Draw A Barn Using One Point Perspective

1. Introduction: Hi, I'm Emily and I'm an artist from New Zealand. I teach drawing classes in-person and online. Welcome to this sketch club tutorial. In this tutorial we're going to look at using one-point perspective in a drawing. And we'll have a bit of a practice first of how to use one-point perspective. Learn a little bit about what it is. And then we're going to use a photograph of a ban or a building. It's a cube shape and we're gonna get there looking really good in terms of perspective. And it's also got a road as well. So we'll look at how health perspective for one-point perspective can be used to create a sense of distance. Dip in the same state, things that are receding away from us into the distance. 2. Materials: So this is the building and the landscape that we're going to be drawing in. I highly recommend that you print this out so that you've got something bigger to work with. Just because of the proportions of this photograph, it's quite hard to have it large on screen for you to see and also to be able to see what I'm drawing it at the same time. These are the materials that you're going to need. Some kind of roller. You don't need the six squares, but they can be handy. We'll do a little bit of an exercise first just to make sure you're okay with what one-point perspective is and how to use it. And then we'll get into the drawer. And I'm using my mechanical pencil. This is about the equivalent of an HB pencil. If you've got an HB That will be good to use to start off with a nice smooth pencil and Vina, something darker. So I'm using a 3D pencil, a softer pencil there. I can get some nice shading max with. We don't want to add in some of those details later on. 3. 1 Point Perspective Exercise: So before we start, we'll do an exercise into, let's talk a little bit about what one-point perspective is. And you'll get to have a bit of a play around with it and see how it works before we put it into practice with the drawing. Now, one-point perspective is, it's quite a limited system to use, so you can only use it in certain situations. And you might have seen in the previous tutorial we did when we were looking down a road and it disappeared into the distance at a point like this. And then we hit some mountains in the background and things. But the key thing was that there was one point and the distance at everything lead to. So that's one situation. Another situation is when you're drawing shapes that are cuboidal in shape. Such as buildings in this, what we'll be doing today. But the really important thing when you're doing this is that one of the surfaces of that building or that cube needs to be parallel with your eyes. It's not going to work if you're looking face on to the corner, That's two-point perspective, one-point perspective. We need to have This front of the cube facing us. It might be facing us here. Might be facing us over to the left, or it might be facing us over to the right, in which case we'll see a little bit of the side here as well. Just a little bit of a practice of how this works with the vanishing point. Now, the way one-point perspective works, we have some rules that we need to follow. The first one is that we have a horizon line. The second one is that we have a vanishing point. Now if you've watched a YouTube video on this that I have on my YouTube channel, the pizza Ramon line. Feel free to skip on to the tutorial. But for those of you who haven't seen anything about one-point perspective before or haven't tried at the sphere really good exercise just to get your head used to the idea of it. So here is our horizon line. Sometimes we call this an eye level and it's actually a little bit more appropriate term because sometimes you are looking at something and you can actually see the horizon line and it gets a little bit confusing. So this is, we were looking when we're looking straight ahead. This is the level of allies. And within that, we're going to have one vanishing point. So one-point perspective, we've got one horizon line. Just makes sense. And when I leave it, we've got one vanishing point. If we're looking at something in front of us like a box, and actually I think I've still got the box down here. If we're looking at this front on that and it's in our eye level. All we're going to see is the front of the box. As soon as we move it below our eye level, we start to be able to see the top of the box there. And as soon as we move it up above our eye level, we start to be able to see the bottom of the box. Same thing if we've got it in front of us and we move it to the right. Eventually, we start to see a sorry, that's to the left and we start to see the right side of the box. And if we're moving it over to the right, we'll start to see the left side of the box. You can also have it underneath your eye level and to the right. And that means you can see the top and the side. You can also see the front. But let's just do a little demo here. Be quite quick. But just to show you how that works on paper. So I'm going to draw a square here. This is the box that we were just looking at. It right in the center of our eye level. And remember when it's like they're, all we can see is that front square. We just see the front square of the box. So there it is. So if we then decide that we want to move it across and draw that on our piece of paper. Draw the exact same square over here. And I'm making it 3 cm. That's just so that I can keep the same the same dimensions. But you could be drawing anything, you could be drawing a rectangle. Then we're gonna be able to see this side of the box. Remember it's in front of us like this. Move it across. We start to see the side as well, and that's what we're going to draw, That's what we're going to use one-point perspective to draw. The way we do that is we use our vanishing point and we connect what are called converging lines from the corners of the box to the vanishing point. These are just guidelines, so you draw them quite lightly. Then we're going to put in the back of the side of the box. Here it is, here. We've got a nice cube shape that is in perspective. And we can get rid of these lines here, these guidelines in the background. We don't need the eye level we, anymore, we don't need these converging lines anymore. When we get into drawing the actual landscape, I'm not going to be using a ruler just because it can make things look a little bit forced, but we use one at the moment. If we were then to bring this down underneath our eye level, you remember what happens? We've got it over to the side and we're also bringing it down. We can see the front of the box, we can see the side of the box and we can see the top of the box. So that's what we're going to draw it. And we're going to use exactly the same method. Everything is going to go back to our one vanishing point. Now it's really important. It's one-point perspective. Why we only have one vanishing point. If we were doing two-point perspective, we'd have to point at two vanishing points. So