Drawing a Comic Book Background with One Point Perspective | Robert Marzullo | Skillshare

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Drawing a Comic Book Background with One Point Perspective

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction to the Class


    • 2.

      L1 - The Rough Sketch of Our Scene


    • 3.

      L2 - Adding to Our Rough Sketch


    • 4.

      L3 - Cleaning Up Our Perspective


    • 5.

      L4 - Adding More Details to Our Scene


    • 6.

      L5 - Adding In More Details to Our Scene Part 2


    • 7.

      L6 - Adding Inks to Our Scene


    • 8.

      L7 - Inking the Work Part 2


    • 9.

      L8 - Inking the Work Part 3


    • 10.

      L9 - Inking the Work Part 4


    • 11.

      L10 - Finishing Touches


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About This Class

In this class, you will learn how to draw a messy alleyway in a One Point Perspective. This is done almost entirely with a freehand and fun method. This helps you to focus on being creative and not restricting your ideas so much.  You will learn how to simplify areas within your work to create the illusion of depth.

We will first start with a basic thumbnail to create our concept. This will act as a guide for the rest of the illustration.  You will then learn how to correct areas within the artwork by using basic perspective rules.

Then after all the details are in place we will begin to ink the work and finalize the concepts.  By adding shadows and texture we can pull it all together.

I hope you enjoy these lessons and I am here if you have any questions. The next class will be on Two Point Perspective, so I hope you will join me for that one as well! :)

Robert A. Marzullo

Ram Studios Comics

Meet Your Teacher

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Robert Marzullo

Online instructor of Figure Drawing and Comic Art


My name is Robert A. Marzullo and I started teaching comic art online about 10 years ago after starting my Youtube channel. It allowed me to connect with aspiring artists all of the world. I love making art videos and I work with both traditional and digital art methods.

I am also the author/illustrator of the book, "Learn to Draw Action Heroes" and the "Blackstone Eternal" comic book.

It is my goal to help you realize your potential with art and follow your passion! I hope you enjoy these classes.

