Perspective Drawing for Beginners - Introduction to One Point Perspective

1. Trailer: Welcome to this class on perspective drawing. This is a subject matter which is often a little bit intimidating for people to get into. So this class has been designed in a way to ease you into the subject matter, starting with the basics of one-point perspective. Throughout this lesson, we're going to do a series of lectures and exercises. And along the way, we're going to figure out how all this stuff works. At the end of it, there's going to be an assignment for you to complete where you'll be asked to design your own room in one-point perspective. If you've ever had reservations about this topic, then this is definitely the class for you. So let's get drawing. 2. How To Use Perspective: Let's make sure we're a 100% on the same page before we start anything. Perspective is more like mathematics than it is on that bank said alcohols to use the information perspective gives us to work alongside our art. At no stage do we want to be beholden to mathematics in our compositions. That is simply going to suck all the font and enjoyment activate illustrations and paintings. Instead, we want to use perspective as a tool to help bring about the best in our compositions. We always want our initial compositional ideas, whether it's a still-life, busy city street or cool sci-fi vehicle to always come first and to think about perspective second, this is an important thing to emphasize because if we rely entirely on perspective, everything we draw is going to come across very mechanical, which is subsequently going to make the drawing process more tedious. Perspective by its nature is very mechanical, but we want to make it work for us, not the other way around. Always remember our compositional ideas have to come first. Now, there's an awful lot to cover about perspective drawing. At first it may seem like a lot to take in, but the good news is, is that it's not as daunting a topic as it seems. There's a lot of initial complexities, but you'll soon start to see it's not as hard to grasp as you think once we start to understand how we see the world in 3D and how we translate that vision onto a flat 2D surface, then perspective drawing becomes a lot easier to manage, whether it's 123 or even 4 perspective. Again, we want these perspective concepts to work for us, not the other way around whether we're doing landscape painting, concept art, coming in whatever field it is. These ideas are going to ring true with that we are working on pipa or working digitally. Now I know all of us digital artists and they haven't arrived. Tools that helped to create shortcuts for perspective drawing. That's all well and good, but it's still important to know exactly what's happening at a fundamental level. Avoid taking these shortcuts at first. Once you have an understanding of what lies underneath here for all these mechanics, then feel free to use whatever tools are available to you. All right, let's get going. 3. The Picture Plane: Let's first cover some basics. This is a flat two-dimensional plane, and this is a three-dimensional object. Perspective is used to not only help bring form to an object, but also allows an object to sit within an environment. That environment itself resides within something called a picture plane. What is a picture plane? Let us first imagine we're standing right at in front of a piece of gloss or some type of transparent plane. We can look through this transparent playing off into an infinite distance, whilst the plane itself also moves along to infinity, both horizontally and vertically. That imaginary picture plying follows us no matter which way we turn our head. Now, every object that we build within this picture plane will always converge to something called the horizon line. What is the horizon line? While it might seem pretty obvious, but we'll cover it just to be sure. Let us imagine a flat grassy field all around us. There's going to be two distinct features that we see heap, the grassy field itself, of course, and the sky that makes it. The connection between these two areas is our horizon line. No matter what else is in the environment, trees, buildings, mountains, people, etc, no matter what else is obstructing L view that horizon line is always going to be present. All of this seems pretty straightforward so far, but we need to develop it a little more. We need to create somebody's point of view to see how this environment looks. This is where our eye level comes in. Eye level as obvious as it sounds, refers to the actual position of our eyes. For instance, if someone is a five foot six tall person, the eye level is going to be equal to that height also. In reality, it would be a little bit lower than this. But for the purpose of simplicity, we'll say that someone who is five foot, six inches tall is going to have an eye level that's five foot, six inches. Another way to look at this is that we're looking through the heart of our hypothetical camera, taking a shot of the environment. We can consider this as either looking through the eyes of someone standing at a particular height in first-person viewpoint, or the height of our hypothetical camera. The simplest definition that we can use for this is to refer to this as simply the viewer. Now, you may have already noticed that the horizon line and the eye level look like one and the same. Why do we give two names to the same horizontal line? Well, there's actually two lines at work here that are overlapping each other in both 12 perspective, they work together as a team and provide the same function. It's when we shift to three-point perspective that they begin to serve different purposes. That's something we'll talk about in a future lesson. But for now, all we need to know is that the eye level and the horizon line are equal to each other. In this instance, our environment is going to react to where our eye level is positioned vertically. What this means then is that if we stand on our tip toes or crouched down a bit low up, we're going to see the horizon in our field of grass move up and down accordingly. It has to be stated that this isn't the same as tilting our head up and down. This is merely a bat standing in an upright position without eyes looking directly out in front at an angle of 90 degrees. A good example is to imagine a difference in level between a mouse, a man, and a giraffe, if at all looking at it the same direction, there are levels of o going to be in slightly different places vertically, which subsequently means they all going to see the horizon in a slightly different position. Our eye level reacts vertically, but what about horizontally? Well, we have another line here that covers that cold, the center of vision line. This line intersects without I leveled slash horizon line and follows this old way down in the middle of our body, are sent to a vision line is going to play more of an important role when we talk about two-point perspective. For now, all we need to know is that wherever we look around now grassy field, this imaginary cross-section formed by these two lines is always going to be following us no matter which way we turn our head. This is a permanent cross-section that we carry from the day we are born and forms the basis for the next part of adolescence lesson. So let's look at that now. 4. Vanishing Point: We've got to have us standing in our grassy field. Let's now add something else to the environment. Let's see what happens when we put a road right down in the middle of the view here. What's going to happen is the edges of the road are going to move back into the distance of our grassy field way, they will converge and meet up with the horizon line. This is called the vanishing point because as you can see, the road literally vanishes at this point. In one-point perspective, this vanishing point is one and assign with the cross x is formed from our eye level and our center of vision line. Wherever this cross axis moves, so does our one-point vanishing point. But why exactly does this convergence happen? Why don't we simply see the edges of our road running parallel with each other like this. Let's change our road to a railway track to help work that out. We've got our train tracks here and alveoli is standing right in the middle. We're going to have a look at not just the top-down view, but also the profile