let's draw another 3 cm square xi that's changed in that portrait or something a little bit different. So it doesn't matter what kind of squeeze, draw it as long is the width lines are always parallel, always horizontal. The height lines are always vertical in parallel as well. So now we want to be out to the side and the top. We're going to connect these corners to the vanishing point. Without converging lines. We can choose where the back of the box is. If it was gonna be a really long box That's really receding away into the distance. Then we might have the back of it back here. Or if we want it shorter, then we'll have it here. Now, this is where we have to remember that the height lines are always going to be vertical. This is a nice role of one-point perspective. Height is always vertical and the width is always completely horizontal. And that's where this seats square can be useful. Sometimes you can line it up with the side of your page to make sure you're getting a deed horizontal line. Well, you can just do it with your eye. Make sure it's parallel to this one here. Sorry, you can't quite see it, it just do another one. Let's do one above the eye level here. And then maybe we'll do one below the eye level as well so you follow me, but you can also draw whatever kinds of shapes that you want to. Height lines are always vertical with clients are always horizontal. Now, we moved it across this way from the center of sight. So we're going to join the lines on the side here, the join the corners. And because it's above our eye line, we're also going to be able to see the bottom of the box. Now. We can put in the back of the box and just darken up those converging lines, the parts of them that form the edges of the box. What would be really good idea as well as to just go through and write in width, height, and depth. Remember I said the width, boys are horizontal, the height is always vertical. With a depth is the one plane that is subject to perspective. So that's the only one that's going to have those angles, it start to go back into the distance. And eventually if it was a long enough box, they would meet at the vanishing point. And that's just because when things are further away from us, they appear smaller and also the distance between things if he is smaller. So you have two edges. Train tracks is a good example. When you're standing right between the two and the two tracks quite wide. And then as they get further away from you into the distance, they seem to get closer and closer together, the space between them, it gets smaller and smaller until eventually they would vanish on it. Vanishing point in the distance is a really good example of one-point perspective. But if we go through and write in width, height, and depth to really get an idea of what's happening here, Woods is always going to be horizontal, height is always going to be vertical. In depth is going to recede to the vanishing point. And you'll see all of this happening soon when we get into our drawing. I'm going to do a different one here. You don't even have to use a ruler for this. But if you're not using a ruler, you really want to try and get those, those lines nice and straight. This one is just slightly to the right of the vanishing points. So you'll just be able to see a little bit of the side. And then really important here that we get out straight vertical line for the back of the box. And are straight horizontal line. We've got width, height, and depth when here in this one here. So they're not gonna be parallel, they'll start off parallel and then eventually they start to risk and to get closer together as they move towards a vanishing point. You can play around with this as much as you want. I hope this has given you an idea of what one-point perspective is. Don't worry if you don't quite get it yet because we're going to actually apply it to a real life drawing situation using a photograph as a subject. And I think that's really important to know how you can actually use this. So rather than just always drawing boxes or making up scenes from imagination that are always going to look a little bit static and robotic because you're using a ruler. I think it's important that we can apply this to real life as well without drawing and sketching from observation. 4. Finding The Vanishing Point: So let's move on and take a look at this photograph and we'll do a bit of an analysis of what we can see trying to figure out where the vanishing point is. If you're outside and you're looking at the scene, and you are trying to figure out how do you get the correct angles for that building in the road that are receiving back into the distance. Well, I'm going to show you how to do that. So the first thing to do is have a look at the angles that you can see. And you can either use your pencil, the edge of your paint, so in line it up in front of your eyes. Or if you're working from a photograph like this, you might be actually drawing in those angles. I'm looking for the angle of the bottom of that band and then also the angle for the top of the band. And I'm not dealing with the roof. I'm gonna go from here because this point here I can quite clearly see the front of the box. And the roof looks like it's a little bit crooked, is a bit of a bend in it. So we'll use this as well as our starting point for the angle, this point just here. And I'm going to draw that down and follow the line of the top of the roof. What I'm doing is I'm looking for the point. It might just do that one again, but I'm looking for the point at which these lines all intersect. That's going to tell me where they're finishing pointers. I'm also looking for the line of the road here. You can see them starting to cross and one point now end the line of the road on the other side. And just see if there's anything else. If we could see the top edge of the roof that would also line up with the vanishing point. But we can, so these angles here, they've got nothing to do with vanishing point because one-point perspective only works in this situation with cubes. So that we're looking at the main cube shape or the box shape of that building, not the roof, the angle of the roof. We've just got to take a guess at what kind of angled letters and we can even change it. We can make a shallower roof if we want to. It's not going to matter so much. What does matter is these edges of the box. And so this is showing us where our vanishing point is here it is here. Now we can use that to go into our drawing and start putting in those guidelines. So it's converging lines and then adding in the shapes of the ban in some of the landscape. There's also one more line that we could add that I can see, well, first of all, there's actually two. There's the horizon line. We can see a line that comes across here and goes through that vanishing point. Sort of a bit of a road there. And it's sort of the top of that road must be in line with the horizon line, I guess we were looking anyway, that's how I level. But the other line I was going to meet you and sometimes you'll find that the landscape, parts of the landscape will also follow the lines of perspective. So if you have a look just here, you can see these rows of corn. The bottom of them is in line with the side of the road. So that also converges at the vanishing point. Or in I also forgot the fence post here. We can imagine there's another fence post where there's one there. There might be another one at the side here. And those two will, as long as they're pretty much the same size, the same height, they will also converge it up finishing point and the bottom of them woe as well. The bottom atoms in line with the bottom of the band. You got all these different elements here that are going to be meeting that one vanishing point in the distance. 