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Level: Beginner

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1. Introduction to the Class: Hey, what's up, everybody? Rob, Marcelo Here. Ram Studio Comics. Welcome back. So in today's lesson, I'm gonna teach you how to draw using one point perspective, but in a fun and friendly, laid back kind of way. So, for instance, we're going to start with a basic rough sketch. I'm gonna show you how to utilize this sketch is kind of like a skeleton or a guide, and then we're gonna drop perspective through it. But we're going to use a free hand method, and we're gonna keep it very light because we want to basically retain some of the energy or as much energy of possible to the end result. So by doing this, we get a very organic feel to the work, nothing to tighten, rigid and ultimately boring. Now there's lots of opportunities to use perspective to make things more clear and concise , and we'll talk about that in future lessons. But in this instance, we want something a little bit more gritty and again kind of fun and energetic, so that's gonna be the main focus of this lesson. I'm gonna teach your lots of little techniques on how to implement your design and how to make changes. And how did not get frustrated and get through the whole process on Have fun with it. So I'd love to see you come up with. Make sure to create your own design. Follow along and share the work. So as always, keep drawn. Keep em, Bond and I will talk to you soon. 2. L1 - The Rough Sketch of Our Scene: it will come back. Everyone, this is Robert Mars alot, And now we're gonna approach doing a one point perspective and I'm just gonna walk you through the process. So I'll explain some terminology along the way and also have some additional lessons. You know, delving into mawr the terminology aspect and a lot of it's pretty basic, but it's not into implemented that you really start to understand it. I think so. What I want to do is a lot of times whenever you construct a scene, probably the first thing you should do is rough out of thumbnail. And this should really be an idea of makes you doing this a bit larger than it would normally do. Generally, thumbnails are pretty small, but I want you to be able to see it pretty well on the screen here. So I'm gonna be using a digital software just seen amusing clip studio pain. But I'm going to explain this in a way where this could be helpful for traditional and digital artists. So I don't want to talk too much about the tools. Um, but if you know, if I you know, click and hold, shift and go across That's meat, creating a quick line. That's gonna be the same as you using a roller, but for some of it for a lot of it. I like to actually start very loose and very freehand oriented because you get more expressiveness to the idea. And also, the main thing is that you want to be very, um, you know, forgiving in the very beginning of the process. You want to let the ideas flourish, not worry too much about every line being straight and things like that s you're gonna see me move lines around just by redrawing them, not even worrying about it. He racing, especially as we do something that's gonna be kind of a messy alleyway to start, and we're gonna go through each example of, like, 2.3 point perspective. But for this particular section or class, we're just going to do one point perspective. And I thought an alleyway would be kind of fun because what to need about alleyways is their messy right? There's a lot of little details and a lot of little things you can kind of figure out on design a bottom. So we're gonna say this line right here. Unless I decided to change. It is gonna be our horizon line. I'm going to find that by an h l. And that's this line right here. This is our border. Okay, so just put a B for border, and that's the slide around like that. And it's good to have that container, even if you're using maybe the canvas. Ah, that's in front of you. But I like to draw inset from the canvas and really kind of again. I usually work smaller, but really kind of see the edge work as I, you know, defined this scene s so what I want to do is get this one point perspective. So what happens is wherever you're I rest and against the rise in line in the scene is your vanishing point or your one point perspective. So, for instance, we could put a line right here or Dad, I should say and put VP for vanishing point. And that's where we're looking in the scene. Now. If the rise in line is lower within the scene within the canvas like it is, then that means we are lower whether or not we're sitting down whether or not were down a level in a sub floor looking over an edge, whether or not were a mouse have seen, you know, whatever all these things mean that were lower in in our eyes resting lower and the vanishing point So stairs, sub floors, all kinds of things. But the main thing is it from here, most of the information in the scene we're gonna be looking up at. So as these lines converge, this vanishing point like this, You see, the lot of this information is going to be above now Each one of these are a perspective line that's converging down to that vanishing point. They don't need to be perfect, but just kind of pointing to that, that little dot there and you see, the dimension of the scene starts to unfold. It still could be anything at this point one point perspectives air generally going to be very helpful for drawing an interior of a room. You know, maybe just drawing an object that's resting in a one point perspective. So say you're doing like, you know, mechanical illustration and you don't want all the other stuff. You just want this one thing designed in a one point perspective, this could be useful. Just remember that whatever you draw in this one point perspective, anything that goes horizontal in the scene is gonna be relatively straight minus my awkward looking box there. And then anything that converges back in the space is going to rest on these lines. So that's like a box and one point perspective and you can go is detailed as you need to, and you'll see as we start to build. This alleyway will do something a lot more impressive than that awkward shaped box that I just did. But I just wanted to understand how that works. So anything below the rise in line we're gonna see the top of So, for instance, if we decide to place a cardboard box right here in our early way, we're going to see the top of that cardboard box because it's below our horizon line. If we decide to place a window, maybe a boarded up window and kind of make more sense in an alley where kind of look cool, I guess then it's going to be we're gonna look up into it. So, for instance, if it's recessed in the indentation we're going to see We're gonna see up into that indentation. Hope that makes sense for it. Likewise, if there is some kind of edge work to the bottom, maybe a allege we're going to see the bottom of that ledge again because we're looking up at it. So just some basic guides and principles off this one point perspective that we're gonna dio. Now, as we're roughing out this idea, the main thing is to keep it very loose, very energetic and get in the the concept. So again, that's where we're not worrying too much about all these lines being perfect and want to think about things like, you know, is there a structure right here? Maybe there's this. Ah, you know, kind of door. Maybe this door has again a little bit of inside. Maybe it's like a metal garage door. So you get these slats or lines going across like this and maybe it's got a little bit of a allege here. Could be another structure. Could be the just that the brickwork comes out, could have some lights here, you know, whatever you imagine. But for now, what we're trying to do is just get in some details that make it not appear flat and boring . And a lot of times I will throw in a basic structure, kind of working closest to camera and working back. Just so it kind of helps me toe have something to gauge distance, because as I get back here to this vanishing point, things were going to get very tiny, very condensed, and I have to, like, really squish those details and you'll see as we get back there. But ah, and keep in mind to not to make things so perfect again. I probably mentioned that a few times, but it's gonna add to the flavour so you'll see that we get, like, you know, from the edge work of building. Maybe these buildings were really tall. They go right off canvas. Or maybe not. Maybe we see some of the, you know, the rough material or whatever, but notice that I'm not just drawing a straight line there. It's really easy to do that. But an alleyway is gonna have lots of rich detail in lots of little grunge and overlaps and all kinds of neat stuff, So we want to get some of that in there. So now what we're gonna do is just continue to kind of throw details in place. And what we have to be aware of is that as this information gets closer and closer to the vanishing point, it's gonna get tighter and tighter. So the same distance that you would get here, it's gonna be much tighter way down here. And that has to be evident in the way that we overlap are details. So another thing that you're going to see in alleyways are kind of pipes and, you know, so you might get some of that in there. Sometimes it's fun to have the pipes England shift and then go up. Things like that can kind of be neat little details. And again, those were gonna follow our basic perspective. Now the other thing else say to, especially in this thumbnail stage, everything doesn't have to land Exactly. On this perspective, this is a one point perspective in a single vanishing point. But rules are meant to be broken. And as we progress these lessons, you'll see that there's lots of opportunities to kind of make things look more natural by not converging everything to this single vanishing point. But for now, we're gonna get most of our details, and with that, just because that's the process we're explaining. But as we detail this scene, that's gonna make more sense to change it up a bit and, you know, make something's not fall into that convergence or whatever. So now, um, I want to think about maybe some small, you know, window details. Well, just throwing basic squares for that now. Rectangular shapes and again as a condensed down and go back receding into space, you're gonna get smaller. So if there's three in succession, um, they're gonna get smaller and tighter as they go back. And a lot of times I just kind of scribble at this stage of the artwork because I'm trying to really find ideas. Remember, if you're really struggling to see ideas in your mind to just beef up on your reference, lots of great reference out there trying to take your own photos when you can, because it's very you start to really get a idea of the shots that you want, and then when you're out there with your digital camera or cell phone, they just kind of start to make sense. They go all really need the shot. Here it is right in front of me. You get these camera angles and yes, so make sure to really take your own photos. It's very impactful and it's fun. It's fun to do. And so we're going to see things like maybe a knocked over trash can. And I'm just gonna loosely sketch some of this end some garbage coming out of it. Could be fun. And you want some of these organic shapes to really make things that look so boring, so overly structured? It's really easy to do that with perspective Drawing. Yeah, another kind of grodd shape or something. I don't know. I'm just gonna throw in some basic shapes. Another thing that we might see obviously is Ah, some fire escapes. So there's something that back here, we'll just start off with the cube shaped like this. You see, I'm really missing the single point perspective, but just in the name of getting the ideas down, I'm gonna just kind of fly through this. If there's an opening here with the little extended ladder that drops down, will let people safely jump off their well things like that, and then we have to think about as it goes up to the next. Maybe there's another ladder over here, so on and so forth, but again fight the urge to overly detail this and get it in with some primitive shapes because we're still conceptualizing at this point, we're still even, you know, up in the air about whether or not this will make sense and retained to the remain till the end of the illustration. The best way to do that is simplify, because if you get too overly complex and then you, ah, get to the area where you start refining, I could get real