view to get a better understanding of what she's saying. If alveoli it looks down at the Trex below her, her eyes have to take in a wide field of view to see the entire width of the railway track. As our figure rises a head more and more Horizon don't need as wide an area to take in the sign width of trek. The most she raises her head, the more of the tracks width gets narrower and narrower. The moment Hood island meets up with the horizon line is the moment that trek converges and disappears entirely, hence the vanishing point. This idea remains true not just for horizontal structures, but vertical structures to if we add in a row of electrical pulse, we're going to see the same diminishment happening. Now what you might notice is the width of that track heat is running parallel with the horizon. What this means then is that in one-point perspective, anything that runs parallel across with the horizon line is itself going to be a true horizontal. And anything that runs up and down perpendicular to the horizon line is itself going to be a true vertical. In order to create depth, we need to indicate three-dimensions. We've got a true horizontal, I true vertical indicating two of those dimensions. And the sides of our attracts whi, which are diminishing often to the picture plane to create the third, Simply put in one-point perspective, one of ads dimensions is always going to be converging to the vanishing point to create depth. The other two will remain both horizontal and vertical respectively, to create height and width. 5. Exercise 1 - Informal Boxes: Keep things nice and simple at first and just draw in some boxes. I'm not going to worry too much about being perfect here. So just getting the foundations in place with a square for the front face of our books. I'm going to worry too much about size or depth or anything like that. Just keeping things nice and loose. If you don't have a ruler on hand, you don't even have to really worry about it at this stage. Just creating some diminishment lawns. He strike back to the vanishing point, ensuring we've got the front of that box having true vertical and true horizontal lines. And just connecting each of these corners all the way back to that vanishing point. We want to treat all of this like it's a transparent object as well. That's just honestly going to make the learning process a little bit easier. So always draw your objects when you start doing perspective drawing as if they are, might've gloss. Going to have diminishment lawns. And he, nasa now just going to create the depth for this box. And I'm just going to say the boxes about this DP. And I don't know exactly how these boxes at this stage. And we'll come to it as we go further on through the list and how we actually go about creating perfect cubes. But I'm not going to worry too much about that right now. So this is just a little bit of a rough estimate to get the ball going. So again, keeping things nice and informal here, got our box diminishing off into the vanishing point here. It will start another one now and will change colors as well, changes to red. Now, I might make this second one a little bit longer, but again, do this first front face of the box first nice horizontals and verticals. They then go back to your vanishing point and along the corners up and start creating some diminishing lines. You can start to see how quickly we can get these boxes down. And it's gonna be super important to really practice these up even in an informal way like this, just to get out months used to drawing with depth in mind. One of the big problems we usually face when we stopped with perspective is that it can get a little bit overwhelming. So starting with things like this where it's just sort of sketching, really. Getting out Bond used to this stuff is going to alleviate a little bit of that pressure when we start to build on top of this in the following videos, it's gonna become apparent just how much more there is involved. So keeping it nice and simple at this stage and having a little bit of fun with it is always good place to start. Long boxes coming together nicely now, nicely diminishing off into that one-point vanishing points. So let's do another one now. With drawing boxes heat, you might be asking yourself, well, why are we just drawing boxes? He shouldn't we also be doing cylinders and spheres and things like that. Well, the box is kind of the default object when it comes to perspective drawing. And that's because it's got the most information for us. We've got these nice sharp corners and not explain faeces to work with an elliptical shapes. A bit more complicated the Alyson in it of themselves and tend to throw up a bunch of different challenges. So we'll look at that in a future lesson. But for now we're just going to stay with the basics here and we'll see as the lesson progresses just why they are the default option for us. It's just going to make life a lot easier. I've got another stretched out box here again, again with the noise sharp corners at true horizontals, they are true verticals here. And again, just drawing all the way through. It. Worth repeating that we want those nice horizontal lines running with the horizon line and those nice verticals at a 90 degree from that. We'll do one more box here. And we might do a slightly total box this time, slightly thinner and total books. Now, one-point perspective is a pretty great and versatile perspective to work with. In fact, for the longest time was really the only perspective that artist's work with. It's only been really in last couple of 100 years that sort of two-point perspective in three-point perspective emerged. Got to have a nice toolbox, HIV. And again, going to take out diminishment lawns all the way back to a vanishing point. And again, it's probably just a little bit too many dark lines here at the moment. So you'd want to drill this stuff a little bit lighter, but for the purpose of this demonstration of purposely used brushes, will pens in this instance that are quite thick and quite bright and they call up. Now, I'm working digitally of course, but if you're working practically, a couple of tools that you'll probably need is, well obviously you'll need a ruler, of course, a transparent rule at, in particular is probably a better option. But also what you'd probably want to consider getting is a set square as well. So a couple of triangles, one that's up forty five, forty five and ninety degree triangle. And also a 306090 degree triangle as well. And also consider getting yourself a protractor as well. That's kind of come into play a little bit more later on. But just as a heads up now, if you're looking to actually do this on PIPA as opposed to working in a digital spice way. There's usually an, a right of measurement tools available to us, then you really going to want to get the proper equipment for yourself. Now if you're working digitally, you might have to shop around a little bit to find some tools that are equivalent to what you'll find practically in real life. And that, that gets pretty close to having those same tools is one called sketchbook. It's got some pretty good rule at emperor attracted tools, but you might have to have a little bit of a look around to see what's out there. So these boxes are pretty well done for now, just doing a little bit of shading, he's really fill up an entire page filled with these, say what kind of boxes you can create and don't worry too much about getting things right at this stage. So we'll leave these boxes here for the moment and we'll continue on with Alison. 