incorporate just trying to get as many of those details in while I'm in this general area. Now the thing that's bugging me the most about this design, there's a few things that need to be corrected. We still have to build the squares for the drop ceiling lights, but also there's ah difference in the design and height of the couch. So look at the difference from the cushion here over here. You know, noticeable. Almost double. Which is pretty bad that I didn't catch that. But we'll fix it. And then also on, obviously, in conjunction with that, you're gonna see the difference in the arm right there. So really, what we could probably do for a quick fix is just bring this up over here through a drawback. Remember, we're on this. Uh huh. I'm on this floating layer, so I'm gonna make these cushions really kind of large, almost, you know, insanely large by comparison. So now this next line, we're going to bring this over, do something like that. You're also gonna have to raise this back online as well. So drawing a line for that and you see, it looks a little confusing, but we'll make adjustments here, and you could see that the arms aren't lined up a seawall. So can I want to split the difference there? But if I bring it over there, exceed its off. So I'm gonna start from this side a little higher from a draw. Line up about the extension of what I think I need to add. And then again, carry this over to the vanishing point and, you know, you could definitely see if there's one arm is were lower. Now, the other thing that I want to change what we're here is the rug in the bottom of this couch or too close together. So being that we're designing this, want to make sure that we eliminate things that are distractions or tangents and things like that. So what I want to do is actually just bring this rug in about here. Metal that'll probably look more correct anyways because you want a noticeable difference of space on this side vs the sight of its even. But we're looking at the scene Perspectively. Then it doesn't really make sense. That needs to be more convinced down on the one side. Now, the other thing is for these we're gonna want to create squares in perspective. I think these lines are a little heavy appears. Let me lighten the lines and again, I want squares in perspective. Teoh be able to draw these ellipses. So I'm just going to establish kind of the width of the overall area. Well, someone bad. And then I want to think about these lines in perspective, kind of forming roughly a square kind of dimension, but again in perspective. So it's kind of a little bit, uh, visual decision here about like that. So we're going to use that to draw our circles in there. So, you see, we got a lot more reference signs. One more thing I want to fix is the back wall. So I feel like this needs to be a little bit higher. Definitely in the back here, the brick works coming down too far, and this wall is too close to this flowerpot. So I can either fix that by bringing the wall back, or I can just redraw or nudge the flower pot over. So I just wanted to see it. That's another thing that I'm trying to correct as I do this. So now we're going to do is take this this other perspective grid. I'm just gonna blue line it so it's easier to see through, and we're gonna go on and proceed to the next lesson where we now correct artwork based upon the other guides that we have in place. So with that, let's move on to our next lesson. 9. Making Adjustments to the Scene Part 2: All right, So now let's go ahead and correct some of us. And I think I wanna tighten up on this because we've got our blue lines for guides. So just so you can see the work that I'm doing a little bit more clearly, I'll zoom in here. And so, no, what I want to do is just really get the things out of the way that our and correct tried to, you know, nuts. These lines around. So first, wanna grab this line here, push it up. He said, We'll have to adjust our shadows as well, but no, just going to trying to new lines. Based on the perspective that we have in place, that's a little bit closer. Bring this land all the way back, Connect to here and pushing these lines around. Have a sit. This one will have to come back to here now. So the main thing I just want to show you is that you can you could just kind of Nazis lines and get what you need. So don't don't ever feel like it's not the exact way you thought it would be a this point. Uh, just keep fiddling with it. Keep nudging things around, Keep making changes. I feel frustrated. Take a break. Come back. It's very important. I do that a lot. It's very easy. Toe start giving a little bit too intense about the the work that you're doing and lose sight of the idea that you're really just tired. Need a a break drink of water or a walk? Whatever. Okay, so also moving this lineup? Yeah, it's better. You see, they're pretty rough. I need toe softer racism, redraw. But first, I want to make sure everything is kind of where I wanted to be. And we don't really have a line, so I got to get rid of his shadow right here. We don't really need that. Okay, so now let's push back the rug. My family. We could also add a little bit more of a heavy line to the side so we can