5. Mapping Out The Main Structure: So here's our resource photograph above. Like I said, really be a good idea to download it. If you can download it and have it on a separate screen or print it out, then you can still work just from the screen that you'll be following my drawer and more than the photograph and you could also make it your own drawing. It doesn't have to be exactly like the photograph. The only issue is that you're not gonna be able to see some of those really small details in the background is another little house in the background there as well. So the first thing we need to do is establish that eyeline that we found and also our vanishing point. And I will get rid of my face so that we can see a little bit more of my sketchbook. And what I'm looking for is how far down that horizon line is, is it in the center of the scene? Or is it a little bit above or a little bit below? And if we take a look at the photograph, we'll see that that eye level line that we figured out there, that maybe one food one-third of the way App. Here's the second third here. We can put that in. You might want to draw a frame first, or if you're using your whole page like I am, then you're going to look at the side of the page for grant. We want food is again, you can make this your own. You can change it. It doesn't have to be. Just move my nap a little bit. You can't see all of my page, but it doesn't have to be exactly the same. So you might decide or you don't, you don't actually want to have all of that sky in here. Prefer to leave bit of the sky out and crop it a little bit closer. That's fine. I'm not using a ruler. I'm just trying to get a genuinely straight line. It looks a little bit crooked, but that's okay. I'm using my HB pencil so that I've got some nice light lines. Figure out the converging lines first is our guidelines and name. We can add in the details over top and we don't need to worry too much about rubbing whole lot of stuff out. And then the next thing to do is figure out where that vanishing point was. We did that before. And we've gotten the idea that it's around about, let's just use this as a guideline. And about here. If you are outside sketching or you've got your own photograph, you're gonna do a few, little, a little bit of an analysis first and try to figure these things out so you know where to start. So here's our vanishing point to be in here. It's where everything is going to meet. It's slightly above eye level line. Sorry, it's slightly above the road that you can see there in the end of the road. And it is trying to draw the whole picture. He's about halfway. So it's maybe a quarter of the way across. The other quarter, something like that anyway. So if we're using this whole line here, then he's halfway is about a quarter. So that's where I'm going to put my vanishing point. If you ended up putting a little bit further this way, or this way, it just means that the spective on your band or the view of the band that you have in your drawing is going to be a little bit different to the photograph, but you still be out to get an accurate sense of perspective as long as you're using your vanishing points. So here's my vanishing point. Now I'm gonna go ahead and put in some of those converging lines. Let's start with the main ones. And the easiest ones I think, are the road. We've got the one of the ban and it's also add in one of the ones that the road. This one here. This one here. If you're using a frame, then you'll be able to figure out where it crosses that frame. I'm gonna go ahead and just look at the angle. So I'm trying to gauge the angle with my pencil first. You could even give it a name. So you might think it's a little bit less. Then 45 degrees from horizontal. It makes sense. Something like this. And then the one on the other side is a little bit different. In another way to engage these is to look at this triangle shape in here and then compare it to this triangle shape in the photograph. How are they different? So there I've got my Rodin. Let's go ahead and put the ban in. Again, I can look at the shape between these two angles of triangle shape. Try and get it, try and get at leading to your vanishing point. You see this as very sketchy and we're just doing a sketch really, if you want to spend a lot more time afterwards on finishing the drawing, you can. But this is going to be pretty loose. Sketch. We've gotten this line. And then the next thing we might do is add in the top of this side of the bar net angle. I'm going just below the roof there because the roof is a little bit crooked. Look at the triangles. Triangle beneath the eye line is smaller than this one above the eyeline. For the ban. Something like that. I'm making these lines quite loose, which is fine. But if you have too many lines and it gets too thick, you might want to choose a more definite placement for that line again. And let's go ahead and put in the side of the barn here. So we're going to put in this line. Hopefully you can see that in the photograph I might actually switch to pink. So we can see there's a bit more clearly Put on this line and we're going to put in this line here. Now, you could have a look at the spacing in the drawing. So use vanishing point. Is that each of the page where abouts does this corner of the ban occur? It's not halfway between the vanishing point in the edge of the page. It's more to the lift. Is each of my page is a vanishing point. I've probably got it about right already. So I'm going to put it in there. Nice light sketching line. And then I can look for the back edge of the band. Not quite halfway between the vanishing point and the front corner of the bandits. Little bit further back towards the vanishing point, just a little bit. Whoops. Sorry, this is going to come all the way down to this line here. We don't actually need that eye level so much anymore. I'm just going to lighten it up a little bit so it doesn't confuse me like it just did. Okay, so now we've got the side of the band here. I'm going to go ahead and put that in just a little bit darker so you can see it, but you might want to keep you as quite light at this stage. Now we're going to treat this as if it's a box. So I'm gonna go ahead and draw the horizontal line of the top part of that box of the bands. So I'm ignoring the