Creative Perspective Illustration

1. Promo Video: Hi, My name is Brendan Schumacher, and I would like to invite you to my new drawing course Creative Perspective illustration. This course will be demonstrated using gimp software. So if you want to learn gimp, in addition to learning creative perspective illustration than discourse will be perfect. However, the main focus of this course is perspective drawing so you can follow along with a pencil or pen, or use your favorite illustration software or just follow along to learn how perspective works. So what is perspective? Drawing perspective is the art of drawing space and depth realistically, and as a result, is very important for all our design related fields. We need to draw realistically or even just improve your simple drawings into more advanced drawings. Perspective is key. Felixstowe perspective. Drawing is one of the most misunderstood and undervalued drawing skills today's world. It really should be the first step to learning how to draw, because everything we see is in perspective. Whether you want to create better fantasy illustrations, better digital art, prove your cartoons and, yes, even improve your photography perspective is the key to creating beautiful imagery of all types. Many perspective lessons will give you a two step or three step guide to help you to make a crappy drawing. But you still feel lost when you go to express your imagination but knowledge and skill and create a perspective, your imagination will be free to draw anything from any point of view. And in any situation, don't let your imagination get stuck in the clouds. Sign up. Now let's learn how to draw with perspective. 2. Introduction: Hi, My name is Brendan Schumacher, and this is the introductory course to create a perspective in gimp or creative perspective illustration. Basically the point of this course. The main focus of this course is to learn how to do perspective, drawing and what that means is learning to draw with space and depth and dimension. And so, in order to do this, we have to break down three fundamental concepts, which we'll learn in the following lessons. And that is vanishing points, perspective, guidelines and the horizon. A lot of people coming into this course might already know that, but it's very common to have difficulties learning how to apply this practice onto paper with pencil or even in software. And so, in addition to that, in this course, I also use gifts software. And so I would like to teach along the way. I'm going to teach that software for anyone who's interested. If you're using photos shop where Carell or whatever, that's fine, you can use pencil and paper to follow this course. But, uh, gimp is very popular nowadays. It's a free software. Ah, I have other. There are other lessons online about it. I have other, of course, is of course about it. And, um, the main idea of this lecture itself end of the whole course is not to go really deep into what gimp is. But I will give a very thorough crash course, including many lessons which will help you to set up your environment and allow you to be able to draw very proficiently. In this software. You can make perfect lines and shapes and and the race and move things around. You'll be able to draw proficiently in this software guaranteed after watching these lessons and going through the course. Um, so you're looking at the slide up on the screen here? I might have skipped around Ah, it in a bit more about who I am. I started drawing at a very young age, and I was pretty much noted as being a gifted and talented person Arts. However, I do not believe that it is required for everyone to learn how to draw or to understand drawing, to have some type of special gift or anything. I might have just something in my psychology or and me that allowed me to learn to draw a little bit faster than other people. I picked it up a little faster, but this actually, there's nothing that makes me a lesser instructor for having that, because I had to study very, very hard to be able to get even to the humble level of drawing that I met today. It takes a lot of work, and I've read so many books, and I understand the ins and outs of it, and it really is just a matter of it's the same thing as a such as I've learned to play guitar as well rather well. And it's both of these. Things are a matter of diligence, just working at it and understanding it. A lot of people you don't really need to draw a perspective. Also, just understanding it can help to improve your art and your understanding your appreciation of our a lot more because it opens up your imagination, allows you toe, understand how the human eye works and that you know this. This opens up doorways to creativity, which will I will go into that a lot more later or you will simply know by the end of the course. Um and so I did that. I studied a lot of art in school, including university classes, and I've done gallery openings. I have multiple websites with the Web comics like comic books, storytelling, and I've just been an enthusiast for years and years, and I did take a lot of a lot of courses of special, specialized courses. And I've done everything from drawing Teoh like sculptures and oil paintings. And I have tons of oil and acrylic paintings and things and always very well received. A lot of people really appreciate my work, so it keeps me motivated. That's basically what keeps me going. I don't make a lot of money. Thetis. It's hard to make money and art these days unless you, uh you know, some people are very, very lucky. I am getting a little better these days. But as you've seen in the in the promo video, I already have plenty of art to be proud of. And ah, you will see in the following lessons that, um, I very much do you know what I'm doing and guide you through it. So, uh, what we will learn is all of that. We've covered that. Who am I? Um why perspective? Because if you don't use perspective in your drawings, they're not good. And everybody needs to use a little bit of perspective. Sometimes, even if you're doing cartoons, even if you're into more stylized Leinart type of flat surface, just designing kind of our or doodles. There's gonna come a day where your pencil hits the paper and you wish that you could understand perspective better. And when that time comes, you're either going to be good at it or you're not. And so it's better to be good. That's why perspective everybody's art will improve. No matter what type of art you're doing with perspectives, the process is going to be there. I'm gonna show you how I do it. I'm gonna explain things excruciating details, sometimes even too much. Maybe I use photo reference. I demonstrate for you and do everything for you. And then I just ask that you try it yourself. And then I've made these beautiful time lapse videos with sound. They're entertaining and everything, and you can sit back and relax after you've done your hard work and see How did I do it? And then that that should give you some inspiration to try again. and to do it again and again. It's all about practicing. Remember, it's very much. Drawing is just like learning a musical instrument. You've all seen the movies and TV shows, and you know that people practice for hours and hours and hours. It's the same thing with drawing. Please do your practice and just work at it every day, and I'll be so happy did in the future. And, um, that's the process. That's what we're gonna do into that over and over with all different types of exercises and stuff. And I hope that you really get involved. You don't have to. You can also watch this. Like I said, just as a learning experience, that's fine. But for those of you who are here to draw, please do the exercises. Um, you're cheating yourself if you don't And there is a view, just one education, of course, you just watch along. It'll be fun if you don't care about gimp Software then skipped the 1st 2 sections there dedicated to give software. And if you don't care about gimp, skipped the 1st 2 sections, and there's plenty of material for you after that, which you could watch and ah, that's pretty much all I have for the introduction. I don't want this video trying to Long and Ah, that was in formative. If you have any questions, let me know and we'll see you soon in the next lesson. 3. Getting Comfortable - Set Up Your Environment: diving right in. The first thing that I would like to show you here is the environment, which I will be working with when you first install Gimp, where if you haven't played with a setting much, it's going to look pretty much like this. Gonna have three windows and thes air called docks. So you have the left doc and the right doctor over here. So if I were toe accidentally clothes, the's where if I wanted to close him and that later decided I wanted open and then we can go to the window menu and a very first option here recently closed docks. And you just select the one that you want to open back up and they'll come right back. Now. I personally don't like these docks. I like to work in one big window. The reason for that. It's personal preference, and you can set up your environment however you want, but I usually have a lot of windows open. I just find it confusing toe have these different windows to look at, and I just want to focus all in on one environment. Find it easier to work that way. So what? I'm going to do is I'm gonna click the window menu on the top here and go down to single window mode, and you can double click the toolbar at the top here, and that will put everything all into one many. So have all of my docks and the work space in the middle here, which will be opening a new layer soon that I can work in. Now let me show you with the zoom tool, just in case you didn't catch that very well. It's on the top with the window menu. You all the way down to the bottom, or it's a single window mode and you can choose to turn that honor off as against. See, it's checked right now, meaning that I am officially in single window note. Okay, great. So now that I'm in single window mode, what else is different about my environment? Normally, over here on the left, you would see a lot more tools over here. You see, I have ah limited amount about Niner 10 different tools that I've narrowed this down to. I did that in order to make this last lot more easier or this entire course actually to make this course a lot easier because there are so many tools. And if I had them all open at the same time, I think it will be very confusing to look through all of them. Ah, while we're trying to get work done, the only thing we really need to do is draw. Make Some selections were focusing on perspective in this lesson. And so that's the only thing that that I was worried about with that, to make it easier, I just narrowed that down. And in case you want to know how to do that, I will show you very quickly. You go into the edit menu, go down to preferences and right about here, almost halfway down, you see toolbox now in the toolbox, bring up the zoom tool real quick. Here. You can see we have all of the tools in the toolbox and you can scroll down and see. There's actually really a lot of tools in there that you can play with. Um, purpose of this course, of course, is not to teach. All those were just drawing perspective. But I do want to show you that if there were tool in the toolbox that you feel like you don't want to see or you're never gonna use it. Let's say I didn't want this rectangle selectable. Then I'll just go over here in the options and I'll click that little I. And now we go back over here and you see it's going. And then you know, I could do the same with Thea, the lips selectable and back over to my toolbox, and it's gone right so you can select all of the things that you want to see in your toolbox. Uh, let me get out of that zoom mode real quick. And so all I did was I made a minimal selection of tools I believe we're gonna use for this course later on. If I find that we need some more than I'll just add them. But for now, I think that's going to be enough. We're just focusing on drawing perspective. So as you can see, we have some selection tools, you know, the brush and and the pencil and and that's about it. Some of these who might not even use but those will be the important ones for now. And so that's it for my environment. I just wanted to go over that real quick because I know that some people might feel uncomfortable when they open their version of the gimp and notice that it looks different from mine and say, Oh, how am I going to follow this course? It's completely different. Or you might even wonder, Am I using the right software? Eso Now you know. Yes, you are using write software and you can You can even customize your environment to look like mine. That's a great thing about gimp. It's very customizable, and it's one. The reasons I actually prefer it to voter shop in in many ways is because you can customize just about anything. Okay, so now you know about the environment and, ah, in the next lesson will go over the tools that we're going to use, and then we'll start drawing. See you soon. 4. A Brief Overview of the Tools We Need: And now let's have a very quick look into each of the tools that were going to be using. And I'm not going todo completely into detail with each tool. That's not a comprehensive course on that, but just to the extent that will be able to use them for purposes and drawing perspective. As you can see each one of these tools, if I click on ah, click through each one in the top toolbox here, and every time I click that the part underneath here called tool Options, which I can even drag out here, the tool options will actually let me see that construct it and drag it bigger here. This area will actually change. So if I select the eraser or the paintbrush, there's various different types of options that could be used for each type of tool. And so your tool options dialog is going to be your friend when you're trying to customize the way that tools work. But for right now, we're not going to go into depth about that. Let's just understand that that's what that area is, and that's good enough to know. So what I have here is I just did a quick screen shot of all the icons for the tools will be using so that you can have a good look at him. And then I made labels for each one so that we can, uh, go through each one and understand what we're talking about. It's also good to know the names, the proper name of each one of these. So if you decide to go into the edit area and change your keyboard shortcuts, you can search for the correct name. Also, when you go online to search for help on certain tools, it's good to know the correct name for each one. And they do use different names than photo shop. So if you're coming from photo shop, you might want to get used to some of these names. Um, we'll start with the rectangle select and with rectangles select. What happens is I can make a selection of rectangle now. Anything that happens after I've made that selection will stay contained within that rectangle. So if I choose a brush right now and I'll make the brush size smaller here, which I'll show you how to do later and then I start to paint around here, it'll only paint within that area. Also, if I were to choose the paint bucket and fill that area, it will only fill that area. So you're making a selection with a rectangle and basically just working your containing an area that you're going to work with him. Same thing with the Ellipse Select. And, of course, when I want to choose each tool, what I do is a click on the icon in the tool box I want to use. And now, if I can make a lips after I choose the Lips selection tool and it's the same thing if I switch to brush mode campaign and will stay contained within their. So there's a various, many, many various uses for that. Ah, or again, if I wanted Teoh, let's say Go to this toolbox here, making a lips and just delete a circular area like that, then it would be like that now, with both of these, all of these selection tools. One thing that's good to know is that you want to get rid of this election when you're done with it, and it doesn't really come with a button to remove the selection And so you want to start drawing again and trying to draw outside here? It won't work. Let me get back to the correct layer. Yeah, So if I were trying to draw on the outside here, it won't work and you want to remove the selection. So in gimp, we hold down the control first, the control key, then the shift key, and then the a key. And now you can see the selection went away. Now that's a lot of keys to hit a final kind of annoying. Another thing you can do is to just tap the screen somewhere I find, and I'll make it go away. Or if you, if you zoom out a little bit and maybe just top outside of the canvas area, that will work sometimes. And now it can get back into working mood. So that's for Rectangles, select and a lip select and how to get out of selections. We also have free select now with three select. I can go one at a time and draw any kind of crazy shape that I want to, and then I'll finish it where I started in a row, make a selection with that shape. So look, now, if I feel that with a paint bucket, it makes that crazy shape. I can also choose the free select tool and simply draw around with the mouse or with the tablet. You have a drawing tablet, and again, it'll just select the area that you have traced. So that's respectful. And otherwise, it operates insect exactly the same as the other selection tools. If I go to brush mode and try to paint, it'll only pink within that boat. And it will only delete areas from that section and, uh, fuzzy Select to understand, Fuzzy Select. It would be better if I had a photo, but, um, actually, I could do this without photo E. I mean, actually, it might be worse with a photo, but let me show you with the pencil tool right here. What have I had? Various colors here, have a green and red and and we have the black back there, and I only wanted to select one of these colors. Well, with the fuzzy selection selected, I can choose just the green here. But only this green selection. It didn't choose the other green selection because it's only gonna find a similar color within one region. It's not gonna choose all of that color throughout the image, but that one area right there so I could choose that green area. And then, let's say, for example, maybe change it purple with with that paint bucket just like that. So they called us the magic wand I believe in. You can see the the icon for is actually like a magic wine, and you can select areas if you want to select multiple areas, hold down the shift key. So I want to choose both of these black areas. Now, if I just choose the top one first, then I'll only fill in that one. But if I let's get back to the fuzzy sector, if I choose that one, hold the shift key and choose the bottom area. Now when I fill it in, it'll fill all of them in because I selected all of it. So hold down the shift key to select multiple areas, and that's all you need to know about selection with ease. 1234 tools there, and there are more select tools that that I have removed from here. But I feel comfortable that I feel confident that with ease four, you will be able to achieve everything that you need to do. So I'm gonna call this lesson right here because I don't want to get too long, but that basically covers the selections and the overall tools. And in the next one will finish up and look at the rest of these tools here, see? In a minute. 5. Panning and More Tools: okay. And so now, in this lesson, we're going to continue looking at the pencil and paint brush tool and the rest of these tools over here on the right side. We've already covered the the other ones before I do that, I also want to cover very quickly. How is it exactly that I'm moving around like this, I'm sure, is a lot of people who are new to gimp and other dying, or they're going to want to know how to do that if they're not dying to know already. So first, let me show you with the mouse. I'm gonna explain to you with the mouse that, uh, one thing you can do if you want to zoom in and out, is to hold down the control key and then use the mouse wheel to scroll down. And that was the amount. And if you scroll up, you'll zoom in. A nice thing about gimp is that if I'm ah, let me let me place my mouse over this This little layer right here and as I zoom in, it will go towards that area closer and closer. So if I want to make sure I want to go exactly on to the paintbrush there. I just keep my mouse over the paintbrush and I go right into it like that, and I could Right now, you know, zoom into that blend tool right there. So wherever your mouse is focused that that's where it's going to go into as you can see my mouse there, Um, the the other thing about moving round is called panning. Now to pan. Hold down, pushed down thesis, enter mouse button and you can just pan around everywhere that you go. Another way to pan is to use thes scroll bars on the you have one on the right hand side and on the bottom might not have noticed them before, but they're right there and you can use those to pan up and down. And that's up to you. Whatever you feel more comfortable with, either pushed down the middle mouse about button until you see that X Come up and let me even bring up the magnifier real quick. You see, if I pushed down well, it doesn't really help much, but if you push down, you should get that. It looks sort of like a cross hair Basically, it's like a cross here. I'm not sure if he magnifier help very much that, um And then the other thing, if you're using a tablet, is to configure one of the buttons on your pen so that when you squeeze it behaves the same as the middle mouse button. So I have it set up that, um excuse me. This gets a little buggy sometimes. Okay. Ah, I set one of my pen buttons so that every time I squeeze it, it basically, uh, behaves as the middle mouse button. And then wherever I move, I can well, you know, move around, pan around. So that's where panning with the tablet and using the tablet to zoom in and out very quickly. I basically set to hot keys so you could, you know, set you and J or plus and minus. I might not recommend plus and minus there probably used for something else. But I use the number pad a lot. And so I set number eight and five so that it goes in and five goes out and there's keys right next to each other. So it's it's very convenient. So between this and that, I could move around real quick, and that's that in a nutshell. And let's just finish thes these tools real quick. So ah, the pencil in the paint brushes. You know they're going to be very important for drawing especially, especially since we're drawing perspective. The only difference between these two is that with a paint brush, you can get a nice a soft edge. And if you can't tell that that suddenly see how it starts off black in the middle where I painted and it fades off into the white. That's good for painting, and it also gives you just a smoother look in many cases. But if I use the pencil tool now, look at what happens. It's sharp and jagged indigo's pixel by pixel. So if you want to do pixel art, the pencil is definitely your friend. And if you try and do more painterly or artistic style or ah, maybe graphic design type of work, then you would like the paintbrush. I always use the paintbrush, but I keep the pencil available just in case I need to do some perfect straight lines. Ah, and then with that, that's basically all we need to know that there's one other very important thing is the way to change the size of these again. I have hot key selected. Same a zoom in here, the wares humans, you mount. I have hot keys selected so that I can push. Let me change one of my settings here so you can see it. There you can see that is, I'll get a pencil mood. That is how thick my brushes. You can see that circle there. I have a hot key, so that goes down 10 pixels at a time so I can go small, go up a little bit more bigger up a little more and then back down again and get smaller down again. So I have hot keys selected were configured in Thea, going to edit keyboard shortcuts so that I can go up and down with my brush size very quickly. Another way to do this the manual way and I'll use my zoom tool for this is to go over here where it sits size you have here in the tool options. Let's not worry about all of the other ones right now, but just look at size now. If I the size thing here. It's one thing that you have be very careful about with gimp, because a lot of people will probably get annoyed by the top half of the size. And the bottom half of this, um, this slider behave very differently. If I grab the bottom half and slide it, it'll move very slowly. Now with my magnifier here that doesn't show. But now look alike. Go onto the top half. It'll move exactly where I slide it to let me get out of the zoo mode so that I can explain that a little bit better. Now that you've seen it with the zoom on, I think you should be able to understand if I get into the top half. Look at how the slider goes, wherever my mouse goes. But what happens if I go on to the bottom half of it? Then it seems to move a little bit slower. That's so I can get a detailed, perfect pixel, get it right down to the number. But they they really don't show this well in the software. And I wish it was something that you know they should split it in half basically, so that you would know if you grab the top half goods where he went in the bottom half. It's a little bit slower, so for me, I always grab the top half of it and put exactly where I want. That's something that is poorly displayed in the gimp, and I hope they improve upon that in the next version. So, um, those are the most important things to know about the pencil and paint brush. They're basically the same, the size and and all of these other tool options are the same. And then erasure also behaves exactly like, Ah, these where all it does is a race. And with the eraser, I do believe you can do a pixel perfect. Just like the pencil. Yeah, where it goes down to the pixel just like that, by choosing a different brush. But other than that, an eraser does exactly what you think it should. It just the race is now using our selection tool. We learn before, instead of erasing all of that, I will select all of that area or that area, which I don't want any more. And I'll tap the delete key and there goes, it's gone and again to get rid of my selection. I'll just tap somewhere on the campus and it's gone. Bucket, Phil, we've already covered Um, you can fill in a selection. There's really not much else to go in with that. Ah, and I've already used a lot, so I'm not going to spend any time on that way. Won't need it for our purposes. And the rest. This lesson. The blend tour can give you. It's similar to bucket toe where it fills in, but you can get a blended sort of selection, and you can change the type of blended does. So here's like a linear blend right and I could go from Ah, I could have it changed from foreground color. The background color maybe changed background color to red. So to go from black to red, or then change the foreground color to I don't know yellow and and feel like that. That might come in useful later in this lesson, but it's not critical right now. The move tool, um, is to move layers around. This toolbox, which I made a screenshot of and cut out earlier, is on its own layer, so let me get my selection killed. And if I select the move tool, I can now move this layer around. That's all very simple. Just help move things around, and we'll learn more about layers and moving things around as we go along. There's not much to do with that. The text tool. I simply need it here for my own purposes. Toe. Draw some tax sometime. I don't think we'll be using it much. Maybe it'll come in handy later, but I do need it. Teoh right things down sometimes. So I kept it in my toolbox, and there it is. Okay, so that's it for this lesson. If you have any questions, do certainly let me know. I know that some of these things can be complicated, and sometimes I've been doing this a long time, and I have missed some very obvious thing, a beginner step that you needed to know. I did try to be comprehensive, but that's going to wrap up. This section will go into a quiz mode and maybe conducive activities, and then we are ready to start drawing, so I can't wait for that and we'll see you in the next section. Have a good day 6. Make a Canvas: okay. And so now that we have our environment set up, we're ready to start drawing. But we need something to draw on, and that would be to call a canvas. So in order to open up a canvas which is basically opening up a new image weaken go up into the file menu and hit new Let me put on the zoom tool so that we can see this more clearly all the way up at the top left, you have the file menu, and the very first option is new. I want you noticed over on the right hand side here it has control plus end, which means that is ah, hot key, which, ah, hot key combination, which you could also use to open up a new canvas or basically open a new image. And after you do that, it doesn't instantaneously just create a new campus for you. You have some options here to look through. Move this out of the way. So you see Ah, that's basically what it looks like. And if we zoom in, you can see it's the create a new image dialogue here, and what you're going to do here is decide the width and the height of your new canvas, which is very important. If you're making a poster, let's say, for example, a movie poster you would want it to be in, Ah, more of a portrait view. Ah, if you're trying to make a landscape illustration that he'd want landscape view, of course, and there's all different sizes you can choose from. Ah, one thing to make your job easier is to start with the template system. If you're not sure if you want an experiment with different sizes, they have here now. The higher the number. This the most important thing that I want to go over here, the higher the number is, the higher the resolution. And in order to have a very crisp and clear image for professional standards, you're gonna wanna have, ah, higher numbers. All of these here actually pretty low for modern standards. 1600 by 1200 as it says here might actually get you by for a a desktop computer. That might be it might seem like it's big enough for the resolution to make a background wallpaper something. But when we're actually creating the image, we like to work bigger than that. And then later on, we can resize. They have all different types of templates you can use here, Um, including even professional paper sizes that are commonly used in offices. Ah, and they even have a toilet paper size. I don't know why common web banners, etcetera s so you can choose those of you want to. But my advice assuming that your computer is strong enough wood to be, go ahead and start off with a width of least for the purposes of this lesson for this course started with with of 4000 and a height of 2000 that will give us a nice wide landscape look which which is good for doing perspective. It's nice to have some landscape, not always, but in this case, I'm going to prefer having that type of space to work in. Um, well, the template I had up here I have one for when I make comic books. Evan called illustration landscape, and that automatically sets to the 4000 by 2000 which you can see I use frequently in the advanced options. Normally, you don't need to touch this, but just make sure that your X and Y resolution here is higher than at least 75. Most J peg images images that you'll see online are a minimum of 75 pixels per inch in resolution. However, I'm not really sure if that has an effect. Since we specifically set exactly the amount of resolution that we want in this area, this might have an effect. But just to make sure that you get nice, clear image, have this at least above ah 100 I would set. And if you're going for professional standards and if your computer can handle it, then g o you know, go as high as you can. 600 would be the highest that that you ever need to go for a very high quality printing, redoing professional design work. But I find out 300 is fine, and that's really all you need to know. So for the most part on, and these settings, I believe, stay the same in the advanced options. So once you have their set, once you can close that and every time you go to make a new image, just play with the width and the height, get it how you like it and then click the OK key and you're ready to go. Ah, which I have come to find with the zoom to learn That doesn't work very well. Re do that click OK, And there ago of my canvas. Now I can immediately start drawing on this. That's not what we're going to do. Just want to show you how to make the campus and again to show you the hockey. I'm gonna hold out Control push n And again it shows you the same dialogue. This time. Perhaps I'll choose my comic page size and we'll click OK, and there you see it opened up a whole new image and it makes tabs up top here so you can go flip. You can have multiple images open at the same time and flip between them. And if let's say, for example, I had yet another one, I had to work on three images at the same time, and I'll make this one. I don't know random paper size, so there's that one there. I could hold down the control key and hit page down or page up and flip between them, which is actually the same functionality that you'll find in Web browsers, but that's convenient. It just a convenient thing to know for people who like to use the keyboard a lot. So I thought I'd share that with you. So here we have a freshman campus so we can actually start doing something on. And But before we do that, doing understand layers, which is exactly what we're going to do in the next lesson, see you very soon. 7. Layers: Okay, So in this lesson, we're going to be covering layers. And before I do that, I just want to recap quickly on the last lesson, which was opening a new canvas. And ah, also point out here to make sure that you're in a pixel mode when you're putting 4000 by 2000 there. Because, for example, if we were to put it and feet, then obviously 4000 by 2000 feet would be way too much way too big of an image, and it would slow your computer down. Now, speaking of slowing your computer down, if you find that the gimp is behaving a little slow or your drawings or as you're doing, things seem a little toe lag or it seems little slow. That might also be because the CPU or graphics card that you have is not strong enough to handle such a large image. If that happens, try to lower this from 4000 by 2002 perhaps 2000 by 1000. I think most modern computers, even if it's ah simple net book or something, should be able to ah, handle that type of resolution. So but for me, right now, this is okay. A 4000 2000 going to go ahead and click. OK, and now we have canvassed work on now that want to I can go ahead and start drawing directly onto this canvas with the paint tool. So, as you see, you know, there's no problem with that. But later on, I might decide that I've drawn something. I might just be doing some sketching Wish I went to remove. So if I goto hide this layer the first original layer that comes with it, it actually removes everything, including the white background. And I didn't want to do that. This is the beginning stepped understanding the importance of layers. And so, while while I'm explaining the importance of that, let me go ahead and ah, undo some of this real quickly and show you how to make new layer. Um, with the zoom tool here, I'll have to zoom in if you come over to this area. First of all, let's understand. This is the layers dialogue, and you can choose the layer dialogue by flipping these tabs up here. It's the default dialog and gimp, and it will be the 1st 1 you see, and it's the dialogue that you wanna have opened the most. So you don't really have to worry about that. But to make a new layer, we can go all the way to the bottom of that dialogue and hit the very first icon right here and open up this new layer icon. Uh, that's the new layer dialogue. Excuse me. So let me do that again with a zoom tool. If we're over here at the layers dialogue, we go all the way to the bottom. You see that very first icon? It looks like a piece of paper with a folded edge. Just click on that. It will bring up this. Create new layer dialogue. Now, have a quick look at this dialogue. The new layer that we're going to make by default is usually the same. Size is the canvas, which is good, and, ah, you can choose if you want the new layer to have a color filled in or, if you want to be transparent. Usually you wanted to be transparent so that you can draw things on it. If you were to fill it in with a color, then you wouldn't see anything underneath it. So what would the point be? There are cases where you want to use that. But for our purposes, in this course, that won't be necessary. Now, giving the layer a name is very important. The more work you do, the more layers you're going tohave. And it's gonna be a lot easier to be able to flip back and forth between you're different layers if they each have a unique name. So as you see by default, normally this would just have the word, I don't know, maybe new layer or something in it like that. But since I was already playing around with this a bit, I had already putting in the word sketch. And so it saved it for me and that Is that exactly what I'm going to do is make a sketch layer. So I'm just gonna go ahead and click the OK key and get started with this new layer. And excuse me for that little bug. Okay, so now I have a new sketch layer. Let's see what we can do. I can start drawing on here or use one of the tools that we've that we've gone over here before. I'll make a box by using the rectangle selectable, and I'll use the paint bucket to fill it in. Now what if I decided that I didn't want that anymore? I could go over here and just turn off that layer. But my background, my white background, will still be available. If I turn off the background layer, then you see this is the the base canvas that has absolutely nothing on it. That's basically that this is what Gimp looks like when there's no image available. It just says that checkerboard designed to it. So the base layer, which with my background color is white. And then I can turn on delayer above it, which is the box which I've just drawn, and let me get the zoom tool on again real quick so that we can look over here and you see in the layer dialogue, which is the default dialogue. We have two layers, the background layer and the sketch layer, which I just