start thinking about line weight as well. I'm gonna make a thinner line for the edge work here. So if it goes to the edge states flush, then it looked like just a trim line. Obviously, if you add a little bit of material here, then it looks like another shape, maybe a routed puzzle bevel everyone to call it, and then this. I want this to actually look like a bit of, ah, basil on the table. So I'll show that little bit of an angle right there. So just like that, we've got a little bit more of an interesting design for the table. Okay, What else would get this wall back here? We need to push this over. So again, I want to bring up the brickwork here. It's gonna go like this, and we got to remember to and actually, no, I'm gonna go back up. What? I said there I am. Have the brickwork out because we have to remember that the brickwork comes out away from the wall legacy that eroded. So if the wall doesn't here, then it's safe to say that as it comes over and it meets this point, it's going to come out. Perspectively is gonna lined up over there. So that was actually a does. Bob Ross would say a happy accident. We're gonna leave that portion. You just have this line to here you create are a little bit of a trim line here. Just like that you're gonna get real fancy and throwing a little Well, let me those little details you can too, you know, pushing over the edge if you really want it to feel like he fully rendered scene. And I think now the the flower pot is fine. But remember if he needed to you cause add a little bit of I keep saying material, but you can add a little bit of form at the bottom and it's gonna look like it pulls away from that wall. So just little tricks like that to kind of again nuts things around. Move Marone Eso No. What? We need to dio fix the wall couch table. So we need to create squares around our ellipses here. What will be our lips is then let me pull up tighter here to show you this because it takes a little bit of practice. Teoh, start doing this. But it's very important to practice on. Get the hang of. So what you're doing is just establishing a square plane in a two point perspective. It's going to get rid of our rough sketches is pretty rough. Just like enough towards that gonna distract you From what you're getting ready to draw, basically. So now I'll take this. Crisscross your corners, find center, and you really want to do is in perspective. But I'm just going to kind of guess based on the two lines are already there. But if you need to draw this right with the vanishing point, then you can either go right to, ah, lips there. But if you need a little bit more of a helping hand, just do another square or a diamond in the opposite corners or absent medals, I should say, not corners and then from here, zoom up even further. But I would say Try not to get too into this. You just want this information. Here is a guide. You could even take the time to lately softer races for you, Drover Prior recommend that because you're trying to make sure that the lines don't conflict and the idea is that you're just gonna take roughly center from the spaces that are left. You see, it's it's really awkward, because in perspective, this center, the farthest away from us, is very condensed, very almost hard to read, so you have to practice this and it's awkward at first because in the lips in perspective is not what you would ah would imagine when you draw it. One example is, as you come to this corner, look how far have to reach for that point. And the other thing that you have to get used to is is holding to the edge of the line as you come around to the side medals or middles these points, you have to hold to that line for a little bit. But first I think you want to just kind of hit it and go buy it. You always end up with this weird Ah, lips. It doesn't look correct. Even this may look a bit strange, but it's going more correct than me trying to free hand it. So just repeat that process to each one, crisscross the corners and it seems time consuming. But I'm sure you get faster as you do this. Start to do it without even thinking about it. So create your diamond off the centers mark center and then draw your lips. Hey, we're gonna do a recess edge in here, So what we do for that is we just take the existing edge. We use that as our guide. We pick our depth, we're just drawing. And now this is again doing it visually. So there can be some inconsistencies by doing it this way at times, but it saves you a lot of time. So if you feel that you can't get it right by drawn it freehand, then obviously you can use the construction lines and really correct it. Um, but it does take longer, so you just have to weigh your options. If you would like more fancy another, then the Ranger trim line. Something like that. And I would say from back here, that's gonna look fine. You're just a raise shore construction lines and detail Orender however you want it and obviously trust your your eye and make adjustments as needed. So I'm gonna go and repeat that for the other areas so wouldn't wrap up this lesson here. Let's continue on to the next lesson where we keep finishing off our pencils and get this scene looking awesome. So with that, let's move