roof for now. In one-point perspective, the width is always horizontal. It's parallel to our eyes and as always horizontal. So let's go ahead and put in the top and the bottom. It's going to come quite close to the side of the page. Try and get it strikes. And then we're gonna put it in the other, each of the band over here. This is part of the converging line here. I'm just going to get rid of it so we don't get confused when you put on the roof. Now, when you put on the roof, I'm usually the peak is right in the center. A good, good practice anyway is to find the center of that box by drawing a cross and then draw a line straight up. And it's going to tell you where whereabouts the peak lies. And if I look at the photograph and I come along this converging lines here, the kind of does line up. You can see when I move it does line up with the peak of the roof. And there's nothing to do with the one-point perspective. It's just, it is just the angle that we're on. So that's not always going to be the case. But we can copy that in this drawing because it's what we can see in the photograph. We just need to join the dots here to create the roof on the other side. 6. Adding Other Shapes: We've got our main shape here now, and we've got a good sense of perspective on their shape. We can add in a few more elements, but what might be a good idea now is to just get rid of some of these lines. The lines you don't need. We'll put in some more elements in the num. We will add in some of the finer details like the trees and that sort of thing. And they didn't really have much to do with perspective, but it's just going to be practicing how to get different kinds of textures and contrast in your landscape drawings. I've rubbed out the lines that I didn't need and I've also taken the lines of the photograph out there as well. So we can end up with just a big mess of lines. What else do we need to add n? That was weird. How horizon line was the road is just a little bit underneath it. And then we can see the top of the corn was pretty much in line with our horizon line or our eye level. In the back of the road was as well. A few little details to help sort of position things with my vanishing point. And they're just so that I know we everything else is going to lead back to we can put on the fence posts. It might be a good idea to do now. So I'm going to put in just one post here. You can see it in the photograph. Just here. It's good, but it's on a little bit of a lean. You can do that if you want to make it a little bit quirky or you can have it straight up and down. And then finding the converging line from the vanishing point. That's going to show me where the next fence post needs to start. B starts here in it's probably about maybe sudo of the way across the band maybe a little bit. This is where it's going to intersect. Here's another one near the top of them is also going to line up. So here's our vanishing points. Sorry, he's out converging lines, that one, that one. A little bit higher up here where I shouldn't have oops. I'll just leave it there, but bits, the tops of them should line up as well with the vanishing point. So what's happening is as they come closer to us, they're getting bigger. And now eyes. And I'm gonna go here and put another one in here. We're going to have a little bit more detail on it. And then we've also got the wires that join those fence posts in Beirut getting a pay those will also follow a line back to the vanishing point. But I'm just gonna kinda like this. It might be a little bit wonky. Might be drooping a little bit. Nina, get rid of this converging lines here. So if you're out jogging or even if you're at home drawing from a photograph, you don't have to put in these converging lines. I'm doing it for the demonstration. But you might just be eyeballing them and going, Oh yeah, It's going to come along here. It's going to line up. You could even use a pencil, a ruler to line things up with the vanishing point without actually drawing the line. And Okey-dokey got a few more details to add, a few more shapes, I should say, and then we'll put in a really fine details. So let's go ahead and put in this line of trees here. And I'm just looking at the general shape of it in my drawing for beak cutoff, that here. I could extend it and just make some things up if I want to. And we can also put in that row of the bottom of that row of corn. I'm looking for that triangle wedge there. The photograph. You use, the right tool. It's that in this line. That's the one that's meeting. You're converging, meeting a vanishing point in that triangle, which there is a little house in the background here. And I'm just thinking about where their lives. Vanishing point, vanishing point is about here. You can see that little dot. Here. There's a little house just to the side of that slightly behind the colon. So we can put that in. It's very simple. We can only see the front of it because it's so close to the vanishing point. Technically, we might be able to see like a little bit of the side. But it's so far in the distance. It's so close to the center of our line of sight as well. And score just a couple of squares in there for Windows. Still mapping things out. So all of these little details are still just shapes. And then we can go through and put in some contrast and some texture and things. Got the trees, got the corn. It's going to be a little bit more wobbly top as well. It's putting some of these details on the ban. We've got this little window at the top here. And I'm just going to draw a straight line down to find a cross-section and put that box of the window over that cross-section. It's just so I can see where the center of it, it's going to be quite close to the top. It doesn't fill up half, half of the roof slope at least knit. And then we've got this opening here. This has got nothing to do with the vanishing point. So all I'm doing is making sure the lines are parallel. So we've got the width lines and then these angles here where it's slanting open a little bit, they're parallel sides of the window, parallel tops, or the window of parallel as well. And if we want to make that realistic, we put a little bit of width on it as well, a little bit of fun, like an age to show that it's thick. Using a shade didn't shade on the inside here. Well, while we're at it, it's just very simple, just blocking in some shading. And we've got the sum open band or here, it doesn't matter too much where you put it. If you want to be really accurate to the photograph. We can look at where this square shape here, where it lines up with what we've just drawn. Almost in line with the side of this here. But I might make mine just a little bit further across as he was too far that way for a drawing. So the composition of the drawing and comes about halfway up, a little bit higher than halfway up, actually, this box shape here. We're always comparing things with something we've already drawn, looking at where the top of this intersex, something else. So it's halfway is above halfway of