created. If I don't want to see this sketch layer, I'll just click that eyeball and turn it off. And if I don't want to see the background, I'll click that and turn it off a swell and I can click in both Backlund. Another thing that will become important for this course is Thea Pass ity up here. The A pass ity is gonna tell us how much transparency or opacity the layer has. So for this sketch layer here, if for some reason I just wanted to have it show a little bit less more ghost like then I would turn down the a pass it e and he sees as I slowly go towards the number zero. It starts off at 100 have it up at 100 there's, ah, 100% capacity. But as it goes down closer toward zero, it just starts to disappear. And this would be very important for sketching. Now let's make another layer, and I'll call this layer sketch to you can also hold down control shift and end, and that will bring up the new layer dialogue. Call this sketch to and on the sketch to Layer. What happened by the fault is that it was created underneath the first sketch layer where we have a red box already. Now I'm going to draw on sketch to which is underneath that layer. Let's see what happens when we do that again. I'm going to make a box But to make it different when I make a bit of a rectangle this time let's make a blue box and change color Just a little good to my paint bucket tool Philippine. Now look at what happened the blue box Because it's on a layer underneath of the sketch layer. The blue box is actually under the red box. So let me go over here. I'll zoom in tow to show you this. You can actually see a tiny little thumb now of the blue box on my new sketch layer on the first sketch layer of the red boxes there. What happens if I hold down this layer and drag it up on top of the other one? I didn't pull up so well. Sorry. That might be because of my zoom tool causes some of these problems, but basically I'm just gonna grab it and pull it up top, Right. There you go. And now you can see the blue box is on top of that red box. And this is if you can understand that you're already just 100% ahead of the game. That's one of the most important things to understand about layers is that they operate on top of each other. You can have one on top of the other or another one, you know, on top of another one underneath the other vice versa. You understand what I mean? Okay, And so imagine how important that is when you're doing an image that has a background, some characters in the middle and maybe even a foreground. It's really nice to be able to separate the layers like that, and there are a ton of little tricks we can do that will help us. An illustration. And let's go back to that a passage E What if I go into the A pass ity here while I have this blue box A sketch to layer, which is on top now, while I have that selected. What's gonna happen if I grab the A pass iti and slowly slide it down and look at that, You can see now that it has, it's gone slightly like ghost like transparent, so you can see a mixture of the blue and the red just like that. Now take out the zoom tool, so that's not too hard to understand. And, of course, if I bring the rapacity lower and lower, it gets more ghost like becomes transparent until it's all the way going. That's how layers work, one on top of the other. Why is this so important? Well, because before we make a good drawing, we're gonna need to have guidelines, and we're going to do some sketches. First we sketch and then we draw. So if you can understand why we have separate layers and how one layer operates on top of another layer and how you can make some of them transparent so there in the background just to help you as guidelines, then that's gonna help you a lot to be able to make some beautiful illustrations in perspective. And, ah, so that's it for this lesson on layers. If you have any questions, be sure to let you know there are a lot of people who actually have a bit of a problem understanding this and there is a strong learning curve to it. You can fumble around, you can fumble around a lot. I even had problems with. It could be a little annoying at first to to have to play with your layers because you have to keep flipping back and forth between them. But trust me, once you get used to using layers, you will be very happy that you did so and it'll improve your illustrations a lot. Okay, so we'll see you in the next lesson. Do you have any questions? Let me know. 8. Drawing Perfect Lines: in this lesson, we're going to cover drawing perfect lines, which is going to be very important for perspective. Um, and to start this one off, I want to show you that there's also yet another way to open a new layer which some people might consider useful. And that is in the header menu. Here you can find the layer menu and the very first option, and there is do layer. And as I said before, he can hold shift control plus and or control shift. And it doesn't matter as long as you're holding shifting control at the same time. But I'm just going to use the use, the button that time and the default values air always good. So I'm just going to go ahead and click. OK, But another thing I did want to note is that, um, as you can see here, I didn't choose ah, useful name, and it's not really important for this lesson. But in the event that you do want to change your later name, just double click in that area right there on the name and I'll call this one. We'll call it perfect lines because that's what we're doing So we have a perfect lines layer which we're going to draw upon. Okay. Now, to start drawing are perfect lines. What we're gonna need first ihsaa brush, which I already have selected. It would need a color. You can go in here and choose whatever color you prefer in the color dialog. Just a click on that the color palette there, and this will come up and then you're going to need a size for your brush or your pencil. You can use either brush or pencil for this, depending on whether what type of look you're looking for. And so I recommend a size of about 20 or 30 pixels. I'm going to zoom in a little, so I'm not distracted and, you know, by the canvas size and plenty of space to ah, to work on here, I'm gonna go down to 20 pixels. Okay, so let's start drawing lines, whether I'm using a tablet for this, but you can use either a tablet or a mouse, and I'll have the same effect. If you're using a tablet, then let's start off by just tapping on the screen like that and then hold down the shift key and notice how it makes a line, and it starts following my pen around wherever I move it. If you're using the mouse, that'll follow your mouse around and then tap the screen again when you have your line where you want it. And there you go, you have your lower your life. Now when you use the mouse and do the same thing, just to show how easy it is going to tap left, click on the mouse and just tap one spot. That will be my starting point. That's how I refer to it will hold down the shift key again. I could move around anywhere I want when I have the spot I like out tap the left mouse button again and there is my perfect line. So making perfect lines is easy. And, um, there's one thing about this. I prefer a lot more than photo shop. Is that not only can I do that for one line, but I can continue toe, hold down the shift key and just continuously make lines like this. So, for example, I want to make a quick robot just ah, robot face or his head. At least make it a little bit wacky looking a little lopsided looking on, you know, on purpose. There is a reason for this. And as you can see there, I made a not so perfect rectangle very quickly just by doing that. Now, if I continue toe hold the shift key because right now I want to draw his eyes in this area here. But if I continue to hold the shift key, it will follow me in there to make his eye. And I don't want that. So I'm going to let go of the shift key and tapped the screen again. I mean, zoom in or, you know, with the mouse, it'll be mouse click every time I say tap. If you're using a mouse, just assume that means mouse click. So I'm gonna tap the new spot where I want to start his eye because I'm gonna make square eyes and again I can hold the shift key down and go ahead, make little rectangle for his I now let go of shift again tap where I want his next I to begin, hold down, shift and do that again. Then I'll just scribble in little eyes here and maybe he has little robot knows and I'll give him another rectangle for a robot mouth. And then I'll tap tap McCline tap McCline for his teeth. And there we have He's only missing an antenna. There you have little robot head just that quick, just that easy. All thanks to the shift key. Now, one thing about this is that sometimes we might want to have perfect lines. And as you can see, this looks Ah, a bit more primitive, a bit more cartoony. If I wanted to get more perfect, more professional, all I would have to do is hold down the control key in addition to the shift key. So I'm gonna tap the screen again and hold down shift and show you how this is the flexible version of making a line. But now look what happens when I hold down the control key. Look how it snaps into certain locations and what it's doing is it's snapping into 15 degree angles. So we started off if this was zero and you don't have to understand math really for this, But I'll keep my starting point over here, so I'll start again here. The next one should be 15 degrees. The next one should be 30. The next one will be 45 degrees. The next one will be 45. Plus 15 is sixth of God. My math 60 s O B 50 plus 10 to 60 and then 60 plus 15 85 75. Sorry. 90. My math is deplorable. Okay, so I got one of my mathematical numbers there. Sorry about that. I have a deplorable math. Um, but those are all the angles that just goes in 15 degrees. And of course, I could continue to just feather around and this might come in useful for some type of illustration you're doing. Ah, and I will definitely come in useful, I believe later, for some fanning techniques in perspective. So I just want to understand how that works. Ah, but most importantly, it's very useful for making things like perfect boxes such as this or to make a very quick triangle. Most people can get a feeling of 45 degree angle. So they had a make a perfect 90 degree angle here, just like that, and then tap the starting point again. You can tell that 45 degrees which is the midway is just about there That is very useful for making mathematically perfect shapes and stuff like that. Um, so imagine making infographics or doing some professional graphic illustration things, uh, things like that which require a lot of perfection. This can be Well, it's not that it's handy. It's actually essential. Really need this type of thing. So now we're gonna make a new robot, Gonna zoom in and we'll do this time is to have it really perfect Madrid all of hiss, both of his eyes, all at once. And I will divide them in the middle like this, and then use my eraser. Just take away the little space between the eyes. Maybe it's not perfect. I could have also used Thea with the eraser. Actually, if you went to erase the line could also hold down shift and control and do a ah, perfect race. Let me see it. Make it bigger shift control. And they're perfectly a race except well, I didn't have it dead on spot, so I didn't get it, But yeah, that that same technique works with that. Let me demonstrate that a little bit better here. So if I had a big colored area. Now I'm gonna turn on my eraser, hold shift control, and there goes a perfect race. So all of the tools, not all of the tools but all of these techniques that I have should demonstrated with Thea . The brush will also work with the pencil and the eraser. I just want to make that clear. Okay, Now do some circle eyes did before these, I just drawing freehand the little nose and I might have run out of money, run out of room for his mouth, But let me see if I can squeeze it in there. Oh, no, it might not be big enough, but I hope you get the general idea. Let me erase his nose trying to look perfect news. And I want a perfectly straight antenna. Maybe even, uh, perfect bucks of an antenna. Something up here and oh, somewhere along the way, I had accidentally changed the brush size when I was playing with Thea the eraser, which might have been what made it more complicated. So getting a little nose here now with a smaller brush, I'll try. Try to do the mouth. You have a tooth in the middle couple of teeth over here. Oops. See there. I forgot to hold the Dulecha of the shift key. That's what happens. Okay, Um, a perfect antenna. The perfect square. There is a very square robot, and you can see the difference where one of these looks very wacky and cartoony, and the other one a bit more organized. So when you're trying to do something, ah, more perfect. Which is going to become very important when we're dealing with perspective is that we want to get a lot of things to be just right sometimes for guidelines that helps us to make to make better drawing Teoh make better finished illustrations. Okay, so that's it for this lesson. We've learned how to make straight lines and continuously straight lines and also have to make perfectly vertical horizontal lines and how to make perfect angles and things like that. And that's, uh, all we need to know to get started with the drawing guidelines and stuff. So that's it for this lesson. If you have any questions, let me know and we'll see you in the next lesson. 9. Drawing Shapes: lesson. We will be covering drawing shapes with selections, which is very handy because not all of us have perfect hands. And I'll give you a very quick example of this. Let me zoom in and using the rectangle selection tool. I can use the two strokes that it's actually the stroked selection dialog, and I'll just use the default values there and removed my selection there. You can see we have a very perfect square. Now if I were to do that using Thebe Rush Tool, even with the shift key and control key making a perfect boxes, we did before. What's gonna happen when I go to close the box? That last line there, it's not so perfect. And I might have to come in with an erase tool and, you know, it just won't be perfect. There's gonna be a little bit of imperfection there, and in some many cases with graphic design and such for the purposes of this course, it won't be all that important. But it's a useful tool. The have and we will use it a time. So I wanted to make sure you know how to use this. Um, now one of the problems with this tool is that it is not the easiest to find and give you an example of that with the Let me show you with the magnifier tool if we go up here. Uh, sorry, actually, let me first make my selection have a again a square. And then I'll go up into the edit menu, which is the only place not the only place but the first. There's commonplace confined this and there it is stroke selection, and it brings up our dialogue so that I can hit stroke and make that selection. Now the reason I dislike that is because it doesn't really make any sense. Why is it inthe e edit menu? You would think it might be in the select menu, but it's not. It's in the the edit, many another place we can find. This, which is also painfully difficult to set up, is to go over toothy right side doc and to click on this little arrow here. This is useful information, but it's it's annoying thing to do. We'll go add tab and we'll add the selection editor tab. Now that I have the selection editor Tab, you can also I'll do it again. I'll make another rectangle there. And you can also see the same button, the same icon down here. Let me zoom in again real quick and at the bottom of this selection. Editor Ted, we also have the stroke selection Dialog, Papa. So both of these, in my opinion, are really annoying to use and to remember their location. And I don't even like toe have this open. By the way, if you want to close, if you add some tabs to this section on the right, just click on that that little arrow again and select clues Tab and it'll go away, and then we go back to the layer tap. Um, So what I highly recommend for this is to set up a hot key for it since I use the number pad. Ah, lot. I just said it to the period key. And as I said in previous lesson, you just go into the edit menu keyboard shortcuts, and you can find a stroke selection in there and give it your own personal key. So, um, that is about using this tool to begin with. And now I'm gonna show some other uses of it, which is, for example, you can make a perfect circle. I'm gonna use my hot key. Here comes the dialogue again and let's have ah, closer look at the dialogue and how we might want to use it. That default selection is to just make a perfect line as you saw before and will be very similar to the pencil tool, and you can choose the width of the line. That one was actually six pixels wide. But in many cases, uh, particularly for this course in many cases will be drawing by hand or with the mouse and using the paint brush tool. So in that case, I'm actually going to select struck with the paint brush tool. And if you're using pencil, you can also use this. Drop down many here and choose pencil or airbrush. Er, you know you can use all of the tools, whichever one you want to draw with. So I'm using the paint brush tool, so I'm gonna select that so I'll go ahead and stroke it with a paint brush tool when they removed the that magnifier. And as you can see, it made a perfect circle for me, using my paintbrush and you can tell it's a paint brush because it has the nice soft edge like that. And what if I were to change the settings on the paintbrush? Right now, I have thesis eyes of the paint brush at 11 pixels. I'm gonna move it upto 50 pixels just to make a nice clear example, and I'll make another circle. Open up the dialogue. As you can see, it saved my settings from last time. That's a very convenient. That's one good thing. It's still set to use the paintbrush, and it's still set to a strict with the pink tulle. And now I'll click the stroke button and there you have it. It actually used all of the settings that I had the same color, the same with and everything that I had set up for my paint brush tool. And so the that's two things you can do is draw a perfect square very quickly. Well, that might not seem perfect, but imagine doing graphic design. Or, as you know, we get into doing perspective and making very nice, sharp edges and stuff. This could be very handy and same with any other selection. I can choose to take the, uh the, uh this wand here or the lasso tool is they call it and I'll just click that. Let me bring my paintbrush down a little bit. 2 20 pixels. And there it is, a job, right right along that and also the fuzzy selectable. So that had a area. Let's say, uh, look, I draw out, draw something that looks like a bunny rabbit. I'll do this freehand. Maybe it's the rabbits have big years, right? Yeah, it's very sloppy, but now I can select that area. And what if I wanted to make it look like a cartoon? So I'll do a black line around him. First, let me make it look a little bit more like an animal. So we can so that you know what I'm talking about, right? And now I want to draw up black line around him so I'll choose the get a black line here with my paint brush tool, and I'll bring the pixels down to 20 to make a sharper line. And now I'll trace that line with this tool. And there you have a black line, so any kind of selection you have whether it be the fuzzy select or the chemistry of it is the free select will not last till they call it last. So in fitter shop as the free selectable or the the lips select tool or the rectangle selectable. Any selection that you have you can outline it or trace it with the paintbrush were actually with any tool that you want. And that's really all that you need to know. Ah, I mean, that's all that I wanted to demonstrate With this, we could make a triangle real quick, using the same technique as you see there. So that's fun and easy way to make perfect shapes and hope that will be useful not only for your future gimp ing, but ah, particularly in the upcoming lessons where we are officially ready to, ah to start drawing in perspective. So I hope that you got a lot out of learning how to use the tools in these lessons. One more quick lesson on saving a file and then, ah, then we'll start drawing. So thank you very for your patience. And this part has all been boring. But we need these tools in order to get the job done. You can't build a can't build. I don't know what to say. Can't build a house without a hammer. You can't build a table without would hammer and nails. You need your tools to make things right. So these are all the tools that we need already start drawing having some real fun So, uh, looking forward to that if you have any questions, make sure to let me know and we'll see you real soon. 10. Saving Files: this lesson is on saving files and gimp, which, as simple as it might sound ihsaa little bit tricky. You want to make sure that you do it right when you save a file and gimp the default safe, which is in the file menu as usual, you gotta file menu and you go to save its not going to save it as even if you click save as it's not going to save it as a PNG or a J peg the type of images that you would like to share online. Or, you know, if you have a project need to email to somebody, is going to save it as an ex C F extension. And that is Thebes default gimp extension. So, um, whenever you save with with this option, your only saving it as a gimp file. And that's important because you don't want to lose all of the work that you've done. When you've made all of your layers over here and perhaps even some tool settings, you might have had things like that. You want to keep all of that in your gimp file is the same as if you're working in photo shop you would say the PSD file. So that's how that works. And let me just say this real quick and I'll show you if I open it in this folder, which I saved it in. This was, by the way, just a crazy, quick robot that I made. So I called, called the Final Robot. You can see here I have robot dot exe cf, and it's a gimp image, so they go toe a double, click that and go to open it. It's going to open up yet another version of that same gimp file here is the 1st 1 here in the first half, and there is the same one. So that's how you save a regular gim file. Now, if you want to create a PNG or J peg the type of file that you upload and share with your friends on Facebook or Twitter or to email for work for that you need to export. That's the important part of this lesson. So again we'll go into the file menu. But this time we're going to go down to export as you can do export or export, as we do export. It'll just export in the same version that you did it last time. This time I'll do export as just so I can show you. And as you can see, the default here happens to be j peg dot jp g. And that's all you have to do is change the extension, and it will save. The default is usually PNG, but I must have saved it previously as a J pic. And it will remember your your previous option. So I'm gonna click export for that and gives us a little dialogue here. It has different dialogues, depending on which type of image Ah, file you're trying to save, as this is a J peg type of options here, so you can change the quality and it has some advanced options. I'm not really concerned with all these things. I only normally a care about the quality. I put it up to 100. That's good enough for me. And I hit export and so might have to get out of my, uh, excuse me. Get out of my magnifier. Merit There real quick so that I can do that. Export. And now, if we g o and here you can see, I also have the robot dot jpeg file, and this is the file which I could actually share with friends. Or send the email and do whatever I have to do. And, ah, just as a quick demonstration if we were to do the same thing again, good to export as, and I want to save it as a PNG file. All I have to do is to delete the J Peg and put PNG in its place. Make sure you spell it correctly, of course, and then click export and again you'll get another dialogue and you can change the settings as you see fit. Click the export button back to my folder, and now you see, I also have, ah, PNG version of the same image. So that's the difference between saving and exporting in Gipp and, well, you know, it's very important thing to know. Maybe very simple, But if you'd never use gimp before that might have confused, you don't want to make sure that you know. So that's the end of this whole section about drawing shapes, opening and saving a file. And so now we have all the tools that we need to start drawing perspective We're going to start doing that in the next lesson. I'm very much looking forward to seeing you there. And as usual, if you have any questions, let me know. See you soon. 11. Perspective Fundamentals, One Point Perspective: perspective fundamentals in this lesson. And in this section, we're going to be covering these six items that you see here and where to help us to understand the basic fundamentals of help, Perspective works. And it really is just this easy. If you get thes thes six concepts understood, then the rest becomes very, very easy, and I don't think any of this is complicated at all. I'm going to be using photos, actual photos to show you real life examples of how these things work, and then we will move on in the next section to actually start drawing. So as you can see, the 1st 3 items that have here highlighted are the true fundamental elements that we're going to need to understand perspective. It's the vanishing point, perspective, guidelines and the horizon. And after you have these three elements, you convict begin to understand one point perspective, two point perspective and three point perspective. So the 1st 3 items we have here the elements that we need to understand how the point perspectives work and then we can see these different types of perspective. Why is that one point or two point or three point so let's start off for the 1st 3 the vanishing point and actually will start off right there with the vanishing point. So here I have what would be a very good example Photo of one point perspective. And the reason this is one point perspective is because everything vanishes off into one point as things get further away. The I the human eye, However, God designed it for us or whatever it is in nature that made us how we are. Things just seem to get smaller as they get further away. And if I were to continue to walk down this path, by the way, this is, Ah, an exercise path or a bike path that was designed to my hometown for exercise. And, uh so, uh, yes. But as you go further down the path, things that seems smaller will become bigger as you get closer to them. This is commonly known phenomenon that most people are aware of. So how do we understand this when it comes to drawing? How do we use this information in order to help us to make illustrations and to draw better ? The first thing is to look at the perspective guidelines which I've prepared here and notice how everything. And this is a really good example, because these air all man made items Ah, and so you know, they're perfectly straight and boxy and notice how the guidelines that I've created here, everything seems to go away. What's wrong there? Sorry. Everything seems to go off into the distance, and it all meats at that one point. That point is called the Vanishing Point. And I have highlighted it here with this little circle the red circle. The circle is not the point, but the actual point would be that tiny little dot where everything meats and when you start to draw, you're gonna be you're going to want to be very precise about exactly where that point is in order to have good drawings. So that's already two of the the two of the three things that we need to understand their to understand perspective is number one. The perspective guidelines. That is the way that everything tapers off. Now let me zoom in here in some areas and show you how I drew those guidelines. All I did was I looked at the edges of things that are going off into the distance. And here's with the guidelines, right? And I chose defense here. There is that the top of defense. Excuse me that we make a layer of real quick and choose a color. There's the top of the fence here and the bottom of the fence here. Now we know if we're looking at this vent straight on that, it's all the same height. But as it goes off into the distance when we're looking at it from this angle, it seems to get smaller and smaller. And so I drew those guidelines here, and, as you can see, they all go off into the same exact point. The same is true for the tops of these houses. The same is true for the sides of this path, and even for this little I'm not sure this is called. It's a It's a little booth little resting area that they have there, and I just followed the bottom edge of it from the the beginning to the end there and made a line that goes off to the distance, and they all just magically hit that vanishing point. Now this is one point perspective and one point perspective. It's very easy because everything is just lined up perfectly. And you usually get this kind of you when you're standing dead center in ah, in the middle of the road, for example. And basically you're in the middle of a spot where everything is boxed off, usually a man made environment like that. So that's how that works. And then we have the vanishing point. As I mentioned here, that is the name of the spot where everything vanishes. As things get further away, they get smaller and smaller and smaller until they're so small that you can't see him anymore. They just vanish. So we call that the vanishing point. And then the last point to be made here is thehyperfix, one which I drew with the green line here on the horizon. Well, everybody knows what of rising is if you look at the ocean, you can see a perfect horizon and, in one point perspective, usually the horizon. In a perfect photo such as this, it's just a straight line. But what if I had tilted the camera and I will move to a different tool for that? And so I will use Thea rotate tool for this. And as you see here, if I were to let's say, if I tilt it the camera like this and rotated it and I'm just waiting for that to go, is there horizon still that straight, perfect line? Actually, the answer to that is no, you never really know exactly where the horizon is. It depends, and we base our horizon off of well, the horizon, as we know in English, is the It's like the edge of the earth. When you look at the ocean, however, what happens if you tilt a photo or what happens if I don't know you're in a spaceship in outer space or you're on the moon or something like this? The rise in in drawing is actually a concept. It's an idea which helps us to understand where the vanishing point will go and its relation to the perspective guidelines which we use, and we'll learn more about that later. But for now, to understand these three basic concepts is that the vanishing point always ends up going to the horizon. It will meet the horizon depending on where the horizon is, and the vanishing point is also the place where all of our perspective guidelines will end up meeting it. So we have perspective guidelines, vanishing point and Horizon. And that's basically all we need to know. For this intro to perspective, the fundamentals of perspective. And that's what I'm going to cover. In this lesson. I'm gonna break the other ones down into two more lessons. We already covered one point perspective. So next we'll do two point and three point perspective, where it gets a little bit more complicated but using the same fundamental ideas of vanishing point, perspective, guidelines and the horizon. So we'll see you soon. Do you have any questions? Let me know, as usual. 12. Two Point Perspective: in this lesson, we're going to cover two point perspective. We've already gone over the fundamental elements of vanishing point, perspective guidelines and the horizon, and we had a quick look at them with one point perspective, which is relatively easy to understand. The red lines here. Arthuis guidelines. Perspective guidelines. The spot there that I've circled in blue is going to be the vanishing point. The center of that's vanishing Point. And the Green Line, of course, is our horizon. So what happens when things are not perfect? Perfectly how to say, centered, as they were in this voter where I was sitting dead center in the middle of the bike path? Well, actually, even just a little bit to the right, but almost dead center and all of the objects in the photo, such as the houses are lined up perfectly with the road. Everything is is just a very boxy, very simple, But you'll find often in real life if you're walking through a city or even just looking at objects around you. What if you want to draw a computer, we're going to draw a TV or a desk. It's not always gonna be it that perfect angle. So we need to look at other types of perspectives in order to be able to draw all different types of things. So the 2nd 1 which is just a step above one point perspective in complexity, not too complex. But it's just it's the next level is two point perspective. So here's a picture I chose for two point perspective of of the House. And as you can see, we're not looking straight on to the house. It's at an angle now, even though it's at an angle, We can still see that things air tapering off into the distance as it goes off into the distance. Things get smaller and let me quickly create a layer so I can draw on groups. And, Joe, I'm gonna need a red because there's a blue sky there, Okay? And as we can see up here, this is Thekla assist. Part of the house is in this area here, and the furthest part of the house is over here, and we can see that it's going in a downward direction because it's getting smaller as it goes into the into the distance. Same thing here. The distance from here to here is going to be a lot longer then from here to here. And I proved that again with my, uh, perspective guidelines, which I drew out Now the first thing that we're going to need to understand with two point perspective is that we can rarely see the vanishing point, such as we did in the one point perspective. This is why one point perspective is so much more easy. As you can see, the vanishing point highlighted in blue here is very easy to see. It's right there, and that's one point. That's why we call it one point perspective because it's just one point. There's one vanishing point in two point perspective. There's going to be two points because we're looking at something on an angle, and so there's two directions. We have two sides of something that are going off into the distance. One side, in this case is let me change the color to this blue. One side is this area here, which is the back of this house we can see here, and the other side is going to be this side of the house. Over here you have two sides of the house and they're both going off into the distance. So what I did is I had to enlarge my canvas here and I zoomed out. And there you can see the same phenomenon this happened is happening with both sides. With the back side of the house, it also has a little vanishing point. And with this, well, the side side, it's actually to the side of the house circle at the side side of the house. The side edge of the house also has its very own vanishing point. So we have to vanishing points in order to make this type of structure where were drawing something on an angle. And so I do those vanishing points out with these blue lines blue circles Excuse me The same way that I did with the one point perspective, and I want you to notice I'm gonna zoom in here. It's not very, very perfect. You can see there's a little gap in here. Little space in here that goes away. And also perhaps the place where I started this line and how I tried to line it up with with the other window there. Everything is not perfect. The reason for that is not necessarily because the perspective guidelines are wrong, but the house itself might not be perfect. There's a lot of imperfections in the architecture and building the house might actually be a little bit slanted, Maybe. Ah, the ground that it's on has, you know, crept in a little bit as years go by and there was a lot of rain and stuff. These types of things happen. How about the Eiffel Tower? I'm sorry. Not the Eiffel Tower, The Leaning Tower of Pisa. So what I meant to say maybe the Eiffel Tower even is a little slanted. I don't know. But as as you can see, for the most part, everything does go off into a vanishing point for that side of the house and for the other side. It also has its own vanishing point. What I did here because we don't have a very good view of this side of the house. But I chose Thies. This is called aluminum siding. You have all these lines here, and I just tried to follow a couple of those lines. You zoom in, you can see this red line follows that aluminum siding line very very closely and also at the bottom of the house here. It follows it very, very closely, and there's just one more line up there that follows closely, and they all end up magically in that spot. So as things go off into the distance, they always meet some vanishing point. And that basically covers two point perspective. Another interesting thing to keep in mind, as I have stated already it's very important to remember, is that you rarely see these vanishing points in any photography or drawing or anything. When it comes to two point perspective, they're usually outside of the canvas. And so it is a challenge to do two points. Perspective. It's something a lot of people get nervous about. It's much harder to do two point perspective, as opposed one point perspective. Because of one point perspective, I can just draw this line here and start making guidelines all over the place just by following that one line that will that one point you make lines all coming from that one point but in two point perspective of our earth to start drawing on a blank canvas and my canvas was only this big Well, then How do I know exactly where the vanishing points are? Because they're off the page and with most photographs, you'll notice this to be true. Okay, so that's understanding one of the challenges of two point perspectives, which will go into more detail later. Hopefully, ah will not hopefully, definitely. But hopefully I'll be able to make it easier for you. And again, we have a horizon now what I did in order to make the rise in here. Unlike the one point perspective where I just assumed that there was a straight