on 10. Cleaning up the Line Work: Okay, so now we're gonna clean this up and we don't want to dio I make sure gonna convert these two blue line and work over top of this. And it was your last opportunity to really tighten things up and get a little bit more of a you know, the type of feeling I might want to see in here. So you just have to decide for yourself, Is this Ah, no comment. Book picking styles. It's a store board, uh, somewhat grayscale, painterly style, whatever you want to see. But I'm needs more of a pencil approach and something that would just kind of help to tighten up the details, but not look him or anything like that. That that's a harsh of a line, I guess so. Still open to add in some bits of information here. Things like wrinkles in the pillows. Yeah, well, design elements, things like that. Just kind of turning up the work one last time. So what I want to do or think about anyways is you know, whether or not I want all of these lines to be entirely rigid and I don't actually want there to be a nice combination off soft shadows or soft shapes, I should say, And hard as lines as well. So when I try to think about is that each one of these materials, it needs to look and feel a different way. So if I use straight lines on everything, it's going attempts up the material eso this couch isn't gonna look as his. Maybe I don't know if I'm going for realistic, but I still want to convey a certain feelings. I'm gonna purposely put some bends in here so that these now look a bit more pillowy than, uh, rigid. So I could do that with Lime. Wait again. I can do that with just subtle bends. Does it have to be very noticeable? Doesn't have to be over the extreme, but it's better than just casting a straight line right up the middle and same thing about the line. Wait, you can just very a pure line waiting kind of convey that as well. So you can definitely, uh, you know, make the forms look a lot more expressive with the right kind of line. Wait, So this is gonna very based upon your style what you're after, what you like to see within your own work. Now, this bottom edge being more of you know what? I would picture the material being against a ah frame then that can have more of a straight line. But even that probably tryto draw that straight line versus ruling it. Now, as we get up to the ceiling of this design, I will rule the white. I don't mind using a ruler line for for the ceiling, but for anything that's got a little bit more of a soft material, and I think it makes more sense to kind of draw this out little dimple right here in the middle. So it looks like a separation of the, you know, to fabrics or two backer pillows. Whatever thing one of these things are, forgive me because I don't know the terminology for furniture building, but, you know, I try to think about the materials as I illustrate them. Basically, I think that's the way that you kind of breathe your own style into the work and your own interpretation. So obviously, if you, uh, you don't think about it all, then you may just default to a rendering style that you do out of force of habit have been apply that over the entire thing. And that's probably a good way to make something like boring and un interesting because you no longer thinking about what you're drawing as much as you're just repeating a a process that you're comfortable with So again I could probably rule this line right there. But I'm definitely gonna try to make it appear more straight. And so for the table I would roll line and I could bring back those vanishing points. But I really don't need to. I'm just gonna scale my brush down. I'm just gonna do a point by point click, which is a world line. And part of the trickiest part here is getting some kind of resemblance of the correct angle not only from the basil here but the this curvature right here. So I feel like this line needs to come over and not be so dramatic. Now you can obviously role line from the perspective and kind of map the curvature that way so you could do a series of these lines in correct perspective, and then that should give you a better eye opening idea of what this curve should look like , but I just tend to trying to do it visually. What they did at the end of the day, the more that you can achieve visually, the better. Ah, can I only see that because I study a lot of artists that can do amazing work without any of what we're doing here. So I know it's it's very achievable. But if you're a beginner or you feel like you need the extra structure, then perspective is the way to go perspective, line drawing and all that. So again I'll rule these lines because this is obviously a hard surface. So I wanted to read it such, and I still practice drawing as many lines as possible, mainly because I feel like it's ah, it's an exercise. It makes me feel a little bit more confident about being able to draw. No, with this rug, I'm actually going to purposely draw this and purposely use a bit of a wavy line, even going to bounce around with the lie in wait, mainly because I just want this to feel like it's got some rough edges. There's lots of ways you could do this. You could do a lot smaller, little abrupt kind of bumps, and you're gonna