messy and it could get really debilitating, almost like you can lose energy for the process. And then next you know you're going. I think I want to start over, and starting over isn't always a bad thing, But you want to be aware of why you're starting over. You want to try to be, I guess functional don't want to start over every time because it's not going your way like , but this is where the rough sketch can really save the day because there's so many ideas they are expressing here so quickly that Ah, you don't have to start over all the time. And if you're not trying to make everything perfect, you don't get flustered in that process is much, I think so. We're gonna have lots of areas where we introduce some brake work, so I could loosely throwing just just bits of it. I don't need to texture every bit of the wall, but I can kind of hint to that already, like, even hint to things like, you know, where some shadows might hit whatever I want. But again, I'm skipping around. I'm not trying to detail every little piece of this. I'm just adding and accused toe what I'm gonna do next. Okay, so we also want to add in some details that, you know, maybe add a little bit of narrative to it. So it could be fun to, you know, maybe we've got a window here when don't, like, shape something, and maybe there's Well, let's just try aboard. Going across. You see, these aren't falling to perspective. So again, this is that idea of where you're sometimes just gonna break, um, the rules because not everything is going to go into this one point perspective. So if there's these boards kind of randomly placed, they can just crisscross any sort of way. The main thing is that you just want to be aware of the the shape of the window, falling into some sort of perspective in the board's making sense against that by the best way to approach it. And then we can introduce some kind of narrative like, uh, you know, keep out or something, make it a little more ominous. Keep off her, Keep out hands to keep up. Okay, something like that. We can do that with a free hand kind of drawn font. Make it look like it's spray down there and likewise weaken. Do some fun stuff with, like, you know, some graffiti that doesn't have to be to ledge a ble, but you could do some began kind of organic shapes that air more free flowing. And we'll get into that as we detail this. So this gives us our basic star are rough concept, and you see it's very loose, very gestural, and that's what we want we want. We want to retain the energy to anything that we draw for as long as possible because as we tighten up the work, you start to lose some of that energy as we were fine at and more straight edges and straight lines again, we lose some of that expressiveness, so we want to start rough here. That's fine draws many of these. You need to to be happy with the concept. I'll often thumbnail to three different sketches, especially if I'm chairman of clients things like that, because you want to work out as much of the details in this stage of the work. And it will save you a ton of headache later on again, especially in doing client work. So now let's move on to the next lesson where we continue to tighten this up, but really just add in more details and get it a Z expressive and, as you know, much valuable information and as we can early on and then we'll begin to tighten this up. So with that, let's move on to our next lesson 3. L2 - Adding to Our Rough Sketch: Okay, so now let's continue to refine this and let's try to just add and you know, just as many cues to the detail that we're looking for. So, for instance, one things is, you know, for this ground we could simply say that this is, you know, a divided kind of time creators, something paved, work or whatever. And we could have lines run back in succession and get tighter as they go back. That's one way to do it. Another way is to kind of look at this like their, ah, lot more patchwork and divides. So we could, like, draw, divide over here. Over here we could just kind of begin, like, patchwork or stagger the brickwork. It's a lot of options here. These could even be smaller breaks, and we could get into that. I think that will be a little bit too much. So we'll just go with this kind of staggered effect of some patchy kind of angular break work and some cracks. And and the other thing is to think about details like, you know, a puddle or something like that. So again adding these like organic shapes, he's like us more rounded flowing shapes. And then this gives us more opportunity for rendering later where we can do like the you know, the shadows and the water and things like that. So again it gives it more of a kind of eeriness or, you know, detail and energy to the shot. It's a lot more interesting to look at, so it's built up some of that, and you could do like a little loose pieces of papers. All this stuff just kind of adds to the flavor, like a tipped over can on the side of this. You know, just whatever I kind of think about as many little details you can eso now. Another thing that helps when constructing this is thinking about the things that overlap in the way that they overlap. So, for instance, we'll get into it when we do these fire escapes. But one of the best ways to really do these is to draw everything else first and then use a salad brush over top so that what happens is you get all the details that show through behind this. So if there's a window back here, you illustrate that first, maybe a door or something you illustrate that first in detail, and then you come back and you would illustrate the the fire escape over top. So it's kind of like whenever you do a complex seem like this, it's good to think about what weighs most conducive with the way that you're gonna process the information when you're gonna apply the information and make it all read well so that you're not fighting yourself by again. If you were to detail these fire escapes and some of this ah trim work first, then working behind it becomes a lot more complex. So you had to kind of work through this in the right way. So we've got this door back here again. Want to kind of check perspective as we go? What? We're gonna do a lot of cleaning up as we progress through this. But for right now, I want to get in all the details. So maybe up close here we see some of the the brickwork more defined. So just like the other details we talked about As things recede into space, they become less noticeable. So, for instance, the brickwork that you're going to see here on the boards that you see here in the you know , the shadow inside this, You know, all the details that you see of this kind of window opening and everything that's up close back here. These bricks would be maybe just little dabs of texture if anything, and probably even see him from that far away. So that's where again kind of simplifying as you go back is so important. And I think with something like an alleyway, if the details air to clean, it's, Ah, it's probably not right. So just kind of looked at that. Like, if you get into this and you start adding in your details and everything is too straight and clean, then something's not right. It probably improved upon. You can really let it be a lot more messy on this type of scene. So maybe some more little scribbles back here for trash and other shapes. Toe again. Break up that clean line that we're seeing. We got to remember, too, that as this building patroons bag or maybe a couple of buildings, but probably one building with lots of little lot things added on and you know everything from, you know, window openings, door openings to maybe some kind of air conditioning units of something mechanical coming off the structure, Some pipes coming off of that. You're gonna get a lot to these little shapes that kind of pop out and change those clean lines that are going back. You might just get like a random piece of metal popping up that was like removed from something previous. So all sorts, little meat details. And then if it's, you know, it's raining, you could have water coming out of this made visits kind of some duck work that comes off the top of the building. So at this stage, I think I've already mentioned it, but lots of little scribbles will lend to ideas. See, here my perspective is way off the vanishing point. It's correct that as well. Okay, now, another thing that I like to do, even at a stage like this is introduced some kind of shading. So what the shading does for me is helps me to visualize the depth in the scene. So what I'm a do here is select a brush and I'll drop the opacity down because I just want to shade into here. So don't just take this and add some shadows. And again, this just helps me to visualize more depth in the scene. And even though this is going to be a line work illustration, and this is more about drawing in perspective, I want to show you that little techniques like this can go a long ways, Really help visualize that next stage and turn aids the drawing process. So this is kind of like a gray wash or something. But again, kind of get somebody's perspective lines in here and try to correct what's going on. We're gonna do that in the next stage. You see, all that just kind of helps you visualize a little bit better what you're looking at. Okay, so now what we're gonna do is head over to the next lesson, and we're gonna start to refine this and you see, it's pretty messy. Pretty, um, all over the place. Okay. But that's okay. We're gonna show you now how we're gonna tighten this up and start to pull all this information together. So with that, let's move on to the next lesson. 4. L3 - Cleaning Up Our Perspective: Okay, so now we're gonna start to crack some of this. And what I'd like to dio and show you that basically, you could You could do it a couple different ways. You could establish perspective grids and draw lots of lines going vertically, horizontally and from the Vanishing point, which isn't a bad thing. And i'll be sharing some perspective grids with you. But I want to show you as well as you can just keep correcting to redrawing. So what I want to do is ah, racist back and keep in mind, you know, you feel free to use whatever method you got. So if you have a light table, you can use a light table. If you're working digitally, you can just not back deal passive layer. But what I want to dio is correct some of the major flaws in the perspective. But I don't want it to be in a way where everything is so rigid. So, for instance, if I go from this vanishing point and I draw through it me bump up the opacity of my brush here, see hopefully but better on I draw through it, I could hold a shift click kind of method. And I could find out where this fire escape belongs in perspective. Something like that, Uh, which isn't a bad thing. You're gonna definitely get nice straight lines to work with. But I also want to show you that, you know, you can do it without that. You can just kind of sketched through their find your line, draw lightly. At first, I'm actually gonna draw a little bit more dark, darker lines because I want you to be able to see it. But so anything that straight to camera is gonna be a box shape. So the side of this would just be a box. And then, as we draw back to the vanishing point, we find, you know, the depth of this fire escape. We find our edge when we go across again. Likewise, from this corner becomes connect the dots, but just draw lightly. Find your shape in fill it in, and you see how far off that was. Quite a bit. And then what you have to do is kind of get rid of the information. That's ah, no blocking your view, basically, you know, So as you go, just kind of knock back some of this information or I will get quite messy. And then from here, you go up, find that next shape worked back, and you're going to draw this line and kind of shoot the line to the vanishing point. This is just kind of, you know, throw it towards that vanishing point. Uh, go up from here from that next line and basically correct. Then go over. You see, it was pretty far off from where it would need to be, and even this might not be entirely where it needs to be. So what I what I'm doing here is kind of, you know, shifting the shapes around, but then I need to check it. So, for instance, I might draw this in perspective and then realize, as I start to refine this, that while this fire escape is extremely long, like, look at that top one. How it looks so elongated s I have to make the judgment, if that's what I want. So just keep in mind that it doesn't mean that the first time you change, it's gonna