line there because you can tell. But in this version of the photo, in order to make sure I have my horizon correct. What we need to do is to go exactly from one vanishing point to the next. We have to vanishing points in two point perspective, and in order to get you're your horizon. Correct. That is exactly what you need to do if this photo were tilted, which I'm not going to do right now, but we'll show in later examples. This voter were to be tilted. I would not keep this horizon line perfectly level perfectly horizontal as it is now. I would also have to. If I talk to the photo, I would also have to tilt the horizon line. It must meet the rise in line must travel from one vanishing point to another for the particular object that we're working on. And so that is one very important thing to understand about the horizon. And other than that, there's not really much to say as an introduction to two point perspective. I hope that this gives you the idea of everything that you need to know. And these are will just basically is everything you need to know these air the fundamentals as usual. If you have any questions, just let me know and remember. That two point perspective means what it means. We have to vanishing points, right? We have one on the left, one on the right, and they all well, all of my guidelines will meet those, and this applies toe boxy objects to, of course, I want to mention that we're using all these photos at our houses and streets, things that are boxy later on. We can see what happens when we get into rounder, smoother objects. The same rules will apply, but it just gets a little bit more complicated. Okay, so that's it for this lesson. If you have any questions again, let me know, and we'll see you soon in the next lesson. Where? Recover three point perspective. Can you handle it? We're gonna have three whole points. Okay? We'll see you soon. 13. Three Point Perspective: in this lesson, we will cover three point perspective. This the last of the point perspectives that we will cover. There are actually I wanted to mention very quickly. There are further versions of perspective that go off into 4.5 point six point. I find them to be a little odd and for most cases not necessary at all. For any type of illustration work that you're doing, it usually gets into the more surreal and abstract looking type of things Thes three that were doing the 12 and three point perspective will, in fact get you through any type of illustration work that you're looking for. Comic books are having fun. And if you wanted to go in a dive into the other ones, which I personally don't have interest in, you can. You can find information on that and look into him, although I guarantee that they will be a lot more complicated. So, yeah, I'll leave that up to you. For now. Let's just finish off with three point perspective, which, if you followed everything so far, should not be that complicated. First of all, why do we have three point perspective and I'm going to be using this photo here, which is a building in the Royal Palace of Phnom Penh, Cambodia, which I've visited. Um and so the reason that we have three point perspective is because not everything in the world has only two sides to it. We start off with one and two and then three point perspective because we live in a three dimensional world. So we have flat things we have with basically to make a long story short. We have with we have height and we also have depth. Most people learned this in elementary math, or at least geometry of hope. Now the hate math. That's okay. We still understand that the world is not two dimensional. It has three sides to everything. Box has a with and as height and as death. So it's not too hard to understand. And that is exactly where our third point comes from in three point perspective. So let's start off with the two point perspective, which, if you followed the previous lesson well, I think you can see it already. You can guess where these guidelines are, and there they are right there, and my vanishing points for these here. All right, there. Now why is it that I decided this image has three point respect, perspective? And by the way, not all images and not all drawings, illustrations require three point perspective. But this one does. This one does have it, and I could tell because it has an angle to it. We're down on the ground. It's a rather tall building, and we're looking up at it. So since it's very tall, it's going to be going further off into the distance in height. Usually, for example, with the previous example here, it's going further off into the distance towards the left and also towards the right. So there's there are two points, but for this one, we also have the height because the building is tall and that's where our third point is going to come from. So I made a second perspective guideline here in a different color, and it's very, very subtle. Let me zoom in first to the photo and get out my pen very quickly. I might need a layer Sorry for the ah quick moment of distraction here, but I noticed a soon as I looked at this photo that these lines here have an angle to him and they're slightly just leaning towards each other into the distance. This way. So I know that there must be a vanishing point there. However, it's very, very far away. And much like the previous photo, I had to expand the canvas to see how far away it was. And lo and behold, it is, in fact, very, very far. So look at how far. Look at how much bigger I had to make the canvas in order to find that vanishing point. But it is, in fact, a real vanishing point that we zoom in here. You can see. Ah, I'll take away the other perspective lines. And as you can see here, I followed the line, uh, turned the passage down a little bit on this so you can see better this. Ah, Whoops. Wrong button. This yellow line here, the first yellow line that you see right here is following the edge of the building almost perfectly. And over here, this this one I decided to follow what was the edge of the door or no, actually, I started from down here, and it also happens to follow the edge of that wall there. So you have a line here and for the 3rd 1 I just obviously used the side of the building which was available to me there. And so I just let these lines go wherever they want it to go. And lo and behold, they ended up with the vanishing point, although it was very, very far away. But it's there. And so with these vanishing points are with ease, perspective lines and vanishing points here I'm trying to find the other layer. Okay, there it is, because this file is very, very large. So it's behaving those slowly. Sorry about that. Um, with the's perspective guidelines, I actually ended up finding three vanishing points. They have the one up here, it's very far away. And then we have these two here. This is why drawing three point perspective can be very intimidating because it is not abnormal that the third perspective point from a regular human point of view will be very, very far off up in outer space somewhere like that. It's like up up with the moon, and the reason for that is because we're usually standing on the ground somewhere down here . And it's only with a very, very tall building like a skyscraper that you actually start to see that tapering off. Unless you want to lay down on the ground and take a photo looking up at the building. Ah, then you're not going to see that you're not going to see the angle until it gets very, very high up. And so, in ordinary locations, we don't have a lot of skyscrapers. You're not going to see that third point that in a nutshell, in fact, is this Ah, this lesson. I also drew the horizon line for this, and I have one more point to make three point perspective. We're going to do more work on this three point perspective later on and show you how it can be easier to draw. Um, one of the challenges, of course, is going to be how to make these vanishing points when they're very, very far away like that on a normal canvas or what? If you're working on paper, how can you and you know, of course, on the software here I can expand the canvas and make thes banishing points which are very far away. But what If you're working on paper or doing it painting, then what are you going to do? Well, work on those techniques later. But, uh, another thing that was important with this picture. I want to show you how the horizon I followed my rules as I told you before, and look at how the horizon is slanted. That's because I had to tilt the camera in order to make sure that I got all of this image , and I wanted to make sure that I got the tip of the roof for that beautiful design there and to fill in the bottom and show the stairs. So I had to tilt the camera, and I probably might have even leaned down or a sat down on the ground a bit to get that type of angle. However, because of that, and because I tilted the camera, the horizon has been slanted. And for those of you who are studying photography, there's a very useful lesson to understand because I might want to straighten out the horizon to make it look a bit more pleasing to the eye. What happens is when you have let me remove some of these guidelines here. When you have a photo that's like that and the horizon is slanted, it kind of makes you feel a little dizzy sometimes. And it might make you think that this building is even greater or bigger than it actually is. Because you get this sort of, Ah, vertigo feeling and feel dizzy. That's because the horizon is slanted, so you don't feel balanced. So what I did is I put this on a new layer and I straightened it so that the horizon is perfect, right? And look at, Ah, openings, other layers real quick. We'll see. First. My horizon line was there. I had it drawn perfectly from Vanishing Point Vanishing Point. And then when I rotated it, it came out like this. Now even that you might still feel like it's a little bit odd, but that's because the photo is also tilted. So what I did is I cropped the photo and let me just remove these real quick and there you can see we have a photo with a perfect horizon, and it probably feels a lot more settling than the other photo was the original photo, which is here, Let me go back to this one. This is the original photo, a little wobbly. And then we have the new photo where it might be a little bit more straight and you can tell it's more straight, more organized. I have actually have proof for this, because look at the line that I have here. Ah, layer is off. Sorry about that. Look at some of these lines in the very front here. If I hold down control and shift as a I showed you in a previous lesson, I can actually draw a perfect line right there. Do that again. Now you can see all of the lines here in the foreground. Not all of them. But most of them are relatively. They're perfectly vertical telling us that I do have my horizon line in the correct place. Even this one here it's a little bit off slightly, but that again could be because the building itself might be a little slanted. Obviously, it's a very old building. I think it is because it's ah, what's an ancient palace, but yeah, you know. So that's Ah, some very useful information, even for photographers. And it might help you understand more about your illustration. Maybe you do wanna have wobbly effect. I noticed a lot in comic books. They often have these really crazy sort of Ah, uh, horizons where they put it on a strong slant so that you get this crazy flying. Maybe it's like Superman flying through the air and they want you to feel that vertigo feeling of, you know, where am I? Where is the horizon? I'm flying. I feel dizzy. But if you're trying to make a nice, perfect photo and you don't want that type of feeling that effect, then you can use these vanishing points to help you to find the horizon and then realign the photo and crop it and get a nice, perfect horizon for your photo, no matter where you know, no matter what angle you took the photo one. So that's it for three point perspective. We're gonna simplify some of it some of these techniques in later lessons when we start drawing. And that's it for perspective in general, just to review very quickly our main elements that we required to understand perspective where the vanishing point, perspective, guidelines and the horizon not necessarily not necessarily in that order might have been perspective. Guidelines are needed first to find the vanishing point, but they all work together as a team. The rise and does come less because I need my vanishing points in order to find the horizon . And then we did one point perspective, two point perspective and three point perspective. They were all covered in these lessons. I hope you learned a lot. I hope you enjoyed these lessons. And if you have any questions, do certainly let me know if you have anything to add. Do certainly let me know. I'm always learning new things myself. So, uh, I'm looking forward to seeing you in the next section. And I do believe it's time to start drawing. Can't wait. All right, we'll see you soon. 14. One Point Perspective Intro: Okay, so now we've covered the interface of the software itself, and we have all the tools that we want to use. And for some of you who might be already familiar with the gimp and perhaps starting at this point in the course, which is fine, we're going to dive into how to draw one point perspective. First, very quickly. I want to review some examples. That's why I drew this gift box here. So you can see something. You can see the goal that we're heading for because it's very useful sometimes to see where you're going before you get there. Otherwise, you just feel like you're blindly following along the way, right? So first, let's have a look at this simple gift box. And also, I brought up an illustration that have done not so long ago to show you that even though it might seem that we're doing something very simple at first because I'm gonna be taking baby steps, don't worry. This will lead you towards some much more complicated things, as you can see in this illustration. A lot more complex. But we still have this simple concept of one point perspective, and you can see that here very clearly, where everything is leading off into one point, which is kind of over there. And Thea in this this area of a here. Excuse me. I make a black and pretty much see everything is going down, you know, from here to there and there to hear it all just ends up in this one little spot right there. If I were to do that, actually a bit more. Excuse me for being fast and leads, but you can see everything kind of just all goes towards that at one point right there and so that that's a good example of one point perspective and where it can, uh, where you can head towards with the illustration with using just that simple one technique of having one vanishing point. Now, if I were to just show you this box at first, which is this is basically what going to start off with. Some people might feel confused by looking at it, because what exactly is it? You might look at it and just see a bunch of random shapes. But to get the idea here turning to a simple gift box which I think everybody can recognize , no matter where you're from. Just little box. A gift that you give somebody for Christmas or a birthday. In this case, I gave it some Christmas tree decoration, so it's a Christmassy kind of gift box. But in order to draw that box first we need to envision the box itself the base of the box , which would be a cute, simple cube like this. But how do we get a perfect cube with perspective? We can make a cube like this. For example, I could draw one very quickly. A lot of people who start drawing in grade school, sometimes they make a simple cube like this just by drawing. Uh, excuse me for that, the way I did that, but okay, you draw two boxes basically like that, and then you connect these lines here and there. You have a cube. But if you continue to draw just simple boxes like that, simple cubes like that without any orientation without any meaning to them would have Roger Ah, little box here. And then the next one I do is is much bigger. And it has again I connected lines. Let me try and get right spots here. Now you can see this one has more perspective to it because it feels like it's getting smaller as it goes off into the distance. And that's fine, too. But notice now that have these three boxes and they all seem to be floating around in different spaces. Well, if you're trying to make an illustration of, I don't know anything like a city illustration or even people standing in the room and you want the orientation of things to feel like they're not floating all over the place, then you're gonna need some guidelines. You're gonna need a horizon and all of these things, like we studied before in the previous lessons. So now you can see what I actually did to make this box was I had a horizon line and I made one vanishing point. So let's go ahead and see how it did that in the gimp 15. Making Guidelines with Layers: Okay, so now we're going to draw a simple box which will have the goal of being a gift box. But you don't have to worry about all of the detail and stuff that I've added for this one . At first, let's just make a simple box like this one. That's gonna be our goal for this lesson. And I wanted you to know that the reason I did all this is so that you can see something tangible that you can recognize in order for us. Teoh, come to this point drawing a box so you'll have a goal in mind that we're gonna come around to and this gift box could be used actually, if we're practical design purposes such as making a Christmas card for someone Or maybe it could turn into ah, birthday gift box with different design, you know, so you can do whatever you want with your gift box. But, um, for starters, is just something easy to draw. So I had all these layers ports such as a shade layer, and I had the decoration for the Christmas trees and the color. But when you break it down, it's actually just a black and white lines like that on one layer. And in order to achieve those lines, I started off with my perspective layer down here, and that looked like this at first. So you see the resulting image that we made started off with some really abstract and bizarre looking stuff, just a bunch of random lines around there. And if you're if you were to look at excuse me, any, um, very complex illustration with a lot of perspective to it, I can assure you that they started off with at least some semblance of lines like this, and with professional artists who have been doing this for many, many years artist's and illustrator's or graphic designers that might have more simplified methods of getting things done. But I'm sure they always start off with at least a horizon line, or they know where the horizon is going to be. And, ah, they eventually will have some some type of guidelines like this. OK, so let's go ahead and see how did I achieve that process? Here's a more simplified version of it, but I'm going to start off with the new file so you can see everything from scratch this is 4000 by 2000 wide. As I said before, you can choose your own dimensions. But for this, for the purpose of this lesson, we should have a landscape view, so that is wider than it is higher. At least we should have that much. And the first thing I'm going to do is to click the new layer button over here. Just gonna make new layer, which I believe it covered, definitely should have covered before. And I want to change the name of that, actually, to double click on it perspective. So just call that perspective and you can name your leg layers whatever you want later on. But for now, let's add these two layers and keep the names the same as mine. This one has already called lines, as you can see, so we have the first layers called perspective in the second called lines. Or I should say these are the second and 3rd 1st you have the background. That's the base layer. But we still wanna have two more lines and you'll see why in a minute. Okay, so let's start off on our perspective, layer. I'm gonna draw horizon. We already know how to draw a perfect line. I just want it right in the middle. So now on my perspective, layer, here I have a perfect horizon and we don't have to be 100% perfect about this, but we're going to make a vanishing point. I'm just gonna choose one spot, Zoom in and just make that one little point right there. Now, with that in place, we can start to draw our box and I'm going to start drawing this box below the horizon later will cover above and below the horizon. But for now, let's start below the horizon. So you can either use your rectangle tool as we did before or like me. I always like to do things manually. I'm going to just go one step at a time and connected over here. And then we have a square to start with. So now that square is the front end of our box, and we want to start having it go off into the distance to make a three dimensional cube. So first we tap each corner of the box were rectangle as you want to call it, get each corner and draw it all the way back to the vanishing point. So now we have the depth of our box. All we need now is to have the back side of the box drone, and that's pretty easy. You can choose any starting point. It's better, I think, to use this site here because you can already see how wide the front is. And now you can judge your depth here and get a better idea of how how far back you want it to be. Second demonstrate if you get it right, just go up and hit right in the middle of the line. Now that one was a little bit off. You can zoom in if you have to, right in the middle of the line. And if you do it just right, it will come back exactly where it started off because we're holding down the shift in control key to make perfect lines. And so as long as you touch the other lines exactly where they should meet, it just magically makes a perfect cube for you like that. So that is the foundation of our box, and you can even see the box start to come through but we have all these extra lines that we don't want. That's why I put this on a perspective layer. And now I'm going to change the A pass ITI, which is right up here down to 50%. And we can trace over the parts that we want to keep and forget about the perspective guidelines. That's basically the fundamentals of this lesson. So on. I want to remind you on this slider here, make sure you grab it at the top half. One of the tricky things about gift. If I grab the bottom, Hamp the bottom half of it and get that little weird looking slider cursor come out, I can drag it all the way over here and it still has moved that far. But if I grab the top half of it, I have much more control. I'm just gonna put about halfway. It doesn't have to be perfect. Now I'm going to select my lines layer, so I'm drawing on the line layer and not perspective layer to make sure that you can hit the eyeball. Of course. And you see, my lines were still there. If I hit the eyeball in a perspective layer, it hides it and the lines are still there and vice versa. So we're on two separate layers and the lines are above the perspective layer. Now the perspective layer is transparent, and I'm gonna draw in perfect a pic with the black in this situation to cover over this box first traced the outside and in the case where I'm going doing these up and down lines and that front line there. I used to control Key to get perfection. But now, on this type of line from here to there, I have to set it free. So I'm holding the shift key. But just get back where where I need to, because that's a sort of an abstract angle. And I'll get the front end of the box and this line here, and we should understand that these lines back here are the opposite side of the box, and unless it's a glass box, you simply won't see those lines there, so we just won't draw. There's ones were only tracing what would be on the front of the box. And now, when I hide my perspective guidelines, there you have perfect little box with perspective and this is the foundation. This was the beginning for me making this type of gift box over here, which later on, could also become a much more complicated illustration, as I showed you in the left last lesson. But starting off just to make a simple cube that has perspective with it. This is basically what you gonna do when I have to. Separate layers will start off with our perspective guidelines and then have our drawing layer, which I call lines. Or you could call it drawing or whatever you wanna call it. It's up to you, but just make sure that you are prepared to have a perspective layer which you're gonna erase later. Excuse me. I'm going to hide that later and have your final product on separate layer. That's basically all we need to know to get started with one point perspective. So see in the next lesson, see, very soon 16. Let's Draw a Simple Gift Box: Okay. So with everything we've covered so far in probably guess exactly, we're going to go with this lesson and it should be short and sweet. It should be very easy. I'm going to start from scratch from the very beginning so that we can just review everything we've done so far and add upon it with the new stuff that we're going to do here . But there won't be very much new stuff. It's mostly just taking what we've learned when I add two new layers. And when I call this one recalled perspective, the name won't really change anything that we do. But it's just nice to have in case, just in case things get complicated later on, and they will, that they always do. So we'll start off just following protocol here. Make sure I'm on the right layer. That's perspectively. I want to start right there, and I wanna have ah got my brush where I want it at about actually going to use 10 pixels right now. I might have used 20 earlier, but at this point in time, I'm going to use 10 and yet that seems to work fine, and we'll go try and find my middle here right about here, right? And I make my vanishing point. It's good to make that vanishing point right in the middle. For starters. OK, so let's go ahead and notice Even what that vanishing point. I was little sloppy. I could clean it up a little bit. It's good to be perfect, but in many ways is just not very important right now for that. As long as you don't do something random like this, as long as you have a little dot right there and as long as you can see exactly where the center of that dot is, because on your screen that should be no problem. When you're doing your work, I'm going to go here recovering all the things we did before. I'm going down, shift in control at the same time, making these lines, and it's not unusual for this to not hit that perfect spot right there, right? So sometimes I just undo the last line and actually, I just let go of the control and say, you know, just forget it. We just have to make that line up, The more the more important thing is to have these lines meet each other, and that's kind of self evident. I think everyone can can see that. Now you see, here we come up a little mistake there, but at the end of the day, this is our perspective layer, and so it's not very important and that's it. I'm done right there with the perspective layer. So that's done already. Now I'm gonna go ahead and trace my lines, as we did before. Now, the reason I trace the outside first is so that we can have a perfect looking outside without wearing about making mistakes on any of the lines. And when I traced these lines here again, I'm gonna let go of the control key. I'm more concerned about hitting that perfect spot right there and get it right on the corner because, for example, if you get it here, that's just wrong. It doesn't look like it's a proper box. It actually doesn't look like it's anything just very strange, right? This line should meet exactly what that corner, and I'm even going to ignore the perspective side of it. I just want to hit that that perfect black line corner right there. That's the most important part. So now I have that I can pretty much get rid of my perspective. And there is my box, but I want to make a gift box. So here is where the new stuff comes in for the gift box. I'm gonna turn off my line layer now and go back to the perspective layer for the gift boxes we see here had some wrapping, right? And so there's a ribbon that goes around and the rapid. So to make that bow first, I'm gonna makes more guidelines. I'm gonna try and find the center of the front of the box. Now, this parts little hard because you have toe. I kind of imagined that this back area, these this line this time this line are not there for a minute. And just judge from here to here, that's the front of the box, right? And then find the middle of the box of the front of the box there. This is where your imagination comes into play. This is why they say artists are very imaginative because you have to force your mind to see some things sometimes that aren't there. Now, if your heart, if you find that difficult to do, you could also do something like erase these lines here and say, Oh, there we go because I'm done with those lines now I don't need them. And so now that there's lines around the way, now I can see lips do that again. Now I can see here is the whole front of the box and now I can make to we'll try and make see if I could make two lines here for the front ribbon, and that doesn't look very well centered. It's hard to tell you see, even I get a little confused. Yeah, I don't think that's right. Let me. Maybe it's easier to look at the bottom of the box, too. Yeah, judging from the bottom, I think this be about the middle, and now we have this side of the box. I'm gonna do the same thing. So again, if you want, you can erase this to make life a little bit easier for you. And this side ribbon should be a little bit skinnier, a little bit thinner than this one, because it's on an angle, so it's gonna look like it's a little bit smaller going into the distance and then the top of the box here. What about these lines? This line here should also go back to the prospective point and also this one. And this line here, because it comes up and wraps around the box, is just gonna go perfectly around like that. And that's basically what I did to make the ribbon that goes around. So let's bring our lines back. Now. I have these guidelines. I can fight alone, just like this and this and again. We're going to follow these guidelines that went back there and some of these I'm going to even just erase in a minute. So it's not very important because we have to put a bow on the top and nothing is perfect on the gift box. Anyway. It's now let's go ahead and imagine where is my boat again? I can go back to the perspective layer, and just because perspective layers like our sketch layer, we can just scratch around. But everyone, let's imagine my bows around here. So that's the case. I'm going to go ahead and just a race. Some of this area here, and some of this can be trial and error. This isn't This is not a perfect art form like tying shoe laces or even tying shoe laces might not be a perfect art form, but if you wanted to be perfectionists about it, maybe you could draw a circle in the middle first. That would be where the not of the bell ways and maybe go like this to make it look like it . Not then just draw the bow like this. Course you can look at ah, many different types of bows out there, and as many ways you can draw or design Rambo sort of like a Bob Ross. He can make her unhappy little bill. I made one of these here and look at the original one. I also had this coming forward. That's like the clipping of the boat, right? It's gonna be a little bit different every time when I draw it, and that's about that. So now I can remove my perspective lines and there is my gift box, and that's really all I want to do for this lesson is just to show you how I could make that black and white gift box, and he can do color later on. And I will. I will show you a little bit of that coloring a little bit later on. But for right now, keep this short and sweet. There it is, in so many easy steps, just two layers and a handful of easy steps. A little bit of understanding how the layers work and how we can make guidelines. And there you have a simple gift box which, if you decide to color and decorate later on, would end up looking like this. All right, we'll see in the next lesson. 17. Box Party Time-lapse: 18. Above and Below the Horizon: okay. And so up to this point, we've drawn everything below the horizon. That's what I've been aiming for anyway. A lot of you might have experienced that drawn already, and you already know above and below the horizon is very different, but I want to take it one step at a time just to make sure very clear on why that is and how this works. So now, drawing above the horizon prepared thes gift boxes here where I drew them the same way that we did before. But I started with the perspective guideline boxes being above the horizon and looks. And then let's look at the results. What it looks like is it's as if these boxes are floating in the air. Or maybe somebody is holding them up in the air or they're just levitating there, right? And you'd wonder, Why is that? Well, of course your eyes, your imagination can go away. You get carried away. Excuse me, and it'll think of many reasons of why that might be, But basically they're not on the ground and there up above the viewpoint. So let's understand what the viewpoint iss. I've made a little illustration here This is where your eyes are looking at things in this middle line that I ju in here is thehyperfix, So wherever your eyes air looking at that's where the horizon is. The horizon is not to be confused with the horizon that you see when you're looking at the ocean. Or if you're looking off into a mountain landscape scene, the actual horizon when you're drawing is sort of a phenomenon. It's sort of a mathematical phenomenon, or just something that we have to take for granted as the middle of the space where you're looking at. And so, as you can see in this illustration, of course, if the eye is here looking out this way and the boxes above the middle of my viewpoint, then you're going to be able to see the bottom of the box. But if a box is down here, the lawyer viewpoint, then you'll see the top of the box. And so it's just like that when you're drawing with perspective, drawing above and below the horizon. I hope that's easy enough to understand by itself, but I understand it could be a little bit confusing. So in order to get a grip on this and to as an artist or an illustrator, or somebody who's making arts and crafts to be able to use this tool when you're drawing and to know when to draw about the rise and went to drop below the horizon. I recommend doing a lot of exercise on that, just like we did with this. Now we can draw a whole bunch of boxes above and below the horizon. And don't worry if it's a gift box or any kind of box. Just draw a random boxes up and down around the horizon and just noticed how the lines all go up and down and again. Still everything going towards that same vanishing point. So let's go ahead and do that as an exercise and I'll make you Will you do it by yourself first, and then I'm going to make a time lapse, which you can watch. It's better if you try and do it first by yourself and see the types of challenges that you have, and then watch my time lapse and see how I did it that might help you to Well, this will force you to put yourself in a situation where you're gonna have to learn something as opposed to just copying what I do all the time. So I'd appreciate it if you go ahead and try and do it yourself first. But if you're too busy or if you're just browsing through the videos, Okay, go ahead and watch the time lapse next. But it's gonna be better for you if you have the time to stop and practice drawing boxes all over the place above and below the horizon. And even in the middle, such as Let's get rid of these lines would have fight draw one here. This I haven't demonstrated yet. Right in the middle, just like that. So this box is going to be both above em below the horizon, something like that. And so you can drop boxes just all over the place. But make sure they all go to that one same vanishing point and then watch my time lapse after that. And then we'll take it from there and see what kind of challenges we have. Toe meet next. Okay. See you soon. 19. Crazy Boxes Time-lapse: 20. Overlapping Perspective Shortcuts: in this lesson will cover overlapping and some shortcuts to make your perspective guidelines go a little bit smoother and easier because, as you can see here when we have a lot of boxes and I'm sure you probably experienced this while you were drawing is that it can get confusing sometimes to have so many lines all over the place. So it's nice to find some shortcuts. But before I talk about that, let's understand. Overlapping now overlapping is something that started to happen right up here in this area to make sure I have the working pen here where you can see this box Here is a little bit behind this box here, so I'm using the word overlapping. It's not necessarily the best word, but for all intensive purposes. When it comes to drawing, you might have an object like Here's a rectangle here, and maybe there's another rectangle behind that rectangle, and that one would go like this. And so you can see this rectangle on the front is overlapping, the one in the back for very simple terms. I just choose to use the word overlapping. But in Riel World had to say in layman's terms in the real world when you're looking at things we would simply refer to. This is I don't know, something such as it's in front of or behind something. And so unless the thing in front of something is made of glass, you cannot see through it and so you won't see the thing behind it. So when we're drawing, this overlapping type of phenomenon has to be kept in mind. Let's ah, do a more complicated example here, where if I were to have a box, perhaps over in this area here and it's behind this big box. So I have this big lips. Excuse me, I have this big box here, but I want to have another box that's behind that one. So how do we do that with perspective? Go back to my perspective lines here. I had a horizon there. I'll turn that off and let's just go ahead and start drawing a box to seemly that we did. But I'm gonna have a good behind this box now. Do the same thing with the perspective guidelines. They will go back to one vanishing point. You know, sometimes I get a little sloppy. That's not what I mean to do. But I'm doing a lot of work very fast here, and you should be. Try to be careful. Get all of your lines perfectly down there. That's another reason why shortcuts are going to become very important. Because there so many lines that build up going to the same place. You can also make multiple layers, and, uh, we'll get into more of that later. So now I finished my box or I haven't actually let me go here. The boxer will be something like this to make the back of the box. And then let's see what happens when I go to my line layer here and trace it. Now, if I trace the whole box here like this and go back there like that, then obviously we can see there's something wrong. It looks like both boxes are merged together. Or maybe this box in the front is transparent. So what I want to do, instead of doing that is just to ignore the object in the front and trace around that. So I'm going to start here. I'm not going to draw this line, Gonna start from right here and go up like this and I got down here That probably should have started back here, actually, but I'm not always perfect. Okay, so now when we go back and close the perspective lines, you can see that box is hidden back there is very strange is very awkward because I put it just like in that odd position in the most. Looks like it's merged together with that boxer inside of it. But well, that's what happened. And in real life, you're gonna have situations like that when you're drawing things that actually happens, you have many things merge together. Let's try another one right here. I might have box a little bit back in the distance, and it's gonna be a tall box. Just ignore this line inmate. There. This one will go back to the perspective line. Here is another case. You can see we have way too many lines going on. It gets confusing back to my traceable layer here and again. I'm just going to ignore all of this area, gonna stop it right there. And actually I forgot to draw the back of the box. Should be there. Keep doing that. And there you see, we have this box in the back turn off perspective. There, you can see that's actually very normal. This one is not weird at all. It's just this box is behind that one. You can't see the bottom of it, but we assume especially they put the horizon on. So things seem to make more sense. We assume that it continues back down here and probably goes like that. Your eyes will assume that it's behind that object, so the front object is overlapping the back object. And that's just something went to cover very quickly, and that will actually become very difficult, very challenging at times. But it brings us back to the perspective shortcuts that I was talking about. These two things kind of work together. So since many things they're not going to be drawn many times and also noticed how for this box here I didn't draw that back line. That's also because of overlapping. I'm not going to see all of the things in the back. And so I emerged both of these topics together the overlap, overlapping and perspective shortcuts. They both fall into the same category because there's many things I'm not going to see even more with this box, you can see here. I didn't draw the whole back of this box, But when I finished, you could still tell that box was there. I just simply didn't need to draw all of those lines. And as we said before, we'll get how many lines were starting to go back here is getting confusing to the extent that I can't even find my vanishing point anymore. It's getting very crowded in there. So instead of doing every line, a good idea is toe and you have to use your imagination. This could be difficult at first, but just draw the lines that you need to try and draw another box over here behind this one . You were here like this, and those are all the lines that I need for that box. I don't need to go inside here. And then I only need this line to go back to the vanishing point. This line as we can see, I'm not gonna finish drawing it. But look at where it goes. Is gonna be behind the other box and under it, so we won't need it. Also, this line this look real quick we're not going to need it because it's going up towards the horizon. And that's one quick way to judge. If I have a point down here and is going up towards the horizon, then we're definitely not going to see it. And this point is above the horizon, going downwards. So we're not going to see it. That's one quick way to judge. That is to remember where your horizon iss. So now let me finish strong in this box just here because I already know this line isn't needed. So therefore, this line and this line also will not be needed. So all I had to do was to draw 123456 lines for this box and I'm done. Let's go back and trace it to make sure that my theory is correct. This this 12345 A few lines like that and come out and there you go, a little bit of stick their when it clean up. There you go. It looks like a box that's behind the other box with much less work. And so that is an example of perspective shortcuts where you could make your work not only a lot easier, a lot faster, but also a lot cleaner, so that in future you won't have so many lines going back there. And the more you practice those shortcuts that easier and easier your work will get. Okay, that's it for this lesson, and we'll see in the next lesson. 