6. Station Point: So let's do a recap with good app picture plane, which is our imaginary pace of gloss moving off into infinity. We've got our horizon line slash eye level, which are one and the same. We've got our center of vision law, which runs down the middle of view and intersects with the eye level in horizon line. And we know that wherever alveoli turns her head, these ideas are going to fall out. We've also said that the vanishing 0.1 perspective is the same as the cross-section form between the center of vision line and our horizon line. Finally, we said that in one-point perspective we're going to have three-dimensions represented. One that is a true vertical, one that's a true horizontal, and one that diminishes off into the picture plane. Drawing a square is pretty straightforward, as we know from school. If we draw a line at 45 degrees, we can work out how to draw a square quite easily, but what if we want that square lying a depth? Now what most of us do when we stop perspective drawing is that we simply take an educated guess at that dip. We sketch in a lawn and silo ourselves. Well, that's sort of looks about right. And generally we leave it at that. But if we need to be more accurate than guessing is not gonna be much good for us. So how do we ensure that this diminishing square plane on the ground is equal to the square facing towards us. Hey, what we're going to do to help us is use something called a station point. This is a little bit of a tricky concept to wrap your head around with at first, because it requires us to blend both a three-dimensional layout in a two-dimensional layout together. By doing this, we're able to achieve accurate depth in our drawings. To get a better understanding of this 3D layout, let's first observe what our viewer is saying. We've made our view a transparent hate to give us an idea of what she's saying and wiggling to stand directly behind her. The station point is best described as being the position of the viewer relative to the scene that she's observing. This position is right between her eyes. If it were a camera, it would be right in the middle of the lens. But how does this help to establish accurate depth? Well, from alveolus observations, this doesn't help at all. If we're looking to create an accurate square lying flat on the ground, then her viewpoint doesn't actually help us much at all. So we need some type of reference point within this environment in order to create that flat square on the ground. This is where our two-dimensional layout comes into plight. Two-dimensional layout is us looking down upon L view up. So imagine we're hovering over the top of our viewer looking directly down upon her. Think of this flat 2D lat as being almost like blueprints for a building or vehicle design. The station point in this two-dimensional layout directly relates to the station point between alveolus eyes. We can see here that we can't see through her observations is just how far away she's standing from the picture plane. When we look through our view as ours, we had no real clue as to how close or how far away she was from that picture plane. But from this top-down two-dimensional layout, we can tell just how far away she is. This line from the picture plane to the station point is called the distance line. We can literally make this any distance of measurement that we want. So in this instance, We got to say that alveolus is standing approximately about ten feet away from the picture plane, but that could be 2050 feet, 100 feet. It's completely up to us half-hour while she's standing here. You've got these two graphical viewpoints. Hey, let's figure out how they work together. 7. Square Planes In Depth: Now this all seems pretty good, but you might be saying to yourself, Well, there's two separate graphics and they each do separate things to help establish what our view is saying. But this seems a bit fiddly going back and forth between the two. Well, you're right separately. Each viewpoint can only do so much, but if we overlay them with each other, then what getting the best of both worlds? Hey, by combining both viewpoints, we can now work at exactly how far away from the picture plane is standing, how far away things are positioned, and what angle objects are in, all within one combined layout. Both layers sort of separate but relating purposes. A measurement in one relates to the measurement in the other. A station points still exists out in front with alveolar looking in 3D, but we are simply using its two-dimensional flattened counterpart he as the reference to get dip. Essentially we have one layer that controls the horizontal and vertical measurements, and another that controls the depth and angle measurements. So how do we go about creating our square now in depth? Well, if we measure it from our flattened 2D station point and an angle of 45 degrees to our three-dimensional horizon line. Then we've created a reference point that we can now use to get accurate depth measurements. If we connect this age of airline, Hey, to our 45-degree measuring point and then connect both edges back to our vanishing point. What we're going to find is that the intersection that happens here in the top right is going to give us the depth landmark that we need. All we need to do is measure across from that landmark. And just like that, we've got our perfect square lying on the ground, and it's from those foundations, we can start to build cubes. If we go back to our original graphic we started with, we can see we've got essentially a combination of what our viewers sees, as well as the top-down two-dimensional projection of this distance lawn is essentially swinging down from three-dimensions and becoming flattened and meeting it's two-dimensional counterpart. It's the exact same distance. Everything she sees in depth can be directly related to this flattened station point. If we were to simplify this, we can say this is a two-dimensional representation of wherever viewer stance station points can move closer to or further away from the picture plane. The distance is entirely up to us. Whatever distance we might get that station point will be swinging down and be equal to it's flattened counterpart. This gives us the ability to create illustrations with great accuracy in depth. 8. Exercise 2 - 45° Measuring Point: All right, let's just do a quick little demonstration to see how we go about setting up a lab to get those nice perfect squares and cubes. So first thing we want to do is measure up from our flattened 2D station point at an angle of 45 degrees too out 3D horizon line. Remembering that we are now combining out 3D layout and out to the top-down lab together. So we've got out 45 degree measurement here now whether or not you want to do both sides, have a 45-degree mark on either side of our vanishing point. Well, that's going to be up to you. It's sometimes a good idea to have both, but you might end up only ever really needing one. So put the second one down when required. Now, if we don't have a protractor, we simply just have to use the same distance from our vanishing point to the station point and put that along our horizon line to get out 45-degree landmark there. So it's a pretty easy setup. We've got our markets in place now, let's get onto drawing some squares and boxes. 9. Exercise 3 - Square Planes: Okay, let's start drawing some squares in depth now. So get a ruler here in place and we're just going to go Mike, things arbitrary at the moment. Not going to worry too much about what the actual size of the squares is going to be. So I've got out frontline here and we've got to have our solid lines here just diminishing often throughout vanishing point. He's so good at foundations in place. Now, as we said during the lecture, normally when we get to this part, we just take an educated guess at the depth of S squared K, but we want something to be a bit more accurate now. So we're going to use these 45-degree measuring points on our horizon line here as the reference for that. So before we start aligning things to these 45-degree measuring points, Let's just do a little bit of a top-down blueprint for us to get a better understanding of what's actually happening here. So we've got our flattened station point. Of course, we've got our vanishing point. If we draw a line 45 degrees from this station point here, well, that's going to set us up to create a nice perfect square. If we remember our mathematics classes from school, know that we can create perfect squares with a 45-degree line. Essentially, we're creating a right-angled triangle here. And if we stick to those right-angled triangles together, well, we get ourselves a nice even square all the way around. So this 45 is equal to this 45 on the a horizon line. And of course, this station point here, well, this is the exact same station point that's down below here. These are equal to each other. So now we're going to use that 45-degree measuring point on a horizon line as the basis for creating our perfect squares and depth. So we want to align this right here at the corner of this line here, and we want to draw all the way up to that point. So we've got out first guide in place. So