be correct. You have to really get kind of a feeling for depth and, you know, how much depth you want to see on certain objects. And how tall is the door from this distance and eso? Lots of things occur. You know, you just kind of correct your visual perception of this as you go. But let's say this is what we're after. Let's put our little box shape here and notice here. I don't really have to draw this box. It's in perspective that's opening for the ladder. I don't have to draw that to these lines. That's vanishing point. I can use what's here as a container to kind of direct me for that perspective. So that's what you see me doing there and then I'll draw this ladder coming down and this is a lot more freedom there. We could have some bent bars. It doesn't matter, but just gonna get some basic shapes and just as a placeholder. So that's about it. I'm not gonna worry too much about that, because really, I want to detail the rest of the building and then draw, lease and last. But I need to know where their placement is in regards to that. It was there a ladder over here, things like that. But again. I'm just gonna leave it right there for now. So now it's drawback. Let's get the top of our structure in place. So you see, it's like very, very slanted. So something over here draw some of that in place and let's immediately get rid of some of that other information just because it becomes more of a distraction. So we want that out of there, these windows and, you know, like this in a race back the top like that. Now the other thing is weaken, weaken. Start with just our perspective because that's what we're trying to correct right now, anyways. So let's just start with their perspective. Fix a lot of these areas that I was just a little bit, too, for giving of myself in the beginning. But that's alright, because again, that's where creativeness kind of thrives. We're not too worried about all this structure. We can always implement structure later, and that's what we're gonna do now. But give yourself a many lines you need, but maybe just focus on the perspective. Right now. We're just shooting these lines back, using a lot of ah movement in my shoulder and elbow to aid in this process. Remember, the box doesn't need to be in perspective. We can use some perspective lines, but we don't really. It doesn't need to be in perspective. Likewise with that garbage can things like that these lines do need to be in perspective. So, weaken, Can I get some of those? And there is Whoa, the store opening these re in perspective and the bottoms of building. So just like that. So now we've pretty much corrected the windows that are appear. Remember, those need to condense down pretty small as a receipt back into space. In these shapes in the building, we can use our existing, um, information to kind of eight us in any new addition. So as we get more of this in place, it becomes easier and easier because there's more lines to kind of guide us. So next what we're gonna do is we're gonna check a little bit more of the, um, the rise in lines and, you know, work back into this a little bit more. So let's go ahead and move on to our next lesson and continue to clean this up 5. L4 - Adding More Details to Our Scene: Okay, so now we're gonna continue to clean this up. Want to think a little bit more about our vertical lines now, but, ah, I know what you're probably thinking. Like while this thing is a mess, how is he ever going to salvage this? How are we going to learn anything? And we learn by doing, And we learned by working through probable would probably look like a mess at this point, but this is where the fun happens. This is where you know, as you start to do this and you start toe correct things, you start to realize it's all sorts of neat things that you can pull out of this. Like, for instance, this little awning thing we could start drawing that better into Ah, correct perspective. Now, we've got enough little guides here. You know, we could put a door here. You just want to keep letting the ideas present themselves. But it all starts with throwing in this information and not worrying too much about it. So get this garbage coming out here. Bunch of little scribbles like, never underestimate the power of scribbling. Um, I think that's funny because, like we, we pretend or we think that when we get more advanced and are that we don't have to scribble anymore, we're just going to draw lines exactly where they need to go. But actually, it's quite the opposite for me. In the regard that the Mawr advanced, I becomes an artist. The more I see the power of scribbling that that's where you get these great ideas and things just kind of start to happen, like your imagination just kicks on and starts to, ah, eight in the process. But it all comes from these scribbles of letting yourself just be loose and free with the process. So that's kind of why I didn't want to show you jumping right into too many guides. I mean, we did introduce some guides here, for sure, but it's taken hinder you in a way, because you start to think more on the other side of the brain. I think where you're more about you know what's correct and what's consistent all these things when in fact you kind of just need to let things fall where they will sometimes let the chips fall where they will. So, for instance, with something like a you know a beat up alleyway. There's just all sorts of, you know, stuff thrown everywhere, and things aren't perfect. And and that's what gives it that effect, that it's, Ah, dirty Scary Alley here, something and eso you have tow give to retain some of that in your drawing process. So it's real easy to want to clean everything up, but then that wouldn't make sense for that type illustration. So one of the things that we can dio besides adding Leon little scraps of paper, little bits of debris, little cracks in the rock, and we'll get into that as we keep going. Um, but it's more the way that things overlap as they received back. So, for instance, up close, we could have, like, another garbage can right here, and it's gonna look very. It's gonna add another level of dimension. So you never underestimate the power of things that are up close. That kind of changed the framing, you know, maybe another box over here of some kind or crate or something. We'll figure that out of maybe a bigger garbage can. So something again that's in perspective, but a lot closer, and we'll see like dents and dings in this or whatever. Maybe it's open and there's some more garbage coming out of it, whatever. So again, don't underestimate those details. But then what we need to really think about two is the overlap. As it goes back into the scene, there's gonna be a lot of things that shifting overlap back here. You know, even if we don't know what those objects are, if there just pipes or if there boards or if there anything and some are gonna be leaned up against the wall and so you gotta think about all that and some of these tiny little details really sell the shot. So perspective is important because it lets us know that we're on the right track of where things belong and where they need to, um, overlap and receiving the space. But at the same time, the details or what paint You paint the pictures, and we need to really not shy away from those get a lot of that stuff in there. So again, maybe it's more water back here on the ground. You know more. Ah, indentations of the concrete that's kind of patched up and slapped together. We need to figure out what this doors, Maybe this door has. Ah, vertical slat steel. Get some lines in there for that. You know, past this fire escape, you know, the even the top edging of the building. We need to worry a little bit. About what? The tremor that looks like. So maybe just a little bit of broken up line work there, so it doesn't look so pristine. You got to remember, these are the back alleyways where people don't focus on the everything looking pretty anymore. They kind of leave it because no one can see it. So they focus all their efforts on the front facade of the building's, and they leave this stuff too kind of fall apart and deal it that if they really have to, But they don't. We're about it being clean anymore. So you can break up these lines again, throwing lots little shapes. We can use some texture for the break. You know, I would say middle level, like about here. You could probably get away with that, that there could be some texture evidence from the brickwork. And then you can also introduce some of this like Apache stuff where it looks like some of the the facade are facia of the building has kind of rotted away. Or some things, you know, kind of I would say right away I'm getting the wrong shape. Don't let him look like just get a shape in there That looks, uh, kind of random. And then some of the brickwork coming off of that so we'll do some of that as well. So this is more texture ing. But, you know, as they keep adding to this, I wanna keep introducing more and more, um, of the details. And maybe this part here maybe, is like a little bracket holding it up. So don't understand. Underestimate little details like this. You know where you can make something look a little bit more, um, engineered. So little support, little brackets. And I feel like we need more of the pipes here. I do like the one pipe that was coming down here. You shoot over, come down here and then have it bend away from the wall and again, it kind of be broken and maybe some water just kind of dripping out of it. And we could have a line way appear going back to our vanishing point and this can just be a bit of like a bottom edge. Work to the brake kind of breaks it up a little bit. You'll see that a lot. Okay. And then I need to be careful, cause as I start to draw some of these lines, you notice I've got a lot of different lines going on here. So I'm gonna race. He's back right here because again, if they're confusing, then they need to be kind of out of there. And then we can remember on this side of the break that we're probably going to see the separation there is. We can get some of that in there. It's really easy to dio notice. I'm not worrying about those lines being overly correct because a lot of times with brick work, it's not gonna be entirely correct. There's if you ever pay attention to masonry, it's actually pretty. You know, you'll see some areas that are perfectly lined up, but I don't think that this type illustration would fall into that category. So I'm just going to eyeball it. And a lot of times it looks, I think a bit more creative. If you do do that versus trying to line up every single break. Okay, so now back to the lines. Over here, we have some shadow right here. So sketch that in. And then maybe I'll take a couple lines drawn right from That's Vanishing Point. Going to correct that there and the no start to have these ends. I just want those slats in the material. You had a little bit more design. I don't underestimate throwing in random shadows. Now we can also think about light sources. Well, you know, is this Ah, daylight. Sina's at midday is there is at night time and some of the lights are coming from, you know, mounted lights so you could do, you know, light that comes off the structure and it's just kind of dangling there. And then you could introduce light sources like that. Eso lots of different options. There they could be lights that are mounted to the top like those, and you could do a couple of those gives another repetitive detail would need to about repetitive details like this is that it helps to really convey death so you could get those all the way to the very end of the building and making very tiny and again you can use perspective to find out how big they should be. But I'm just visualizing. But something as simple as that can actually create like a lot of, um, depth in the scene just as simple as that, because it's a repetitive shapes. So it ends up conveying a proper relationship of space within this illustration. They were probably just going to keep doing this now, so we've got we've got perspective in place. Way could keep correcting things, But again, I want this to feel a little bit, uh, free flowing. I still want to introduce more details back here, whether or not they're just some windows or some boards or more pipes, anything but just more overlapping details in the distance. Because again, we have to remember if all your details spread out evenly up here, it makes sense it down here. It's gonna peer more condensed and more overlapped, so we just want to get some of that in there. So now let's move on to our next lesson, where we continue to refine this monstrosity and get it to read a bit more clearly. 