21. Thinking Outside of "The Box": this lesson, we will go outside the box because everything up to this point has been boxes. But what if we want to draw things that have different shapes now? Oddly enough, I think that drawing boxes is really, really going to cover a lot of what people need to draw in in scenes and environments. Maybe not nature so much. But in city like environments and endure environments, you'd be surprised how boxy things are. People like to make things and boxy shapes. I guess it's easier that way. Or I don't know. You could do some thinking about that, arguing with friends. It's just what people seem to do to make things in. Boxes, houses and and rooms and stuff are all very boxy, so you can actually do so much with just boxes. But there's a lot when we go into nature. And, of course, there are things that people make to, such as balls, maybe a baseball or a football. They'll have odd shapes to them, but they still have perspective. So let's go a little bit outside of the box, and I'm not going to get very crazy with, you know, like very odd shapes like spirals or anything. But let's just look at some of the basics of doing some round objects and triangle shaped objects so it could start to make things like ball shapes and houses and stuff that have triangle rooftops and things like that and a lot of it. Some of the basics you can figure out there will help you to figure out the rest as you go along. Anyway, it all sort of it helps each other. It's sort of like a spiral of knowledge that builds upon itself for a snowball. As it goes down the hill gets bigger and bigger. A lot of things tend to, ah, blend together along the way. Okay, so let's start off with I don't know, a simple triangle shaped. Let's say I'm going to reuse this that I have made here and take one of these boxes because we already have a foundation here and I want to. I want to show you when you see how you take a box and you can turn it into something else with just these thes same type of guidelines. So that's why I started off with boxes. Is good is that's the point. I'm trying to make you start off with a box and you can turn it into something else. So I'm gonna take this box here and on the front of it, I'm just going to add a triangle shape on my perspective. Length and in fact, here's something I was saying earlier that would come back to what I wanna do is go back and make a new fresh layer with a new fresh horizon. And I'm gonna make a new vanishing point right in that spot right there. And then I can go ahead and just hide that old one. And on this new perspective layer, which I'll just leave that the default name there. I'll have that there, and I'm gonna hide this layer. So now I have a fresh new perspective lyric and work on. That's very helpful sometimes because there's just too much going on in that original layer and we don't need it. So here I am, on the new perspective layer and try and make something like a house kind of shape. So do you like a triangle shaped rooftop? Let's see exactly what happens when we continue to follow our perspective. Guidelines so on this layer since I lost the information that I had on this layer. And actually, in fact, I didn't even draw that to begin with. But on this layer, let's go ahead and redraw to perspective guidelines that we would need for this box and they would go something like this. So there is my box again and it's not perfect, but I just did it the best I could for now. So there's There's the box you can see almost in a three dimensional, transparent kind of way. I have my triangle in the front here. We're going to get rid of the rest of this stuff in a minute. If it doesn't make sense. If you don't understand just yet, that's okay. Just wait until we're done here and I think you'll see what I mean. And then since we have a triangle in the front here, I'm still going to go to the corner of the edge of the house and this corner of the edge of the house and go back, and I think that should be enough. So now with these new guidelines, let's see what happens. I'm going to turn down. I don't want to erase all of the work I did before. So again, I'm going to make a new layer, and I'm just gonna turn down the A pastie on this. If we're doing this from scratch would be totally different. But on this new layer I'm going to draw here is the front of my house. So you can see where I'm going at. And here is the tip of the roof goes right back to their. And then if I go back here, you'll see I'm missing a line. But these lines go back to their but I can connect those lines from there to here from here to there. Then we turn off all these other layers that confused me. But there you see, we have something like a house shape. So let's imagine, just so I could make this more clear. There's a house and here's maybe there's a upstairs. You have a couple of windows appear kind. Looks like a factory house. Maybe over here there would be a little chimney going up. It's very rough on the smoke coming out like that. So there is something that looks sort of like a house with a very basic 123 simple lines. But the thing that focus on the lesson to be learned here is on how I took the box and turned it into a house shape with that triangle formation. So if we go back a few steps here, you can see I still have my box. But all I did most importantly, was on the front of the box. I just changed the shape from a rectangle because originally here we had this rectangle box like shape that we drew in the front. But I just changed that shape into this triangle like shape. So if I were to do it again, I would go like this. Maybe I could just go like that. And then I did the same exact thing I would normally do with perspective guidelines going back to the vanishing point just like that. And then I figured out where everything else needed to be. So let's try another odd shape and I'll go back to now. I have too many layers. I'm going. Teoh, delete some of these this'll is my new perspective Layer, There is my lines. Right. So close. Now use this one here lets do the opposite of a house. Let's make an odd shape that comes down. It goes up like that on the front. And so with this notice that this line and this line, they won't need to change. They're exactly the same because I haven't really changed those points. But this new point here that dips in that one will need a new line. And then how do we judge these lines? It's basically is gonna come down like this, and this one is going to come down like that, right? But how do we get it? Perfect. Well, I think with one point perspective, with this style that we're doing right now, what you want to do is keep it parallel with the front line here. So it should be exact the same angle as this line at the same degree. And it stops when it hits that middle line which started right here. So it's going to go from this point to that point. And the way to do that, to be perfectly honest, is just toe eyeball it. I hold down the shift key. I start from my one point here well down the shift key and said, Go back and forth and see or does it feel good? And it's right about there. And now I still keep on holding down shift and I just go up to my other point. And there we go with that odd shape. Now go back to my lines layer. Have Thea new Line layer here and on the new line layer, I will trace this new odd shape that I have created just like this again. It's good to go in the trace the outside first and that if you will try not doing that and see what happens, and you'll see why. The reason is because you get a nice, smooth outer contour edge if you trace the outside first. Okay, there we go. So now we have my new odd shape. Close everything else, and that's that. So now we're no longer making just boxes were making random, crazy, different shapes. Let's see how much further we can push this. My line layer has now kind of become a sketch layer, and I'm just sketching on this there. What if I wanted to make a round top to this? It could be we were designing. I don't know a baseball bat or something, but it's not actually baseball bats very long. Maybe it's like a, uh, weird church building some type of religious temple. And so now with that up there, what we're gonna do, we go all the way to the back. As usual, let's start off with our perspective lines I have my new horizon is that in a new vanishing point, it's the same as the other one, but I just made a cleaner image. What I'm gonna do is I'm gonna choose the very top of this, that the last thing that you're I should see before you see the other side. So it's using the very top of this and going all the way down to my vanishing point. That's that's almost about perfect, but actually kind of feel like it's not. It's not the very top that we're gonna see. We're going to see if maybe around here around this part, this is hard to put in the words. But with a little bit of trial and error, you will definitely get it because you could just tell when it's not in the right spot, and now we go back to the back of it because that's also gonna be rounded off. This going to be the same shape from front all the way to back. How did I get that again? We're gonna have toe. I bought a little bit, but one thing we can do to see Where should I start? My curve? Where? Start curving it is. I can go from here. We started the curve here in the front. So let's make a vanishing guideline Vanishing Point guideline. And that will tell us the curve should start right here. So that zoom out a little bit basically is gonna go like this. And these are all just guidelines. Now we go back to our drawing layer, And in gimp, we have thes smooth stroke. Let me try and turn off Smooth stroke control. Straight line. See what happens. There were actually let me even draw, like, wiggly line like that. And then I'm gonna turn on smooth stroke and see what happens. You can see a noticeable difference to smooth stroke. It actually helps to make every line that you draw bmore smooth. If I turn that off, a better example might be trying to make perfect circles or something like this. It's a little bit wobbly. It picks up all of the detail in your mouse or your tablet. But if you apply smooth stroke, can you see how it's just a little bit smoother, a little bit more perfect than these lines over here? It helps to smooth out all of the lines that you draw. So I'm going to use smooth stroke now. And I usually find that starting from the top, working my weight down helps me to be a little bit more study and consistent of my hand on ah, hot key, where shortcut key to undo any mistakes that I make. So you'll see. Sometimes it looks like I'm drawn the line again and again. That's because I feel I didn't get it perfect. I just tapped that key that myself do it again. Of course, you don't have to be perfect, but we aim for perfection in art. When we're drawing, everybody likes to see a nice, perfect drawing, and right over here do the best I can. It's far off in the distance, so people shouldn't be too nit picky on that. Hopefully draw this guideline up here try and get it to stop right where I think it hits the top right there. And as you have one more line here to draw so tough there, hit the corner, never go. And again I'll turn off my other layers. And there you see a have a oddly shaped Would you call it just a round top sort of building object? Something like that. So that is with that we have around with a triangle inside outside. That is the very basics. Beginning of how Just starting with boxes, you can still move into much more complicated shapes and all different types of things. And you could go crazy and go in one of these areas here, for example, and make a weird shape like this and just draw out all of your perspective guidelines. We do it real quick. Make all kinds of odd and crazy shapes like this. Just make sure that every point gets its own guideline and you should be good. Now, at this shape, it has a lot of angles that I have to match. Try and get him the best I can. This thing here I just wanted to be parallel all of the other ones, and I trust that real quick. Well, it turns out, and so the point. I'm going to wrap wrap this lesson up when I'm done here. The point is that starting off with the understanding of boxes and how they work in perspective will lead you to pretty much everything else. You can even go off into making cones and pyramids and and everything, but just start by making them from inside a box. And then it will be much, much easier to understand if he started off just trying to understand why or how to make a pyramid in perspective to be very challenging. But if you first draw a box and then try and put your pyramid inside the box, at least you have a starting point. And there is my oddly shaped object with perspective right there. If I turn that sideways, I think it could be some kind of church. Or could it be a spaceship or something like that? Interesting shapes So anyway, that's it. Drawing outside of the box short and sweet. For this lesson, we will be getting into much more complicated objects because we're going to be drawing some real things and real scenes, such as houses and and neighborhoods and even cities and stuff later on. So we're going to cover a lot of thes types of odd shapes and much more detail, and so don't worry about that. But this is a starting point to get you outside of the box and we'll see you in the next lesson. See you soon. 22. Draw a Simple House Scene: in this lesson, we're going to cover how to draw a simple house scene which will incorporate all the stuff that we've studied thus far. And it should be very easy, as even if you could see from the last lesson or which I believe should be the lesson that in which we broke out of the box. That's Ah, believe what I called it. This was out of the box. And so you just make sure I have all my capacities and things. At 10 point, I want to set this pressure size two dynamics off, and in case you're having that same problem, many types of drawing dynamics in here, which I covered another courses but just have dynamics off if you're using. Regardless, if it's a tablet or a mouse, make sure your dynamics are off. If things don't seem to be drawing correctly, might be one of the problems, and so I'm going to start off with the horizon and a vanishing point. As usual, I won't bore you to death with saying that over and over again. So they have the horizon, the vanishing point, okay, and I'm going to start off for the street The object here with this lesson is to make a house somewhere about around here and just a regular street in the middle. And one very important thing that is going to come up in this lesson is going to be scale. We really need to think about the scale of things when we're drawing in perspective. So, for example, let's say I had to make a quick stick figure man over here maybe a little bit more sophisticated than a stick figure. There's little stick figure guy over here with his little feet and stuff like that. They say I had a guy here and this is a street going off into the distance. And then, of course, this is very crude. We're gonna do much better than this. And then over here, I'll have my house looks like this with the triangle roof like that. Now this is one of the beginning steps. Why does this look childish? In many cases, when Children they start drawing with the crowns and stuff in school, this is pretty much exactly what it will look like at first, and they'll have a little door here and they think about their own home and my home. We have window here and they might even get a little sophisticated and say, We've got this little machine out here. It's for air conditioning or something, I think, and then they have the neighbors. Maybe they live in apartment, the neighbors upstairs. Or maybe it's a big house with the chimney, you know, whatever it is, they draw that out and then we'll have Mommy and Daddy and and the kids will be down here. Why does that look so primitive? Well, first of all, well, I shouldn't say primitive. It's actually a very, very intelligent way to, you know, this is humanity. It's actually super intelligent. Keep that in mind. To drawing is very, very intelligent. But the reason it doesn't look so sophisticated in comparison to the more modern artists and and all of the great artists and stuff is because it first of all doesn't have any perspective. That's what we're learning in this lesson, and the second thing is that it's completely lacking scale. If you look at the size of this person from here to there, there's no way they could fit inside that door, and they're about the same line here, which means this person, whether it be Dad or mom or whoever. He's actually as tall as one story of the house, so that wouldn't work. This is what we call scale. Scale means the relation of size, of things so far to actually draw. A person might start by drawing, drawing them over here, and you see the door is this big, and there's usually a little bit of space between the top of the door, unless you're very, very tall of your like seven foot six foot five. Normally you don't have to bend over toe walk inside the door. That means the person's head should start maybe just a little bit down here, and then their body can start to come out around there and they should be just that big. That would be a bit better. Be just one step forward towards making a drawing that makes you feel a little bit more comfortable. Okay, so I'm just gonna delete that layer after all of that. It was a very important part of this lesson is on moving forward to in this lesson while I'm drawing in this. Actually, this section, not this particular lesson. But in this whole section where we're doing one point perspective, a lot of very simple fundamental things are coming into play, which will be used again again later on. That's why I think this section will be a little bit longer than the others, because there's a lot more to do. But I'm not 100% sure about that. What I'm gonna do is start off. Remember these air perspective guidelines? Among the guideline there. Let's start off with a street and now remember what we just learned about scale? We want to actually think that a car. Let's imagine that just roughly draw in sort of a car here. A car would be this big and what I'm doing overhears. I have sidewalk. I made that space for sidewalk, and this is for the divider lines that usually see in the middle of road. There's dotted lines that section off the left side from the right side of the road, and depending on which country you come from, you might drive on the left side of the right side. So if a car is that big, how big should these lines be? And how big should the sidewalk B and did I do it accurately goes something like this, and this could take the very long time if I were to do it perfectly. So I'm just going to kind of roughly draw it in like this and notice as we get further off into the distance, because we know that things get smaller as a gulf into the distance. Those lines should also get smaller. Now, if this is the size of a car than a person's had sitting inside the car, clearly put 12 Let me draw it out a little bit better. You could have backed the car. This would be the bottom of the car and your tail lights here. So you usually put 1234 people into a car comfortably, and then you'd have the front of the car appear with the headlights. Be shooting off that way. So I'm imagining we're looking at the car from behind and it's going in this direction. So if people are that big, I think these lines air there about the right size. Maybe they could be a little bit skinnier, but what I was actually trying to judge here is if I were to put a person on the sidewalk and their hedge to be about this big, that means they would stand about this tall and you don't need a lot of anatomy lessons toe to figure that out. Just kinda know, eyeball it. Obviously, if you made the heads really big like this, that's way too big for people in a car that size just kind of use your imagination and take your time. Obviously, I do this a little bit quicker than some people cause I draw well every day for many years . So if a person is that big, how how about the lines on a sidewalk? Usually when you take one footstep, you'll hit one line. And so I think already we can see a mistake that I think this line here is way too thick that that's gonna be our people draw the scale so a person's that big lips will make that line thinner. Sidewalk should probably only be this white, first of all and second about. For me. It's just about every footstep. By tick, I can hit another one of the sidewalk increases. You don't know what I mean by this with a sidewalk because it depends. It might depend on which country you come from. But look at an American sidewalk. They're all very standard everywhere. Together they have these. I don't want to say brick by brick, but they're sort of like cement tablets. They have one of the time. So we're making a house scene, and we started off notice how I started. I wanted to start off with something very basic, like the street in the sidewalk, so that we could get everything to scale. And so far, we've determined that the distance between our sidewalk creases shall be about this this wide, and I'm not gonna be perfect with it. But we'll go off into the distance like that, and I'm being very, very rough now just to get that done. So now that we have all of that in mind and remember, we're on the perspective layer here when keep my car there. This perspective layer is just the basis the foundation where you're gonna trace over layer . We're going to trace over later. Excuse me. So if we have a house right here, there's gonna be a house around here. I'm not exactly sure where. But again, let's think, think things out and this is all part of the planning. When you're doing perspective, it's very important. There's think things out. Some people might say Okay when I draw a house, so I just start right here and go like this, But we'll try and be a little bit more realistic than that. Normally you don't have a house but the but with a sidewalk right on the street like that, unless it's a busy city. I'm thinking of, Ah, suburban house right now, and so if you want to make a busy city, you can do that. But for this lesson, or keeping it very simple, I just want to do a suburban house. And so I'm going to leave a little bit of space here for ah yard and little walkway to get to the front door. Now I know that my house is going to start about here so I can start from my vanishing point and come back here and then start to draw my house. Now remember, we have people this big, and we decided that they were about that high. So I want another person only for scale. just a stick figure here with a head about that big say it's about that big. You could even just draw many times. I just draw a line like this and I said, Is that look kind of realistic? If I make a big head like this and like that said, No, that's That's a Popsicle. It's not a person, right? So it's usually a small dot like that in the line like this. See if it looks kind of realistic. So now I have a walkway, have a little person just for scale. That means if he's that big, he or she then the door should be at least this big, big enough for him for her toe walk into comfortably. So now I know how high the door should be. I can go ahead and draw this perspective line, and there is the door. The reason I wanted to get that door done first now is because I didn't have the door. How would I know how tall to make the house? Because usually I'm thinking of a two story house now, like a regular suburban, two story house, and maybe they have one room over here. I can draw a window, do another window over there. We just have very simple one two windows on the bottom floor to windows on the top floor kind of house. They're not very rich. So with all of that in mind, now I can start to dry out. If the door is that big, then we can assume the windows will be about this big. Actually, I'll draw this line out further and judge the space from here to here from race This so it doesn't get too confusing. There's the door from here to here. Remember, things get smaller as they go into the distance. So the next line for the next window should be a little bit smaller, and the next window should look much smaller. Now I see the space from here to the edge of the house. Is that big? So over here is probably be a lot smaller. I'm actually just eyeballing a lot of this, So now I have two lines here from the beginning to the end of the house, and I don't think we're going to be able to see all the way to the back of the house. I'll just draw this line all the way back. And now I can judge. That's how big the first floor is with windows. There may be the first floor stops about here. And if that's true, then the second floor might stop about here. So now I wish you didn't draw this line. But, Verona Perspective, layer, so doesn't matter. So now we have judged using proper scale exactly how high the house should be. And now I can do the roof now. Problem here is that the tip of the roof, it seems, is going to be off of the campus. So how on this side? But on the further away area here I will see the tip of the roof. So that's OK. It should be about this area. And you can definitely ibo that It shouldn't be too hard to see so right about there. So now I have I can use these guidelines down here. I have my windows. I have the height, the width of everything. I'm gonna carry these window guidelines up so that all the window all of the windows are lined up. And of course, this is this seems complicated or a little heavy on the on the mind for you. Don't worry. I know. I know. The first time I do a house, it was hard, hard work. And then I can make my top windows. Judging from those, my windows might not be perfect here, but this is this a starter house? We're just practicing here, so I'm going to erase some of these lines to make it less confusing for you guys. For me. I could leave a lot of those lines and would be OK because I've done this a lot, but I'm a little easier on the eye. So now you can start to see your windows. Here you have race this some days. That's the horizon line. Definitely erase the horizon. So now I have one window to Windows 34 just hopefully can see what I'm getting at here. And then we have our door. So with that in mind, we basically have the framework for a simple house here, which is the goal of our lesson. But it's all still in perspective, Layer. Now, I'm not gonna bore you by tracing over all of this while I'm speaking. And there really isn't much more to discuss in terms of making a simple house, but I'm going to go into time lapse. And then at the end of the time, lapse will just talk a little bit more. So while I'm tracing over this with the with the line layer, remember, First, this is this was only our perspective, layer. So I'm gonna turn that down to about half capacity or even more if it's, you know, comfortable on your I can put it down real far like that. Half a passage e for me is good. Then I'm going to go up to my line layer and start tracing everything. So I go in the time lapse for that right now and then we'll see you just read after the time apps. 23. Detailing the House: Now here we are with a finished simple house. This is the foundation for what could be a more complicated house, but it's basically just the simple house, and I am personally very happy with my work. I like the way that it came out. We could nitpick on things. We could see some areas around here, such as the windows. Are they at the exact height. If the floor were to start here, I think it's about right. There might be a little bit high. The second floor windows look a bit shorter than they're not as tall as the ones on the ground floor. Maybe there's a reason for that. I don't know, but that it's overall. It's okay. And I just didn't feel complete without adding the horizon line. That's always nice to have. And, you know, I just added, This could be a son or a moon. Use your imagination and there's always something in the sky. So I tried to put something like birds very primitive, but just have something up there, so it looks a bit more complete, and I'm pretty happy with how this turned out. But now we might want to detail things a little bit more. So what I want to do in to finish up this lesson a bit of a finale is to detail things, and this is also very important. It's actually ah, intentionally important. I'm trying to Ah, to bring this around to a point here where I have mawr. Excuse me. I'm on the wrong from there. Yeah, I'm bringing. I'm making a new perspective layer here when ADM or detailed two things. And the reason that I want to do this is to show you some of the more complicated problems that can come up. Up to this point, everything has been very simple. Even when we did, the thinking out of the box is relatively simple. But when we go to make details of things and get a little bit tricky, in fact you can get very tricky. So the first thing I want to do is realize that our windows are just boxes and a real life windows air, not boxes They usually have have sort of a frame around them. Those windows have to be installed. And believe me, you learn a lot of things that you never thought you would learn when you ah start to draw in perspective. Also, windows go inward and they have a little ledge here, sort of. Actually, I think that's exactly what cause is alleged. And you might even have a little thing right here. A bar which would allow you to slide the window up and down, so that would look like a more complete window. But even with that, everything has a width and adapt to it. So they might be a tiny little ridge to the window and all these little details that come out to make something look completed. So I wanted to work on some of that and show you some of the well, I'm not going to say hardships, but yeah, basically, they are hardships if you, uh if you don't learn this from someone and try to figure out all by yourself, which is a lot of I had to do, actually, um but luckily we have these lessons now, and so the first thing I would do and you see my guidelines When I drew my my black line here, I didn't do a very good job. Because you can see is it's a little bit off with that new guideline I made. But just to make things a little bit more detailed, we'll go like this and again, See, already began to show a little bit of this with the door. There's a little bit right here. There's a little bit of alleged that goes, and those are the types of things that will make an illustration of very complete. And I didn't want to leave this section off with people just drawing very basic childish baby like houses because some people came here looking for simple lessons and some people came looking for the full, complete lesson to be able to draw very complicated things. So I want to, uh, make sure that cover all of these angles, and the next lessons are going to be a lot more challenging in certain regards. I have to change this line just little bit. Sometimes you just lie about the line you have to, or else it just doesn't look right. The following lessons where we get into two point and three point perspective can be a lot more challenging on the imagination. And so I wanted to get some of these finer details out of the way before we get into that. So here I'm going to draw these lines very simply like this. These air, like the frames that they used to install the windows. And I don't even really need these lines. I'm just drawing them out. But what about these lines? The ledge that goes and I find that to be very important to make it look like a realistic window. And so what I did since remember the front side of things when we're drawing or boxes. They were just perfect boxes such as this. And so what that means is that all of the things that air that are going on this side on the How could I draw it like this on the front side are always going to be perfectly horizontal. We're perfectly vertical, and that is true with all the windows we drew here for the vertical lines such as this line and this line, they're perfectly vertical. The side of the house is also perfectly vertical, and so is this. So there's certain places where you can just use your imagination in some cases because it gets difficult to explain. But there are many cases where the front side or the back side of something that would be facing us are going to be perfectly horizontal or perfectly vertical. And so, with that in mind, I can use my vanishing point and I want to use to be consistent. So I'm gonna try, and I'm trying to match this edge right here that I made. And I'm gonna go follow that line all the way up to here. So now I can take this this corner here and make a perfectly horizontal line and draw it straight up. And that should be consistent, although it looks a little bit off. So I want to bring it back just a little bit, but it should be relatively consistent. And then now remember, we have above and below the horizon on this part here is going to be very difficult to see that ledge. Let's see what happens if I bring my vanishing point up to here. It is below the horizon, so we should see it. But look, if we draw perfectly or is on the line to get the inside of the ledge, as we had there, look at how it barely just comes right here When you try to match it up with the bottom. So I bring this line up. That's where it should stop, right? And so the point is here that you can barely see that ledge, but the point is still there, so I'm