just reiterating, we've got this 45-degree measuring point here, which is equal to this top-down view as well that we can see here. Now this intersection that's happening right there. Well, that is the landmark that we want to create R-square in depth. What this means then is that this front lawn that we initially put down in green now is equal to this backlog shown in red. And all of a sudden we've got our perfect square and depth. So it's a pretty straightforward way to start getting some nice even measurements all around in our perspective drawing. So let's do another one now, and we'll put another one over here and we're gonna do it a slightly different color as well just to make things a lot clearer. So again, we're just going to say this is a bad an inch and a half wide. He, and again, putting these dimensioning lines all the way back to a vanishing point, I can show these are nice and accurate. And again, we're going to use a 45-degree heat, but I'm gonna use the other one now because it's a little bit closer. So there are going to be instances where you might find one of these landmarks a little bit easier to use than the other. Just getting that in place. And again, going from the bottom-left corner here all the way to this 45-degree measuring point corner to corner is the why you want to think of this. Again, we've got that intersection that's happening. He, with that line that's diminishing on the side here. And again, another line at the decade to get our perfect square. Now so far so good. But what if we wanted to put another square behind this that is also the same size, that's diminishing software vanishing point. Well, we want to follow along with the exact same concept that we've just started with. But instead of going from our first line here, we're gonna go from the backline, again measuring that at 45 degrees, going from corner to corner and trying to get that alignment right. So again, going from corner to corner here, bottom left, all the way up to 45 degree. And again, that intersection is going to give us the same size square, but now it's receding back towards the vanishing point. And we can keep going all the way back in there. So again, going from this backline here all the way to where 45-degree measuring point. Again, that intersection forms the basis for another perfect square. So we've got a series of square plants that are diminishing off towards our vanishing point in the distance, all of which are the exact same size. Now obviously we can keep going with this further and further back into the picture plane until eventually it meets up with the horizon line. But the beauty of that is that even if we want to do that, we know that all of these square plans that we put down that receding back into the distance will always be equal to each other simply by using this 45 degree measurement here. That's some flat planes on the ground, but what about some vertical ones? Okay, so let's do some vertical squares now that are diminishing off into the distance. Now, the most obvious thing that we can do here is use these flattened squares that we have on the ground here as the reference point for output equals squared. So if we're creating walls, we can essentially say this is the floor and we're going to use the length of this floor here and simply flip it up No, actually degrees. And that will give us the exact height that we need. And that's gonna give us the landmark that we can use to create some diminishment lines here. And of course we can use the back of that flat square as well to use for the back of our standing wall. That's great and all, but we've got an alternate way that we can do this too. In fact, we've got another 45 degree measuring point here that we haven't seen yet, and it's actually L station point. So this is another option for us for creating squares at an outstanding vertically. So this is also acting as a 45-degree measuring point for all vertical planes. If we flip this up and ensuring that a hot is the same length as the width here. So just put that in place. So we got to inch and a half. I've got that implies. So now what I want to do is go to our vanishing point and create a, another diminishment law in here all the way down to the bottom of this frontline heap. And now what we're gonna font if I put my ruler up the top of this line here and measure down to the station point is that it's going to intersect with the corner landmark that we created with our flattened square earlier. So we can see here that 45-degree measurement now into six with that square that we put down earlier, that station point all of a sudden becomes a very useful tool for us as well. Again, we can take l diminishment monetary 12 vanishing point and then just use this intersection here and drew up a nice straight line. And all of a sudden we've got L perfect square standing nice and tall. So this is great. But let's just test this out again just to prove this wasn't some type of flu keys. So let's get another squid going to somewhere completely random. It just got to choose an arbitrary place here and not worry about the existing squares that are flat on the ground. And so we've got our nice vertical line. Hey, we're gonna create a diminishment all the way to our vanishing point. And if everything goes to plan, if I make a measurement here from this station point all the way to the top of our line here, drawdown directly, That's going to give us a 45 degrees and that intersection again, going to create first a nice perfect square in depth. So we've got a couple of options available to us for L vertical squares, we can either use squares that we've created on the ground or we can use that station point as 45-degree reference point for standing square pipelines. So we've got for us, so some pretty simple but extraordinarily useful tools that we can use here to get some pretty accurate measurements onto our page. So we've got a station point which is gonna be 45-degree measurement point rail vertical planes. And our 45 degree mark is on our horizon line for our horizontal square planes. Some pretty useful tools here. Now, just one little thing we'll do as well is that will follow one from what we did with our flattened square plants in the ground and start repeating some of our walls here, get the exact same length of war dimensioning off into the distance. And exactly like we did for our flattened squares on the ground, we just want to go to a corner to corner here. And that's going to ensure that all these walls that we starting to see here up actually diminishing off to the distance at the exact same size. So some pretty straightforward stuff to begin with. Let's move on to something a bit more complicated and start doing some cubes. 10. Exercise 4 - Formal Boxes: Alright, let's get going and start drawing some boxes. Now, you might very well be one step ahead of me at the moment here, because drawing boxes is really just an extension of what we went over in the last video. He, but we're gonna go through it just to make sure we get these nice strike corners. He, those true horizontals, that is true verticals foe the front face of epoxy. And of course, diminishing lines off to our vanishing point. So it's a good idea to treat boxes like this as transparent because it's going to give us a better understanding of what's actually happening here. It's simply going to help us draw three-dimensionally a lot better on this flat 2D surface. I've got my a diminishment lines and hago the front face avail box. Now, following on from our last exercise, what do we want to do? Well, we simply want to take things go corner to corner here, line up without 45-degree measuring point. Hey, Drew outline all the way there. And of course there we have our intersecting law. And so again, just like our flattened to the plane, we can now create our 3D box using that intersection. So I'll change to a different color just to make things nice and clean for us. Again, measuring that backplane first, that back landmark, getting that implies. And then we can create the rest of our books without noise verticals all the way up to these other diminishment lawns. He all of a sudden we've got a nice even box all the way around. So if we were decided that front-facing plane that we drew at the stop was three-foot wide by three foot higher, we know for certain now because we're adhering to that 45-degree management that it's also three-foot deep. Let's do another one now. And I'm going to put this one in the air just to show that we don't actually need to be on the ground as we do this, I'll create another box in the air, get this front face of it right? Now in one-point perspective, we always going to see this front side of the box seat. So make sure that more just have to make sure we've got the exact same measurements here. So no point using inches and centimeters at the same time. So get that nice and even. But as I was saying, in one-point perspective, this front face of the box is always going to be flushed towards his here. So again, creating a diminishment lines to our vanishing point again and again, treating this like it's a transparent box. If I end up repeating a few things over and over again, it's because this is all a little bit of a technical process compared to other areas of art. So we want to get to a stage where we sort of drill this into a head enough where we don't necessarily have to always worry about these measurement guides. I'm not going to measure to this 45 here because it's in a little bit of an awkward place. So I'm going to go to this one instead so you can see the benefit of having both here available to us. So again, aligning this corner up to our 45 and drawing all the way through. And of course then we have our landmark at the back there. As I was saying, it's probably gonna be a little bit more repetition here compared to other areas in net simply because there's a little bit more mathematics involved his, it's not always the most fun topic to really introduce into a creative process here. But once we get over this initial hurdle, then it becomes a little bit easier for us. Anything really, we have to enjoy it a little bit of pine to get some really good results. So we've got our floating box here or nice and even all the way around. Now I'm gonna do one mole box and I'm gonna make it a little bit larger than these other two. And there's gonna be a specific reason why that's the case. Again, without front face here, remembering that we are in one-point perspective, we want that front face of the box really flush up against the imaginary picture applying that we've got before us. We're gonna start to say something interesting happened because of the size and the position that this box is now in. Again, just getting that front planning and in getting the diminishment gods all the way back to the vanishing point. What's happening here is that we've got a little bit of an interesting effect that's happening that we can't actually see in real life. And this is only something that we can actually conceptualize on pipe up. The reason I'm bringing this to attention is because we're going to have a natural tendency when we start seeing this effect happen to want to fix it. We're gonna have a better look at this in the next part of the clause. So we've got our landmark there for this larger box, measuring up one of those true horizontals and true verticals, of course, it was. Remember in one-point perspective, we'll always going to have a horizontal lines and outbox running parallel with the horizon line. And lt vertical is running 90 degrees to that. So nice true verticals and horizontals. Now, with this logic blocks, you might be seeing something interesting happening, something that looks a bit different compared to the other boxes. It looks like the walls are a little bit more stretched out compared to the other two. So what's actually happening here? Well, let's finish this off here for the moment, and we'll take a look at what this effect is in the next part of our class. 11. Cone of Vision: Let's expand upon a half station point. Take a look at this series of cubes and ask yourself, what about them is looking a little bit strange? Well, if we take a look at these boxes around the edges, you might notice things are starting to look more and more rectangular. So what's happening here? Well, let's first make sure that these boxes are measuring 1245 degree measuring point. Well, everything is checking out. Alright, so far with the measurements we know for certain these are perfect cubes. So why do these boxes in this area look far more rectangular? Well, what's happening here is that we have distortion taking place because these cubes at the edge are sitting outside of an area called the kind of vision. The vision extends from our station point and covers an area spanning approximately 60 degrees, 30 degrees are the side. This is by no means an exact measurement for when distortion takes place, but more of a rough guideline. Again, if this station point here is the 2D representation of what alveolus season 3D. Then what this means then is that this area of approximately 60 degrees is right in line with how we see the world. Anything within this area looks pretty normal and as we would expect it to, however, once we start moving, things beyond this boundary is when things in the environment stopped becoming stretched and distorted. But no matter how much we try to quickly dot our eyes around or move our head, we are simply never going to be able to see this distorted area because of the limitations of our vision. So we're never going to be actually able to see what's happening outside of this boundary. But we are able to conceptualize what it would look like on paper using these tools, looking at our cubes once again, even though these cubes on the outside look far more rectangular, we know for certain because they had hates that 45 degree measurement, that they are still perfect cubes. So nothing here is actually wrong. It's just that we're not used to seeing this. Now the question you're probably asking yourself as well, do I just draw inside this boundary? Well, that's simply guide to come down to what your intentions are. There's nothing wrong with drawing outside of the kind of vision. We just have to be aware of what's happening here. Because when naturally going to want to draw these more warped cubes to fit with how I'm months think they should look, consider the kind of vision as being something of a safety barrier. If we know where it is, we know roughly where we need to draw to create understood and images. That said, moving our station point is going to greatly change how things look in a scene because that distortion reacts to where the station point is placed. If we look at these two saints, he we've got a room that is the exact same size. The left St. has a station point at 12 feet, whilst the right has it positioned at 24 feet. Take note of how the walls in the left saying look why more stretched than the walls on the right. So that distortion is going to shift depending on where we place our station points. 12. Measuring Lines and Framing: So I know there's a lot of things going on here, especially when we have a few of these ideas overlapping and intersecting with each other. So I really encourage you to take your time with the terminology. If I end up repeating some of these concepts of few times, it's entirely by design because this is a far more technical process and other areas of odd, there really aren't any shortcuts that we can use for this. We have to really push through these initial pain in the end, however, it will be worth it. So once again, let's just do a little recap. We've got our picture plying, we've got our online slash horizon line. We've got out center revision line, a station point, and our cone of vision. We've got all this stuff here which is following this whichever way we turn our head. But what about the ground? You might be saying, well, the ground is its own plane and like the picture plane is going to move off into all directions to infinity. What do we need to know is that everything we create in this environment will be built upon this ground plane. What if inclines or declines, we create staircases, hills, halls, whatever it is, we all start with this ground plane in mind. First, the ground plane intersects with the picture plane. This intersection is what's called the ground line. Weight. It use this intersecting line as the starting point for our horizontal measurements. Now that unit of measurement can be any unit we want, feet, yards, meters, centimeters. It's entirely up to you. Once we've worked at what unit of measurement is we need to ensure that al vertical measurements also use that same unit. Now, what about those vertical measurements? Well, this is going to serve a couple of purposes. First, we want to extend our center of vision line y up past the horizon line. We're going to call this new law. And he had the true hotline. And it's really going to connect all the way down to our flattened station point. In the same way that our eye level overlaps with our horizon line. We've got a series of overlapping lines here that are working together for this vertical measurement. Now the beauty of this vertical measuring line is that it does two jobs for us. First, it gives us the distance to the station point, how far away I'll view is positioned. And second, it acts as the heart of alveolus online. In other words, if we say out view a station point is ten feet away from the picture plane. She is standing at a five-foot eye level. Then we use this vertical measuring law to work out both. If we count five feet down from L horizon line, we get the height of her five-foot eye level. And it's at this point where I picked your client and ground plane intersects to create our ground lawn. That's L, vertical and horizontal measuring sticks for us. Now, as you've probably already seen, vanishing point has been directly in the middle of images so far. Does it have to always be smack bang in the middle every time? Well, if we're working in television or film, the center of vision is going to be directly in the middle. There's no way to divorce the camera here. But as artists, we're lucky because we can crop in frame out imagery. That means we've got a few more options up as slave that filmmakers Dine. If we take a look at our grassy field again, we can very much have the vanishing point off sent out. Alveoli actually hasn't moved t. We've just decided to focus on a particular area that she's singing were simply framing and cropping the area. We can crop it to such an extreme that the vanishing point is white off the page. Everything is still in one-point perspective. We've just decided to block out everything we don't want. That's a rough breakdown of the basics we need for drawing in one-point perspective. There's a lot to take in no doubt. And the truth is, there's a lot more we need to cover beyond this, but to go any further right now is to simply overload us with information. So we'll leave more advanced concepts relate to listen and nail. Let's get started with building something. 13. Exercise 5 - Room Foundations and Grid: Let's take everything that we've learned from this lesson so far and do something a little bit more sophisticated. So this is going to be part of the assignment for you to complete afterwards. He, now we're going to create the interior of a room. So the first thing we want to do is get some measurements down. So I'm gonna use one centimeter increments here all the way down to our station point. So I'm going to say these units of measurement, one-foot increments. So in total, that means that we have a 12-foot station point here all the way down. I'm just going to mark that HE for myself and say that's 12 feet. What do we need to do next? Well, we need to take that same measurement up beyond our horizon line to our true hotline. So again, we want those same increments going all the way up. And it's a pretty good idea to actually make those increments a lot higher than what you actually need because you never quite know exactly how much you might need to draw in. I always make things a little bit longer. Now we said in the last video, this true hotline is going to represent the depth of our image from the picture plane, but it's also going to double as the measurement for our eye level. So I'm gonna say here that are all level is going to be six feet tall from the ground. I'm going to measure that all the way down here. That's six units down this. I'm going to say that's where my ground line is going to go. A nice six-foot intersection with Al picture plane there. So of course what we want now that we've got the ground lot implies is that we need the same units of measurement going horizontally as well. So just want to lawn the ruler up here and ensure that we've got the exact same width, the exact same increments as what's happening vertically here. So again, like the vertical line, it's always a good idea to just stretch things at a little bit longer than what we need it to. Just putting in these one centimeter increments again, that's going to equal one foot in this instance, we can use whatever unit of measurement we want, made his feet, yards, if you want to follow along. So you could use that as well, I suppose so. Pick whichever works best for you. But again, we just need to remain consistent both horizontally and vertically. So I've got these increments all equaling both horizontally and vertically. So that's our ground line done. We've got our true hotline as well in place now. Next up, I want to establish the current division. So I've got my protractor here and we want to measure 30 degrees ie the solder, this protractor to get out kind of vision right? Now, if we don't have a protractor, one thing we can do is just do a little bit of an educated guess for our kind of vision. So if we mock al 45-degree measuring point that we saw earlier, and roughly half of it and just got a few millimeters over from that, then we can generally get a rough estimate of way at that kind of vision is in essence, we don't necessarily need it to be a 100% accurate because there's no real definition as to where that distortion takes place. So it's all just really a little bit of a guide for us. So I 30 degrees this side, the degrees on the ra2. So I'll just grab a compass here and make a nice even circle all the way around. And that gets us our cone of vision. The next thing I have to do is figure out, well, how big do I actually won't this room. So in this instance, I think that I'll make it tall feet wide by 12 feet high, and diminishing 12 feet into the picture plants. So I 12 by 12 by 12 room, nice and even all the way rent. And that's gonna make things a lot simpler for us. At this stage 16, that's across the lift there and another six units to the right. And that's gonna get us out 12 foot length. So now we can use that and count 12 feet up to the top here and mark that as the height prayer room. And from that we can start to build the foundations. And so we'll get a nice easy square if I sync flush towards. Because of course we are in one-point perspective. We want everything to be flat towards us. In this instance. I get these nice sharp 90 degree angles here for these lines. And just like that, we've got the initial size of our room, so this is great so far. So what do we need to do next? Well, we need to start adding some diminishment lawns, get these corners of the rooms to actually start moving towards our vanishing points. So I'll just set this up and going corner to corner. Now, we'll just extend these lines longer than what we need to. And again, as I said, it's always a good idea to just make things a little bit longer in this instance. And we can always clean things up a little bit afterwards. Eso, all these corners strike 12, vanishing point here and down to this corner too. So again, we've got these foundations in place. This is great so far. So what do we want to do from here? Well, we need to follow on from what we learned about our boxes and ask wave planes originally, we need a 45-degree measuring point. Now let's get at protractor out and we'll draw that measurement point in. Now, I've got the protractor here, get the ruler in place, and measure things up to 45 degrees. Now, as we said during the lecture, if we don't have a protractor on hand, we just use the same length on the vanishing point to the station point as the landmark on our horizon line for our 45-degree. There we go. So we've got our 45-degree measuring point there. So now what do we need? Well, we need to get that six-foot debt. So what do we do again? We take our ruler and we take it from corner to corner. And all the way to our 45-degree measuring point and draw straight up there. And that gives us a landmark at the beck day for the depth of our 12 foot room. So the intersection there, That's how mockup, Let's draw straight across from that. And all of a sudden we've got a perfect ruin that his nail 12 foot high, 12 foot in length, and 12 foot deep. Now, I just need to finish off the rest of the wall here at the back, getting these true horizontals in having that intersect with those diminishing corners of the room. And then of course, putting in that last horizontal line here, that true horizontal going straight across. And just like that we'd get a room. So just to do a little bit of a recap, We've got a twelv foot by 12 foot by 12 foot room. We've got a station point that is 12 feet away from the picture plane, and we've got an eye level that is six foot from the horizon line. So what do we need to do now? Well, what we're gonna do is create a grid on the ground because we want to put some furniture in here and having some type of grid on the ground is going to make life a lot easier for us. So what we want to do is take these ground line measuring points and draw some guides all the way back. What we're gonna do hate is that we're going to create a twelv by 12 gridded floor. And obviously if we are creating that, that means all the tiles in that grid are gonna be equal to each other. Now, what do we do with that? Do we have to measure each of those tiles to that 45 degree measuring point? Well, that's just gonna be a little bit tedious so we can actually use a little bit of a shortcut to ensure that each of those tours are the same length as I diminish off into the picture plying. And we simply have to use the existing 45-degree market that we lie down for our initial ground foundation c. So we know for certain that these diminishing lines are all equal to each other at one foot apart as they move towards the vanishing points. So let's start to sit this grid up now. So what we're gonna do is we're going to use this 45-degree line that we created for the floor of our room. And everywhere where that diagonal line intersects with those diminishing lines that we've just created. Well, it turns out that that's the exact landmark that we need to ensure our measurements are correct. So all we have to do is draw horizontal lines now wherever that intersection is. So that's one foot there if we go to the next intersection and that's another full and we just keep going back into spice they. Now the further we go back, the more the lines are going to start to compress towards each other here, even though the spacing is getting smaller and smaller between the lines, we know for certain because everything is adhering to that 45-degree measuring point, that all this is 100% accurate. So just a couple more to go. And all of a sudden, just like that, we've got our perfectly gridded room. You've got a twelv by 12 by 12 room, and we've got a gridded pattern on the floor here too. That's going to help us when we start to finish things. So we've got our floor done. So let's put another grid, but this time on the wall, and we're essentially going to do the same thing. So what we need to do first is to actually get some measurement increments. He first on the left-hand side and making sure that we are again using the same units of measurement that we started with. So one centimeter increments in this instance. Now, do you have to put a grid all throughout the room and the answers that that is really you don't have to. You could go to the extra length if you really wanted to, but we really only need enough information here to help us with our furnishing in the next class. So don't feel the need to put the entire room into a grid. We just need really one floor grid and one of the walls gridded as well. So again, repeating just what we did on the floor here, lining everything up and creating some diminishment loads going all the way to our vanishing point. And you might be able to guess what we do next, the vertical measurements for this wall grid, we've got that as pretty good landmarks that we've just put down for our floor. And we're going to use each of those as the landmarks for the vertical measurements. So again, getting these diminishment is happening here, each of them one foot apart. Now the pen I'm using here is probably a bit too thick really for this type of exercise, but it's certainly helps for this instance, so we can clearly see what's going on. But normally what you would do is use something that's a lot lighter and a lot shoppers. Well, in the next lesson, I'm going to redraw everything he using a much lighter and much thinner pencil to got the wall diminishment is happening now we just need to line all avail verticals up with the horizontals that we've placed down on the floor. So straight up here. And all we have to do is follow this through all the way to the back of a room. So that's our grids in place now that's going to give us some great information to start putting some furniture into our room. So I'm gonna finish this off here and in the next video, I'll redraw everything to be a lot lighter than what it is here so we can get a better understanding of how exactly we stopped putting some furniture into this room. Alright, let's move on to that next. 14. Exercise 6 - Drawing Furniture: Okay, So I've redrawn everything to be a lot lighter and dinner just to Mike placing in the furniture lot easier. Now, you don't necessarily have to draw furniture if you don't want to, if you want to keep it simpler and just use blocks and boxes from now, that's perfectly fine, but I'm gonna start to draw in some furniture. I'm going to start with a bookshelf first. So first thing we want to do is figure out, well what dimensions do I want this bookshelf to be? Now I'm going to say to myself, well, I think I want my bookshelf took me about two feet in length and four feet deep. Now, I'll just get those foundations in first and then I'll worry about how tall I want it to be, just using the grid on the ground here. And I can count 1234 back to get the depth four feet deep and two feet wide here. So those are our foundations for the bookshelf. Pretty simple so far. So now I think I'll make the bookshelf about seven feet tall so we know that the eye level is six feet from the ground. So we just need to go one unit up from that. And that's going to give us seven fates. So if I draw a guide line across here, well, that's gonna give me my seven foot bookshop. So all of a sudden now I've got the exact height that I need, so I can now can start to construct this all in. Now I'm gonna do a little bit of detail work here, but not too much just to give it an indication that it's actually a bookshelf. But as I said, if you don't want to go into any real detail, just keep it simple as boxes for the moments. It now need to establish a bit more depth here for this bookshelf. And drawing back to a vanishing point up the top here and putting in a vertical here to finish it all off. Now we need a shelf for our books and I'm gonna put one that's directly in the middle of the book. I said we could use the grid, of course to figure that out. But if we just crisscross over two diagonal lines on this front-facing plane, he well, where that intersection takes place, That's exactly in the middle of that front-facing plane. I can use that now as a landmark to actually create the center of this bookshelf. So that's going to be where the books are going to be applies. So whenever you criss-cross the corners like that for a square, you're going to find the exact center of it. So x marks the spot really in this place. So let's try this again. I'm going to create a little cupboard He, underneath these bookshelf. So again, criss crossing over from corner to corner. This side plane where the intersection is, that's going to give us the exact middle. Now I can use that to create the space between our doors and all of a sudden out bookshelf is starting to take shape. Just to reiterate everything. We've got a twelv by 12 by 12 room. And now we've established that we've got a bookshelf that is two feet wide, it is four feet deep and it is seven feet high. It will start to think about some other objects that we can put in here. Now, first, I just want to put in a little bit more detail here to give it a bit more dimension. And I think that might do for the moment. So let's figure out something else that we can put into this room now. And I'm thinking now that maybe we put in a table. What size do we want the table to beat? Well, I'm gonna say in this instance that it's about 2.5 feet in width and it's about three feet in depth and three feet in height as well. Now, I'm going to place it somewhere a bit more arbitrary in this instance. So I think I might put it two