the height of this box. And then we've got these open doors here in this one is pretty much wide open, so we can see the front of it. And then this one here is it a little bit of an angle? So it doesn't matter what angle you make it on. You could make it like quite, quite acute. So it's facing more towards us. Spawn swung more towards us. Or you can inhibit shallow like this yet. But the important thing is that you make the top and the bottom parallel. So the angles need to be exactly the same. The height of the door is always gonna be vertical. Beautiful, vertical, vertical, vertical, horizontal, horizontal. This one is horizontal just because it's wide-open. Just shift this down a little bit here. I'm pretty messy sketcher, especially in these first stages. You'll see me doing multiple lines. And if you keep them light in, that's okay. It looks like there's a bar across here as well. You can make out what if it goes on in here? I think maybe there's some corn. I'm assuming it's corn or something drying. And if you know anything about bonds like this, maybe you could leave me a comment and let me know if it's correct. I'm just going to follow the photograph just because I don't know what else to put it in there. And it's always good to have a reference. I'm just putting in some shapes. I'm really just looking at the shapes of dark, dark shape at the bottom of the cell, it's gone. And then there's this shape in here just above the crossbar. It's quite dark as well. Block that in now. 7. Drawing The Details: So we've got a really good structure here for our drawing in this is the point where we can start adding in some of the finer details, the surface details. If you want to, you might want to take a little break here and then come back to it and just check your drawing, see if anything looks out of place. So not quite right. But I'm gonna go ahead now and stop putting in the beans are the the wooden slats of the span. And I'm just going to add a little bit to this roof here. So this is like this. This part of the roof here is this part. And then we've got this overhanging part here. So that's what I'm going to add on. I'm just going to put a little bit out here, in a little bit up here, then join those together. So I've got that overhangs. Same here. And then down here it's kind of wonky. It's like obviously in a little bit warped. It doesn't matter if you make it a little bit crooked. Through the front of the barn here, there are planks awards that just go down. So they're all vertical. You might be able to get a rhythm going, trying to get them the same distance apart. And more about creating a pattern, then doing every one of those planks of wood. Meticulously. Same and the front of the band is a little worm. How box or something over here. I'm just going to ignore that. Getting a rhythm going. Still using my HB pencil. I'll move to my darker paints or soon. I couldn't be doing these a little bit darker. There's a couple of them broken Wednesday around the associates and make sure we put some detail and knows. There's a broken one. Here. Shade that in a little bit lighter down the bottom. So it shows that there's something in there. And then there's another broken one, couple of planks across. Again, I'm just showing that there's something happening in near this. Struts. It go across some dark parts and some light paths. This is Math making, just kind of erratic, sort of mark making to make it look natural. The details on the door of each one, we've got that cross plank here. It goes from corner to corner. Same on this one. And then we've got three horizontal ones and they're going to follow the angle of the top of the door and then bind those. We've got the thanks, it just go downwards. You could spend a really long time trying to get these perfect and blowing up the photograph and trying to see the exact details. But all I'm doing is I'm looking for patterns and then putting those in. So look here the photograph first and then once I figured out the pattern, which is very simple for these parts, I just dumb. Look at the drawing and just work on the drawing. We can round to the side of the bond here and those are all straight up and down as well. They're all vertical there. They vary in how light and dark they are. And the thinner than these ones are specie as they get further away from us or closer to the vanishing point. Those are gonna get closer together, those planks of wood. And so back here, we're going to have some really fine lines. So using the tip of the pencil. And they're a little bit wonky on this side, so it doesn't matter if your lines are wonky. So if you are drawing like this, you probably going to get a wonky line. Then if you're drawing like this, when you're drawing like this, you're going to get a rhythm going. When you try to draw a straight line and draw slowly, that's when you're going to get a wobbly line in. I think in this situation is actually kinda nice. While we're here, I think would do more work on this, this year. And then we'll come over and do some of the other details. So for shading, for this, it's all gray. And I just use the side of my pencil. I'm still using the HB because I quite like how sharp it is for this wood texture. I don't want it to eat too soft. It's what I'm doing is just taking away some of the white. And using the side of the pencil. Lines that I drew should still show through underneath you. Very quickly blocking in some shading. And it sort of just gifts. Gifts it a bit more substance now. Even all of that I can share it across. And then what we can do later on, I'll show you a little bit now as we can go through and add in some darker details. So you might want to look at the photograph as a reference, but because these bits of water or withered, sometimes the areas that looked darker aren't actually the shadow areas. So what I tend to do is just find that underneath it a bit of a shadow there because that's what's natural. So the light will be coming from the top. It'll be hitting the top of the crossbar there, but there'll be a bit of a shadow underneath it. Excusing kinda flicking motions to put those in. And just adding some contrast, darkening up anything that's in the foreground is quite important. That's gonna be this going to help to create the illusion of depth because things that are closest to us add a darker and brighter. You put it in a darker line under here as well. And this through here is quite dark and it's where I might need the pencil using a line or linear motion to shape it. And rather than going up and down, It's quite dark here. I don't mind that I get these sharp Vmax because I think that's quite nice for the ban. And then the strong contrast in here as well. I'm not gonna, I'm not gonna do all of it because I want to get onto the rest of this. But just to show you how you can read a bit, forgotten is a few planks in here too. For the corn. I think about using maybe like some kind of a pattern. Have a look at it first, and then try using your pencil on a kind of an erratic sort of a way to make