get a kind of fuzzy or rug here that'll be kind of nice to Dio. So we'll do that. Uh, I think in this edge. And you could take that as far as you need to so far is that you can incorporate some designs in there, and you can also show that texture. So very there's a segmentation in the rug and you see a little bit of that bumpiness. You know, you're probably going to see it more on the inside where it's more plush. I mean, obviously could draw some lines instead of just dropping the sin like I'm doing but again. But oven exercise. And then, obviously, if you want to really take this a step further, you could do lots of neat little staple shading. You could do this on the edge. I think this will help to convey that it's got more thickness to the material. I have a pan back here and checked work. Okay, so now let's work on the other couch here. Same thing. Just tried to add a little bit more bends here and there. Nothing too extreme. You don't wanna had in wavy lines that start to distract now the viewer from seeing, you know, thinking it's a couch, but you don't remember to. You can still kind of used the shift click or ruler to draw the line, just keep it lighter, and then Drover top with something heavier or even use their race to kind of a race back and create some different line value from line Wait. I think the main thing about line weight is if the line weight is going victor thin and and kind of who is changing it looks more interesting. You know, it's it's You could make something really boring if you just use a singular line weight through the whole thing. You can also make it look a little bit more concise with the, uh, the very structured way that you approach your line weight. But he personally, for my design or style, I like Teoh carry it up quite a bit. You can also think about it. As things get further away from the viewer, the lines get thinner. That's another way to convey depth in this scene. Okay, so this pillow missing a line altogether. Let's bring this over. Macaron eso notice. I'm trying to add little bits of ah, rounded edges as I moved through this. You see that top as very ruled very straight. I definitely don't want that. So just gonna shift this just a little bit too dramatic. But enough, Teoh, get a softer effect there. Yeah, that's real. Take this. And 10 year on, right here again. The straight line here just a little too much. So requires I want to make sure that I kind of get rolled light in the middle with line center of each one of those see cushions. And that should help to convey that the you know, there's some volume. There's variation in the volume of yes, kind of about one. The shadow. I think there just like that. We've got the other couch pretty much of their probably add a little bit of final line work to shade it out. But that gives us our My Mary, uh, lives that we need. Well, let's go ahead and finish off this last batch right here, and then we will carry on to our next lesson and continue to detail this. So with that, let's move on 11. Cleaning up the Line Work: All right, so let's continue to clean this up. We can probably use a couple straight lines for the ceiling area here. This could be snapped in a lot more of a rule type line. He's a little bit thinner. Wait. There it was like that. It was probably the only er where I specifically do want pretty solid line, even the brickwork. I'm gonna draw that out. Okay? So with the brickwork, it's going to take this and kind of freehand this and allow these lines to be less than perfect. So a little bit of consistency and no shift in the bricks, things like that. We'll allow it to look a little more textured. So if we ruled out every break, or if we created a pattern and distorted that in the place, I would definitely be quicker. It would suit the, you know, suit. The need would get it done, but it just wouldn't have the same type of feeling. So I like Teoh draw the bricks and by hand. But you got to try different variations s so that you know what works in your own style. So you may want to tried to line out the brakes with perspective and then drove her top. You may want to do a series of rough sketches and refine it that way. Eso You really just have to experiment and see what works best in your own style. Do you have, ah, study enough hand to make it look the way they want you? Are you picky about things like that? Does your style have this look that everything needs to be tightened concise, But I think it actually looks better when you show a little a little bombs, little gaps in the break. Little crack here, A little trip, Dedge. You know, a little bit of heavier line ways him not not worrying about being all to ah to even. I'll go back and even rough up some of the edges. Yes, it's just preference I've seen breaks down a lot of different ways. Okay, so something like that and you know, this top edge I could probably take a very thin line, so this would be just like you lightly sketching. Put that line into place and then just draw through it, drove over it and try toe again. Make it now it looks like a ruled line. So I'm gonna rotate the screen because I do better pulling downward. You could see his lines are a bit off. So trying to correct