6. L5 - Adding In More Details to Our Scene Part 2: Okay, so let's continue to refine this. It's at a couple more random shapes to could be, Ah, palette leaning against the wall boards randomly set here and there. I do like the idea more the pipes. There could even be a ledge below these windows. And when in doubt, start with primitive shapes. So something rectangular. Then add some mom, you know, supports under it, whatever. Whatever you ah can imagine there. And let me also say that you know, one at least talk about reference a few good times as we go through here because we're gonna talk about studying reference an additional lessons because, you know, don't don't force yourself to think that you have to have all these great ideas. If you don't see it, then look up reference and study a reference draw from parts of it and create your own variations of It's your comic style if you don't. You know, some people are very against staring at reference all day, and I and I get that it. Sometimes it can seem a bit boring or whatever, but it's ah, it could be great for stuff like this, because if you don't yet understand the shapes, um, which I and I could say right now, Like, you know, there's lots of these shapes that look and go. This doesn't read Well, this doesn't look like this. Then it's okay to go to reference. We figure out those shapes those relationships of the size difference is a big one, and you're only going to get that from studying from life. I would recommend taking your own pictures as much as possible. I think that does another very healthy thing for your imagination, for your learning process. So whenever you're around, snap lots of photos of different cool buildings and just pay attention to the way the shapes interact where they start where they end up. And, uh, after a while, you'll have plenty of reference, and you won't need to Google anything. But obviously there's times Google could be very important as well. I don't think I need to stress the importance of Google to anybody, so But, you know, a lot of this is just me imagining and just playing around with different shapes. It's just throwing it up there and saying What if this did this? What if there was a you know piece that came off of this. And once I got enough of this perspective information in place, it's pretty easy to keep adding little bits and pieces. It's just like when you go to paint, you have to layer up all the texture to start getting into your painting. And that's kind of the way I look at this. Him, Let's see, it's up. For instance. We might have. I want to get some more of these pipes in place because they just they look so cool against the walls. And you pretty much seem ever were in an alley anyways, so it might have like a pipe. Going like this might have some kind of like box coming off. It could be like an air conditioner. It's mounted out the back of the building with a pipe connected to it. Probably a lot larger for is an air conditioner. It was kind of textured material against the rock brickwork I should say be as you can see, a lot of this line work is in perfect. That's okay. Uh, hopefully you can tell by now that as we keep adding, it sort of starts point together anyways, you know first. It was kind of hard to read, and a lot of it probably looked just a bit too messy. But then there's other ways that you tighten it up is well, like the way that you use your shadows. It's just like this lettering here. I could use a fun that would be perfect. But it would take some of that creativity out of it, Some that expressiveness so I can draw pretty decent settle lettering if I try. So when I try like that, Kim doesn't need to be perfect. That's a bit more flavor. If it's not perfect, have another board behind here. Some of the texture in there get some of the drop shadow. And this I am from this, okay? And as we start to clean this up, we're going to start introducing more line weight as well. So I'm gonna start adding more, rendering more line. Wait and, uh, just try to kind of pull this all together. Now, I could probably take it from this stage right here and just start thinking the work because I do want to show you more of a ah, you know, finished kind of feel to it So what I'm gonna do is add in the details that I think need to be there. So, for instance, behind this some fire escape, basically, we've got a door. Um, we could have a window shape over here. It might get a little confusing, but let's see if we need it over here. It was like a window. Shape one divide to it and we'll see if that even reads well because by the time we add anthee the lines because we're gonna Inc over top of this, we're gonna add in lines like this kind of grated steel, or and then usually have, like, a cross bar. Same thing appear. But you see, some of those lines will conflict a little bit. You have, like, little brackets can make sense that this would need something holding it up there. So you get some of that in there smart and so forth in, You know, one thing is generally, edges of the steel are gonna be thicker. They're gonna get those in more heavily. You gotta go around this opening here, but notice to him not trying to draw it perfect yet because I got to come back and think it anyway. So I'm just giving myself the next level of refinement so that when I come back and think this, hopefully it'll it'll read. Well, so, um okay, so now what I want to dio is pick apart little areas that I think need touch more detail. But I think we've got enough there. There's there's obviously things I'm gonna add as a Inkatha's well, but I think this is pretty good. Like it's got enough information here where I can start thinking and kind of pull it all together. We got to remember that we don't have to clean everything up to get a nice ah rendition we can. And that and as we're taking it again, gives it kind of a creative. I kind of feel to it. We're gonna trust ourselves to be ableto make that kind of final decision to the work and not I worry too much about it. No small shadows here. Yeah, just like that. Ready to start thinking this Ah, Messi alleyway and see if we could make something that we can be proud of. So let's move on to our next lesson and start to think this 7. L6 - Adding Inks to Our Scene: Okay, so now to start thinking this and the main thing is like I've kind of re, uh, iterated multiple times is just don't worry too much. Like, let yourself just kind of make mistakes. If you came to call mistakes like yourself, just make creative decisions at this stage and, uh, just x out that whole idea of perfection. Just don't worry too much about that. Worry about that at all. Actually, uh, what you're doing at this stage of the work is kind of confirming ideas that you've already put on the page. So you just kind of be it home with that process. Actually, I should probably do here is give us he container with this. One of the things that I take comfort in is when I study, you know, more advanced artists and myself, things like that. I'm always trying to grow, just like if you're watching this, you're trying to grow things like that. But when they make things look so easy and maybe, you know, maybe you've looked at some of this and thought that yourself, that's that's great. That's fine. But at the same time, it's because they've let go off you know any kind of worry on certain parts. They've just managed to do something over and over again. Toe where they're like, Well, I can skip this step. I really don't need to draw this in full detail. And sometimes your best work comes out because of that. You get this very creative energy to the work because you didn't. You don't have to structure so much and redraw so much becomes tense. That's kind of we're gonna talk about what? These lessons, because some of it, you know, some of it You do want that way when something's very mechanical looking and, uh, you needed toe appear maybe more designed them or maybe techie or something. Then maybe you're gonna want to do that. But then other times, you're just gonna wanna let things kind of be loose and free flowing whether you create it . And also, you gotta think about the time factor, get this stuff done in a reasonable amount of time. Now, as I go also want to check perspective, so that's another way you can do it. So here's our vanishing point. I could draw back like this, and then I could check it with a ruler or with that line that I created, but then get rid of it, just hand drawing so again, where you don't need every single thing to be perfect. But then you can check it here and there as you go and kind of make corrections that way as well. It's just adding little bits of, Ah, cross hatching and rendering is ago. I kind of want to see that for next lesson. Those all kind of keep that to a minimal where we can talk about, you know, some rendering techniques again, checking the work, but then getting rid of that line and creating my own mic. Check it this way as well. It's a little bit off, but not too bad, purposely making the line a bit wobbly. I know you're probably thinking that that's an accident, but I'm actually doing that on purpose. I can draw pretty straight lines, but ah, they don't have the same appeal. So okay, so now for the brickwork, this be more into the text ring. But I do want to start some of it, and I would say, definitely don't make your bricks perfect. Make them make one a little bit larger. Make one that's popping off the edge a bit more, you know, becomes more interesting. And like I said, if you start to really pay attention to masonry work and all kinds of, you know, neat decorative brickwork, you'll see that a lot of it is in perfect and especially as the ages, because obviously they break like anything else, and they started to fall apart. So you really don't need him to be perfect anyways. And you also don't need to draw every single break now you can if you want. I'm probably not going to do that for this type illustration. I really don't do that in my illustrations anyways, so I don't wanna do anything differently than I would traditionally dio um, but also time sensitive on this type of stuff, I can't really draw every single brick. I think it looks a little too overly illustrated when you do driver break. Personally, we have definitely seen styles where people do it, and it looks gorgeous, but I don't I don't like it that much. Amount work. So So I used the shadows on the one side of this piping toe kind of simplify the process. I could put a heavier shadow on this one side. The one side could be a little bit lighter line, so that's just basically line wait techniques. But it ah kind of makes sense here, and we'll come back and texture these pipes as well and make these have a bit more grit to him. With that. And you know, he's just basically cylinders and really rectangles with ovals at the end. So nothing too crazy here, you know Occasional Dent. Ding will do that, like I said, as we render it. But that'll add a bit more flavor to it as well. Then another thing is, as it gets down here, you know, why would connect right to the ground like I have it, but we'll say it does. We can, you know, remember to just throw some of it in shadow, especially. It's behind this box. So maybe the boxes catch casting a shadow on it, just blocks some of that in shadow. Simple. Is that okay? So now let's Ah, check this mind one more time. That's about right. Draw that in this garbage can. Now, one thing I will say about the garbage can seem kind of free handing it, and I don't feel like it needs to be perfect. But just remember, if you struggled to get this shape and place like this, you're going to draw a square into ah, perspective. And I'm gonna have some basic lessons that will accompany all this. So we'll talk about that more detail. But you just draw a square in perspective and then draw your oval inside of that. So I said, Well ah, well, be showing you that as well. And I'm actually going to put all this in shadow, increase my brush size here. Make this a bit quicker. Yeah. And always use your props. Never under us to make the power of these props is what I like to call him. Because, you know, you got to remember you're a director, your ah actor or an actress. You're all these things on this set in these air props and put these in the place, utilize them, make your scenes creative. Uh, you know, you really don't have to take anything off the table with this stuff, because I mean, yes, you could look at it like so good at drawing the it or whatever. But the main thing is that these his props, his tools, his devices can, uh, really help you to create all sorts of neat things and effects. You know, I think in the real world you'd have to buy these things and set the scene up. Whatever you find, just the right shot and shoot it. But in comics or, you know, storytelling, you get to create it all. But these props can do so much because you can You can make so much depth by just throwing him in here kind of wonder where I want the shadow on top of this. But just like this, you can throw him in here, and you can you can really stage your scene. You can really, um, you know, push this stuff back. So as we work on this area, we want more detail, more clear, can, you know, in focus detail, I guess, to this stuff. But as we move back, we're gonna We're gonna lighten that detail. We're gonna make things a little bit more sketchy. Not so visible. Little things like that. Little attachments to the wall. I'll get into the texture later, but kind of fighting the urge to do that and let's get our our box here. Remember, this doesn't have to be in perspective. We can bend an edge. We can do whatever doesn't matter. Just a beat up little box sitting here. Maybe there's something in it who's not know. None of this matters. Just can I have fun with it and get in place? He's kind of 10 cans or something sitting right here kind of shadow back here. Now, another thing about Shadow and we'll we'll get into this and other lessons as well. Just remember that if you really can't picture where the shadow should be, you can use perspective lines as well. So shadow very much so relates to perspective. So if you're light sources this one up here, you can use perspective lines to cast the shadow and pinpoint where it goes. And again, I'll do more specific lessons on that. But, um, you know, for the most part, I'm just going to kind of throw this in here and adjust it visually, you know? So, for instance, side of the box will draw a straight line world to look straight anyways. And then maybe a bit of a flap. It's gonna blend back to the shadows, being cast off this pipe, and that's about it. So I'm not gonna worry too much about this being correct. But But again, there are ways to make sure that you get a little bit more correctness into your application, your shadows. So this just kind of picturing a pallet leaning against the wall connection. I think the shadow here more than angle like this and again, kind of trying to pay attention to that vanishing point. But notice, you know, Rulers, I mean, really. I mean, we've established our perspective early on, and then Now it's been an idea of just correcting things as we go and letting things be a bit, you know, long qi, or out of extreme perspective or exact perspective. I'm kind of picture in a garbage bag here, but I don't know if that's reading well and then, Yeah, but just, you know, just think some of these lines as we go, but not worry too much about it. I'm back here. Things were gonna get very hard to read, and that's okay. So we're just gonna drawn some shapes. Not worried too much about any of this detail. But the main thing is that there is detail that there is overlapping shapes so that it feels like a very Messi kind of, Ah, alley. So I want to work back, though, So I'm gonna come back over to this side now. You should probably give the most attention to detail to the things that are close. And then let that, uh, naturally fade back. You know, I think it's always important with every scene that you create to think about, you know, where is where is the view point? Where is the focal point? What is your potential viewer looking at? It's our jobs to direct them in the scene. So if we put more detail over here just like that, keep out. It's like, Hey, look over here. This is what I want you to see. So you have a council. Be aware your focal point. And that's very important in ah, storytelling, because if not, you'll just kind of draw detail everywhere. In fact, I think that's something we all do in the beginning, and it's fun and were just happy to be drawing right. But at the same time, it can get very taxing on the on the clock on the time of the illustration. So it's good to pay attention to, you know where our focal point is and that's directly related to the the time involved. So with that, let's move on to the next lesson. 8. L7 - Inking the Work Part 2: Okay, so let's continue to work on this side and work back and again. I want thes bricks to be just a little uneven. I could just draw a straight line down, but that be too easy. We will take the road less traveled. I don't know. Maybe the road more travelled because it's funny when we first start off, we draw everything very messy. But then we start to confine our beliefs, too. Everything has to be clean and pretty, and we get too tight, too constricted by that thought process. And then sometimes we go back on that. I think most of the time I think that as you start to get ah more confident with your work , you do stuff. It's a little bit less refined, but at the end of the day, it's a style style choices. Now, one thing I could say about the breaks, even though I am eyeballing these as faras, I'm looking at the perspective. But as they go back, you know I'm only going so far back where you got the alignment of the center, you know, so each next center is the next break kind of thing. But then also As I draw back, I can draw back and I can tell that breaks too long. You know, it's it's visually. What kind of makes sense? Because it's convincing down with the perspective. So you can kind of just eyeball these as well, and then one trick. If you want to take it, you can actually create brick patterns that are, ah, straight on the camera, and then you can distort these under place. That's actually pretty easy to do with any digital software. It's what a lot of artists do these days with bricks. But, um, I think we'll just do it like this and again as it recedes into space Will ah, we'll have that fade off a bit again. I think that if there's bricks, everywhere, just kind of becomes a little bit too much within the scene. Now this part I'm actually had a little bit of depth right there, and then missile look like a added kind of trim peas do that. I got this little puddle of water here. Oh, probably no us. Each time I came back to this area, I changed the shape. So that's kind of another thing that you dio to kind of, um help the fact that you're not drawing everything to perfection right as you come to it. So if you get in the habit of just kind of slowly picking at it each time you get to that part of the work, you can generally make your corrections that way again versus trying to draw it exactly the way it needs to be the one time I find it a bit easier to just solely pick at it. Just getting a little bit of the glare that you'd see in the water. And really, this could be a lot less visible. Because if this is any sort of dark alleyway and I'm gonna get a whole lot of glare and there But you want some something like that probably okay, and then probably some shadow against these bricks is wrong. And another thing is to really take advantage of shadows when drawing any scene, because they save actually a lot of time getting these shadows and play saving time, and they really help to chisel out wow the features. So make good use of your shapes of shadows and you'll probably meet your deadlines unless you're fortunate enough to not have deadlines, in which case I salute you but most of our fields with illustration or going to some sort of deadline. And I think for this area, I'm just gonna bring this down a little bit more. Some like this. Okay, so now let's get the ridges end of the door. So again, I'm gonna kind of picture that imaginary line there and just kind of draw these over. If I really need to check the work, can I could do this and then just drum over now, as far as distance here, we could actually just go down and make some ah, marks something light enough where it's not, too in the way. Well, do something like that. And then we could begin kind of connect the dots, but not there. And then just draw across out there, just draw across all sorts of ways that you can correct perspective as you go and see my slats are off. But I'm gonna go ahead and be okay with that. But dependent upon how pick you are, you could fix that. Of course. Okay, so now this portion be a bit of an overhang. I get that in with this shape say the bottoms more in shadow, which would make sense. Our light source is coming from the top. Then we'll do our fancy little bracket here holding this roofing section. Whatever this is holding it against the law again, we'll do just a little kind of mounting bracket to the wall and maybe some little divides. Right here is something to make it look a little bit more designed and just like that. Okay, so now, as we continue on, I'm gonna go with their breaks and let's get this pipe into place. So this is another example where the pipe itself doesn't really need to be in perspective because obviously it could be bent. It could be installed, you know, pretty haphazardly. There's all sorts of reasons why this wouldn't need to really be in perspective. Now I am following the vertical lines somewhat, but see, right there, you tell it's crooked from these lines from the brake. That's okay. Especially because as it gets down to here, we're gonna kind of make it look like it's bent away from the wall. Just kind of hanging your dangling there. No, we could reinforce this is well with, you know, brackets again. So Ah, we could say that across here. It was kind of a ah, you channel and then amount to the one side so you could do something like that and you could even go as far as to say, Well, this one's on here, but it's kind of dangling, so just as long as it reads well, I think that one kind of looks a bit strange. But again, it's It's all these little choices that you make that you know, can really kind of pull this together at times and then to reinforce the fact that it's away from the wall, the shadow will come down to about here. And then you might just do a couple of lines or something away from it. So it kind of shows that it's no longer attached to the wall right there again, just can't get some drop shadow with one side, the texture that as we come back and some of this little brickwork here remember, we kind of decided already that this is gonna be pretty random, a lot of patchwork back here, so this could be all over the place. Could be messy. A big deal heads to the flavor. Just condensed down some of this information and overlap it as it goes back. Okay, let's get this box structure in place right here. So still don't really decided what this is. I just thought it needed a detail right here, but we could say this is some sort of cooling unit. Maybe it's got some little slats right here. Shadow to the bottom, these little pipes coming often against the wall going down. So even though this probably looks like there's a fair amount of detail, I assure you, this is still very light. Just look at your reference is still very light, tinny sort of alleyway. Um, you could really just go wild with the amount of detail. It was something like this with a shot like this, something we haven't really introduced as much. We have things that are definitely protruding away from the wall structure, but we could go a lot further with that. We could have, you know, a sign that's mounted out this way. Like, especially if this was a a district where people were walking down. There was some back. Interest is to stores or whatever we imagine we could add some, You know, some signs that are mounted away from the wall like that. We could write some wording on there. So lots of great details that we can incorporate. In fact, I'll probably even just leave that, um so you just have to have fun with it and let your imagination kind of go where it will. You know, we could even, like, just right on it, but it doesn't have to necessarily be legible. Um, so, yeah, fun, Little things like that. This could be an awning that could be writing on that awning. You know, So on and so forth of a doorway right here. Yeah. What kind of could have some liquid drizzling out of here? Another trash can lead. And you see it just kind of jump around and pick at parts of the artwork. I think one of the reasons I do that is just because if an idea is not presenting itself where I'm at, I move over to a different piece. That just kind of keeps things moving forward for me. So it wouldn't bring this one to a close. Let's go ahead and head over to our next lesson. 