gonna make my point right there. I don't need this line right now. Make that point right there and we'll see what happens when the vanishing point. And this for these little details. You really want to get perfect with that vanishing point and it right in the middle. That means it should come right about there. So you see, on this ledge that's closer to us on this window, it's bigger, and it makes a difference. But back there it was nothing but a tiny little line that's gonna show up these air little details that I want to hit on. Actually, the ledge might be two minute too long. But see if I bring that in like that doesn't does line up with the bottom one kind of. But more importantly, I think it should line up with the bottom one. That's for me. That's more important. So I'm going to ignore that, and that's another tip because your lines are never gonna be perfect. Once you start drawing all types of complicated things, it's always gonna be a little bit off. But something that might be important is consistency in certain areas. If the bottom window Linus here and the windows were supposed to be lined up perfectly in a vertical fashion to lined up perfectly, then why would you go back? Why would this line be? Let's say over here Is that is that window much thicker than this one? Why? Why would that be the case? Maybe it is the case sometimes, but usually windows in a house. They all have consistency to him. Something is going to start off with that have these simple ledges, and then I'm going to add those bars. But let me draw these first very quickly. Let me draw. I'm gonna draw one of these windows or just to this top one and the bottom one, which are both very small. I'm using the shift key. Get those corners there, and this is a little bit sloppy because we're rushing it. But I want to ah, to be able to walk you through this process. So there we have those two window installment frames. And now these lines, which I determined should come right about here with little line in there and this one here come ever just like this. So now that turn off my new perspective lines, you see they look a bit more realistic. You can actually feel that the space of the windows, but they still don't look like normal windows to me because they don't have that that little bar, you know, some windows, older windows. They'll have sort of, ah, across to them they don't open and then more modern windows. At least in America, they at least have some type of bar here so that you can slide open and clear. So draw. There's very quickly and I do believe, will wrap the lesson up after that because they can't. Lessons, unfortunately, cannot go too long. It's not even my choice, but you, Demi and ah, other areas where where this lesson might be uploaded to. They have their limitations, and people usually can only watch something for so long anyway. So another important point of this is that that ledge, this little bar that we're making here, may get on the lines layer so I can demonstrate Final are making here. It's not going to be perfectly flush with the outside. It's actually on the inside a little bit. And so I wanted to come in up just a little bit on my perspective, Layer man drew a little line here. I'm not going to overcomplicate things, but leave it there and then I'm just gonna go back to my line layer and see by bringing it in just a little bit, how you can feel that it's just in the middle there. It's a little bit on on the inside, and I just erased. The lines that were blocking should have been overlapping on. There we go. And again I just raised this line because it's overlapping. Just like that, we're gonna get even more detailed, would say, Well, there should be a little space coming in here for that bar because it has depth to it, right? And then go on and on like that for this one. We won't be able to see it because it's just so close to the horizon line that it doesn't matter. Okay, so there's, uh that is what I would call detail ing and doing some more detail work on a basic object such as a house, all these little details and those details come up everywhere. Whether you be drawing sofa in a room, a culture of sofa or if you're drawing a TV or computer, anything that has this type of boxy perspective, it always has lots of little edges and bridges and details to it. And again, I could even go over here. Now I'm gonna start to skip my perspective, layer. I'm just gonna because I know this ledge is very short and there comes there comes a time where you practice this enough you won't need. You can use your perspective layer less and less. I'm showing you the perspective layer over and over again and drawing a lot on that layer as to help you to understand the guidelines in the basics. But when I go to draw myself actually skipped a lot of that and I could just eyeball a lot of it. As time goes by, your imagination gets stronger. Now you see, as I zoom out and you look at thes windows that have just made over here, they look a lot more realistic than these simple boxes. So the next challenge that we're going to do is to go ahead and finish detail in your house . You might even have some aluminum siding. The goods like this. It will take a little time, and you'll have to figure out How are you going to get that aluminum siding through the windows? While you can make a new layer, draw all of the lines and then erase the parts that you don't want? You have to use your creativity. Eventually, you're gonna have to be able to figure out how to do a lot of these things yourself and look at a real house and notice that there's usually an edge on the side or some decoration . There could be a circular window right here, sort of a decorative window, because there could be a staircase that comes up after the door and they might even have a very big window. Maybe there's a chimney trying at all of those details. That's the next challenge, and I'm going to do a time lapse myself. I'll show you how I detailed my house and you go ahead and detail yours first. Then look at mine and we'll compare. Okay, see in the next lesson 24. The Nice Home Time-lapse Demonstration: way. 25. Round Things: in this lesson, This one point perspective lesson. We will cover round things now a simple as that might sound. There many things that we need to observe with round things. I will say before we get too complicated that were obviously starting from the bottom up here with one point perspective. So I'm not going to go incredibly deep into very complicated, curvy things. But just start off with round things and I'm not gonna go into spears can be very complicated, for example, but for the most part, ah, ball is always a ball. No matter which angle you look at, it s so what I decided would be a really good exercise for this. Something to work ourselves up to. You don't have to do this immediately, but let's work up to making a soda bottle, which is something that is round cylindrical and has a lot of interesting challenges to it , which should help you to break down just about any other type of curvy object that you see . But we'll start off with simple thing just ah, soda bottle like this. And it's even quite mechanical looking. So the bottle. But it is a soda bottle nonetheless. So let's have a look first at the curves that we have on this soda bottle. Notice how above the horizon we have these types of curves and what I'm drawing over here is to represent this curve. Here. Have lips. Excuse me. Wrong button of this curve on the top, This curve here, this curve here, these curves all allow us to feel the curvy nous of the object. And somehow we just know that if we were to look at the top of this bottle here, we would see something like a perfect circle right where it could even be oval shaped. We're not quite sure yet, but we do know that we can feel the curve venous of it. And what is it that allows us to really know from top to bottom that it's all curvy is in addition to those curves curves which were all above the horizon years arising here, going up. Look, what happens only go below the horizon below the horizon. Here we also have curves but there, curving in the opposite direction of thes curves up here. And that is because of the horizon. So this is where we can see that even in round things, there is perspective to be considered, and you have to be careful how you draw your curves and and where you draw things. So with that as a quick example and before the next lesson where we're going to see how to do the actual soda bottle before that, let's have a look at some different angles. Everything seems to resolve around. Unless you're doing a sphere. Many things that you'll draw all seem to revolve around this cylinder shape. Now a basic cylinder, if without using any tools is usually just like this, and so there would be an imaginary circle in the back. You have a circle in the front and then the circle. Aziz. Things get smaller as to go further way, so we'll have another circle in the background there, and then we link them together and you have a very primitive would call a cylinder right there. And what I did is I made a cylinder like that right here with the pencil, and I turned that into it. And I also used this football as an example. Because of football is proof here that after being able to draw a perfect cylinder. You could also make something like a football, which is a curved cylinder, and it starts to help you to open your imagination. Excuse me to open your imagination and see how silt there's cylinders and just about everything. Even if you're drawing people, you want to draw on arm well, the arm is like a cylinder is like two cylinders put together. And what about the fingers? It's like you have five cylinders on your hand, but there's a bunch of little cylinders when you bend your fingers right, so there's just cylinders everywhere and curvy things. And so with that in mind, let's make sure that we understand cylinders very well because they're very important to drawing many different types of things. 26. Fun with Cylinders: this lesson. We're going to focus on the cylinder a little bit more and just make sure that we have the fundamental, fundamental understanding of perspective and how perspective can affect cylinders. Okay, so let's look at if you can see, I brought up the prospective guidelines that I used to make these shapes here, and you can get a feeling for a soon as you look at it when I take away, particularly the color most of all, and conceit with a pencil, for example. We have a big circle that goes off into a smaller circle. And with the football, I had more football guidelines here. I made more circles inside what was starting with a box, and so you can also start with a box to make a cylinder in the situations where that's necessary. I did it mostly to demonstrate in this situation why cylinders behave as they do. And so, for example, with the box lines that I have here, it becomes very clear as to why the lines that are on the above the horizon Excuse me, wrong there above the rising. Why did they curve downwards? It seems like this, and below the horizon. They seem to curve upwards like that. Where maybe, you know, I I should say there curving downwards and curving upwards. But the way that you can understand the way I'm saying, the reason I'm saying downwards is because look at these lines on the box, they go downwards. So it's almost like the lines are curving downwards for a cylinder in the same way that the lines for a box will point downwards towards the horizon and on the bottom part of the box here, their point upwards towards the horizon. So everything's still going towards our vanishing point and to really demonstrate that I started a new layer here where we can see how all of the curves behaved with inside boxes. Let me turn the opacity up a little bit here so you can see it first. I basically made the guidelines for some boxes, which you should be very familiar with by now. And now I'm going to make some circles inside the boxes to see how they behave. So starting with the bottom. Actually, I'll start with this one over here because this one is the easiest one, understand? And we're just going to have a circle. It fits perfectly inside the front of the box with a smaller brush and then do the same for the back of the box. An important lesson to be learned with this type of cylinder, which is facing us is where to meet the guidelines here. So if we were to look at this is the center, I'll make a cross hair. If we were to say, This is the center of of this cylinder right here and we want to connect the front of the cylinder to the back of the cylinder with a line just like we do with the boxes, you might think that you would just make You could make another cross hair here, for example, and connect the very top to the very top. But that's actually not visually speaking. That's not how it works. Was going to happen is we're going to need Teoh get the edge, the last edge that is seen by her I of this round shape to connect down there. And the reason for that is because it's a round shape. So it's not so easy to say exactly where the edges there are no edges on a round shape. So you're not going to see the very top of it, though, obviously, because look about drag here and go there. You're you're missing this space here. It doesn't work, so we have to get it from about here to there. And one of the easiest ways to confirm that is to start with the vanishing point and move up here and see where does it hit them? Where does it touch them first, and that's where your edges. So with that in mind, I know that's a lot of confusing line work, but let me make a new layer, which I already have, and just do that again so you can see it more clearly. We'll do it on the finished line work here, and so I have my two circles there, one in the foreground, one in the background, and I'll just touch the vanishing point there and bring it up. And so you can see, obviously to make a cylinder. I won't put the line there. It should be touching at the edge, which is right here, and I can just erase the part that I don't want. And after you get comfortable with this. Obviously, you don't have to do this every time. You'll just be able to buy Bullet. At first. It will be a little bit of understanding. It's the very first cylinder you've ever drawn. Then it won't work. Now, see here this shows that my circles were not perfectly drawn again. It's almost impossible to draw perfect guidelines. It just doesn't work. But what I can do in this situation is I can see at least I know it's about from here to there. And so then I'll grab this part right here and just bring it up to where it meets just like that. So there I have a cylinder and I just want to erase the inside line and touch up a little bit. And with this line, it's a little sloppy. But I have to demonstrate what I'm speaking. So I hope that gets the general idea across to you. And so what would happen with that? If I kept working on it, I could make something like, as we did over here with the pencil or something like that. Now I'm not going to draw the football, but I have something else in mind here to demonstrate that when you're below the horizon, because in this case we have everything below the horizon. And now I want to make a cylinder that stand. It's not facing us, so we can't see the circle perfectly, But it's inside. It's on the top and has the fit inside of the box like this back on the perspective layer. So this will be something like, Let's imagine, it's, Ah, small joke. Maybe it's a jug of, I don't know, peanut butter or jelly. I like peanut butter and jelly, something like that. And so notice how When I make these circles, they have to fit inside the box. Obviously, if it goes outside of the box, it's not gonna be a good cylinder, and it doesn't fit in the box, so it's gonna be very strange. But as long as I put both of those inside the box and then connect the edges, I have to get rid of thes selection, okay, and then connect the edges here. It should make a cylinder again. Guidelines are never perfect, but it can work on it a bit. User guidelines, not the finished product. And so there you can see there's a cylinder inside the box to finish drawing that I can trace it very quickly and do that again here. I didn't make my layer visible yet. I want to bring that in just a little bit, took the path or struck the selection, actually, and then just connect my top circle with a bottom circle and notice how the bottom circles in Perfect. But notice how the bottom circle is much more closer to a perfect circle than the top one is. The closer it gets to the horizon, the less you see of the circle. And that's just like over here. When we look at this one, notice how the curves on the bottom are much more curve You're here than when you get to the middle. It's almost a straight line when you get to the middle, and if the line happens to be right at the horizon right here, then it should be a perfect line. But I wanted to avoid that so that we don't have any optical illusions going on, okay? And so if I remove my purse perspective guidelines. 30 c. I have a cylinder like that now, just like when we were drawing boxes in the beginning. It's not so easy to understand what these objects are because you could just look at that and say, Oh, it looks like an oval and another random shape down here You don't know unless you use your imagination. That's why I had to make thes for demonstration, first of all, so that at least even though these are not complicated at all very simple objects and the soda bottle here I spent some time on. But just to make sure that you're using your imagination when you make the cylinders so that you can understand, we're trying to feel the shape of the cylinder with our imagination and using these perspective guidelines and that will allow us to make more complicated objects in the future. So for this one here, this bigger box, this one goes both above and below the horizon. So what's going to happen with this one? IHS? This circle is gonna be down there like that, and it will be like we can see that the bottom of the bottle and this is going to be the inside of a Coca Cola bottle or soda bottle. We can see the bottom of the bottle and on the top it'll be the opposite. So in here we can see the top of the bottle. And what I want to do is get this circle or this ellipse this oval shape to fit just inside the box. And I want to compare it to the bottom onto because you never know. It doesn't always. As you know, our guidelines air never perfect. Try and get the tippy edge there, bring it down and the other edge and bring it down. And there you go. So there is the beginning of a bottle and the other lines of our to continue drawing boxes inside this box and then make mawr circles, for example, do very quickly. Um, oops. On this perspective, layer guarded Joe, another box right here, just like over here. I had lines on the boxes like that Vardy draw more boxes and continue to draw them. You can see how it would give me the position to place more and more circles inside the boxes. And so every circle that I draw inside every box, as long as it's within the same rectangle, the same rectangle boxer, it's a long box. I guess you should go and let's make sure it meets the edge because we already made the black lines there and it means the edge and see how that fits perfectly inside. And then I will just struck that will high the selection here. Now you can see there you can really feel the top. It almost feels like here is the top of a glass. And maybe here is the bottom of the glass, and it could fill it with water and and even just go like this. And there's a drinking glass, right? Well, obviously the line should be a lot smoother in the net ago, maybe something like this and then filled up with drinking water. Maybe put a fish inside something like that. So I don't want to spend the time because we have time lapses to describe all this, and it takes a lot of drawing, and, you know, it's obviously boring to look at. But from that demonstration and also looking at this example here, where we can feel the perspective is always going towards the horizon and then looking at our pencil and the football and the other objects that I had here. And where's the other cylinder line pulse under There it is. So with all of that in mind, then we can begin to make our soda bottle step by step. And the reason of soda bottle is going to be much more challenging is because the question is now we know how to make a cylinder standing up straight for the soda bottle or to make a glass. But what about all of these curves where it goes, such as Hear? It's indented and we have these little details here. It might seem easy at first. You might imagine it to be easy, but in order to get everything lined up perfectly, it can be a little bit of a challenge. So let's go ahead and do that as our that'll be our finale for the Round Things lesson and will break that down in a slightly longer lesson in the next one, and then we'll wrap it up and move on from there, so I'll see you soon. In the next lesson, 27. The Classy Soda Bottle: now in this lesson, we're going to draw this soda bottle. It will be a little bit more challenging than things we've done before, but I've gone over a couple of times and hopefully can break this down as easily as possible. It's a little complicated to express in words, but I think if you watch along, you should be able to to get the general idea. So what I did is, since we already know how to make a cylinder, we covered that. And here is the beginning of my cylinder, which will be my perspective guidelines here, and what I'm going to do is in blue color or actually let me finish. Drawing the outside of the cylinder here should be good enough when to use a blue color to represent something that is going to be very important for this, which I need to refer to back here first, actually, and so what? We want toe realize the hard part of the curve venous of this bottle, which I mean it's actually very mechanical looking, but this would be a good way to understand how to get these curves over here first, and then later you could you know, use Ah, use more tools and erase some of those lines so it doesn't look so mechanical. Before we do that down here, we'll do this part. It's easier. We have 12 right here. Basically, it just curves in. Now you can use your imagination. This part, I hope, is easy to understand. This part here is just going to be a bigger circle here and then a smaller circle on the bottom and we connect them together. So I have a look at that real quick, and then we'll see how to do this part. If you look at all the circles which I used to make this bottle originally, you can see exactly how that works out. But before I made those circles, I wanted to be 100% sure that this is working with my theory with the perspective guidelines. And so first I made a square bottle like this is basically a boxy bottle and you can even see in here in the front. Let me get a new layer in the front here. You can see where the curve came in for the bottle, just like that In that part, there and I basically made a new cube inside the bigger cube just like this. So that I would know exactly where to draw my circles. And the result, of course. Waas this perspective, bad lines. And that came out very nice. I said, Well, that looks like a good starting point. So I made my lines. And as you can see, I made some adjustments and then we went ahead and put in all the color and everything. Just ah, it could be easy enough to recognize, for you are for the demonstration purposes here. So that mind, let's start off with the 1st 1 where with this? I think I'm not even going to bother. Why should I really need to bother to make a bunch of boxes? I'll just draw a smaller circle inside this one, And shouldn't that be good enough? But I do need a starting point, and I'm using the blue color on purpose now, such as right here. I'm just gonna eyeball this one. That should be easy enough like that. And so this way we know that it should go from this circle to hear and from this 12 there and that will make the bottom of the bottle. Okay, so now we have that much done from here to here. I think we are also done from this to that. That will cover. Basically, they get on a better layer that will cover this. This area right here, basically, from here to there will be covered by that section there. So that's all done. We're already not 1/4 of the way up. Maybe we're 10%. So let's look at the rest. Now. Um, now it's going to get a little bit more tricky because I have to look at those four points where I made, um, right. But the four points I made before where this indentation is happening and see a little blue dot there, I want to move it. Okay, so anyway, um, I did that on the wrong line. We're going to stop about here, and this bottle is guaranteed to not look exactly like the other bottle. There's, You know, there's just not enough time within this for me to get that done properly. But we're gonna have at least something some semblance that looks similar to it. Now, what I want to do is save myself time when I'm drawing. So if I were to draw 100 lines here and have them all go back to the perspective like this and that and basically have end up looking like that other layer that I have, which is collage madness, that's going to be very confusing for a lot of people. And it's not gonna help you get started drawing. So we need to find some shortcuts. One thing we know is that the resulting bottle, no matter how it is, it should have about the same curve over here as it does over there. And I even botched that up a little bit on this one. But let's fix that this time and just make it easier by saying go like this. We go about from here to here and then over here. One thing we can do is to make sure that we get to the right height. So it's going to start here and go back there. OK, so there is where the curve should be from here to here, and from here to here should be about that. But remember, the perspective also goes off into the distance while you're doing this, so there's gonna be a little bit of a problem there now. There's one spot here where I can definitely draw a circle inside that rectangle, and I'll do that to the best of my ability right here. Let's start drawn on my circles and red now so that they stand up, Get down to read on There is that one now up here where the bottle ends, I can also see there's gonna be another circle there, and this one is getting close to the horizon. So it's gonna be skinnier that close. You get to the rise in the skinnier the line gets, and then it curves in. So we're gonna start curving a bottle in at about, get the blue color up about this area here. I guess we'll start curving it inwards. So I see if what we've drawn so far is not a good beginning of the bottom of the way. And then let's see what we have so far. It's looking like the bottle, the bottom of a soda bottle to May. That's pretty good. Let's try another one, and what we'll do is we'll see where the top of the bottle should kervin appear using this front line, this front blue line. I can continue to make another rectangle, and here and then we'll go back to our red color for a circle to put inside there. Try make sure lines up with the other existing circles that you've made already. So there is that circle. And then to make the new one again, we have to remember that the bottle, no matter what is symmetrical, and we don't want to make her job harder than it already is. So let's go back to the blue line and just say it's going this way. I get rid of these lines. They're just sketch lines, starting from this point right here, where our new circle intersex with the top of the bottle before it curves. I can grab that line, hold down the shift and control key because remember, with shift and control, it allows to make perfect angles like this, and I'll try and make it bring it into a certain angle that I think is good for both sides . So that actually let me just go ahead and see where they meet. That's probably the best thing to do. So they meet right there. And so that would be a perfect way to judge where we can start the top of her bottle right there. Bring that back to the vanishing point and I'm going toe eyeball it a little and assume that the circle is within their go to a red circle. And no matter what, the symmetry has to be perfect. But the circle we comptel should be bigger now is getting further away from the horizon. Okay, I think that might help us out. To get the top of bottled on, put smooth stroke on YYeTs on and I'm gonna connect these circles, actually, just hold down shift, make a straight line and then I just try, make a little curve here so it doesn't seem too boxy just like that. And then if you look at our existing soda bottle, it should come up a little here, That's a bed arrow. Come up a little here and then we'll have a little ridge and and a cap. So just go like this for that. I'm going to start toe eyeball it because I think you should get the idea by now. And we can't have this lesson Go on for, you know, five days or anything like that. That is a little short of the neck, isn't it? I think I'm gonna leave it like that anyway, with the ridge wrap around like this, mostly eyeballing it now and then. The cat should be just a little bit thicker, then the rest of the bottle and come up with such. So it's true that that curve ends there. Can you see how may be one of our problems? Why? Looks boxy is at this line here. Should probably come down and just meet that circle and meet the curve like that. Just kind of like that. We'll try that. Yeah, it's a little better. I think it's at the end of the day. Guidelines are just guidelines, right? We have toe work with our curves. Hopefully, your hand is more steadier than mine. That's about as good as I can do. I was going to save it, but it's not have anything to say now to make the label which would be the final touch to everything, and I'm not talking about the wording or anything. All we have to do is the same exact thing where we have a box inside. But I just want to use since you already know how If you need to make the boxes, just remember for now we can go ahead. And now you go and do it right on this layer. I'm just going to get ahead and draw these black lines because you know that the closer that we get the the horizon, the smaller the box will be and the smaller the lines, the circles will be so basically, just do this. And since it's these lines are above the horizon, you should be able to imagine there's work your way through that. I will not see this line it because we're gonna leave ourselves with the curves that go like this, right, because it's above the horizon. So the curves that are going downwards should be erased. And there you have a perfect label without after adding the perfect label, it looks a little bit better using the tools to draw that. So, yeah, this lessons a little bit lengthy, but it gives you an idea of how to make the bottle with the correct curves. Now, if you're just trying to just start drawing a soda bottle without any idea at all of how to draw the curves and upward angle low, lower angle or whatever. And imagine also that, you know, the whole bottle could be below the horizon, in which case all of the lines would be. All of the curves would be in this direction, not the other direction. And so that might be another challenge that you can try after this one. But as I was, what I was trying to say is that Imagine if you're just trying to draw without having this type of perspective knowledge, and you have no idea which way to draw the curves of the lines or how to make it look realistic. Is it above you? Is it below you? Is it in front of you? And so what I want to say is you don't have to think that you have to draw all of these lines every time you go to make every drawing. It doesn't have to be like that. The part of this lesson, the importance of perspective, understanding, perspective is that when you need it, it's there for you when you are drawing something and it just doesn't look right and you can't get it. That's what the's guidelines air here for. Understanding where your horizon is, no matter what you're drawing, where you're drawing when you're drawing. Just always remember that somewhere on your drawing space there is a canvas there. There is a horizon. There are perspective guidelines and vanishing points there to help you to draw these things. And it doesn't have to be perfect at first, right? Start off slow and work yourself up to something. Maybe a little more perfect. I like this perfect type bottle. You might like this one. It's okay, way. All have different ways of drawing. And, yeah, that's it for the soda bottle challenge there. I hope you can draw your soda bottle and share it with me and let me know if you have any questions at all. That's what I'm here for, and we'll see in the next lesson 28. A Comfy Room Demonstration: in this lesson, we're going to cover drawing an interior scene no longer outside but indoors with one point perspective. So there should be very simple. As you can see here, everything seems to lean towards the centre when referring to our walls. Here we'll use Ah, red pen before even showing you my guidelines. You can look at the creases in the walls over here, over here, down there, and you can already feel exactly where the vanishing point is going to be. And so it's exactly the same thing is drawing the outdoor scene that we did when we drew houses. But now everything is endorsed. So we're technically speaking inside of the box, as opposed to drawing boxes were still going to draw some boxes for objects. As you can see here, the bed is kind of boxy TV, and everything is boxy, but we're going to draw from inside the box. Okay, so let's get started with a new scene here, and the reason that I need to continue with this lesson and not just say go ahead and try it yourself is because I want to discuss some of the starting mystics for this type of scenario. One thing you want to do is still make sure that you have your vanishing point dead center . And when we're drawing, the first box that we want to make is the back room. This is going to be the back wall of this room is going to be the foundation of the entire room and then use your vanishing point to come up and draw the edges of the walls. And don't expect the edges of the walls, the place where the Seelig meets the world. Don't expect that to meet somewhere perfectly on campus or on the edge. That's your relevant. It doesn't matter as long as your vanishing point is touching that corner and then it comes all the way out to the end of the page. Then you're good. That's all you have to worry about is this corner here meets with the vanishing point, So every line that you make from the Vanishing point has the touch. That corner is very important. Starting step for your first illustration. We're gonna have everything centered perfect like this. If you've never done at one point indoor room before, then definitely do this first and then later, you can experiment with moving this box this back wall over to the right or baby move it over to the left. You can make it taller, skinnier, but for beginner step. Let's just make a basic room like this where you're dead center in the room, and then you can, you know, take it from there. It doesn't get much more complicated than this, but, you know, that's a good way to begin. Now, this foundational perspective layer, I'm gonna turn that capacity down a lot so I can still see it. It's back there. But then I want to make a new layer, as I did here. So this will be my second perspective, layer, and I'll start drawing objects on here. So the first object on the draw so that I could get a feeling of how big attorney capacity up a little bit of how big the room is. I'm gonna make a little stick figure, man. I want him to be about 12 1st outdraw his head and see his head. Is this big? So 12345678 He should be about that talk because most people are about eight heads talk. And so if he's that tall, his feet are down here and his head is up there. I just draw out also another quick tip. If his body is this long, Uh, the body usually bends about halfway, so his crotch should be about there and you can just eyeball it. He or she do a girl. New girl. Believably girls have wider hips. And ah, not always, but girls aren't stereotypically no, no have less broad shoulders, so their shoulders will be more narrow. But this is not an anatomy. Of course, we're just making a simple stick figure person. The reason we have a person, if you remember from previous lessons, is for scale. I want to see how big should everything be. So if a person is this big and he were to lay down, you can see here. If you would just fall down suddenly, then he would be this long on the floor. So if that's how long a person would be when they're laying down in this room than a bed should be a little bit bigger than that, right? So better be about that. Along with all that in mind. I can start my bed right here, and I think right about there would probably be long enough. So this is gonna be the bottom of my bed, and I can draw a box. We don't wanna have the bed go out past the wall. Right? But how wide will the bed be? Maybe about there. So there's the bottom box of my bed, and then I'm going to draw up a what they call a headboard or the backboard of a bed. Sorry, I forget the exact word, but there's a board on many not all beds. But they have that the board on the back, sort of the head header area. And that there and then how high should the bed mattress be? Well, for me, when I stand next to a bed, it's usually somewhere around me height. So this person's knee is about there. I think about here would be good enough, and it depends. Everyone has a different style of bed, and everyone stands at different heights. Some people are shorter, some are taller. You'll have different types of beds, too. But for the most part, using that person as a guideline and drawing them. And remember, here is the ceiling right here and most people when when they raise their hands up in the air, some people can just barely touch the ceiling. It depends on how higher ceiling is, and most people usually cannot touch the ceiling. So it's up to you. You can make your room ceiling a little higher to that makes you more comfortable, however you want to draw. But just keep all of these things that I'm teaching you in mind, and then you will be able to make your decisions. Based on that. That's all they want to get it. The only point that I really need to get across set. This is how you do it, and I'm gonna make some more legs down here, and the leg will be able