with the tiny bit as I do this And if I really needed it to, ah, to be perfect or whatever There was no such thing is perfect, right? Keep saying that. And then I used the word perfect, but basically, uh, I could put the vanishing point back in the place in skill back there's for distance so I can watch that vanishing point. But this Ah, this particular moment, I'm just utilizing with on the page. I want a straighter Lionel actually zoom out a little. I control the line a little bit better. All right, so now let's keep texture and long here, go a little faster and just do some weighted lines. Okay? I think that's looking good. It's gonna keep picking at it now. Like I mentioned before, we could make sure the lines closer to the viewer a little bit heavier. And as you get over here by the window, they just become a little bit later. Could do that with the very edge of the brickwork. as well. So you could do the thinner lie in wait over here and little things like this kind of add up and start to give the feeling that, um, that the light is hitting this area a little bit more. Um, intensely. So But actually, I think what we want to do is bring this curtain in front off, so extremely do away with that. But just keep that in mind that generally Ah, you can really define the light source by making good use of your line. Wait. Okay, here kind of knows in these be patterns Me, You stand the brickwork here and finish one thing at a time. Now, the reason why I kind of do that sometimes out bounce around intentionally because I'm trying to stay motivated like if I are almost inspired. But I won't say inspired. But basically, if ideas start to run out on a certain element of what I'm doing like I'm not feeling is confidently about drawing breaks. For whatever reason, some days, certain textures and things just give you trouble. So say this is one of those days and I'm fighting an uphill battle as I texture and try to find my shapes. Then I might switch over purposely to something else so that I stay inspired. I stay eager to keep moving forward. No. Other times, if I'm drawing well and things were going good, I try to stay focused on one particular subject. You know, one area within the design. So in this case, the brickwork. The reason for that is you tend to get a more consistent approach or looking the work. So if you're bouncing around from, you know one thing, that the next you may come back to the brickwork, start to work on it again. And all sudden you're actually detail ing it a little bit differently than you did before. So I think it's helpful to again kind of stay focused and finish everything in passes. So you don't necessarily have to detail every aspect of this. You know this brick area, but you could at least finish your line, wait at a little bit of texture throughout, and then move on to something else. It doesn't mean you can't revisit it, but I think that you need to apply whatever affect your doing consistently throughout and again. That's going to kind of reflect in the work. You're going to see it consistent. Look, with your textures and your design, that's how I feel anyway, so, you know, cheer that begins this kind of bumping this up. You know, just making little tiny little imperfections here and there. Nothing to overlay extreme. Just something that looks more randomized and textured. Kind of look that I like to see in my work. That's where you see me doing here, purposely messing up the lines. You got to remember it is brickwork. So gonna be too awfully clean like it looks right now. We'll probably revisit this little more in this area, but see where we're at CSO. What I want to do now is work on these drapes curtains where we're gonna call, and I will again use a ruled line for right here That's gonna be far too heavy. So it's push that back a little bit or make that smaller just like that. It was like that. And again, I think that it make sense that these lines would be very structured in a parents very, very solid. Let's continue to in these lines here, then maybe these little ah strains probably say the top one is a balance or cover, but whatever there, I don't think that matters too much is lost, not distracting. I just couldn't run it all the way up top and for the curtains. More of a free hand line, I think is ah, better. A little bit of line. Wait there just to vary it up. Keep in mind when you're trying to get more fluid lines like this. A nice, quick, sweeping pass using more of the shoulder and elbow unless of the wrist. So the main thing is a nice, consistent poll. So just like that and notices, they're kind of like, you know, crisscross, be shapes. So the shapes have generally see with, uh, material like this folds, wrinkles, whatever, Uh, besides them being sweeping lines, I see like a V here, you know, kind of a crisscrossing of V shapes. It's always look for those little shapes. And stuff like this becomes easier to draw from memory at the bottom. You can try to get some of these little bends and curves, those folds more evident just like that. Okay? And right here will go with a ruled line again for the frame a little bit of shadowing in for these trees. If you want him to look for detail, just you don't give more points. Kind of randomized what's already there. You want to vary this up so some you might have come off the shape more. Maybe some inside of the shape just kind of go back and forth. So this is more or less texture. And if you know you want these to read even a bit better, you can at a few more shapes kind of like clouds. Kind of bumpy sections of the tree that you might see a little bit of overlap and you could actually get in here and step will shade this and make it look a lot more, uh, detail. But I don't want this to be distracting either. And here's our little clear lines for the window. So hopefully by now you can start to see that we're trying to basically give a different feeling. Teach material. So even though it's just lying work the way that we apply, it can make things more rigid, more soft, more flowing or more not so flowing. And I was just a variety of textures and feeling teach surface. Ah, and that's really what we're after. And that's really what the you know, this portion is bowel. So let's wrap up here, move over to our next lesson and continuing. 12. Finishing Touches on the Art: All right, so now this portion, amount of time lapse and explain because it's a bit redundant. Basically again, like I've already kind of mentioned that we're trying to go for the effect of some rigid lines, some very ruled lines like France. It's the picture frames. And then, in comparison, the landscape in the picture frame makes more sense to be organic and hand drawn. Now that again doesn't apply to everything. So, for instance, you could take certain steps to rule lines like the brakes like we talked about. Or you could Freehand Amore combine them. I really want you to just think about and the fact that you can utilize whatever method you want, but sometimes it's going to really give you the best to result to combine it in certain areas. Um, I think this helps us well so that you're not looking at everything like it has to be done One way. There's definitely multiple ways to do anything. There's the very structured approach, and then there's the free, hand drawn approach on. Then there's also, you know, you purposely utilizing ah, different method that you're not as comfortable with. But even with the structured approach. So, for instance, you might use a structured approach, but you might use a different brush that has a little bit less control purposefully. So again, you really can't take anything off the table. You have to try a variety of ways to create and find your style and find what works best for you. Uh, just like when I first started doing this, I would roll every single line every time. And I always had a very stiff drawing and I never really know why. And I didn't like the end result. So once I started to incorporate a little bit more FREEHAND drawing over some structure, I started to build confidence that I started to feel like I was getting the type of look in style that I wanted. I also noticed that some of the art that I'm Meyer out there was entirely free hand. And once I got to see that, I realized that there's a lot of capability. There's a lot of things that you can accomplish just by sheer practice and share revisiting certain areas of the work. So again, take nothing off the table. Now, one thing I will mention about the plant leaves here those air quick, sweeping polls. So I'm pulling more from my shoulder and I'm throwing the line not so much from my wrist. Now, if you have the ability to size down the work like a digital artist, and you're going to be able to use your wrist and throw a line so like the pages of the book, that's pretty easy to get that curve. But if you're working traditionally only have one size, you have to remember the control is going to go from the shift of your fingers, the pivot off your back heel of your wrist, your elbow and then, ultimately, your shoulder. So, like painters, they're using their shoulder a lot. And even though it seems awkward at first, if you're not used to that, you'll eventually get really good at throwing lines on. By that, I mean, you know, gauging one area to another and doing a quick, sweeping polls. So just again. Think about the mechanics of your body as well as you're doing this so some of it's just share practice as you go to draw things like drawing this ellipse. I feel awkward when drawing ellipses. It's just the way it is. But that doesn't stop me from softer racing, redrawing, revisiting it and ultimately getting something that I can deem worthy. Now the other thing I like to do is think about this. If I'm not getting it right, I'm gonna do my best to my ability today and I'm gonna move on. So the reason why I think that's important to know is I want you to be aware that you shouldn't stop or stifle your creative ability because you're not drawing something while today you shouldn't not finish your work. You you've got to finish your work if you hope to ever be a professional. If you hope to build up your portfolio, you have to draw through this stuff and allow yourself to go while maybe it's not again. There's that word perfect. I'm gonna throw out there. Maybe it's not perfect, but it's good enough for today and you're gonna find that a lot of