it look like this. Those things hanging down. If it's too wide variety, you can just shade over top like this. So what you don't want to do is draw something. Well, you could draw something like that. It might look okay. But I think using a flicking in quite an aggressive, hurried Mac. Well motion will give you something that looks a lot more natural. Just very quickly going to put something in there. I can come back. And I'll just put a bit more contrast in here. 8. Drawing Trees: Okay, So I want to move on, get a little bit more done in these details here. And then you have some time after you have as much time as you want to work on it. So let's have a look at, let me say, You know, what I forgot is the awesome. There's also some fence posts behind the building. There might be a bit hard to see in the photograph on screen, but there are a few little themes post here and I can just see my converging lines store. I'm just going to put those in. Now. We're going to put in some of the trees and shrubs. So that was my road section. And shrub here in a little one behind it, some drawing in the shapes of those. Now I'm going to draw in the shapes of the trees that I can see as well. So looking in drawing is I look and putting in some of those shapes, defining the individual trees. But don't worry too much about them being perfect. Completely accurate, because who's gonna know? No one's going to know. I can see my building here is what? A way too big because they should be a lot more tree above it in also, if I look at this converging line here, That should intersect further down, it shouldn't seat belt here. That's not too bad. Maybe it just need to make my building a little bit smaller. The smaller it is, the further away it's going to look. So that's also going to increase the sense of depth that we've got. You can get to these trees. How are we going to do these treaties? How do you think we might be able to do them? A couple of different ways. We could approach them. We could approach them individually or we could approach them. It is a mess. If we're approaching them as a mess, we could just shade in all of this area, block it all in. And if for some drawings that might be enough, might do this. And then you might just add in one darker layer over top for where you can see the darker shapes. I haven't gone very dark because I want to do it a little bit more, say something else, but that's fine if you want to just do that and just bring a little bit more contrast and it might be all you need. But otherwise you could create a texture that's maybe a little bit more like what you can see that you can kind of see like, um, I guess bubbles of shapes, rounder shapes. And so we can use a roundish pattern or shading mark, something like this. Use your pencil on the side if you want a really soft Mac. And I like to change it. So if you're just doing it all the same way like this, it can look a little bit, little bit scribbly. But if you change, it makes some bigger, some smaller, maybe change the direction of them. You'll get something that looks a little bit natural. So we'll do a layer of it. And then what we're gonna do is bring in the darker parts the same way. So looking for shapes of dark. And that's going to give us a sense that there's some, some parts of the tree that aren't receiving light in It's going to create a sense of form. So let's go ahead and do that. Let's get rid of that line. So starting off really light, I'm left-handed, I'm moving from right to left. But if you wanted to, you could start over at the side and do the same thing if that feels more natural for you. And then once you've gotten something that feels quite natural, I've left a little bit of light as well in the lightest parts. Then you're going to go over in bringing some shadow areas, specie underneath. All of those trees are darker towards the bottom. No light getting down there. In the light at the top. I've got quite a hard line here, got light in the dark and I could just use something in-between, less pressure on the pizza if I want to merge those, inhibit not quite so extreme. And a few sort of few levels of branches or bubbles of leaves. And each one, you've got a light and then behind that lighter area, behind each of those lighter areas will be a dark area. And it's going to help define the one in front of it. So what I'm looking at in the photograph is this here. We've got this light pad and then there's this dark patch. On the side of it and go light pad and then slightly darker, light, dark. Move over to the side for the right-handed people. He also wanted the focal point of your drawing to be on the ban and also probably on our vanishing point because that's where all the lines are leading to. And if you put a whole heap of detail and really fine shading, lots of high contrast over here that's going to distract from everything else. So you could just treat this really loosely. And it will look like a mess at the start. But once I add in some contrast, it's going to bring some form to it. A little bit of an area and NEA, which is like sky showing through the trees. So try and leave that. So that was big mess here and I'm just going to bring in some docs. Looking at the photograph, looking for the shapes where I can see dark, especially lower down, pencil max and nice and soft because it's in the background. I don't know, bring too much attention to it. Well, you might have a few sharper lines as through here I think I can see your trunk that's coming up through here. It gave him the trees we can see, but the sky can see a few branches and things. The rest of this video is going to be working on these different textures. So we'll move on to the grass soon. The road. If you want to if you want to work on it in your own time, you could do and just sort of come back to the video when you're ready to move on to the next part. So you don't have to listen to me the whole time. It's couple of shrubs just down here. And same thing, you're going to be light. And you can have a dark patch of light in a dark path. And this one here is getting a little bit lost. So brings more dark behind it. See if you can get the sense that you've got these two shrubs. You created that each thereby putting dark behind it is actually really duck behind you. Same with this tree. You're creating the form of that tree and the age of that tree by adding some dark and you can make it a little bit jagged and there. So you get that sense that there's some leaves sticking out. But again, I don't want to put too much detail near my house in the background is now lost. So we're going to do the same thing on it a little bit, adopt behind it. And then I'm going to use a sharp pencil to add some detail using the same pencil, but I'm just going to use the tip of the pencil. Shading those windows. 9. Drawing Grass: Landscape drawing is really all about mark making is just, there's just no way that you can draw all of the fine detail that you can see in the photograph. So what we do for each of these sections is we look for a pattern. And we try to recreate that pattern in a really natural way. We look at the corn. That's kind of a tricky one to do because there is so much detail in there, but we know what corn looks like. We know that it's up and down as long. So that's the first part of the pattern. I'm going to start off light. And then if you look at the photograph, you can see that it's darker underneath. I'm not just going up and down or from bottom to top like I was here or top to bottom. Going up, down, up, down. Maybe changing the angle a little bit, double lines. So they'll get a little bit of variation there. As we come towards the foreground here, that might be where you add and it's hard to see in the photograph. But if you know what corn looks like, you might add in something that looks like it's got some, some leaves hanging off it. And just by having that little bit of extra detail on something like this, and it's got these leaves. Let's go to the top leaf on the other side just by having something like that, or a few of those in the foreground. That mean creates the illusion that all of this is the same as this here. So I can have it Nina are really quite detailed one here. And so you can see those leaves quite clearly. And then they just disappear into pattern. That's the first part of the pattern that we can see or what we know about colon the cecum part, if we look at the photograph, is that this is dark lower part here. And it's quite important to put in that creates our form. We have contrast. All I'm doing is just shading over top, but I'm not making sure I don't have a hard edge to my shading. I'm just here in the inner shading. A little bit of sort of grass and stuff around here. Don't need to edit and you can leave out whatever you want. Great thing about landscape, drawing or painting as you can, you can really choose what goes in it. So long as you've got the main things. I'm just adding a little bit of contrast, especially at the front. So again, using that same kind of like a rhetoric of Mac. Scribble, scribble, scribble, scribble, scroll, scroll, scroll, scroll. Okay, we're just about done. I know it looks like we got a lot of space here, but these will be really easy to fill in. I'm going to put some more detail in these fence posts in the foreground. We can see the front of it is more in shadow and then the side of it. So this one will be the same. We have the side and then the front of it here, just adding on another plane and the front plane of it. It's gonna be darker. Usually a scribbly map because it's wood. And also a sharp Mac. So tip of the pencil because it's in detail, it's in the foreground. A broken line for the wire. Just so that it looks like it's catching some light. The fence post the Docker here. So remember as things get further into the distance, they're going to get lighter. You're gonna get blurrier, less detailed. Definitely need to add some dots into this band here. So when you're adding these and again, you don't want like hard lines all the way across. You want kind of a broken line, what we've got down here. So it's sort of doing something like this or maybe like like that to get something natural. If you're in doubt, make it darker at the bottom. Little bit lighter at the top. So all of this front here is in shadow and technically it should be darker than this. So that's something that you can do. I'm just going to define the age of the barn here. And even maybe even just shading this part, given idea that it's more in shadow. I don't need to go through and put my lines and again, so I'll leave that for you to play around with. It, even just putting darker part at the top of those lines. It gives it a little bit more, but more depth. More interest in dimension. Let's play around with this grass here. So it's, it's pretty light. So if you squint at the photograph is pretty light except for there's an area of shadow here. I'm just going to actually shade that and now lock it in. I know where it's gonna go. I'm using this kind of direction coming on out on an angle because I can see the shadow comes out in that direction. And also the light's coming from over here. So it just makes sense to make the shadow go that way. And the grass here, the important things is this Each, we want it to be a little bit wonky. It can be dark at the front. Sorry, you'll see mine coming into picture in a moment. Few little patches of grass that coming out. And then as we get further and further back, it's going to disappear. Lighter. Keep noticing new things is a bit of a path here as well. Three, easy to put an end. There's a few levels to the grass or a values to the grass. Is it lighter edge down here by the fence that's a little bit darker. So sometimes good idea to map out those areas first. And then you need to come up with some kind of pattern. And we know that grass sticks up like this. We don't want it to look like that, but we could use that direction at least in just try and create a more natural sort of emotion. So veering the size, small, big, different directions overlapping each other. And that can all go over shading or you can share it over top like this. The most important part, it will most important area to hit. Fine detail will be in this area here. It may be in here as a bit deeper. So that's where I'm going to stop. Don't need to cover the whole thing because a little bit like the corn over here, we do a little bit in the foreground. And then we create the illusion that all of this area is made up of the same textures. The same thing. Let's all grass. This is all just kinda brown. A little bit of a darker edge of grass only. You might be able to see your 3D that just doing there. If you were looking at this is a drawing and you didn't know what we're doing. Hopefully you start to make up this part here. There's nothing in there at the moment, it's white. But because you've got this little pattern here, it sort of creates the illusion that this is the same as that in a year it might just be shading, maybe follow the same direction up and down. Using pencil on its side. I've got quite a hard line here for the ban and probably should be a little bit softer because some of the grasses and overlapping it in back here. So there's no white back here in the photograph. So it needs to be shaded in with something even if it's just a very simple block in shading is a bit of a maybe like a feat, something over here. And then we got the grass on the other side as well. So at the back here, just shading. As you come towards the, the foreground. We want to add in more detail and especially their age. Natural looking each, try not to control your pencil too much. Sometimes it helps to hold it through the back. Get something that's a little bit wonky and you can't control it and it's actually good. It gets lighter as we go back. Looking for any little dark areas and shading those, using the grass pattern to fit a line that comes along. Quite hard to see in the photograph here. But the ear as well. And then same thing, I'm just going to rely on my pattern. If you really struggled with this, hold your pencil, fear the back, and just go with it. The worst thing to do is to have something that's too regular to all the same as beta that you've got a little bit of Mason in the grasses, the same as everything else. We've looked at the trees. The corn is going to be darker at the bottom. So anyway, you want to create a bit of, a bit of height. You're going to have some darker shading at the base of whatever area of grass you shading, you see that it makes it look like this is sort of a clump of grass, isn't shadow down here. You can do that in these smaller parts too, if you want to. 10. Adding To The Road And Sky: In the road. This is kinda up to you, but I think I think you need to have something in there. You might want to follow the direction back to the vanishing point that could make it look a little bit like a dirt road. Or even if you want it to look like a paved road, this rule does help with the composition. Draws your eye back down it. Really flinging my pencil, barely touching the paper because I want this to be light. If you've got some tissue or some toilet paper, you can just blend that out a bit. Get rid of some of those maps is still going to show up. So don't go crazy with your mark making on the road. We want it to be quite subtle. And same with the sky. It's kinda hard to put in this cloud around here and there's another cloud up and in the other corner over there. If you wanted to put those clouds and we've really got to shade in all of the blue of the sky because the clouds are going to be white. Have you just sort of draw them and they can look funny. They're going to look like sheep clouds in the sky. But what you could do is think about the base of a cloud, the bottom each of a cloud of being in shadow. And there might be all you do is just add in a little bit of shading for what would be the bottom of the cloud or maybe the parts above it. So as soon as I put shading here and here, this starts to look like the white of the cloud. But this is our main focus. This in our vanishing point. This up here is not as important in if you've put a lot of dark shading in there or a lot of detail is just going to draw your eye away. And then people will really notice that it doesn't look like a cloud. So all it needs to be, it's just a little bit of smudging something to fill in that whitespace. If you've got big white space up here, it's going to look like you're drawing isn't finished. Just putting in that little bit of shading makes it intentional. That's what I want the sky to look like. I want it to be very light and unfinished. It's not that I've just forgotten about it. The side here, it looks very unfinished because I need to put in a little bit more grass there. And it should, it should line up here. Lines up with L line of trees over here. And then this tree over there as well. Same way, just blocking it in small circles. I don't want us to be too dark because I don't want to take away bring the AI way over here. I think that must be almost finished. This one. It's pretty but a shading lower down creates the form of the tree and a little bit of grass. We haven't done all of this area, but that's all grass as well. I don't want to bore you just by repeating what we've already done. So you treat it the same way. Look for patterns in the grass. So this sort of shape, it comes down here. Photograph shape. It might be we concentrate your pattern, make it a little bit darker. You bring it a little bit of pattern into the shadow as well. 11. Balancing Values: So at this stage what you wanna do is have a look at the photograph. Have a look at your drawing in a species squint at the photograph to look for lights and darks. And I haven't finished this part of the bands, so obviously this is way, way too light. If I squint at the photograph. That ban is quite imposing. If I squint at my drawing, it disappears. Your eye goes here because it's where the dark is. Saying that I don't want to make this too dark because I want to keep some of the detail on it. So that is something I'd work on is building up the darks, shading the whole thing. Just with a light layer maybe with your HB pencil. And then coming in and putting in those details with the darker pencil. Really, I'd probably want all of this to be like that. In the United, my dark details over top. Let's balance it out and make that mean that this looks really light, which is what I want. And it means that you are not drawn away from this by this dark area. And then obviously, we really need some darks. And here it's going to draw our eyes to the band. Make us think about what's inside there. The big dark area, even though it's solid, dark, I'm, I'm still using some interesting map making. I don't want it to be just like a big black hole. It's going to distract you from everything else. In the room. We can put in these corns maze, whatever it is. I'm using that same movement that we practiced here, but I'm just bringing some docket documented able to it layering over top, especially where it meets the dark part and it's dark and the bottom of it. And this dark at the top of it. So just bringing in some max to join those two areas. Here, Let's look up some max, different directions, different links. There are some quite long ones that go all the way up very quickly, do part of it so you can see it. Continue that along there, and continue this along here in that same kind of map making along here. Indian isn't really ducks in these areas. Now, we'll keep working on this and put up a finished shot at the end so you can see what the differences between how it is now and with the extra shading. But I don't want to just have you just watching me working on my drawing. And the other thing is, it's up to you how, how much work you do on this. You might want to just leave it quite loose and light. You might want to spend. You could spend another couple of hours on it. Now that you've got the structure and you've got the techniques to do the different types of shading. 12. Summary: I hope you enjoyed that tutorial. We focused on one point perspective and how you could use it in a real life situation, how you can apply it to your drawing. Remember, it is really only useful for specific situations. Sometimes you might be, I use it for part of the drawing and not for other parts of the drawing. And sometimes there's just not going to work because you're not in the right kind of situation. So keep that in mind. But it's a really good skill set to have. Even for drawing from imagination, you have more of an understanding of what happens when something recedes away from you into the distance. Remember the rules of one-point perspective? We have an eye level, we have one vanishing point. So that's the second row. The third row is that the height and the width are always constant. They are always vertical and horizontal. It's only that depth plane that changes in their receipts back into the distance into the vanishing 0.1 plane meets the one vanishing point. And that's why it's called one-point perspective.