to see under the bed just a little bit, so it will have a little bit a little bit of space in there that comes up. So that should be enough right now to start tracing the bed. I don't want to draw too many lines because it gets confusing this year, and this one just down like this, I'm rushing it a little bit so in a you want the lesson to be too long, and all of the the important parts of this have been taught already. Now it's mostly just about tracing and then reviewing very quickly how he did the bet. But if understood, everything thus far with making houses and boxes and everything, then this should also be very easy. So Oh, I forgot or I forgot where I neglected to make the the back wall here in lines. So we just trace. It's actually good, so I don't have to erase all the lines that were behind the bed. But now I can see we draw that the creases between the ceiling and the walls and the floor . So we have that there. And then when I get rid of these perspective guidelines, there you can see a bed in a room, and that would be the beginning again. This is the very beginning step. So if you were to show this to somebody and say, Hey, look, I made a bed in the room, they might say, Huh? I'm not sure if that's a bed in the room. It's because you're not finished. You have to continue drawing all of the details in there before it actually looks like something. So I already took you through, and this is obviously a small room. Let's say maybe it's a hotel room or something, but I've walked you through the beginning steps of getting a starter person in there and your first object and what we would do real quickly, just toe show you how I finished off my bed. You just, ah, say the pillow should be about this big looks kind of like a small pillow, but I like big, fluffy pillows. I don't know about you. Unfortunately, these pillows a kind of week well, big enough to draw pillar like that, and there should be a blanket on top. So since it's a blanket that might come all the way down, it will be a little bit wavy on draught like this. So you still follow your guidelines. Let me a race. These lines here cause they're too perfect, but the blanket should be a little bit. They should go up over a little bit and then be a little bit wavy. Blankets are laying like fabric cloth of a thickness to him, usually just laying there So that's how you get the feeling of the bed. And I'm going to finish all of this and time lapse. I'm gonna complete drawing this room so you can watch all of the mistakes and the good things that I do. The good, the bad and the ugly. And ah, but I just wanted to finish at least one object here for you because I've given you the foundation and you know how to use one point perspective now, based on the previous lessons. But now we're just drawing things inside a room. And so you have your starter person, and you have, you know, you started guidelines work just like that. And then he can continue to draw her objects. Now it's starting to look like a bet. That's not too bad, right? Still a little bit more work to be put into it, but it's not too bad. All right. Um, let me just draw the crease here. I mean, yeah, little better not to bet. Okay, so that's it for this lesson. I'm going to finish the rest in time lapse and either just finished this lesson very quickly with that or in the next one but there will be a time lapse next, and then we're just about done with this lesson. I might continue to add some time lapses for one point perspective after this, because I've spoken to you everything that I possibly think I could if anything else comes up at another lesson. But for now, this pretty much covers one point perspective for beginners. And if you have any questions, do let me know and it's been really fun. And I'm looking forward to the next section, which is going to be two point perspective. But before you go there, please do a lot of practice with this one point perspective. Please do try to nail this down because if you don't get this is like going into geometry without having basic math, you want to get your one point perspective down solid and make sure you don't have any questions in one point perspective, and then you can move on to two point perspective and it will be so much more better. It would be so much easier once you make sure you got the foundation down here. Okay, so you will see you in the time lapse and then I will see in the upcoming lessons in sections Way. - Theo 29. Color Crash Course: this lesson is a quick crash course in how to color, because I'm going to need to do some coloring along the way. And the reason for that is because all of these lines, these complicated lines, get difficult to look at. Sometimes I know some people have a harder time than others distinguishing all of the different objects when all you can see that are these lines. Because in real life our eyes are designed to see things with color and shade and, well, basically, color, light and shade is what we use its color theory and when we trace things with lines like this will be very, uh, very complicated to look at. It's interesting. I personally loved look at it because I've been doing it for years. But to make things a little easier on the eye, it's nice weekend color things in. Now, up here in this top left area, that's a magnifier, which is going to zoom into everything that I'm doing. The reason I have that is because we're gonna need to look at this tool palette the tool options for the pink bucket tool, which will be using a lot that's this tool here. So I have my paint bucket tool selected and I'm ready to color. And I have this set to all of the default selections over here, which is normally to use the foreground color, which is this color up here, and it's going to fill the hole selection. So the first thing we're gonna want to do is to choose a color. Ah, the easiest way that I know of. And there are different ways you can set up your your environment, but we just tap on that pallet area. It'll bring up this dialog here, this the color dialogue, and it has all the colors that you could ever need. So for building colors, I just want to demonstrate quickly. We normally don't have very bright colors like this. I'll do a quick example. You normally don't see a building that is super bright like this, or at least it's not very common. Maybe in some very commercial areas where they're trying to get your attention, you'll see that, but most buildings that we see on a daily basis have much more dolar color. So these very high, strong colors as you go up high here that would be called that would be called highly saturated. This is a highly saturated color and as you go down towards the bottom, this is low saturation where you go to pure white, where pure white or pure black would be no saturation. So I'm gonna try and find something like a little bit in the middle. I want the color to be bright, but I don't want it to be fully saturated. So somewhere about this area here on the right hand side and about 50% So now I have a decent color to work with, and I'm ready to go my default settings air in there. Let's see what happens when I'm on the line layer and I try and fill it in. Well, first of all, it fills in the entire selection because we have it set to fill whole selection. What that means is whatever you have selected. So if I were to make a circle in a lip selection here and go back to paint bucket, it will only fill in that selection. But since we had no selection than it basically fills in the entire layer, they turn out thes here the's layers because we don't need them anymore. I'm back in my line layer. So the first thing we want to understand is instead of Phil Whole selection, we're trying to do some coloring of image like this one. Let's do fill similar colors and fill similar colors. Will only it will try to detect the area that you're selecting, and that's just the magic of software has an algorithm where it can fill in whatever it sees its similar. If you were doing this on, say, a photograph for something and you selected somebody's red shirt, it will attempt to fill in the hole red shirt. But of course there's different light and shade bouncing off of things, so it's never quite perfect in, ah, a photograph. But in this situation, it's almost near perfect. Because we have these perfect lines to fill in is just like a coloring book. So it's very easy for the software to detect that now. Another problem that we're going toe have is that I might want to change the colors layer later. Excuse me. Well, I might want to fill in some colors now and then later on decided. Want different colors, but I'm painting right on the line layer. So later on, if I either if I want to change the lines or change the color and it's all on the same layer, then that's not good. I want to be able to play with the colors and not interfere with the line work. So let me undo that work that I did their very quickly and show you how I added a new layer right under the line layer. And it's called Color. Some put all my coloring on the color layer, but again, we're going with our default options. We're going to run into the same problem, even though I put this to fill similar colors. The default option of sample merged is often not checked. And so what happens when I go to fill in that color layer? It's as if the line layer isn't even there. It doesn't know that the lines air there cause I'm on a different layer now, So that is the magic of sample merged. We want to check off sample merged, and the default for the threshold is usually down here. So show you that, too. So step number one is Make sure you're on Phil. Some similar colors are actually step number one would be. Add a new layer, put it under your line layer and call it color just so you remember what it is. Step number two would be to change this affected area to fill similar colors, and then Step three is to make sure that sample merch and filled transparent areas is normally selected. But if for some odd reason things aren't working, just make sure that's that's checked off to now. What happens even though I'm on the color layer and I g o to click in here? Look at that. It actually colors it in just fine, and I can turn off my line layer and my colors air still there I turn off my color layer on my lines were still there. That gives us a lot of flexibility so that later on we can play with colors and shade and lighting and stuff. And, uh, that magic happens just from making sure you have both Phil. Similar colors and sample merged on, and so now I can paint on a completely separate layer. Now, another thing to notice, which is not very obvious at first from a distance. But when we zoom in here, if I have my threshold all the way down, then you can see this little white space that comes in there. It's noticing the whole area, but it's kind of stopping just before it gets to the black line. I wanted to fill up all the way to the black line. That's where threshold comes in. So that turned a threshold up. Let me just turn up a little bit here. Now you see, it gets closer to the black line, but there's still little bit of white space in there, so it's turned their threshold up about halfway and see what happens now It's really getting in there. But if you're really nit picky and wannabe professional, I still see a little bit of kind of gray in there, which I don't want to see. I want it to be perfect, so I bring my threshold up even a little bit higher. And now look at that. It's a perfect blend from my color into the black. It just blends right in there. The reason that happens so perfectly is because my color layer is under the line layer and technically speaking. If I put it on top, see that little difference? It's actually blending a little bit under the layer, so I bring my color layer back down under the line layer. You can see how that works. The color is actually filling in just a little bit into the black area, but it's still not going past that line. It recognizes it, and it just goes a little bit further. So I'm going to go ahead with this color and notice what happened here. There's two reasons I didn't want this window to be filled in, but it got filled in anyway. There's two reasons that can happen. One could be because my line here isn't matching. That black line isn't meeting up there perfectly. Or we could just turn the threshold down a little bit. That might help, and there you go. So I'm gonna continue coloring like that. So if you run into any problems and for each building or for each little area, we're gonna have a slightly different color. I have my color picker set to ah, hot key on my keyboard so that I can go back to that color. Whenever I went to It's very useful if you don't use hot keys such as that. You can also just go back to your color palette here, and it's always right there color picker so you can choose that color again because we often use the same color over and over on one campus. Now notice what happened over here. I don't know why. Again. You can see there's little bit of a gap there, so there's two ways to approach that again. You can turn your threshold down. I'm gonna undo it and try it again. And that worked out fine. But now it's still giving me a little bit of that white space. I don't really like it. What I'm gonna do is just go back to the line layer. Select my black again. Goto A paintbrush was gonna fill in that loud that that little gap right there, we'll make life easier now when I fill it in there, it's perfect. I wait with my threshold Backup on Whoops extended. Put my threshold all the way up on there You go after you select the threshold area. If you're using numbers as hot keys such as I do, be careful because after you select in there. Actually, even if I touch keys now, Yeah, but look, about touch any number keys, it just starts to filament. And I use the number pad a lot so that after you change your threshold and that goes for any of thes type of dialogues, just grab the canvas real quick. So you make sure that you're not inside there anymore, and then you should be able to work just fine. There's all the tips I have for that, and we'll go ahead and filling a couple more suitors than the other random things that happened. Maybe this building's a little bit green. See that? It filled in a bit more than I wanted again because of these thes bad lines that I have, or maybe a turn a threshold down a little bit. Yeah, good enough. And I'm happy with the product there, so I like the way it turned out now for this window. And I'm glad we had this mistake. This window was a tricky one, even though the lines are pretty good. But I can select that area while I'm still on the color area and you see it's selecting you can tell exactly why it's happening. It's because of that black spot there. So again, let me undo my selection with control Shift A as I usually do, or you can tap somewhere outside the canvas. And now I'm going to back to my color layer. I'm going to select again with Sample merged turned on because it does the same thing, that selection and it will grab that area and I hit the delete key and there we go. The area is selected. There's a couple of tips that will get you into coloring very quickly. I don't think I'll keep these except colors probably gonna change him, but I would give you a general idea. Normally, I think we should be Maurin Thea in the gray Zone. That's a really weird color. Maybe even go with much, much lighter tones like this. And look at how it is just so easy. I could color this whole thing and just ah, I want every building to be slightly different. I could feel this in, but just within a matter of minutes and then start working on the more complex problems off lighting and and shade and all of that But for now at least, we can distinguish each building. It has a different color, much easier look at and for the street. Just a finished things off little bit. Their little gray usually avoid using jet black. A lot of people are thinking of streets are black, so just choose black. But usually it's actually not really black. A little bit of like a very dark grey. Something like groups show that one again. Yeah, something like that might be more realistic. And you can go on and on like that with colors. That's just a crash course and how to do some easy coloring Hope that's useful for you because you'll be seeing the use a bit more color in future lessons, and people are always wondering, How did he do that? So there you go. Now you know how I did that, and I hope that's use for you. And this actual image that we're looking at is the first image will be studying for two point perspective, and that is our next lesson. So I'll see you in the next lesson. 30. Two Point Perspective Intro: This is the introductory lesson to two point perspective, and in this lesson, we're just going to look ever very quickly the fundamentals of two point perspective and a result here, as you can see, just like in the first lesson where I had the gift box so that you can see where we going. Why are we doing all this something? Give us a goal to aim for. There's gonna be one of our first projects. But just like the gift box, we're going to start off by drawing some simple boxes in some random space just to see how things work. We're gonna understand the functionality of it. And then we're gonna go ahead and try and draw a city seemed just like this. So you have a goal to aim for now, I want to bring up this photo. This is from one of the previous lessons where it can see one of the most important aspects of two point perspective is that the vanishing points are often not always but often off of the drawing area, which we call the canvas. So or at least in gimp, we call it the canvas of your drawing on paper. Then you say, Well, it's off the paper. So but the vanishing points are not within the draw. A bull area, the draw double area. So the area which we draw within doesn't have the points. That makes it a lot harder than one point perspective, because how do we know where to draw? Are we going to every time you draw a picture, do you have to expand the canvas? You might. Some people make that argument. I've actually had arguments with people, and I find it to be a ridiculous argument because I can prove there are situations where the vanishing point will be so far away. Even if you had a long piece of string and attached it on the other side of the room to some pin or something, it just doesn't make sense. What you're gonna have to learn to do is to use your imagination a bit, and I'm gonna turn off. I just added some color here, same with the gift box, so it was easier to recognize. But my original perspective lines looked like this just very simple boxes. And this is the key with perspective is to always start off with simple boxes or, in some cases, triangles or rectangles or spears or whatever. Okay, but for the most part, for me, I always start off with boxes. And so my first box here I just said, This is actually what I did. I do this first box and I said, I know the vanishing point. One of them is gonna be far over there, and the other one is gonna be far over there. So let me just allow these lines to go downward towards each other in that direction. And as you can see as we get over here, this line is much shorter than that line. But notice how much shorter it is. It's not half the size. It's only like 90% shorter. It's it's not incredibly short is just a little bit. So there's just a small, tapering type of the technique, and that needs to maintain consistency throughout this drawing for this city Street because the city street is a boxy thing, and it's going to be crazy situations where this imagine there was a car crash that would be a car here in some random position, or maybe some flying thing around here and that's what we'll get into all of that stuff. But for now, let's keep it simple and just understand this fanning technique. Look at all of these points I made here. Hear, hear. I could have even made one up here. And of course, you can see already had some here and my goal. My original goal was only to make a nice fan that goes like this so that they all I'm using my imagination and saying the vanishing point is over there. So if there were a point here, where do I think? Would it be like this? No, because that's obviously going to meet right here. Would it be up here? No, that's obviously never going to make it to that point. That's far over there. But using your imagination, you can really just sort of feel the direction in which it should go. And this foundation is not easy. I don't want to claim it all that this is easy to do, but I don't want to mislead you like I've seen a lot of other lessons where they try to tell you there's one simple technique to understand this, and there's not there really just isn't one simple technique. Well, this technique I'm showing you, I believe, is the simple technique. But it's not simple. It's actually quite difficult for a lot of people toe understand? Because he just have toe eyeball it. In a lot of cases after, I just have toe use my gut feeling and say, Where do I think this point would go? And that will become a lot more clear with the practice exercises which are coming up very soon in the next lessons. And so I want to start off with that. Just give you an idea of some of the challenges that we're going to have to face, and we're gonna just like we did with previous lessons. We'll start off with simple boxes, move them around and simple, empty spaces and understand why we need to point perspective. Okay, so see you in the next lesson. 31. Invisible Vanishing Points: this two point perspective lesson. We're going to cover invisible, vanishing points. Invisible vanishing points. Why do the vanishing points go off of the canvas? Why did they go off of the draw? Global Visible area? And so let's go back to our one point 2.3 point photos that I had here has a two point. Then here's our three point examples that we studied earlier. And let's notice something similar with the one point and two point we have a horizon that is almost in the middle of the page. That's something that's very, very interesting and very important to think about when you're looking up when you're looking down. When you start drawing more and more and you're doing less cartoony type of drawings and starting to get realistic, you're going to start to think Where exactly should I draw my horizon? So using photos is reference is a really good starting place to see where your horizon should be on point, point your camera up. Nowadays, we're so lucky we all have phones with cameras or borrow your friends or look online. If you're watching this, then you can certainly go online and just look at different photos. What happens when you look down? Point the camera down. What happens when you look up? Where's the horizon? And how does it affect perspective? It's very important. We discussed earlier that the horizon is always in front of you. It always affects your drawing. Uh, how to say you're drawing perspective will always be. Have a horizon that's directly in front of you, no matter where you're looking. But that's different from the Earth's horizon, the actual physical horizon of the planet if there's no other way to describe it. And so when you're looking up and down because you stand on the ground because of gravity, there's this phenomenon that's gonna happen. It's going to be a difference of whether you're looking up or looking down and how big something else now notice in this. Even in this vote of the how to say the horizon is a little bit low, it's not dead center. If I were to do, let me make sure I have a draw global layer here and a decent color. Something else stand out. If I were to draw a line right down the middle, should actually be about there have been increased the size little, but I think it should be. Let me get over here and zoom in middle should be right about here, right? And so, as a result, as it just so happens I was actually wrong about this being a perfect two point perspective photo, and I realized this later, so it's still a great example. It still works just fine, but look at this here. Look at the edge of this house and will draw a line straight up with that edge. And then we'll look at this edge of the house and again will go up with this and look at that. They're not parallel there, actually leaning inwards just a little bit this way. However, the vanishing point for this would be so far away that I just wouldn't be able to make it canvas big enough where that's another perfect example for anybody who says you can always draw ah, vanishing point just by expanding the campus. I think those people are wrong, and this is why there's just so many examples I see in reality where that doesn't happen, you're gonna have to use your eyes in your imagination. Sometimes So with that mind, the placement of the horizon is very important and usually for two point perspective, even though I was a little bit wrong with this. So still, it's very, very close to perfect near perfect two point perspective. The idea with two point perspective while we're studying this keep in mind is that the horizon is normally in the middle. And that's why when I even when I look at this street, it might almost look like I'm kind of floating, and especially in the last illustration. If you look it up the the one where we did one point perspective of the houses, it definitely looks like you're flying up in the air. This one's a little bit better because I pushed it back the scene back a little bit further . So let's just start off with making a couple of boxes very quickly. This lesson will get a little bit long because I had to explain all of that. But let's start just by doing the same thing we did before, I have to drop my resolution, gonna draw a box up here. I started with the vanishing point where we'd normally draw the box first, but it's really kind of irrelevant. So I have my box here and let's understand. Now why does this not the front of this box doesn't have another vanishing point because all of the lines on the box or parallel So what would happen if we were to rotate this box just a little bit, so that instead of having this perfectly horizontal line which matches the horizon, what if we move it just a little bit this way? Well, if that's true, then this line should also rotate a little bit. So we moved this a little bit this way. I mean that line, if this line goes this way a little bit, then this one should go that way a little bit and so likewise. I'm going to move this and again. I'm just eyeballing it at this point. So now, with that being the case that say, I have the same exact height, the box about the same height, but now where there's my vanishing point go, it still has to go to the horizon and stop at the horizon. But it doesn't necessarily. It's not necessarily going to be visible. It's not necessarily going to be on the page. So I'm trying to make this about the same width and height as the other box. And now, with this point here, instead of going straight back to a point, it's going to have to follow this edge of the box because that's the It should be parallel to this, right? So these are correlating sides here. They should all go to that same point. And this one since it's the correlating side of this one, it's the front and back here should go back to this point. And I didn't do this perfectly, but notice that it's not too shabby. I love to say that not too shabby. I'm to use a slightly thicker line. We draw this up. Not too shabby was it suddenly came up in the game, Zelda. It didn't come out perfect this box. But ah, you know, I just like to say that. And there you have a two point perspective box now notice in this situation, and I had to cheat a little bit and just use my eyeballs when I turned it off. But it's not too bad. That's a pretty good box, and it looks realistic and it has perspective. If I were to continue to draw boxes on the same lines, they should all work out just fine. Let me. Actually, I'll keep that box there and I'll continue to draw boxes in this fashion. The all good back. I'm not. I'm not being perfect with this. I wish I could be. But it's just well, it's difficult. That's why on a draw another box here using the same guidelines. And this is where we get the beginning. I'm gonna use this corner now to go and remember, we're doing this fanning technique. I'm trying to imagine where is that point? The top line is actually very poorly done, and I should redo that. But it's there. So it's there again with this bottom corner, trying it back to where it belongs and then see if it worked out perfectly. This line would match up with that one. But my lines are little sloppy, so I didn't come out just right. But I can cheat. Remember, we're drawing with our hands and our imagination here, so it's okay to basically relax and not get too nervous about things doesn't have to be perfect. Even if I were to go and make a very detailed drawing here, and I was trying to be, I don't know, like the world's greatest artist. You just can't make everything perfect all the time. All right? So I'm even I'm getting confused. Having done this so many years, I'm going to delete this very quickly. I want to do this in a thinner line now, but keep using the thick line, it'll get ah, will be a little bit more difficult to see. That was a little bit to earn to be somewhat horizontal. Okay, so I'm gonna draw these out very quickly. And I'm not following all of my own rules as I normally do, of tracing everything was a little bit more complicated. But my goal here and cross your fingers and pray along with me is that by the time I'm done with this, we should have three boxes that look like they're lined up with good perspective. This one looks like unjust Eyeball it It doesn't look right. So I cheated a little bit. It looked too long. Yeah, This box. Well, it might actually just be ah, skinnier box. Which is why it looks longer. Yeah, I could. I should have made this a little bit wider. That's what came out like that, I think. Let me see. I think I have all the lines I need. One thing with these perspective lines sometimes is you can turn them down a little bit more to make it easier on your eye. Now it turned theirs off. And there you go. You have three boxes. They're not exactly the same size. I could have worked better on that, but that there's just live before your eyes, you know, trying to be fast enough so that the lesson doesn't get very dry and boring. And that is an example of two point perspective. And please note the concept behind it was starting with one point perspective, having ah horizon in the middle and then turning the box. Likely, it doesn't mean that you always have toe have two lines off the page, such as this to many lessons teach that they teach you. That two point perspective means there's two invisible, vanishing points that you're never going to see. That's not true. As you can see with this one. Sometimes it is actually there. Where did my horizon go head arise and I swear. Okay. Oh, yeah, because I guess I didn't delete it. Their eyes, It was somewhere about here. OK? Yeah. So and let me draw that in for the final drawing. Having your horizon on the final drawing makes things just a little bit more settling for the so. As you can see, the very important lesson that I've learned from many years of playing with perspective is that it's not a matter of just having invisible vanishing points off the line and doing some magic to achieve them. It's a matter of how far did you rotate the box? And since we use a box, I've already demonstrated you can use a box to draw just about anything. It's a great starting point for everything. Even if you want to draw like a teddy bear for me, turn this back on. No wonder draw a teddy bear. I could start by having a teddy bear inside the box with his arms coming out like this and there is his fat belly. And since this leg comes out and touches the front of the box, that one should go there and there. We already have a teddy bear, which is a lot more realistic than, ah, you know, just drawing a cartoon teddy bear. I hope that Ah, we can get this out. A little bit of teddy bear news is his mouth should be like that. I don't know, very crudely drawn very quickly, John. But as you can see, I fit my teddy bear inside the box, and I will definitely be adding a teddy bear to one of the lessons. I don't want everything to be cities and boxy blocks and boring things like that. Well, we allow me to draw up my teddy bear very quickly. I think you get the general idea. And since we can see the boxes here going this way one, I should probably be over here, another one over there and the front of the boxes facing this way. So his mouth should be over there and look at how quickly, even though Well, maybe it looks like not so much like a teddy bear, but he walk. But look out quickly. We could draw a little stuffed animal like that with a lot better perspective. Just because we had that box and we slightly rotated the box. So that means he's just slightly off to the distance, pointing in this direction because not every time, not everything in the world is gonna be at a perfect angle like this. We're just looking at something at a 45 degree angle. Sometimes is going to be this angle, which we have here, which is I don't even know if this is coming straight at us. Her eyes over here, it's almost like maybe it is like 30 40 degree angle, kind of 45 degree angle, but you just never know. Maybe the box started at a 10 degree angle. Maybe it was a 90 degree angle. You never know. So the important thing is just to understand why there's vanishing points appear where they do sometimes on the canvas, sometimes off invisible, vanishing points. That's it. Sorry I rambled on too much, but there's so much to explain with this, and we have to do a lot of exercises on it, and I just really want everyone to understand why there's vanishing points work, how they do with two point perspective, and I'm looking very much forward to seeing you in the next lesson. 