9. L8 - Inking the Work Part 3: Okay, So as we continue to think this actually I think the perspective is off on this particular line is starting a trail up on us. So we want to correct and check as we go. Not a big deal. It's pretty easy fix maybe some little divides here. Remember, too, that you can find center on anything in perspective like this and then from this corner to the middle will actually give you that next segment in perspective. So pretty easy to do. And again, I'll make sure that's in those other headed lessons to kind of cover in these basics. And you see, I didn't even do that, but was able to visually get it just about right. So that's where this stuff could be very fun to dio have to you start to get more confident with it. Um and yeah, it doesn't need to be exact, but you can always go back and check the work. And, you know, you probably see this is taking, you know, some time as I as I do this and explain it, of course, but at the same time, imagine how much longer would it took food of totally refined the artwork. So it's one of those things where it's Ah, you tried. You tried to take the shortcuts that you can but still get the best overall results. And even though this is taking a while toe put all together and definitely because I'm narrating in the process, it's ah, it's still advantageous to me. It's still worthwhile. But this is Ah, it's getting done reasonably quick for what I'm after. So the main thing is that we're adding shadow to the areas that need it, you know? So as we draw like this ledge under the windows here, we're gonna have this shadow underneath. And then we're gonna connect these little, ah, hinges or whatever they are that's holding this up, we're gonna shade those in his well, you know, they're below the ledge, so it makes sense that they would just be in shadow and just simple as that. I mean, it's not pretty. It's not perfect. If you zoomed up, it probably wouldn't look as appealing as you might think it needs to be. But we also have to be very aware of what this is viewed at, you know, is the viewer just gonna look at this scene rather quickly and our storytelling and then move on to the next panel. And if that's the case, then we need to be aware of how much detail were implemented. Implementing end of this for just that quick, quick read from the viewer. All those things air factors into this. Uh, I think it's helpful to be aware of that. Has your illustrate this? And you know, this doesn't have to be our final pass just cause we're thinking it, there's a lot you could do with white out, right? Like a faras negative drawing goes so you could put a lot of us in here and you could go back and keep refining to your heart's content, especially digitally. Because Troy easy to just re ink over top of your current work. Yeah, I actually don't like those was only look like square. They look like a little circles, but also, let's ah, let's approach some of this. So as we get some of this top trim work, that is ah, a bit all over the place. So we got this Trump ease here. Well, shadow piece here. Let's say that it comes down right about here. Get this road to the straight, though. So in this instance, I'm actually going to establish a straight line. All right, so you see, it's pretty skewed from where I was gonna put it. Souls. I wanted a little in doubt like that. And this could be anything, really. It could be another segment. Look, in addition to the building structure, But I just want something so it doesn't appear like this is one big shape going all the way back. It won't bring that down. Back over on back this way, just something to chains that shape. Then as we go down, we'll make sure we have that perspective line. So I'm gonna bring it to about right here and start going down into the side of the building. And again, I'm going toe angle it a bit as well, and we can check the perspective. That's a ball, right? It's a little bit crooked, but that should do. And as it gets back into here again, I'm kind of perceiving there's a lot more overlaps, a lot more detail, so I'm just going to kind of think some of this throwing a shadow and some little shapes just to kind of give that illusion of perspective and depth and something on this side. He's just randomized little scribbles, obviously nothing Teoh groundbreaking there. But it's better than better than just blank white space. And as we come back, we'll detail it's more. But stick this. There's her lights, Get some ice breaks on the place. And again, with this, I could be very particular and draw every brick just in the right spot. But I actually don't like doing that and my own illustrations. Now, just keep in mind that if you do like that, everything applies here that we've talked about it all. It's all the same techniques. You would just rule out your lines for each one of these, and you would space evenly on this side so you'd create your spacing there and then you'd work back. You wouldn't go from the other direction because then he wouldn't know what to get here. So you start from here, outermost edge, and then you work back, and then you can get AZM any perfect bricks as you want in there. But hopefully by the end of this you'll see how we can get it to read pretty well without doing that. Uh, yeah. Let's go back over to here. That's one of our shadow on the side. Drop shadow Here, Shadow here. Yes, it probably. Goodness, Rob, you're just so messy. But you know what I see is fun. Messi gets done. I'm probably gonna have that printed on my coffee mug now. And it would totally match my studio, which is an utter mess. So this, I'm actually just gonna throw the texture and first. So I'm getting kind of Ah, you know, swirling wood grain thing going on here. He just throwing that. And they're not worrying too much about perfection there, but those it's there. And then I'll fill in those letters over top more lines for the bricks and purposely make the letters kind of that wonky. Because can I have this perception that this was hand painted some angry old man? We don't know that for a fact, but there's a pretty good chance Que bajo dad a punk kids, You know what? Okay, forgive me, because I'm supposed to be teaching, not trying to crack jokes here, Okay, but ah, yes. So, as we do this, we just kind of keep picking at it and the same way where I implemented the texture there and then draw drew the keep out over top. That's the same concept for what we're gonna do here with the fire escape. So as I get over to this slowly but surely and what we see here, we've got these going horizontally. I'm gonna have these with some vertical slats. Just have them condensed down like anything else in perspective and again, some some random shapes here could be some pipe looking things. Whatever. Just again. This detail is gonna get pretty obscure back there. Um and then likewise with here, we're gonna check perspective like that with a big way too thick line, but that will give us the direction of the shape. And then we want to get some of the roofing edge work just like that. And again, I could've through that end with a lot cleaner shape, but I don't think it's a necessary just need there to be some shifts in the the shape of it . So it looks more kind of toppled over like this was added. Then this was added. Then they put this on the top of that that kind of thing. Okay. And then now for the fire escape, there's lots of ways you could do this one way if you wanted to look more decorative. So, for instance, there's a lot of, uh, angles going on here. I mean, some, you know, just randomly thrown in shapes, obviously, but you don't have to do it just with more lines. So, for instance, you could there was something like this and then you could do some divides, and then you could do some kind of swirly recommend looking at, You know, that looks have a design that you want to see him there. It could be something like this. Whatever. So you could get in some design element to that if you want it. I'm not gonna worry about that here, but I just want to show you that it's pretty easy to do all the groundwork is laid in. I know that does get a lot trickier to do in perspective. So gonna go with the pretty basic approach here. But remember to we've got to get the background details, and first So when we do that, we're gonna get the recess or inside of the door door handle there. School. I think a big part of what will make things like this read well, is that the door inside would need to be the most predominant. So it reads without it. Um, and then you could just make the next predominant thing the edging of the the metal, the trim work. That kind of all holds it together. So, for instance, this could be the next thickest area little brackets toe pennant to the law, and then these could be relatively thin. So you still see that door shape You could even do like a bent one a little things like that to kind of make it look a tiny bit more creative. You could bring up an edge cap right there. So, you know, just little things like that pinpoint our vanishing point. At least keep an eye on it and then draw this back. Now for right here. I'm gonna ignore that window because what's gonna happen is by time I add in all these little lines this is gonna get covered up pretty quickly. So these were going to start spaced out where you see more of the gap and then, as they received back into space, get tighter together and pretty much collide. So that's how you're gonna try to convey a little bit of depth there. And I think with this bottom, it's gonna just make more sense to kind of do an opposite of that where these air thicker. And then again as they Clyde together because we go back this way, they're going to start to converge, and you're going to see none of the gap there. And you could go back again with negative drawing with white out whatever. And you could fill some of this in and get that little cross section in there. It was just something like that. So it just reads as again, you don't want to create those lines, uh, in a uniform way where you get down to the end and they read exactly the same way. I just won't look like has any real depth to it. Were you in little brackets edge pH when I got to see that trim bar at the top on this one , And remember, you can use the existing top structure. Now is your kind of alignment method. Bring this in a little bit right there. Let's repeat what we did in the top piece and thinner lines here. Maybe about one or two. A tiny bit more creative, I think. And those actually look a tiny bit thinner so we could get in there and picking those up. If we need Teoh evenly spaced. And then as they get down here, they become tighter. We're convinced. And here we're gonna draw the opening. First, that little ladder, the escape hatch, And they will draw the ladder because that's just gonna be a solid line anyways. Now, if you're closer to this, you'd start drawn the light source on the ladder, make the bars look rounded or square that I got single both ways. Um, so whatever you want to do there, but this particular area, we're just going to make him solid. So again, this is kind of that simplicity from a distance. So as things get further away, um, they generally will be more simplistic. So that's kind of what we're doing there again with this part. It's a little trickier because we got a for that opening, and it's gonna kind of bleed together right here with ladder is one does have to be okay with that. And you know, if it gets too messy than you go back and you know, racism, parts back and make it read well, but I think that's fine. I think it conveys the message. And so now we've got the get a lot of rendering work. We'll do that in the next lesson here, but let's go ahead and get some of these building shapes And no so just trying to show a little bit of the edging that you would see to make the effect that they're all kind of silhouetted together. But you still see a little bit of their trim work from a distance. And likewise, this would be another Siris of buildings that are a little bit lower, so on and so forth. You can do that as many times you feel are necessary, but I think that's enough. And then we'll do the window shapes in there. Eso yes, so now we're gonna move on to the next lesson and continue to add some rendering and really start to kind of pull this together. So with that, let's move on 10. L9 - Inking the Work Part 4: Okay, so now, to add a little bit more rendering, So I kind of