people are gonna love it anyways. That what you, uh, stress over and attach anxiety? Teoh. A lot of people just say while really nice job. I love it. So, you know, be aware that allow yourself to just create and not worry about everything being perfect. Uh, and the main thing is that finish the work and get it out there, and, you know, you can always go back and re edit. You can always go back and revisit a certain piece that you felt wasn't as good as you hoped it was at the time. But you got it done, and then you could stop back and redraw it. And I think that's another important exercise for us to all. Do his artists, because it really allows us to see how far we've come. So always remember, don't overestimate what you can do in a week. But don't underestimate what you can accomplish in a year or five or 10 years now that seems daunting. Like 10 years. Seriously, I can't wait that long to be good, but the thing is that over that amount of time, you won't. You won't just be good. You'll be great if you really stick with it. Eso It's important to think about that so that you're not so caught up in beating yourself up on a daily basis off all this just isn't as great as it should be. greatness comes over a longer period of time. Improvements, though, can be made sometimes daily. At least studies can, and you'll notice improvements over a time period of, you know, months and then years. Obviously so here, just adding it's more value. But again, all this is kind of repetitive to what we've talked about. So the main goal here was to incorporate some different feeling of dimension in this scene , to use different line waits in line clarity to provide texture, to provide different feelings so that some things in the scene feel hard and coarse or, you know, solid. And some things feel soft and organic and again flowing. Or at least you know, softer material. So just try to remember that if you think about those things as you're drawing, it will come through in your artwork. And then, as you keep getting better and better, you'll see you'll find new ways to implement that in your work. That's really the main thing. Eso. Hopefully this series of lessons is helping you feel more comfortable with perspective, and there's gonna be more in the way. So I really appreciate you watching these particular lessons. I would love to see what you come up with. And if you've got any questions, I'm always here to help you with those. It also helps me to know what I should bring to you next. So feel free, Teoh let me know. And at this stage of the work, all the line work is in place, and I'm really just pushing the value range a little bit deeper. So a few more drop shadows isolating certain areas with the selection tool and again painting in that value range so that I can make this appear more dimensional. And the quickest way to really do that in a simple way to approach this if you're not as good with light and shadow, is just to think about the ultimate plane changes. So, for instance, isolating this area of the couch and giving it just a different shade, it could be a Grady int. You see, I just kind of swipe it a few times with the soft brush. But just that immediate plane change will really help to make something appear more dimensional, and it's probably the easiest way to do that. So lots of different ways you could approach that, but That's one of the ways that I find to implement at the quickest, and I can keep going back and really pushed this further and further and ultimately make it into something like a digital painting. And I also want to let you know the main reason I really decided to include this cause this is obviously more shading a little bit more into painting, and you may be just wanting to learn perspective drawing. But what I think this does is because you start to make it look and feel but more dimensional. It will help you spot flaws. It will also give you better ideas for the next time you approach perspective, drawing so that little bit of depth that it's incorporating by adding this value shift should help. You ultimately get better at creating depth within your scenes, and you kind of have to understand that so that when you go to draw your line work, you think into it further. You think into it As you develop the line work. You've got to remember the line workers basically you're designing, but if you don't understand how to create depth within the scene than your line work, may come out of it flat. And things like this help you to understand the process a bit more and take it to more full finished product, which is always important in regardless, this is a great exercise for client work. So this is actually more why I learned this approach and utilize Dittemore. And then I started to incorporate it. Mawr indie, even my rough sketches, because again, it helped me Seymour dimensionally. So this is gonna bring this one to a close? Hopefully these lessons have been very beneficial for you. There's more on the way. And remember that I'm always here if you have any questions. And I'd love to see the work that you create with this, as well as any feedback you have for me. So as always, Thank you. Keep drawn. Keep em fund. And bye for now.