32. Spinning Boxes: and there's two point perspective lesson. We're going to cover spinning boxes, Asai wrote. Down over here, I haven't drawn out my horizon or anything yet. This lesson should be relatively quick and simple, but I want to emphasize some of the points that haven't been covered yet because I was focused on vanishing points. I really want you understand why we have. There's vanishing points and where they should be now, something to notice on this mimic a new layer on this drawing here that because this is a good example of almost finished example, that's something to notice. Here in two point perspective, which will be different from three point perspective, is that all of these lines are perfectly vertical. These are the well you'd call the sides of the boxes right? And it's not always going to be a box, of course. We turned boxes into triangles and pyramids and stuff like that. I even started toe bring out some. That series have some triangles for the that's called the awning, the little cover that comes over some doorways. Teoh. I guess it's for when it's raining normally taken. Get your own brother ready. I don't know if that's still a popular thing, but yet we have. All of these lines on which are the size of the boxes will still be perfectly vertical, and it doesn't have to be like that. You can rotate the entire canvas, but they're all parallel with each other. That's, I guess, the better way to explain it. These lines are all parallel with each other. That's the most important thing, because I could rotate entire canvas and they would all be on the same angle. But they're still going to be parallel. So, uh, now not to confuse things. I'm not going to spin the boxes vertically. I just want to go back to that point that we're getting at before about how we can start off with a perfect one point box like this and then start to rotate it and all I want to do for this lesson. That's why I think it should be pretty, pretty short and sweet. It just rotate the boxes a little bit less now. The one thing that I didn't did not emphasize in the last lesson is that the the way that I choose to place my my vanishing point here the way that that happens, that fanning technique was based on the rotation of the box. Let me start from the beginning again. We have this box as that's gonna be our demonstration box, and I'm gonna take that same box and rotate it just a tiny little bit. Last time I actually kind of rotated a lot time a little bit, maybe. Like that. And so now with that being the case since I rotated it this time, I rotated it this way. So this one's going to go that way, and we're actually gonna end up seeing the other side of the box is going to reveal itself , right? We're not going to see this side anymore, because that's going to be turned away from us as we spend the box. So now I'm going to see this side of the box. First I want to draw that one, and since previously this line was going that way, we couldn't see it. Let's look at it this way. This this was the original line. But now, since I've turned this line this much, I also want to turn that line about the same amount. So with that being the case. Actually, I should only have to turn it that much. Let me see. Now that's going to the same point. Sorry. We're gonna have a different vanishing point. There's gonna be over right about there. That should probably be correct, right? See, even I have a lot of problems with it. So remember that all of these lines are going to be perfectly vertical, or at least parallel with each other. Now, since the boxes this high, I found my vanishing point for this side. And I know that this box is going to be this high. That means I can make this line right here just like that. And now, since that is like that, we know that this line goes off this way. And remember this line We do not want to be parallel, because now we're doing two point perspective. Now we're rotating things. I don't want to be parallel, but it's not rotated a lot. The angle here is very subtle. So since I only rotated it a little bit, I'm not going to bring it all the way down like this. No, I'm gonna see here is parallel and then I'm going to bring it down a little bit like that, and that should be good enough and you can see there is a difference there. There's a little bit of a difference from here to here and here to hear it got a little bit smaller, and I might have even exaggerated a little bit. Let me do it again, bringing just a little bit. So it's not parallel and you can tell that is getting shorter into the difference. But it's also not Ah, it's not very extreme. And so it's not very extreme. So now we have very simple spinning box where he rotated it just a little bit and, as usual, will try to Ah, I don't know why that came out. You have the correct color, tried to trace over it. CEO comes out, and chances are I won't be surprised at all if it's a little a little wobbly again. Doing this life like this is not so easy. It's It is in fact, a little bit wobbly, so we could work upon that. But this gives you an idea of how to row. Take that box just a little bit, and so let's try it again actually gonna get rid of all of those lines. I'm gonna do another one where it's rotated a little bit more. I actually want to try this one. I feel tempted to try this one again. I wonder why it could. Because this vanishing point is bothering me if this one goes off there. This goes here. You see, we have this sort of not perfect rectangle, that type of shape right there. I don't want to go too far off, but maybe what if I just bring it over here? Just for argument's sick? So this one will go off that way, this one will go down slightly towards it. This one goes back towards that vanishing point. The front of my box is still perfectly vertical. Go back here and then finished drawing out the box. I think that worked out a little better museum in Eric that can't really see, remember, turn off perspective. Yeah, I think that one's a little bit better. It looks little longer. So the size and the scale is kind of an issue, but it still came out pretty good. At any rate. Let's continue in this way and continue to spin the box a little bit further. So this time I want tohave another perspective line down here. So we know where our starting point is. Let's take this one and spin it a little bit further. Remember, things get shorter too. As you spin it, the line should get shorter because things get smaller into the distance. So now we know that this line is going at that angle. I'm going to draw it right back as far as I can. And now you see, we have our invisible vanishing point has started up already. We can't see it, but we have an idea of where it is. And now, since this one has rotated, we have this angle here to consider and we're spending it a little bit more than the last one. I'm gonna eyeball it so this one will go over that way a little bit more same height and keep in mind, it's interesting that this just barely started to go off of the canvas. And as we spin it further and further, this one slowly gets closer to the end of of the canvas to so there's definitely something to be compared. There Now make the same height here. I think that's about the same height, and we'll do this since we already know that Vanishing Point should be about there and we can see exactly where this one is. Now choose the back of the box to be here on the side to be here. I can finish up the rest of my vanishing points off to our line layer. This is a very difficult challenge, by the way, this is not. It's not even a beginner's type of thing to do the beginners step would be to make that city that I showed you earlier. So a lot of people, that's why they teach that, so that you can feel impressed with yourself that you made an amazing city scene because it's easy to do. But I don't I don't want to cheat people like that. I want you to feel like you've actually learned something. I'm going to trace this box very quickly so it can compare them all. Okay, now you can see the boxes are slowly rotating and you can really feel it. I mean, I don't know about you, but I'm happy with. With the outcome thus far, I like the way this worked up, and these perspective guidelines I made might not be perfect, but they're working. They're definitely working. I definitely feel like I have some boxes in the same room, but at different angles there not all lined up perfectly. And that's what two point perspective allows us to do in a situation like this is to just rotate things anywhere we want to. So its ah, one of the conundrums that a lot of artist's and illustrator's and people want to do arts and crafts. When they're drawing, you start to draw things and everything looks perfect. It's lined up on a table, but then you start to think in reality, that's not how things are by the table, with a computer on it or laptop, or I throw my phone down in my wallet on the table, or if a girl throws her purse or bag on the table. It's never lined up perfectly with everything. Things were always just mixed and matched all over the place at different angles, and so this is how we start to draw things like that with perspective. Okay, so I don't want this lesson to get too long. But what we're going to do is to go ahead and just like we did with one point perspective, just draw crazy boxes under the horizon. Please do that under the horizon the same way that we did the first time. Keep it all under the horizon. Don't worry about going crazy. And outside of the box and all that, just make boxes under the horizon at different angles. We're gonna call that the dizzy boxes Challenge, I believe, is what I didn't. Okay, So go ahead and read the challenge for that. Do the challenge. And then you can watch my time lapse. After that, we'll see you soon. 33. Dizzy Box Challenge Time-lapse: Theo. 34. A Beautiful City Scene: in this two point perspective lesson. We'll go back to the city seen and try to recreate it and give yourself a pat on the back and take a sigh of relief if you followed all of the challenges up till now because they were very difficult. But now we're going to go back to something which is a little bit more common, something that you would normally expect to see. We normally don't have crazy boxes all over the place, and we also don't usually have to draw random objects all over the table or something like this, even though we will do that in the in the upcoming lesson. Just for another challenge. To make sure we've really got this two point perspective down. But yeah, for now, let's just go back to this city scene and go into detail with it so that we make sure that we have just like with one point perspective, want to make sure that we have all of the fundamental ideas down on how to make these guidelines. And if you couldn't do the previous challenges, anyone just skip to this one, that's fine, too. There's previous challenges are very, very difficult, especially the crazy boxes. Make sure my window have been here full size and I'm going to make a brand new canvas, and we'll just start from scratch with the perspective layer. And I just have to be a stickler. Sorry for that pausing and put that in there. You'll notice I put some taxed up in a lot of lessons. So hopefully in these situations where I had a quick pause or something, I could write something there to keep your mind busy. Don't get bored. So just like with everything else and I'll show you my lines for this, just like with everything else, I'll turn off the color, and I started off with basic lines. Now the very important thing to grasp and something I'll emphasize in this lesson, which will have already emphasized, is that getting thes the fanning technique one thing to remember is that a fan. If I would have like a Chinese Asian fan that looks maybe something like this, or if you make a little paper fan when you're in school toe fan yourself to stay cool, you notice that these lines never intersect. They never go like if I were to suddenly make one and have a go over here over there thes fan lines. They all go to a certain point and they don't intersect. That's one thing to keep in mind and start off really simple. Don't over complicate things for yourself. We have a good reference here already started so you can see it. I started about Let me get on the correct layer here from on this perspective layer. Yeah, I started about here and here, so it's like halfway up and halfway down of the horizon. And so let's just keep things simple and do the same thing here. So I start with a point here and remember, all over lines are gonna be perfectly vertical for all intensive purposes. If we If you have your ticket photo until your camera, of course, it would be different now in this with this very first line that I drew, I just from my experience, I just got this feeling that this one should go up like that to make it like a box. Let me go back to my original one here. And the the real thing that keep in mind is that horizon. That's what I really want to do. So let me bring it up a little bit further, Like the other one, I wonder. Let me see if the horizon make a thick black line here is right here. You can see the space from here to here, and from here to here are not the same. So I was more focused on just making it look like a box. And there might have even been some trial and error. When you see me do these time, lapse is those They're not even perfect. So when I'm beginning, when I normally do is just experiment a little bit. I know that anything that's above the horizon is going to have to go down, right? And anything that is below the horizon is gonna have to go up towards the horizon because everything goes towards the horizon. So let me just experiment here. You have to be really careful to not make it so that your buildings air really weird. Let me give you a real quick example with this of what would What would happen if I were to go like this and all of my lines where we're just kind of like on the canvas. Now let's imagine this is a building. It still works. You can still do this, and it will look like it will end up looking like a city. But imagine. Just just look at how weird it is that look at how distorted it seems. It seems like this building in front of us. If you can just use your imagination. Here it's It's almost as if it's like super giant Oh, are tiny or something. The scale just seems very bizarre, or we go back to this turn, colors and everything back on here. This looks natural. It looks normal. And that's because we're not being lazy and trying to just let our perspective guidelines go onto the page. So So it's just easier to draw. Let's not be lazy. Let's go ahead and challenge ourselves toe have thes perspective, vanishing points, which are going to be far off the page, and we'll make it easy on ourselves by understanding the fanning technique for me right now , that looks good. Try that. Maybe I'll make this building a little bit different from the previous one. But I always want to make different sized buildings because that's where it can really get the beauty of perspective by making everything different sizes so you can feel or the shape and the size of everything. Let's look at this line right here is a perfect example of where you might be aiming for your vanishing point. And here would be a big no no, do not do that. Ever do not intersect. Another vanishing point that's going another vanishing point. Guideline. Do not intersect that guideline that's going towards the same vanishing point. It should get closer and closer to that line but never touch it. I can make this building end back here and maybe the front of it like the other one. It's It's a tall, skinny building, something like that on the other one. Here I left a little space in the front and let me see if I can get Julia. I left a little space between this and that because I was thinking there would be a garden or something, and I might actually do that later. Um, with this one, you know, I'm going to do the same, but I want to leave that space over here. And perhaps this building is far off the page. So how would I do that? Here's another challenge. This building is so tall that is going far up out of the viewpoint. So what can I do for that situation? Why can start around here and bring the line down? It has to stop somewhere, right? So I bring this line down and again, just follow my other guidelines and get closer and closer to them. And then I can end this building wherever I want. Maybe back here. Excuse me and my boys got a little course there for a minute. Now, something to note with these is that all of the bottoms of the buildings also need to go back in this direction. And since they are a box, right, it's actually a rectangle on this each side of the building. So they all need to go towards the same vanishing point. So I'm gonna grab the bottom point here and drag it over towards the horizon. And I'm comparing this vanishing point guideline, and here is the horizon. And I wanted to go kind of right in between them, or at least have a sort of a synergy with them, a sort of a balance. I don't want it to be here. That's too close to the other line. I don't want it up here is too close to the horizon. That kind of have a balanced right in between them, and that should help me to make that building. Now let me stop right here before we get too complicated and draw out these buildings with my lines here on my line layer. And it's You don't have to be perfect with from building to building. Some people might want to draw this line all out, perfect and then, you know, a race. In some cases, that might be useful. But I like to trace out each building individually because in reality, usually nothing is lined up so perfectly right. If you look at anything on the street, there's all kinds of chaos going on. Maybe I shouldn't call it chaos, but it's everything is always just a little bit random, especially depending on which city you're in. So I missed the line. I just noticed, which is this line here. You have to go back and do that one and again we'll just try and balance it between the existing line here and this one here. Get right in the middle that works for me back to my line lair and just follow that and line it up here with perfectly vertical line and same here. I think that's all of them. Let me turn off this perspective, layer. And there you go. And so I haven't done too much work now, and I stopped to see and double check if he's looked somewhat realistic, somewhat like buildings as they were here. And of course, the top of the buildings are above the horizon and the bottom of the building's air below the horizon. So it gives you that natural feeling that you're standing in the street and you can look down at the bottom of the building and look up at the top of the building. That's exactly what you want. So now, with that in mind, I'm actually going to I don't want to completely erase the Slayer, but I'll just make a new one, and this will be my new perspective guidelines, And I'm just going to copy a couple of these guidelines so I can use them the top in the bottom, so that I know where my vanishing points are. And now I can hide that old one and see on the new on the new perspective layer. Here it's a lot more simplified. So now I can continue to draw more buildings. The most important lines that copied, by the way on that on this line where the bottom of the building here, If you see this line and this line that way I can see where my next buildings start from the ground. I wasn't actually I might have done that unintentionally. I didn't even notice it. But now I'm realizing how important that was. Well, I'm glad I did it. So there's that line here. I make this building well, actually out. Need to use this to see how tall it is. Yeah, about that tall. And now there. There's not to other lines. Whereas if we were here, I could judge by going in between them, that's very convenient. But in a situation like this, how do I judge you? Just gotta be careful. We know that down here looks wrong, appears obviously very wrong. But let me just slowly gradually go towards there and then same thing over here. Zoom out a little. In this case, I do have two lines that I could go between. This is their horizon. And that's the top of the other building. Just actually, in this case, we just go dead center. And I think that'll work out fine. And another one of these. It goes towards the horizon, the right between those and that's all I'm going to do. I'm gonna keep it short and sweet for this city and the other one I had. How many? 123455 buildings. Here I have 1234 Good enough because, you know, for this is for practice that I'm setting you guys up to. Excuse me. I have to find out line there. I'm just setting you guys up to start on a very simple city scene which we will continue to detail in the same way that we did with one point perspective. And you can choose your own level of detail. Even this is quite primitive here. I could go into so much further detail, but adding bricks to all of the building. This'll part here is actually supposed to be these air like signs, and I should say, you know, some some things on sale today or the name of the business and all types of details. I could have people walking down the street, bicycles, cars you could go on and on. But we're going to start off really simple, because this is a lesson which assumes you don't know perspective. That's why you started taking these lessons. And so I don't want to overcomplicate things and scare you away from it. Let's keep it nice and simple. So based on what you've learned from one point perspective on what you've learned from this so far, and just remember to draw an imaginary person just like a little stick figure like that and you can make your your sidewalk very quick by kind of going like this and make some things to scale so you can get a feeling of how big everything should be and notice how big building is. I don't want to make a door that goes like this big, because that's already covering Well, maybe it is that big, but it just means that thes buildings air very small. That could be the case, but for May I'm going to assume that the door should only be about this big. And so the people will be. If you start from the ground up, they should be about this big. For your average height person, I can draw a door. There may be this building has two doors, so I could draw another one over here. How? How would I get? Make sure that both doors are exactly the same height. Let's follow the same guidelines for this door. Bring it all the way to the midpoint here, and then again make a vanishing point guideline. And there you can see that's exactly where the other door should line up to be about the same height. Although this door is a little bit further in the distance, they might want to make it a little bit skinnier. I'm not sure again, you have toe be prepared to do some trial and error, and then the same thing will happen with Windows. I know that this, uh I can tell by just using my eye that this would be about the second floor around this area here, so make a couple of guidelines that go off like this. And then there is the basis the foundation for my windows, and I could continue to draw some lines in there. So I don't want this lesson to get too long. Go on and on like that. But between everything I've shown you so far, I think you definitely have enough knowledge and should have the ability now to go ahead and make a simple, simple box is seen like this and draw in many windows and doors and things as you can, and then in the next lesson will go into detail ing all of those doors and windows the same way that we did. With one point perspective. We'll see if there are any particular complicated situations that we run into which need to be addressed, and that's it for this lesson. I look forward to seeing you in the next one. 35. Beautiful City Foundation Time-lapse: way, way, way. 36. A More Elegant City: in this lesson. We're going to do some detail ing on this city, and I'm just going to focus on these window ledges so that you can. This will be the beginning step that you'll need to make a more elegant city. As I entitled this lesson so that you can go and make all kinds of different details, including, such as thes shapes I made here. And as you can see, the signs have a little depth and perspective to him that all starts with just adding some more depth to these boxes. Such as, for example, these windows here are just simple boxes, so it doesn't look like a real city. It feels all flattened thick. So going back to the city that I have created here, how did I make those guidelines? It seems intimidating at first because, as you can see, we have this line here and in this area here, and I don't see the other parts over here, right. And on the bottom ledge, we have this in this which is visible, but the other parts are not. So where do I get all of the guidelines? Some of them are going to go this way, some of them that way, and it's gonna get really confusing. Let's make it simple. Let's realize that the first box we made stay in the red color and see if this ah, bigger brush the first box that we made here on this side. This is one face of the box and it goes off in this direction towards that towards the vanishing point that's over there. So if that's true, then this box here, which is inside of the same box, should do the same thing. It should also go back in this direction towards towards the vanishing point that's at the horizon towards the left, right. So let's start off with those guidelines to make it easy on ourselves and then see where to take it from there. So I'll go back to normal black color very quickly, get down to 10 points of pixel and will do exactly just that. Now we have a lot of guidelines all over the canvas now with my previous work. And remember, our rules don't intersect lines that includes, for example, this line, these lines here, this and this. So starting with my first edge of this box here. I can go right in between this window and try and find where it feels comfortable where it looks right off my angles to feel good. Do the same thing here. Don't go up here. Don't go down there. Don't cross any lines. Or at least any of the lines that are going to the same vanishing point. Don't intersect any of those. This one should go about here. And finally, this one looks like it might end up parallel with that one. Okay, so now we have the beginning points and let's look at my example photo. Any sea or technically speaking here, we're only going toe have switched to read very quick. We're gonna have one too. Three lines and that one. You know, this actually goes through to their in addition to the outside of the window. So this is the first line. So that's after drawing all of these lines. That's all I achieved. But you see, this is the beginning step and I'm glad that we did that. And we're gonna learn, just like we did previously. The shortcuts. So now that we realize that these lines here outside are not needed because they're going towards the vanishing point, which we don't need. I can go ahead and delete them if I want to, even and it won't matter. This is the only line we're going to see. And the more you do this, the better you get at it. So now that I know that this line is the only one that I'll need for that ledge, let me pick a point over here to start and again. I have to keep in mind all of my other lines on and try and make a good place. Teoh. Put that and remember that the space from here in this situation there's not a lot of other guidelines to follow to see exactly where it should fit in. But do remember that it gets smaller as it goes into the distance, so it's getting a little bit smaller. It's not very far from here to here. It's only a little bit far, so doesn't need to get that much smaller, but it should get smaller a little bit smaller, and I think I did that right, just just about there. So now we have the first line in the second line. All we have to do is see where the Intersect, which is right about here and there. I have my window and I can go ahead and go to my line layer. Trace that out real quick. Now there's a very thick window, cousin, very thick, but this is Ah, we would call a public type of building. It could be a factory or business or something, so it's not unusual. To have a very thick window like that are very thick window ledge. Maybe in your house. It wouldn't be that thick, but these air like concrete building. So that's OK. And there it is. It's not too bad. I feel like it's a little off. I feel like this line here should come down a little bit, but for demonstration purposes, I think you get the point with that. So let's continue with these lines. And since I want all my windows to be the same thickness, I can start by bringing this one straight down so that they line up whoops wrong there. Okay, So bring this one down and then remember the lines that are over here, they're all going to go in that direction. And so we're not going to see that area, so why bother drawing them? However, I am going to see the line It comes here. So start with the point here and again. Try and see where is a good place to not intersect any other lines going in the same direction. So, for example, it is very subtle, is very It's easy toe, not notice this. But you might just say maybe somewhere around here is OK, but look at the mistake we made. We want way past this line. That's incorrect. The top of Excuse me, there's a better our the top of this door. This is supposed to be a double door that made there has a line that we can follow, and this is clearly not following that line very well, even though they're very close. So let's look at where it should be. It should be. Maybe right about there would be better. It's still going towards the same horizon. Or is it yet? No, that's right. Yeah, right about there. So you can see there almost parallel because they're very close to each other. And when you start drawing, if you don't, if you feel like this is mind boggling or something. Don't worry about it. When you start drawing, it just snaps into place. You'll feel it, and I want to make a line from here to there. But I have some guess work to do since I made that line first. Where exactly should I start this line if I start from here? If I touched the canvas here first and go to make the line towards the horizon such as Excuse me had a problem with the tablet there, there's going that well, that didn't help make my line. But I can do that actually tat there and try and find a correct horizon Vanishing Point line here. Find my guideline, and then I can use that line to help me finish. I'll start off like maybe somewhere back here and try and follow that line so that it comes right up to here. Or you can just do some trial and error. Maybe you could like to say I think it's going to come about it. Looks like it'll come about right about here, and so you tap here first and tranq it over there, says that, Yeah, that looks about right. It's getting smaller into the distance, and it follows all of the rules that we have so far. So that does it as long as we get this intersecting point and this area should look like it's getting smaller as it goes off into the distance here. And this line is matched up with the top line, so the windows look like the same thickness. Then we have everything we need. So now I can get to my line layer and go simply what, in a perfect line? 12 three. Now that is confusing. If that seems scary, all that stuff I just did there. Don't worry, it's supposed to be. It's not easy, it's Ah, it's very difficult. Let me check this guideline right here. This one looks a little a little fishy to me. I will use a thicker brush. This guideline right here, it just seems odd. Not sure why it should get it that way. Yeah, it isn't perfect, but there's little trial and error in this. It's hard to get perfect. Remember, we're dealing with invisible vanishing points there off the canvas, and we're using our or just eyeballing it in many cases. But even with that being the case with a lot of practice, I came out with the Starter City here, so trust me, it's doable. And so this video, if you need to watch it two times three times or watch the time lapse first, where is usually a challenge? You to try it yourself, then watch the time lapse. This is very complicated. If you want to watch the time lapse first, which I'm going to do now in the next video, go ahead and do that and just try and get the gist of it. And don't worry. With time, you'll get the hang of it. This is not This is not easy. This part of of this exercise is just not easy. We have all these lines for, For example, if you were to do this one window here, just remember that were on this this side of the box, and so are starting lines on the edges will go off this way and you use your imagination a little bit and you figure out where things go. Just play with it, draw some lines. And if you have any questions, of course, this is the last. And make sure that you ask me or show me that the troubles that you're having. Give me one of your illustrations that you're struggling with. Send me the file and I'll try to help show you where you're going wrong with it. That's no problem at all. That's what I'm here for. That's why we have these lessons. I'm here for you. Okay? So watch the time lapse in the next video, and then we'll see you in the next lesson after that. 37. Elegant City Time-lapse: way, way, Theo. 38. An Interesting Table: in this two point perspective lesson. We're going to cover how to make an interesting tabletop, because this is something that is very common, and everyone should be able to at least imagine some objects or look at your own table or desk, where or go online and Google's some images or Google Yahoo. Use your favorite search engine to find some images and just think of what kind of things run a desktop because before you want to go crazy with your imagination and do all of the flying super man's and this and that or maybe you don't want to do that. But before we can walk, we have to learn how to crawl. We have to do just very simple basic things. So how can I make all of these interesting, intricate objects, even though this is rather simple? Most of these objects or boxy but they're facing different angles. And then there's I added the teddy bear and a pen, and this happens to be a tie in this section here. Uh, yeah, there's a you know, amends. Tie for a suit going around the teddy bear and back there just some random objects to challenge myself to have a random tabletop Now the reason this is very important is because previously all of the illustrations that we made were all going towards it the same single vanishing point. Or, as in this example, they all of the objects we made want to one of the two vanishing points. We had one that was over to the left and one that was over to the right, and even though it was challenging because the vanishing points were off of the canvas. Still everything in the drawing on Lee went to those two vanishing points. So it wasn't really as challenging as this image here, which might look much more simple than this image here. But it's actually a lot more difficult because all of the objects are randomly positioned there all at different angles, and so we're gonna have many vanishing points. Here is where we learn that every object has its own vanishing point, so it's a very important lesson. So in order to start making this type of tabletop, let's refer back to our dizzy box challenge. Remember, here we had all of the's, even though it looks quite simple, but all of the's objects go to the same horizon, but they have different vanishing points. Every object has its same vanishing point. And so if you thought this was unrealistic at first, now we can look here and see the results where we drew something that it's not incredibly realistic. But it's a very plausible, very realistic illustration where you can look at it and say, Hey, that's a teddy bear And there is, you know, a jugar a bottle over here, and there's a framed picture in a gift box and they all seem to be sitting on a table. You can see and feel the depth in the space of everything, and it looks plausible. So in order to reach that, this is why we went through all of these challenges one by one. In order to get up to this level, we have to study all of these basics, these fundamentals. So in order to do this, what I did let me turn off the color layer and the line there. I start off by making the table in the same way that I started making this city. As you can see right here, I just wanted to get the thickness of the table and we're imagining that were zoomed up and maybe in a kneeling down position. Or maybe you're a child and not very tall and you're looking at the table is normally you'd be looking down at a table. But in this situation, we're going to be down at about the eye level of the table, okay? And so and as opposed to over here, where I made a very skinny line right here because I knew it was only going to be the curb of the street and reviewing it from far away. So that line was very small. But in this situation to start the table and resumed up close, the very first step is going to be just toe have excuse me, wrong there. Just to have the zoomed in nice thickness of the table here would be a little bit bigger. And you can see how the horizon is here. And I allowed enough distance. I started this. This first line as low only left a little bit of space here, so that can still see the full edge of the table that will help my I will. It will help the viewer's eye to know that we're looking at a table, and then I can start building my objects on top of the table because there's plenty of space appear to work with. And that's Ah, that's exactly how you want to get started. After that, you can see I did the same exact thing that we did with our dizzy box challenge here, where I just created boxes facing different directions, and they each have different vanishing points. And then I tried to design the objects within them. Now the teddy bear might seem like the most complicated one. But if the zoom in here, you can see I created let me get on the right layer. You see, I created a mini box inside the first box and I had to use my imagination, and I said, Well, all of his hands and feet will basically be pointing outward, as teddy bears usually do, Not all of them, and the back of his body will be background there. And then I imagined another box back here. Excuse me and back here that his head should fit inside there, right? And so I just do it out like that and then I made a circle inside there. And of course, they always have fat bellies, usually the teddy bear that not all of them, but usually look a little chubby. So using your imagination step by step, just break down each object. And most of the objects I did were quite simple. There just boxes. But the teddy bear was a little extra challenge. Just Teoh show that we're doing something a bit more interesting now. Now, on your table top, use your imagination. It doesn't have to be the same as mine. What would you like on your table top? Or maybe do a realistic table top of whatever you have on your desk or your table, or even the kitchen counter whatever it is that you want to do but use your imagination and make sure that you get all of your boxes looking good first before you start drawing the objects in there. Even using this page is an example. Some of these don't look very good. This was crazy challenge, which helped us to see, for example, some of steaks like this one is a perfect example. Um, this doesn't look like a perfectly square box, so I would redo that box before I started to draw anything into it and make it into any type of object. So that's gonna be your next challenge. Go ahead and have a try at that, and then you could watch the time lapse and I will draw another table top. And you can see how I worked out some of the details in the time maps, and then we'll see in the next lesson. 