feet back and on the left-hand side of the wall here. So that's my first marker there. So want to 2.5 feet there. So that's roughly where I'm measurements need to be. And we'll go for a depth measurement now. So we need three feet back into the distance here. So 123 is there. And we'll measure that in, get that ground plane in first. And from there we can start building up the rest of the table. So you can quickly see how useful this little grid is to start getting things in place. And even though we're only keeping things pretty simple at the moment, we can still use the same ideas for more complex objects as we go forward. Everything is pretty boxy at the moment, and that's entirely by design. So as was mentioned earlier in the lesson, we want to avoid doing sort of rounded in elliptical stuff at this stage because it brings its own set of challenges and frankly headaches as well. So anything boxy is really a good option for the moment because ultimately it gives us the most information as well. When we start to curve corners out, well, we start to lose a little bit of an idea of where things are positioned in 3D space. So always starting with things that I've got noise, sharp angles like this first is always a good bit. You might have noticed during this class that this is sort of being presented in a very practical ways if we're drawing on actual pebble using rulers and protractors and whatnot. And no doubt, a lot of the digital artist and they're probably saying to themselves, well, do I really need to know all this stuff when you've got all the shortcuts, all the shortcut rule or tools within our applications. And reality is, is that we also do have all of those shortcuts. It's gonna be super useful to actually understand all this stuff. So don't discount it because you might find yourself in a situation where you've only got pencil on paper. It's good to have skills both practically and digitally. I'm happy with this table and they also, what else do we want in this room? Well. I'm going to put in a couple of windows, I think now. So we want some nice big windows to let all that natural light into L Bedroom slash study he is. So I think I'm going to make them six by six, and I think I want to have it directly in the middle of the wool. So we want to stop three feet in because it's a 12-foot room. So 123456, that gives us directly in the center this so that's six units across in a twelv foot room. And having it directly in the middle of the room is actually gonna be a little bit boring. So let's actually lift it up a little bit. So we'll have it four feet above our horizon line and two feet below it. So that gives us the position for a six-by-six window. And we might put another one probably in the back here. I think we'll look not so we'll just construct the rest of this first. And we're not going to worry too much about the depth of the actual window itself in this instance. So I'm just going to eyeball this, and that's perfectly okay to do sometimes eyeballing it is just going to be as good result because we don't really want this to get to mechanical even though we're using lot of measurements, hay and a lot of sharp angles at the moment. This is really just about developing an understanding of how perspective works. Once we get more skilled than we can take a few shortcuts here and put the window we now in the back here. So we'll just use the edges that follow on from our first window here right at the back. And use that as a guide to draw some horizontal lines across. And we'll use the grid on the floor to figure out exactly that six-foot width here. So 123 on the left, hey, 123 on the right, that gives us six measure up from that. And that gives us a perfect six by six windows. And at exactly the same hot as alphas one. All of this measuring that we've done in this lesson, we can get a little bit ridiculously accurate if we really wanted to. And they're all gonna be instances way. Well, we need exact measurements in place for what it is we're doing. However, as we said at the very start of the list, we don't want perspective to override our compositional ideas. So if we're doing sci-fi vehicles or some sort of fantasy costs or something like that. We still want that to be the main force that's driving things perspective has to work with that idea and not the other way around. I'm going to put in something else now I'm going to put in a rug. And I'm going to say, let's say it's about five feet by five feet. It's going to arbitrarily choose a spot here. So 12345 there, that's a length, and we'll go 12345 into the back there. So we've got a rug here, not going to worry about a patent or anything at the moment, and it's something we can think about later on. So things that are coming together nicely. It's looking a little bit at the back of the room. So I think maybe if we consider this sort of Bedroom slash study, it's a good idea to put a bit in. So let's figure out some dimensions for our beds. So let's say, we'll say maybe a seven foot bed. That's pretty good for an average size person though it's site and we'll say it's full foot deep and we'll say it's about 2.5 feet in height. Now, again, 1234567 across there. We could have just simply going one across from our center line. They of course, and 1234, that gives us the foundations for our bed. I get that in place. A very big bed, probably good enough for one person, single or something like that. And so we've got that down and we want one to 2.5 here at the side. And we'll measure that across all the way to the back day, get that measuring point there. And we use that as our God for the height of a bed. Now we need to split that of course, because we've got the mattress and the base. Now I'm not gonna worry really in this instance about how high that split is between the two. So again, just kind of eyeball things. And that's why you can start a little bit of fun actually, because again, we don't want to get too rigid with all this stuff. We want to enjoy art and we won't perspective to work alongside our OT. So of course this has been all about one-point perspective. And generally speaking, it is the easier of the perspectives to start with when we start to shift to 2.3. Well, we've got a whole new set of challenges there that we have to figure out. Drawing boxes, for instance, nice even cubes is a little bit different when we start shifting to 2 perspective. That's something that we can work up to over subsequent lessons. There's still an awful lot that we need to cover here, things like inclines and declines in getting objects nice and evenly spaced apart as well. There's an awful lot to cover with the subject matter. And you could literally spend yeast trying to master it one step at a time and slowly build our skills up. I think this bed is well and truly done. So let's have a look and say, well, what else can we do? Is there anything else we can put in place and maybe what we need to just finish off some type of lighting fixture on the roof. We want a lot that's directly in the center of the ceiling. So what can we do? Well, we just used the same method that we use to get the center of a bookshelf. Earlier on, will, chris cross a couple of lines, one corner to one corner diagonally across C. And to get the exact center of our ceiling just like that. And that gives us the exact landmark that we need for our lighting fixture. So what size we're going to make this, I think, will make this roughly about a foot in width. If we measure all the way back down to the grid on the floor and just get that little measurement point this so we know exactly where the loading fixtures is going to be in relation to the floor. We want the fixture to be about a foot wide, so we'll do half a foot either side is our measuring garden. We'll just kind of eyeball this again up at the top. That's roughly about a foot in length. They will do a rounded fixture just to finish things off here. So it's not all squares and angles in this instance. That's gonna do us for our exercise. So just to reiterate, we've got a twelv by 12 by 12 foot room. We've got a station point positioned 12 feet away from the picture plane. We've got our eye level positioned at six feet from the ground line. We drew in a 12 by 12 gridded floor and gridded wall to help us with all the furniture that we've now placed in it. We'll finish this up here and we'll move on to the assignment.