consider even the brickwork to be rendering as well. So what I consider rendering is more of the texture work. Anything that kind of refines it and makes it a little bit more, Um, not realistic, but has realistic traits, but basically, like shading, cross hatching things like that. But I don't know that we need a lot of cross hatching in this type of design, But, um, things just kind of help Give it that feel like to me, um, texture, ring and line work. Give it a bit more grit. So well seeming Do Here it is just throwing lots of, like, little shading lines, very little bits, a cross hatching. But I really even looking at it as faras that anytime I add cross hatching, I'm really thinking mawr like, uh, gradation and shadows so it could be cross hatching. Or it could just be shadows with a series of staples or line breaks or whatever. Well, still kind of bringing out some of these details to that. I skipped over again. We'll add some of the text of the brake like for instance, with this pipe, it's nice to just kind of give it a different texture than everything else around it. It could be just He's the lines that could be lines with some shadows that could be dense things dot staples. It really doesn't matter. The main thing I think at least way I look at it, is that everything should just somewhat read individually, have a little bit different look, then the other components around it, and it will help separate it off the page because if not, if everything is rendered kind of the exact same way, then it all blends together. So that's just kind of how I look at it, a ticket as you will. We've all got very different styles and interpretations of style, things like that. But one thing that you can kind of say was shading or rendering is that it should go with the direction of the, uh, the material. So, for instance, if it's round, then maybe the lines should round over that shadow side. If it's flat, maybe line should just be perpendicular to the side edges of the you horizontal vertical lines, whatever it's going with. Like for instance, for all this area. I'll just shade it with somethin lines going back like that, Yeah, I have a hard time ever thinking there is a rule to any of this personally, but I'm sure if he asked different people, you'll get different answers to that. Okay, let's see here. So the question is how many of these brakes don't want to see how many shapes? I just want to follow this perspective that we can have going here one reason. And don't be afraid to just throw in random shading you that random grand. I like to call it because again, this is an eerie kind of dirty background. You don't want a whole lot of, ah, clear, clean white space. In my opinion, that's where all these little tiny little run during lands kind of fill in the gaps. And I could literally do this part for hours because I like doodling. This part is like, for some reason, almost the most fun. For me, it's all fun. But I really like messing up the artwork, oppression, same messing it up, but just adding the texture. You know, you can do like, uh, spills on the wall. Maybe There's a pair of the wall that got wet that's shaded down a bed again, kind of that edged out material like this that could be everywhere, Um, and that's going to fill in while we're here. Let's go fill in the background. You can do cracks in the some man, you know. So it little broken up pieces. It's always fun. And another thing that's kind of neat is you can do negative shapes with the bricks as well . So, for instance, you could have a shadow that comes right through here, and you can just show the separation of the bricks. So, like a reverse, a negative of the break pattern, all sorts of neat things that you can do to just have fun with it and mix it up a bit. From there. You could bring a little bit of shooting off of that. So is the brick skip Further way you could just draw little textures of um, okay, now let's go and get the buildings back here filled in. But hopefully you could see that with some perspective. Obviously, this was a one point perspective. We used the vanishing point to kind of bring us I'm gonna check the work. But if you notice I mean, I use very little to no actual law rule lions. Now, as we progress, when we do the other lessons, there's gonna be more of the world lines. But I wanted to first show you that you don't have to do that, so you can. You can go with a more creative kind of expressive way like this, and there's lots and lots of artists that get really strong at doing this really hold their ability to do this. So you just have to decide. You know what's best for you? What's the most conducive with your style? What's your speed like? I would try both methods. I would try, um, both methods, and then I would try variations of each. I would introduce a little bit where you you know, you want to try everything and just see what sticks with your particular style. I don't take anything off the table because there's lots of techniques out there and there's your constantly evolving your methods, I believe so. As you get more and more into creating a variety of scenes, they're just gonna find things that work for each individual area, and it's gonna kind of change your way of thinking along. You know, maybe I need to do this now. Maybe I need try this introduced that So there's no you just get the whole idea of perfection right and wrong right out of the thought process, I believe, anyways. And, um, if it works and it works and that's that's the main thing. If it works for what you're doing at the moment, then that's the right choice. Some of those shapes back there, you see nothing to advanced. I'm keeping this all pretty basic. We'll put some antennas up on the top that may once bent little details like that. But again, since this is way far off in the back, I'm going with a very simplified, cartoony kind of thing here. I'm not not gonna try to jump in there and zoom and detail these buildings and put somebody standing in the window and and then wonder why I don't meet my deadlines and wonder why no one even noticed there was someone standing in the window like It's just you just have to make your decisions based upon you know what makes sense for what you're doing, I guess. And at the end of the day, it's gonna be fun. So make sure enjoying it. Because if you're not having fun in the work, it's gonna show in the work that's gonna people going to see that you're not enjoy uniting , enjoying it. And you know, your work should be expressive and exciting, and it should show that you really love what you're doing. So part of that is the workflow, the process. You see, I'm trying to make it look like light is coming off these lamppost selling off its reading little. But that's what I'm going for anyways, from this back when I just need toe bring these lions down like this I think this one lines distracting. Also get rid of that was supposed to be the top edge of the next structure, but it's becoming more confusing than anything. Okay, so there is a good portion of it so we can keep on rendering. You know, little things like this little leaflet of paper are this little piece of trash flying, you know, through the breezing through the air or something. You know, lots, little details like that. Um you know, we still cannot grunge in the way of, like, just random little dots and bumps and gum sticking to the ground. Whatever. You know, just this part. You really can just go as wild as you want. I think I don't I don't feel like you could never kind of overdo this. I just love when you see styles where there's just lots and lots of little imperfections thrown. And I just think that especially for something like this, like a dirty a key kind of alleyway, you know, just makes sense that there would be a lot of little random things all over the place. You know, I think the only thing you have to really think about is how long has it taken me to construct this scene? And how long is it being viewed? Those air those really? Some of the main things you have to kind of focus on. Now, if this getting colored, this is probably more than enough because the color is gonna come back through and really kind of saved the day. And a lot of this. There's some drop shadow from the where escape here. Okay. So, yeah, we're almost there. I mean, we could keep picking at this. Let's go ahead and do one more final lesson where we drop out the blue line. We kind of analyze it from a distance and see anything else that we can do to finish this off and wrap this up. So let's move on. 11. L10 - Finishing Touches: Okay, so now a moment of truth. Let's go and get rid of our blue line and see what we got. Oh, and it could be better, but it could be worse. So let's go ahead and just keep picking out a little bit. So I liked always kind of finish every piece like that, where you get rid of the blue line and see if there's anything else Aiken dio to, ah, finish it off. So kind of like this little negative pieces, so do some of that like that. We could do some little line breaks from there, like that's always fun into a little bit of shadow from this and again. It can also be that there's a shadow, and there's, like, you know, some drips or stains from water that seeps behind us. You really want to think about stuff like that. We could put something on here like just a narrow pointing down, nothing too time consuming because this is long enough series of lessons and and really, this gives you everything you need for a multitude of things. So you just need to take what's here. What we've discussed here and then implemented in a variety of scenes, but, you know, just putting Assemble on there kind of does something for it. And we could maybe even put like trash like that. I don't know something And what else? So I want to just, like, pick this apart and try to find any area that I can make look a bit more impressive. So it's all kind of here. But then, if we can add this little bits of detail here in their toe, kind of fill in the gaps. That's what I'm after at this point, you know, even like with this door over here, we could say, Well, let's just digging it up a bit. Let's put more imperfections, make it look like it's had a little bit of a harder life and those don't look like things to me. Let's go back. Try that again. I feel like there should be a little bit of shadow here from the side of the brickwork as well. - What else can we do? You know, another thing is, we can add details based on what's already there. So you want a little window or opening in this kind of area again, we're just gonna use the existing perspective that's already there. So sometimes you can make things look a little bit more impressive. That way you put a drop shadow to this edge there and there and just a single divide. So it looks like a garage door. So just little things like that, and we could probably even do what's going to do that. We'll have one more effect to the because it looks a bit more like a night sky. So what Will Dio is just at an some shading down this way. Get a little bit of cross hatching and then come back and erase it off the border. Make sure it doesn't interfere with shape of our buildings appear or fancy little lamp posts that we spent tons of money on. And remember, with the negative drawing, you can come back this way as well. Raise some of that. Yeah, that's that's about it. I mean, we could just keep going on and on and on and adding all sorts of effects all sorts of ah, shadows and Grady ants until we get it. Ah, you know, just deftly enough. And the main thing is, is after you get no for this in place, you know that You kind of see out reads from a distance. Or, you know, you should probably check in that as you go and any rate. But, um, but the main thing is like that as you pan bag, that it kind of all pulls together. And that's really the you know, the primary purpose when you're drawn this you're trying to tell the story, get a sense of where you are on the scene in the narrative. And if all that reads properly, then you've done your job. So hopefully these lessons have been beneficial for you to see how you can draw one point perspective in this applies to a lot of things interior rooms, drawing vehicles, all sorts of things. And we're gonna get into more like we're gonna approach 2.3 point perspective. But I want to start you here and get you rolling. And I'd love to know what you think about this lesson. I'd love to see your artwork if you followed along. I hope you did. And more lessons around the way. So thank you for watching. And I will talk to you soon.