39. Table Top Party Challenge: way, way, Theo way. 40. A Crash Course for Basic Light and Shade: in this lesson will do a quick crash course on light and shade and says, You can see here I have these three objects, which, first of all, the reason that we're using these three objects is in the same way that with perspective, we use our basic shapes to help us understand everything because we can break down basic shape. Or we can break down com complicated, complex shapes into simple shapes. And so it's the same thing with surfaces. When it comes to light and shade as you going to see here, a round surface has a certain way of accepting light and shapes such as the sphere here usually has that point where the sphere hits it, and then because it's round, it tapers off around around the sides in all directions. That would be for a perfectly round object, whereas for a cone object, it seems tohave a beam of light because this whole area is is equally flat, and so it's receiving the light in the equal fashion. The reason for that to understand this phenomenon is that remember that late bounces off of things right. It's bouncing all over the place, so it comes down. It hits this and then it comes back up and hits you in the eye, right? It's almost like a non stop stream of bullets coming at you, just shooting you in the eye. And so the same phenomenon happens wherever a light is pointing because light it can be coming from a lamp for a son. But it's almost like a gun that shooting out these rays, and then they bounce around and they hit in the eye. That's actually how it happens. So where? I mean, I'm not a physicist, but I think that's, Ah, pretty good way to represent how it works. And so you can see with the box surface here the front area. Since it's all flat, it receives the light and bounces to you all at the same way. Just like a flat mirror shows your entire image back. Whereas this topside it's not receiving the full brunt of the light. It's kind of coming down and then bouncing off into the distance like that. So it still has like but not as strong as his front area. And that's of course, because of the position of the light that I used for this demonstration. We're assuming that the light is behind us and coming from from behind us and shooting forward in this direction. And as a result, you can also see that the shadows, they sort of hit the ground in that in that same angle. So from the top of this cone down to there, there's a certain angle from the top, this fear down to here. They're all about the same angle that's that tells us that the light is coming down at that angle. And so the area here, which is not receiving the light because it's blocked by the object, is the cash shadow. So we have a cash shadow, we know how light works, and then we have a cash shadow and we can see how lighting also will be stronger in the areas that are where the light should be bouncing towards us. And that can be hard. Remember, this is a crash course that could be challenging to understand exactly where to put that. But these are the foundation of light and shade is to understand those two concepts and also that the side of the object which is not facing the light will not receive light, so it will be dark. It'll be in shade, so that part, I basically call shade. And I believe that is the the same terminology that all other art lessons and schools uses , that that's the shaded area. You could also say that this is a shaded area, but it's technically speaking. The actual form of that shadow that comes is called a shadow, and more specifically, it's called a cast shadow because it's being cast onto the ground behind. So those are the main points to understand. And in order to do this, how did I do this? I'll demonstrate very quickly in the game. So go ahead and just delete everything that had on this layer and this layer. And as you can see here, the very first thing which is very important before I continue with that, is that the background notice is not white. When you want to start doing light and shade, it's nice to start off with a color in the background because white represents pure light and so you're not surrounded by pure light, right is surrounded by color, and so the background. If you want to do any type of light and shade for any illustration. It's nice to be start off with a background that's sort of, ah, like gray or whatever color the room happens to be, or outdoors or something. So that's a good starting point. And then I added my color on the color layer, and now I have two more layers. This one is called Shade, and this one is called light, and so I'll start off with the light with the light. I'm going to use my paint bucket, and I'm going to fill in this area with Sample merged, as we learned previously. And But instead of giving it a full light, I want to still see the color. I'm gonna turn the capacity down a little bit and then I'll fill in the light, and then I'm going to turn down. They passed the a little bit more, and since the back side of the box will have less light, it'll be just like that and so that I can even do that multiple times, I believe. Yeah, if I'm gonna get more light out of it, I can hit a couple times to make it a little stronger. So that works for that, and then eso that pretty much covers the box for lighting. As for reasons which I already explained, the front part is going to be stronger and the back part b a little lighter. And then there's no light over on this side. So now I'm going to back to a brush, and since we have, we want to get around it, sort of look where it's Grady in here. So that means in the middle. Remember, we had that little beam like this, and it tapers off. What I have to do is lower the a pastie on my brush and you can see I can. I can start off by going real big with a brush and just soft light, and then continue to stroke over those areas that I want to make stronger until it gets, you know, slowly gets perfectly strong how I want it. And then I'll just go to my eraser Turn, turn the racer back. Capacity was down on the eraser, and I'll erase the parts that I don't need just like that. And that's one quick tip to do that now a coon, the light, the going gets skinnier as it gets higher. And so I actually wanted to kind of be skinnier like this with the light as well. Except it should be a little bit more over this way. Just yeah, kind of like that. Almost like that. It's not so good. But, um, we'll get the general idea. I think that's OK. And now we have this fear again, with the capacity down on my brush and using a white color, I can make a little bit of white going around like that and then on the getting closer on the inside now and then closer and closer, and they just keep tapping the inside until it comes out and you see there have sort of a radiant now you can feel sort of ripples because of that technique that I used, but that's okay. I'm trying to go back. You could do it a little bit better. If you practice with it, just smooth it up. Another way to do that is to use the radiant tool, the Grady Int tool, who switched to radial mode and make sure you have from foreground to transparent, selected and with white selected. I can basically make a little circle type of radiant like that, and that's perfect. When you use that tool and then we're done, then we move on to the shade layer. Now, since I have light on the light layer, I can actually make it stronger, actually had it down a little bit. But you can lower the a passivity and make it stronger. And that's a good tip for gimp because later on, you might realize you made your like to light or your shape too dark so you can play with him. And so now do the same thing with shade. Now for shade. I can just fill in this area there with capacity down, and I definitely have my shade layer down because black is very strong. So I turned that down like that, and then I can use this lasso tool and just remember that angle that we're going for. And he's gonna be three tops of the box which had come up and then I'll make my shape. They're basically fill it in just like that. I think that is, I don't full of passing. Now I make that full capacity and get out of there actually do that on this one, too. Yeah, I just feel that in real quick there's not perfect, but I know it very quickly again. I use the lasso tool and for the cone, basically get the same angle. But it's just a triangle like this and fill it in. And then for the sphere sphere is a little harder to draw out. But for me right now, what I'm going to do, I could use thesis Urkal tool. But the lips tool does not make lips is at an angle in the game. So I'm just going to draw it out like this very quickly, and there are the other, more perfect ways of going about it. But for the sake of this crash course, let me just do this, please. And we'll go like this and make sure that the bottom of the bowl words touching the ground has at least a little bit of shade right there and then issued Circle off in that type of direction. Try and get the angle a bit better. Kind of like that. Okay, now for both the ball and the spear, they also need to taper off, and so I'm going to do the same thing here where I lower the a passage e instead of with white with black. Now someone lower the A, pass it e and then slowly make the brush smaller and try and get it to gradually, radiantly go into a dark color there. And you want to get your strokes kind of smooth on this or else it'll look really bumpy on it like that. Then I'll just raise the parts I don't like. And I can lower the A pass ity on my eraser as well and kind of smooth it out like this. That help sometimes and the same thing over here for the country for a little bit of shade here and then slowly make it darker on the side. Just the race parts I don't need on. There we go, their good. That's very, very quick, as fast as I could get, because this is a crash course, and I can't let it go on too long, but just give you the general idea of how light and shade work is very, very standard. And these shapes just remember when you're trying to draw, whether it be a person or a building or house is the object which you're working on. Is it round, or is it cylinder shaped, which she would have this type of effect? Samos the cone? Or is it doesn't have flat surfaces, and that's how you can determine how the light in the shade should work. Basically, it's either going to be Grady int like the ball and the cone, or it's going to have non Grady in flat surfaces like this one. So that's it for the crash course. I hope that was useful for you. Hope you enjoyed. And if you have any more questions, let me know. Of course, just give me a message and we'll see you in the next lesson. 41. Three Point Perspective Introduction: introduction to three point perspective in this section, we're going to cover three point perspective and basically what we're going to do is just add one more point to the two points we had already. So it's a very easy introduction illustration. I created this one where you can clearly see that we have, ah, two point perspective going off into the left and going off towards the right. We have to invisible vanishing points. And there's also 1/3 vanishing point going up in this direction because the buildings are very tall and so they also get further. They get smaller as ago off further into the distance, but this time they're going off into the distance in height. So one thing to keep in mind is that we have a with, ah, height and depth for everything right have with here height here and death, and this is how they describe it in geometry and mathematics. But when you think of it in your mind, you don't necessarily have to worry about which is the height, which is the depth and this and that. You just have to realize that there's different sides to the cube and what I did is an example to bring this up is I brought a Rubik's Cube, and if you haven't seen this before, it's just a toy or it's a puzzle. And so this Rubik's Cube. It's colorful, as you can see, and it also has perspective to it. So using this real life photo here, we can see the vanishing points that I created here. I made these vanishing guidelines for two sides of the Cube, and the reason I could make it for two sides in this situation I have this site here and decide here is because there's lines running along all around the Cube, and so all of those lines have to. They're parallel with each other, and so they have to go to a certain vanishing point. And so, in this situation, if I black out the background, you can see very clearly that we have the fanning effect that we're familiar with where it kind of looks like a fan like this. But it's a subtle fan, right, so the vanishing point is very far away. Now let's continue to look at that for the other sites you see on this site. It also has a fanning technique. And on this side there is also a fanning technique, and we put them all together. They recon, see your cube. So all sides of the Cube, when looked at at this angle is very important to note, we have the the tip of the the tip of the cube is pointing at us and we can see all three sides 123 at the same time. Therefore, because of that, we know it's at an angle that is going to create this type of perspective, and all of the sides are going off into the distance. Now noticed this side here in the back. It's going off into the distance, both in height and in width. Or you could say it's in depth and in with. So when you put those two together, which is this one in that one, see how it creates sort of a new layer, great sort of a diamond shape that comes up here that's gonna be useful to keep in mind as we go along. And that's true, I believe, for all sides here. But usually I like to focus on just one side of the time, and then I can build my cube from there. But before we get into this, there's a little bit scary to look at at first. Because when you look at this way, you might think, Well, where is my horizon? Where is my foundation? How am I going to make something like this just floating in space with vanishing points all off the page? Well, before we get into that, let's keep it simple. And we're gonna go back to our original photograph here where we can see we have the vanishing points for two point perspective are still there. And all we need to do is build upon our two point perspective by adding the third point. Now, the hardest part of this third point is that is very far away. You have to be subtle. But once we get that out of the way, the rest of the drawing is simply two point perspective, with one more point added to it. And that is exactly how it came about making this illustration here. And so I'm going to run you through how to make a city similar to this one. I don't want to do exactly the same angle. Gonna make a little bit more complicated, but it will be really easy. Based on what we've learned already. We're just gonna add one more point, so let's go ahead and see that in the next lesson. 42. Three Point Perspective Guidelines: in this lesson will cover the foundation guidelines and some simple boxes for three point perspective. So as we look at this illustration that I've made here in preparation, I want to note some things that are very important. First of all, we can see that all the buildings on the left are leaning inwards and all the building on the right are also leaning inwards so towards the center of the page. And that's very important to keep in mind because this is where we assume the eyes looking . We assume that people are looking in this direction. And so I made some activity here intentionally to hope to draw Peoples I into this section , and if your eyes focused down there, then it would be perfectly normal. That, too, for your mind to understand that all of these lines air going off into the distance. Remember, your mind is doing a lot of work when you look at things as that might sound very deep. And it's kind of like, Well, my mind's doing all these weird things. Tell my I want to think, and now I'm going to draw and tell my mind what to see But that is, in fact, what we're doing. We're trying to make a two dimensional image that represents how your eye sees the world. But you're ICI's in three D, and you have two eyes, right? So you have two eyes in the mind working together to help you to see what's around the world. And how do we turn that into a two dimensional image? So sometimes it can look really weird if you take a flat, two dimensional image like this and let's say Zoom in here and it just looks like everything is slanted to the right. Why is it slanted? But when you look at the whole image, then it kind of makes sense. Even though the fact of the matter is for this illustration, I might have exaggerated a bit too much. But I did that, you know, because we're doing this for demonstration purposes, and when you make your illustrations, you're always going decide how much of that angle that you need, how much of that bend or curve that you need for each situation. I wanted it to look like these buildings air really, really tall and where you have this super grand scheme of things were far away looking at the greatness of these giant metropolis buildings so exaggerated that perspective. Hopefully it turned out as I imagined it. But who knows? I let you be the judge. And so here is the foundation. This illustration here this not illustration. This is going to be the foundation for a new illustration which hopefully will come out to be a big metropolis city. Now, in this situation, I didn't exaggerate as much. But you can see and feel the space of these boxes so well. I love the way that this introduction looks right here. There's a great way to get started. So I want to start off with one of these as our city. Now this if you can imagine that every one of these boxes here is going to be a building. Of course, they're all exactly the same height, and so that would be abnormal. Usually, buildings are all different sizes and shapes, but I thought this was a good starting point because it's really easy to look at. So how did I do this? First we have ah, horizon, which I made lower on the canvas and the reason I made it lower on the campus down here is because we're planning to look up. We're going to be looking up things. There's gonna be something very tall, very high that goes far off into the distance in height. And so for that situation, we definitely need horizon. That's lower on the canvas so that we can make it feel like we're looking up at something high. And that means the, you know, the higher your head looks up into the sky, the less you see the horizon, right? So I start off with these lines. And then I added these guidelines, and I'm starting to use color now because there's so much crisscrossing that it gets confusing. So that is how I did this in a nutshell, and let me go into the next lesson where I'll show you exactly how I made these guidelines . 43. Three Piont City Boxes: in this lesson will cover making the guidelines for this type of foundation for the boxes and then you'll be able to move on to detail your city. After that, I do believe. Okay, So how did I do this? Let's start from scratch. Gonna need new canvas. And we're going to make our horizon nice and low so that we can look up into the sky and then this is very important. We have to get dead center if you're drawing on paper because the I is always looking dead center the line for this third vanishing point should be always in the middle of your vision. Where's the horizon? Can go up and down, but vertically speaking, your eyes always looking center right. So if we were to draw the first line here and have a fanning technique going off this way and this way, that means your eyes is looking over here. But why is your eye looking on the right side of the page? And then there's all this space over here. You know, this this whole cube of space. How is that going to work? Perspective wise is gonna look worked and weird. So for this type of situation and the reason for I want to explain because I know some people wonder why in the future a building is perfectly, Ah, horizontal and vertical with the earth, Right? Let's say this is the ground on the bottom here, and then you put a building on it will have little windows and here in the door and all that stuff. The building is perfectly vertical to the horizontal earth, and it's usually flat and horizontal on on each floor, right, just like that. So because of that, it's going to have a very, very standard kind of appeal to every time you're looking at buildings, it's gonna have the horizon. The vertical horizon, which we could call it, will be dead center always, and it's going toe have. It's gonna be stemming straight off from the earth. So in this type of situation, we can be very, very standard and follow the same guidelines, the same type of rules. Every time Now, when we start doing space ships or airplanes or something like that, things change. But for this situation, just follow these rules, OK, so we're going to start off simple This the beginning of this section, we're gonna have a couple lessons that are pretty simple, and then we'll get into the more complicated stuff. So since I'm not drawing on paper and we have all of these tools available to us, let's go up to the image menu down two guides and new guide by percent in the gimp, and I should bring up a dialog and then you can choose vertical. And in here it says the position in percentage. So it's It normally has 50% in their beautiful. If not you can type in 50% and that means is going to put it 50% dead center in the page, the whole pages, 100% so 50% means the middle. Now I have a guideline there. I can just go ahead and draw my red line like that. But I want a couple more guidelines, and I want to make sure that they are in just the right spot and with a little bit of lean to them. So let's make another guideline at 25% which should be about there and 75% pretty simple math were just breaking things down into quarters 25% of the time. So another guideline at I'll type in 25 right there and image guides new guide by percent again. And this time, 75%. There's our other guidelines. So now I can make another one here. I'm gonna make it lean out just a little bit. I want to exaggerate just a little bit for our purposes of this. Ah, this example. Such as you can see in this illustration here so that we can feel the perspective. We don't want to do something that you know, it doesn't have any feeling to it or else it's not fun. And then I'm going to flip the canvas using a tool here you can go up into. I believe it's in also image transform flip horizontally. The reason I forgot that for a moment is because I haven't set toe a hot key. And I highly recommend that you do that if you're going to be doing this type of illustration, because every time you flip the canvas it will help you to check your symmetry. Okay, so I feel it's not perfect, but I'm OK with it. It's good enough when I flip the campus, you can barely tell a difference. That means the symmetry is very good. So now I have these guidelines. I can choose a couple more spots and try really hard to get it lined up with the other ones and remember the fanning technique and check your spots of like, right here. Where did I begin? The line. Where did I finish it? On both sides. And if you feel the space is about the same from here to here, here to here and it's not perfect, I can see this line here is not so good. I might take the time to redo it. Or at least while you're drawing, realized that that one line might be off and you you know, you can fix it as as needed. But that's not too bad. There, this one. I'm gonna redo back down to 20. So these lines stayed consistent through everything that we do. I'm going to just lower the a pass ity of this and then make a new layer. I put the opacity of that down very, very low, and now I'm going to go into a blue color and want to go right back in the two point perspective. Now we look at this illustration, for example, that I made here again, not a completed illustration. But the drawing example. What I did is I did a type of two point perspective where if you remember, one of the points is still on the page like that, and the other one actually let me get down to a smaller pen. And the other one is far off because of one of the two point perspective lines is on the page than the other one must be far off. And now I'm gonna follow those red lines that I made in the background. And I'm just going to continue to make the first box and look at it feels like you should you want to go over here because he just can't believe that it would go right down there like that. But trust your vanishing points followed. Follow your vanishing points. They should never lead you astray. And now I continue making these lines. Now I'm not going to use the control key anymore because now I don't want a perfect line going up and down like this. Now what we're going to do is just hold the shift key and pay attention to those red lines because those are my new vertical lines. Vertical is no longer vertical, and while I'm doing this, remember, there is no software, or you could technically probably find another method of doing this. But we're learning to draw here and not how toe just use software. But let's assume that there's no software which will automatically make all of these lines perfectly for us. And either way, you still have to use your I. So while you're making these lines, never forget that at the tippy top of the page here, far off into the distance in that direction, there is a vanishing point. Keep that in mind and remember that all of your lines should be leaning in that direction. Because if you just blindly look at the guidelines that you made, there might be some mistakes in there, and you don't want that to happen. You don't want too many mystics. So now that I have that as a foundation, what I did because eventually they will be too many lines intersecting, and it's confusing for me. I make my line layer now, and I'm going to trace just the front of these buildings. So let me go ahead and do that in a time lapse. Okay? So now things are shaping up already. We just need to make the backs of the buildings here that are going off into the distance. And that should be easy for us by now with the two point perspective lessons that we have. So I'm gonna choose the orange color and went back to many steps, and I'm going to go back to this layer, which is the one of the guidelines there. But it's the same layer that has blue on it. But I'm going to use this orange color now and try and get my guidelines for the backs of these buildings or the size of the buildings would be the top in the bottom. And don't forget all of our previous rules here. We have have to watch the horizon. Don't intersect the horizon if you're below it. Moments did that there myself and make sure the lines are getting closer to each other in the distance. All these rules are more important than anything else because the consistency in the drawing is going to tell your eye what's going on? We'll tell your eye, which then tells your mind and then they work together and they tell you what's going on. What are you looking at? So I think this is beautiful when you have all the color like this to For me, this is fun. I enjoy this. I hope that while you're watching this, if you have any questions or if you feel confused that you do feel free to message me and ask me any questions you might have, I'm not going to promise you that I can answer everyone's questions because having taught many people many things Ah, I know that I cannot answer every question. Sometimes you're gonna have to figure something out yourself. But you never know the question that you have. I might be able to answer it and save you years of trial and error. That's part of why I'm here. I hope that put these on right layer. Yeah, that's right. So now let's see what we have. There you go. The final product looking pretty good, A little bit slanted, a little bit exaggerated, but you know that's part of the trial in there. in. I'm I'm happy with that. I would definitely just continue with this. All I would do in this situation honestly is I would remove this line here. This one is the one that looks at the most off. Basically, take that one, and I think because this line is in the center of the page, so it looks just a little exaggerated. Just see that tiny little bit difference, because when it's over here, you could definitely see that a space from here to there doesn't line up. It doesn't look parallel with this and even though it's not really supposed to be parallel , but you don't want it to be so obvious that someone looks at it and says, Hey, that looks like triangle shaped building and it doesn't doesn't look, there's something wrong about it is a not shape to it, But there's nothing wrong with redoing some of the lines. And, you know, if it's not perfect, that's totally normal. Everywhere you go in the world, there's nothing that's perfect. So just fixed some their lines as you need, and that's all part of the process. Okay, so I just want to add my horizon real quick because it doesn't look finished until the horizons there. I'm gonna go on a separate layer at the horizon since run a separate layer, we can get ahead in the race. I make this Ah, eraser brush much bigger on Go zoom in and get the detail there. And I can merge those two layers and one finished layer. Merge down, turn off everything else. And there you go. We have ah perfect foundation for a big city. So what we're going to do now is go ahead and do a challenge of making one of these yourself and continue after you've made one of these yourself to expand upon it and turn it into a city and do as much detail as you can and experiment with shapes and circles and triangles and diamonds and whatever you can start off by making your doors think about how big the people are going to be right. Or maybe it's not even that big of a city. So you draw the door bigger like that. But you have to think if if the people are very big, then why're the buildings getting small? Is they go up into height? Were trying to tell People are trying to fool the eye into thinking that this is a very, very big thing. So make your people, you should make it. People pretty small like this make the doors very small like that, and then you can, you know, do tons of windows or design. Make some of the buildings taller, like some of them shorter. You can add a shape to the top. Could be around shape. Could be a triangle shape. Maybe there's even some kind of SciFi science fiction or fantasy things going on there. You know you can go Greco Roman, ancient times. Maybe there's columns in the front of the building on, you know, just use your imagination, maybe Egyptian style. Something like that. Whatever you want to do, Think about architecture. Have fun with it, and the reason for that is the challenge yourself to do all different types of shapes and sizes and and curves and things not just toe have fun, of course, but you have fun. But remember, we're doing lessons here that hopefully after this class, you'll feel is that we've been challenged and you're not afraid to draw anything anymore. So do challenge yourself and even me. When I draw, I challenge myself with every drawing. Did I do? I'm always trying to do something that I previously could not do, and I want to learn how to do it right. So go ahead on, have fun with that. But try Teoh. Challenge yourself and make it difficult. Don't make it just fun and easy GOP. Have fun with that, and we'll see in the next lesson. 44. Dynamic City Challenge: 45. Interiors and Understanding Space: in this three point perspective lesson, we're going to cover designing interiors. And so, as you can see in front of you right now, I have sort of a large, wide screen view of Ah Castle or a church type of interior space, which is a perfect example of when three point perspective would be very useful in drawing . So in this type of situation, we have to keep in mind that three point perspective is everywhere. And although I'm going to cover designing interiors, I don't want you to think that there's one rule or one way of going about it. What we want to do is to develop a sense of our space and to be able to draw anything that comes your imagination. Of course, you can't just follow the same rules every time. So I brought up a couple of my other more recent illustrations. Some of these are a little bit older, but this one, for example, you can definitely see the foreground up here is getting bigger and it's going smaller as it goes off into the distance. This way. So we have our fan there. You can also feel the same going in this direction. Thes lines are all sort of fanning towards a point that would be off in that direction. And then we have 1/3 point, which should be for these walls here. But you don't really feel the fanning. And it's a perfect example of why three point perspective can be well, it's Ah, it's hard to say. You don't always really need it. Maybe all of these lines or vertical. But this still counts as three point perspective for me, because where is the horizon the horizon? As you said, we have a point far off that way in the point far off. That way, there's no horizon. We're looking sorry that arrow was deplorable. Do you notice that makes him really bad? IRAs sometimes, But yeah, sorry off in thes directions, the horizon is just not here. It's not anywhere around. If there's any horizon, it would be like a vertical horizon. That's the only thing we can seem to depend upon here. But even this technically should be fanning in a downward direction. But the walls are not high, so we can't really get a sense of that. So let's keep that in mind. And as we crawl out of one point in two point perspective into the real world, you'll notice that things get more and more realistic, and the scenes that I draw become more and more dynamic. And it allows you to open up your imagination and pretty much draw anything, right? Even in this this'll odd illustration. Here I've drawn objects that you probably can't even recognize besides the trees and even those don't really. They don't really look like trees, but they are. They look like strange trees, right? And these air sort of futuristic cars flying cars and it's hovering over clouds. So even still, a lot of people when they looked at it, they liked it a lot. And they I mean, I think it's hard for me to say that everyone can look at this and appreciate it and understand it, but I feel as though that's the case. Based on the feedback I got from it, I think everybody can see that these are futuristic flying machines and then you have these trees and things, and it's not really completed. This was a little it was little lazy on this illustration, but the point to be made here is that you could be at any random angle and still be able to draw and open up your imagination to draw the craziest things as long as you can get your foundation in the three point perspective guidelines. And so what we're going to do while we design interiors is we're going to look at how we get that foundation. How do we get our feet on the ground in this crazy, crazy world where you don't really have a grounding? There's no more horizon anymore. Now we're just opening up the the gateways toe vision vision itself. So, yeah, it sounds very deep and complicated. I just can't find better words for it at the minute. So uh, yeah, let's go ahead and do that and we'll start off real simple just by designing an interior space. But I just wanted you to keep that in mind. This is the reason that I chose to do this type of interior is that I hope it's an easy starting step to help get you off into drawing all kinds of things and not to just follow these guidelines every time you want to draw something right. It's all about understanding how it works and then use perspective as a tool. See, this is getting very, very sincere now because we're getting towards the end of this course. And this is where I hope that you can really start to set yourself free with your drawing and to be able to draw anything. So let's take it off with baby steps on designing an interior that would do a few more examples after that. And, ah, then we'll have you do some drawing, so I see in the next lesson. 46. Designing a Beautiful Interior: in this three point perspective lesson. We're going to cover designing an interior, and we're gonna make the guidelines in this floating, three dimensional or four dimensional world that we live in. But actually it's two dimensional. It's a flat world, and we're only going to use three dimensions, technically speaking. So we're going to start off with the same guidelines that we did for buildings. But notice how they're upside down. I put them going in the downward direction so that a vanishing point is far, far off in that direction. And these lines are always going to be subtle. They're not gonna fan too strong, because usually you're standing on the ground looking up. Little are looking down a little, and it's not when we're dealing with architecture or buildings anyway. So if it was like a small object, then you never know that that can go. These lines can go crazy, but for intensive purposes of just building a room and designing a room, which is what we want to do here, this will always be good enough and now something to notice. Just a quick and easy trick is that when you're trying to do something like design and interior, you're always gonna have a t least two walls to look at and the floor. So the place where they meet is a really good starting point. And if you zoom in what I have here, you can even see it's actually kind of a cube. So it's like you're inside of a cube and then the cubic spans around it itself. So that's what we could also refer to as X, y and Z coordinates. If you were into math a little bit more, or if you're into video games or game design, you might understand that type of stuff. But, yeah, we can start to make things easy by using this type of x y and z co ordinate lines. So let's just go make a room. And I'll even use this one for reference because, uh, I don't really have time to do a lot of trial and error right here. So just like that, with those three lines, it seems to give us a pretty good starting point. I could try again and just see how it feels. Do you want to hear? Imagine this is your floor, and people are gonna be standing on it. Or would it be better? Perhaps live it like like this? I think that might be a little better. And it worked out well over there. So let's let's continue with that one. I'll just will use this, for example. And if it works out well, then it works out. If not, we'll have to redo it. So what later was I put all their summits there, but what I want to do is to, ah, change a color and stay on this layer. And we get this type of blue color here. And I'm going to start with this line for this wall and start to branch out and make my fanning technique for that which basically looks like it will be the floor. And I could continue that for the walls, too. On, come down a bit like that. Okay. And so we already have a red lines. There is we have two points. Two of the three points are already established now and then I'll go into this green color and we'll get our last line here. That one should come up and you can already feel the boxing nous of it. China fan it out and it gets very confusing. It's hard to look at, but you have to Ah, focus. This is part of this. This type of drawing takes a lot of focus. Have to focus And remember, Keep your eyes on the the overall, you know, image. Don't look at the shapes. Don't let yourself fall for the shapes. Now let's Ah, that was the hard part. But we just religiously followed are fanning technique and are feeling now we can go back and let's get into foundational drawing. So I go back to my original corner of the room that I have here and using all of the techniques that we've used over and over thus far I can continue to I'm gonna draw some room tiles just like I did here. I'm gonna continue to draw out these tiles on the floor. The reason I wanted to use tiles That doesn't mean I love tiled floors, but I want to have something that can show us very clearly where the perspective is. It makes a lot easier to look at, continue like this, using the blue lines for the floor, going in that direction and then using the green lines. Of course. You know, I'm doing this while speaking and trying toe. Keep it relatively brief. Very boring to watch out, to look at them, to use the green lines here to make thes lines which intersect as I get further away from that back wall coming in this direction. Remember that the space should get bigger and bigger between each one of these lines because it's getting bigger as it comes closer to us. And that will also add to the feeling of the perspective we got there as definitely wobbly . I need to redo that on DNA. Not be speaking while I'm well, I'm focusing on it, but you get the general idea there. That is exactly how I started and made three tiles on this room here. Okay, so hopefully that's educational. Not too confusing. This is I believe the easiest way to go about it is to start with that that coordinate where you just have the center of the room and sort of X y z coordinate thing and then build your vanishing point guidelines around that. Otherwise you're just lost in space, right? You need some kind of ground, some kind of something to start with. So that's it for this lesson. I'm going to go ahead and continue to draw this room and time lapse, and I hope that you can practice making a simple room yourself. Using this three point perspective, I'm sure you can have confidence. If you've made it this far already, then you can do it. Just take your time. It can be very hard at first. And if you're using paper, of course there will be a lot of erasing and using the ruler and stuff. But with the gimp shouldn't be that hard. I think you can do it and then we'll see in the next lesson. 47. A Beautiful Interior Time-lapse: