Drawing In Two Point Perspective: Tiny House Project

1. Introduction: Hi, I'm Emily from New Zealand and welcome to my drawing tutorial on two point perspective. In today's class, we're going to draw our own tiny house using two point perspective. Before we start drawing, I'll take you through a slide show to discuss what two point perspective is and how it's different from one point perspective. Now, if you're already familiar with the concept of two point perspective, you can skip ahead to the simple drawing exercises where we'll do a few two point perspective practice runs for our main project. I'll take you through laying down the two point perspective plan for a tiny house. And from here you can follow along with me to finish the drawing. Or make the house your own by adding your own style of windows, doors, and other surroundings. This tutorial is useful for drawing any kind of simple building. It doesn't have to be a tiny house. As you become familiar with the process of drawing simple buildings, you'll start to understand how to draw more complex buildings in two point perspective to grab your pencils, because it's time to get started. 2. Materials: For the materials for this one, we're just going to need a regular pencil, like an HB pencil, something that you're comfortable sketching with and that you can get light marks with. We're going to do quite a bit of planning for our drawing first before we get into shading. You might need a two B or a four later on when we do some shading. But to start with just a fairly hard pencil, like an HB, nice and sharp. You'll need some eraser. You'll also need something like a ruler. One's got measurements on it, but it doesn't have to have measurements. It could just be something that has a hard edge. This is just a wooden pencil case, something that we can rule some lines with for two point perspective ruling, conversion lines that go to the vanishing point. If you think you're someone who has a tendency to get caught up in the centimeters or the inches, then maybe it's better to use something that doesn't have numbers on it. I'm not going to be referring to the numbers at all. It's just a nice straight edge to rule some lines with later on. Like I said, you might want a darker pencil. I'll probably use this one. It's just a four B and maybe some tissue to do a bit of smudging as well. 3. Understanding 2Pt Perspective: We're going to get into drawing shortly. But first, I just wanted to talk a little bit about one point and two point perspective. But I just want to show you some examples to get your mind used to what one point perspective is and particularly what two point perspective is and what the difference is between them. Just a little bit of a slide show, we can become familiar with what one point and two point perspective looks like. We start with this one, and this one is definitely two point perspective. Now the way we can tell it's two point perspective is if we look at the sides of the house. See the top and the bottom edge of the sides of the house are angling towards each other. We have this line here, then we have this one here, which is the bottom of the rectangle part of the house. Eventually they would meet pretty close to the edge of the page there where they're going to meet. Then if we take a line from the end of the roof here and take them out to the other side, they're going to angle towards each other as well. They're going to meet at a 0.1. On each side means we're going to have two points. That's why it's two point perspective. The other thing to note about this is that there is a corner facing us. This line here is a good way of quickly seeing, whether it one point or two point perspective. There are a few caveats with that that we'll talk about. Sometimes people can get confused when they can see both sides of the house. They think it's two point perspective and it's actually one point perspective. Let's move on to the next one, that's two point perspective. This one here is one point perspective. Now the thing to look for here is parallel lines in the front. Lines that are parallel to where we are standing. We are maybe standing about here. We've got our arms out on either side. And you see this line here is parallel to us. If we join the edges of the roof, they'd be parallel to us down here. That would be parallel to us as well. We can see a corner here. But this front side of the house, the lines aren't angling towards each other, they stay straight. They're parallel forever to infinity. If we look at the other side of the house here, there's some angles. Some of it's a little bit covered by the bush there, but probably comes out there. And then top angle, you can see these two angles would converge on a point. We're dealing with one point perspective. We find everything else converges on that point as well. This one here is two point perspective. Here's our front corner. We've got more than one line, a few cubes joined together here. We've got this line here that would come out. We've got this line here. Maybe did that first one a little bit crooked in theory. They should all join up to each other. That one's going out about that ankle. I can just see part of it that looks better. Eventually they join up these lines here. This is also like a small cube shaped, flattened cube of the deck. That line there coming from the bottom of the roof. And then on the other side we've got this line coming out. This line, they'd meet in the distance. We've got this line here as well. Technically, that should meet up with our vanishing point as well. The other problem you can get when you're looking at photographs is that there could be a bit of distortion in the photograph from the camera lens or it could just be that someone has distorted it. Photograph. In editing software, that one there is going to connect as well to that vanishing point. There's a lot going on in this one, but everything that is part of the cube is going to connect on the left hand side to one vanishing point. And on the right hand side to the other vanishing point. There's one other rule that we're going to be focusing on and applying to our drawing. And that is that the height aspect, or the verticals are always vertical. They're always straight up and down. So we've got that one, we've got this one. There's no angles with those. That's something we can rely on to do a little bit more with this one. Even the windows here, you see the bottom of the window, that's going to join up with the vanishing point. The top of the window, that's going to join up with the vanishing point, our horizon line. Even though we can't see the horizon line. It's also sometimes called an eye level. It's about where the level of our eyes would be, is going to be right in the middle. It's going to be joining those two points on a horizontal line. I know all of this can look a little bit confusing when you see all these lines. We're going to do something a little bit more simple than this one, but it's just to show you those rules that are in place that we need to follow if we want something to be in two point perspective. This is another example of one point perspective. All of the front planes of the buildings are parallel to us where we're standing. There's no angles there. We can see the side of the building and those are going to angle towards a vanishing point, which is probably about here. The only way we can find the vanishing point is by connecting those angles. There's no magic way to know exactly where it is by looking until you study those angles. Sometimes two point perspective is really easy to see. This could be an example where there's a bit of an effect from the camera lens. We can see all of these lines heading out to a point. All of the lines of the windows. A point on the left side and then the same on the right side. Even the road here. I know some of these are a little bit crooked, but just to demonstrate the direction they're going in, even the street sign, this angle here, probably meeting with vanishing point, maybe not quite. It's also important to understand that 1.2 point perspective work with a right angle, anything that's not at a right angle, so this veranda is slightly sloping downwards. That's not going to fit with our two point perspective. If it was sticking straight out and there's a right angle here, then we can include it in our two point perspective. I just want to show you a couple of places where people can get caught or have challenges with 1.2 point perspective. This one here is clearly one point perspective. We can only see the front of the house. There's not actually anything there that we need to send back to a vanishing point. There's no converging lines that we can see. Because we're so directly in front of the house, we can't see any side of the house. We compare that one with this one. This one we can see one side of the house. But it's still one point perspective because the front of the house is still parallel with where we're standing. The difference is instead of standing right in front of the house here, we're actually standing slightly over to the side of the house. So we can see this little bit of the side of the house there as well. That's one where sometimes people can get caught out. They look at this and they see, I can see a corner of a house. It must be two point perspective. But the corner of the house is not facing the front of the house is facing us. This one here is technically two point perspective. We can tell that because we can use the line of the roof for this one. This line here, you can see it's starting to slope downwards. They would meet eventually quite far in the distance. We can't see the bottom of the building. We have to take a guess. With that, it would slant up slightly in the side. It's a lot easier to see where the point would be. But the reason I wanted to show you this one is this is a case where you could choose to either make it two point perspective, maybe even angle these a little bit more. Or you could choose to make it one point perspective. You could choose to make this parallel to us and then just have the one side going back into one point. It would mean adjusting the photograph to fit one point perspective. We wouldn't have this angle, we'd have it straight across. One point perspective and two point perspective are very rigid systems. We've either got to work with them or we've got to choose something else in the other place. People can sometimes get caught out when they're doing one or two point perspective. They're not paying attention to where the cube is or where the cuboid is. Here's our front corner, and this is two point perspective. Here's the top of the cuboid coming out into the distance. To find the other side of the cuboid, we just join the two points that make up the bottom of the roof. This one we can see quite clearly in the direction that goes when we come down to this one. Here we've got this bit of landscape which is hiding a part of the cube here, which would be down here. It's really important to look for the cube shape, not go by the land or the grass or anything else that is covering the cubes. So if we draw a line out here, we're going to get something that is not accurate. What we can see is this bottom part of the wooden cladding on the outside. That's what I would use to find the vanishing point on that side. The tops of the windows in the bottoms of the windows would join up that vanishing point as well. If we'd use this line here, then it just wouldn't work, because this line in this line wouldn't ever meet at a vanishing point. 4. 2Pt Perspective Exercise: Don't worry if that seemed a little bit overwhelming to start with. Be a good idea if you didn't quite get it. To go back after we do the drawing exercise and to do the project and have a look at it and just see if it makes more sense to you. Because I think once we've done the drawing, once we've actually applied it to something, it'll become clearer to start with. We're just going to use a really simple shape. It's going to be even more simple than this photograph just here. We're just going to use a very simple cube and do an exercise. But I just wanted to bring this up just to show you how this applies to a house. Here's the front corner, and straighten that up. Here's the bottom of the cube. Here's the top of the cube, we're not worrying about the roof. Here's the bottom of the cube on the other side, and the top of the cube would be about here. We're going to draw something a little bit like this. We'll be putting in the back corner on both sides, and we've got that front corner there. And we'll also be applying a horizon line which stretches between the two vanishing points. Let's go ahead and do that. And I might just leave that photo up there just for a little bit so you can see how it applies, the rules for two point perspective. We need to have two vanishing points. We need to have a horizon line. And all of the verticals are going to be straight up and down. If we're looking at a photograph, the first vertical we see is that corner that's facing us. So we're going to go ahead and draw that. And I'll do a couple of little exercises here. So you want room to be out of fit. Maybe 123123, just somewhere on your page. We're just going to do them quite small. The very first thing I'm going to do is just put in a horizon line with two points at each side. I could put a point here, point here. It doesn't matter how long the horizon line is keeping it quite light. Because if we're doing a proper drawing, we'd eventually rub out the horizon line. Horizon line doesn't actually mean that we can see the horizon line. Sometimes it's better to think of it as eye level. I remember to refer to it as eye level so we don't get confused with, hey, where's the horizon line in this photograph? I can't see it. We still have to draw one for two point perspective. Then we're going to put in the vertical line of the front corner. Now you can decide how big or how small it is. I'm just going to make mine that big. Put a mark at the top. Mark at the bottom. I just drew that free hand. Then from here, we're going to put in our converging lines. They're called converging lines because they converge at the vanishing point. We're going to go from the bottom of that front corner and the top of that front corner on both sides. And then we can choose where the front and the back of the house are. We're looking at our photograph. We're looking for this line. And this line here, We've already got this one in. They're going to be straight up and down. If you had a longer house, you might have it a little bit further back if it was a long, narrow house. And this one might be a little bit closer to the front corner. Let's just go ahead and do something similar to what's on the screen. I'm going to do one here. And it's a vertical line. It stretches from the bottom converging line to the top converging line, then the front of that house. And the photograph there is a little bit wider than this one, but it doesn't matter too much. There's our two point perspective cube and we can go ahead and darken up the top and the bottom lines of each wall. Let's try another one. We're going to do it pretty much the same. Maybe we'll put it over to one side. This one's in the center of our vanishing points. We are standing right here putting my pencil as a person. We're looking directly at that front corner there. This one here, my vanishing points and my eye level. I'm going to go ahead and I'm going to put it over to one side. Let's put it over to this side, I, my front corner closer to the left hand vanishing point. Then I'm going to put in my converging lines. You can make this cuboid shape, whatever shape you like. You can make it very long, you can make it taller and narrower, just depending on where you put the back in the front corner. If we have a photograph to look at, then we can just look at the photograph and decide which side is longer from where our viewpoint is. But I'm going to go ahead and put this one in here. Maybe this one a little bit. Closer to center. We can see more of this side now than we can of this side. Put in the top and the bottom lines. It's a little bit darker now that we've found where they are with those converging lines. Just one thing about bringing things close to the vanishing points. The closer you get to the vanishing point, the more distorted things are going to be. If I do something, actually, I can't do it on that one. I got to do a whole new one. I might just use these vanishing points to show you. But if I decide that I want to put a house over here, I need to put new converging lines in using the same vanishing points, same horizon line, but new converging lines that join up to those vanishing points. If I put the side of the building there and this one here, it starts to get very distorted. It looks like it's really going into the distance. It's maybe a very big, massive building. This line and this line here are probably too severe. These angles were too close to the vanishing point. We want to try and keep what we're drawing in a essential area. Let me explain why we want to keep everything in the center circle. If I draw another one here, I want to leave a bit of room down the bottom. This time eye level and a vanishing point on either side. The way two point perspective works is based on right angles, 90 degree angles. If we put a right angle or form a right angle between the two vanishing points, I'm looking at this angle here with two point perspective. This is called the station point. It's like the viewpoint where we're standing to get something that looks similar to what we see in real life. In perspective, it's not distorted. We want everything to fit within 60 degrees of that station point. This one's 90 degrees between here and here is where we're going to get our most accurate depiction of perspective without too much distortion. I'm just guessing that's about 60 degrees. We're going to try and fit things within this area here, not too close to the vanishing point on either side. It's getting a little bit more technical, but it's just something to keep in mind. That's why we don't want anything really close to these sides, we'll get distortion. This is the way two point perspective works, is one of those rules that we try to fit everything within about 60 degrees, or you just think nothing too close to the vanishing points on either side. Let's do one more in here. I want to show you how we can put a roof on one of these. I'm going to choose where my center line is going to go. Once you put in that center line or that corner, that front corner, you can choose how high you make it. Now we're treating this as if our eye level is directly in the center of each one of these houses. It's not always the case. And you'd look at your photograph and determine where that horizon line is based on where the vanishing points meet. But let's put this one in the center. Again, join up our converging lines to the vanishing point and the front corner choose where the back edge is going to go on either side. Just going to go around and darken up those lines a little bit. So you can see my cuboid a little bit more clearly. It's based on right angles, based on cubes, Which means that this triangle that we want to put in for the roof doesn't really fit with the system. We've got to use this square, find out where the peak of the roof would be. To do that, we just put across through here. We put across through there. And then draw a straight line up that's going to give us the center of that side and tell us where the center or the peak of the roof would be. Now you can decide how high up or how low down you want it to be. It could be quite a low roof or it could be quite a high roof. If I put that up there, then I can put in the two sides of my roof. This one here is going to join to the vanishing point because it's moving in the same direction as these here, it's parallel to these lines if we're looking at it in real life and we turned it around. Even if we look at this photograph here, I can't turn it around. But if we turn this house around, so we're looking at the side, we'd see that these two lines are parallel to each other, or these three lines, actually, if we were actually standing over here and looking that way, we'd see these lines here. They'd all be in a straight line, straight horizontal line. That's why the roof also matches or meets the vanishing point there. The top of the roof. This angle here, we've got to take a little bit of a guess. We can look at this one and make it parallel. In reality, it's not quite parallel, but it's close enough. You either make it parallel or if you have a photograph, you look at the photograph and you do your usual measuring to find that angle. If we want to put some windows in here, we can put in our verticals because we know the vertical is always going to be straight up and down. That's easy. Then the bottom of the window and the top of the window to meet the vanishing points. You can see the angle of the top of the window is sloping down towards vanishing point. The angle of the bottom of the window is sloping up to meet the vanishing point because our eye level is close to the center of that window. If we wanted to put a door on this side, we get rid of all of these lines that we don't need anymore, then we're going to just decide where it's going to go with our verticals. We're going to join the top of the door to the vanishing point. I haven't been using very straight lines for my verticals. It probably should use some, a ruler. Because when you have just one tiny little thing out, it can throw the whole thing off. So we're going to go into our project drawing in a moment and we're going to start off the same way as we did here. Now what you'll find is that the photograph, we may have to make a few changes to it to make sure it does fit within our two point perspective. Because we're only going to have this amount of room from one side of the page to the other. If you want me to draw something accurately in two point perspective, I go back to this photo here, you can see how the vanishing points are way off the side of the page. So the way over there and way over there, that way if we wanted to accurately portray that house at a decent size on our page, maybe this size as big as my hand. Our vanishing points are going to be way out this side and way out this side here. We'd actually have to have another piece of paper down underneath so we can put some vanishing points down and then really accurately rule things out. Doesn't mean you can't draw that house on a piece of paper this size, It just means you won't be able to actually physically put in the vanishing points. You'd just be aware of the vanishing points. And you'd be looking at these angles here and being aware that they're going to join up with each other in the distance. Even though we're sticking to something that's quite technical today in the way that we're going to bring this together. Even just having a knowledge or an understanding of two point perspective can really help you when you're drawing. It doesn't mean that you have to always put it down like this, but you would understand how to do this and then you can understand how it is that this side of the house and this side of the house are angling towards each other. And same on the other side here. And you'd understand that the roof also has to start to move towards that same vanishing point way off your page in the distance. 5. Project: Analysing The Subject: This is the tiny house that we're going to be drawing. We're not going to put the wheels on it because that's getting quite complicated or quite complex. Like I mentioned, two point perspective, and the different perspective systems are based on right angles and cubes or cuboids. When we have a circle like the wheel there, we're actually having to see it as a cube or fit it into a box before we can find the right placement of the wheel. I might go over that afterwards at the end of the lesson, if you want to go a little bit more further into the two point perspective rabbit hole. But for now we're just going to stick with the basic cube shape. Now this photo is just for us to have something to look at. I'm going to follow it fairly closely. But feel free to decorate the house however you want. You might want to have more than one window, You might want to have a door in the center. You might want to have different sort of features. But it's all going to start off the same way. It's going to start off with a horizon line. It's going to start off with some vanishing points and with that basic cuboid shape. And then we can start to play around and add some different things on there. So let's have a look at the two point perspective that's happening within this photograph here. And I've put a lot of white space around here so that we can hopefully see the vanishing point. Here's the front corner. We've got one angle coming out to the left here, make sure it's lining up at the bottom of that wall. We've got another one that's coming from the top of that corner out towards vanishing point. Might just be able to get those to reach, or to touch each other on the screen. Then we've got these ones coming out the other side. We're looking for where they converge. Here's one vanishing point. Here's the other vanishing point. Between those is going to be our eye level. When we put this onto paper, we may not get it exactly the same. But can you see how the corner of the house, the front corner, is closer to the vanishing point on the right than it is to the vanishing point on the left. That's how we're going to get accurate angles. These angles here are more extreme than these angles here. Then we're going to put in our back corners. Then we'll figure out everything else. The roof and the door, in the window, that thing. 6. Project: Start By Drawing The Cuboid: The first thing we'll do is put in our horizon line. I'm just doing this in the center of my page, maybe a little bit lower down. I'm going to go right from one side of the page to the other. I want my vanishing points as far away from each other as possible. This is our horizon line, eye level. They're the same thing. Put a point out there and a point out here. Now if we think about the station point, I'm going to be somewhere down here. My station point, it's at right angles, maybe further down. But it just means that I need to fit everything in around about here. Even though I want my front corner to be closer to this vanishing point. I'm not going to put it way over here. I'm going to put it still within that 60 degrees if I can. I'm going to put it maybe about here. I'm just giving myself an idea of where it's going to go. I haven't decided how tall or how short it's going to be yet because I've got to figure out where along this horizon line that front corner is going to sit. And we had a little look before with this photo here, it's almost half sitting, halfway across that horizon line. The bottom half is maybe a little bit shorter than the top half. This part here is not quite as big as this part here. Another way we'd be able to determine that is by looking at the angles. One at the bottom is a little bit shallower than the one at the top, which tells us that the eye level is going to be a little bit lower than halfway down. It doesn't matter too much, It just means that you might get a house that's looking slightly different than the one from the photograph. Actually, I'm going to make this just a little bit smaller. It's going to be quite a small drawing because we need to fit everything within that 60 degrees if we can. I'm also making sure I've got room for the roof up here as well. At the top of my page. The roof is going to come up here. And then I might want to put that porch on the front as well. I just need to make sure I've got space. This is about the size of my finger. So we've got the top and the bottom there. The top half is slightly longer than the bottom half if we're looking at where the horizon line intersects it. And then we're going to put in our converging lines, keep these nice in light. If we're doing a serious drawing, we'd want to rub them out. For this one, I'd probably leave them in just so that you can see what we've done and remember how to put things together. The first step was the eye level. The second step was putting in the corner positioning that where we wanted it to be. It's closer to this vanishing point than this one. And that's just to do with the angle of the house. Then we put in now converging lines meeting the vanishing point. Then we're going to decide where at the back of the house on the right side and the back of the house on the left hand side are going to go. This is where it just comes back to some normal measuring. We look at this distance compared with this distance. They're pretty close to each other. Which one do you think is longer? Let's have a look. Take this distance here, then. I've just moved it along to compare it with the front side or the front wall of the house. You can see that it is, this side here is shorter than this side here. This measurement is actually the length of the side of the house here. I've just moved it over to see how it compares with the front of the house. Even though we can see that that house is longer. We understand that it's a longer house than it is wide. If we're standing at the front door, this front of the house with the door is actually going to be wider in our drawing than the side of the house. And that is because of the angle that it's at. Remember for shortening, things go into the distance, they get smaller. We've got some foreshortening happening along the side here. It's going to be shorter than we think. All that really means is that you decide how big the front wall of the house is going to be or how wide it is. I'm just looking at the general shape of that rectangle. Putting it in, we could get technical and compare the height with the length of these angles. I'm not going to worry about that for this one. All I'm going to do is make sure that this side is a little bit shorter than this side. That would be the same. I'm going to bring in just a little bit. Here's my ruler for these verticals here you've got a set square. Something that helps you line up with the bottom of the page or you side of your page. That's really helpful too, so you can make sure you are actually getting these straight. I'm keeping mind quite light for now. Hopefully you can see it. Okay, Just in case we need to change things. 7. Project: Adding A Roof, Window, Door: From here, I'm just going to go ahead and put in that roof at the peak of the roof here. Like I say, you can decide how tall the roof is or how low the roof is. First thing we need to do is put in a cross. You can use a ruler to do this if you want to, very lightly. Then we're going to draw a line straight up through where those two angles intersect. It's got to be straight up and down, make sure it's not slanting to one side. Then we're going to make a decision about how tall we want our roof to be. If you want to get technical with it, you're going to compare this. See how many times that fits into this front wall? Maybe once, maybe 2.5 times. Then you can check the same on here, you can measure it. Okay. I want it to be this tool, does that fit 2.5 times in 12? I mean, it's pretty close but I'm just going to do it by eye might bring mine down. I'll leave it there. Then we're going to join this corner and the peak up. And this corner in the peak up. And it's nothing to do with our vanishing points, because it's a triangle, not a square or cube, it's just matching things up. Then the top of the roof is going to join up with our vanishing point. Now remember that is because if we're facing this side of the building, this line, this line, and the top of the roof would all be parallel with each other. Which is how we know that they're all subject to that one vanishing point. This is where it might look a little bit distorted because we're squeezing things in a little bit in this drawing just because we had to have our vanishing points on our page. I'll show you what I mean when I line this up. Just bring a line out to the vanishing point. It's quite narrow at the back of the roof here. This is unavoidable, unless you want to put your vanishing points way up beyond the page. Then this angle here we go, Just take a guess. Like I said, it's going to be almost parallel with the front angle. We have that one and this one here, you can see that they're about parallel. Maybe the back one slopes down just a little bit further, might be a little bit more angled this way. I'm going to just make it parallel, then we're going to bring that roof down just a little bit further. It actually comes a little bit past the cube of the house. Brought it down a little bit. This bottom edge of the roof that needs to meet our vanishing point as well. And put it in from there. And then I'm going to make sure this back age of the roof meets it, that overhang. We'll bring this one down a little bit as well. On the other side, we've got a good basic shape here now for our tiny house, I'm going to put in a few more details with the roof. I'm just going to put in that front part here. I just put a little straight line down there and then just a parallel line and another parallel line here on this side, just giving it some thickness. I'm just looking at the photograph of the angles of the ends of them. Put that angle in this angle here. This one is going to meet the vanishing point. Again, looking at the photograph for that angle of the back, a little part of the width there. Now we've got something that looks like a thicker roof sitting on top of our cube. Let's get rid of any of the lines that we don't want inside the house. Now we've got a good base for our tiny house. You can go ahead and add in anything you like. I might I think I'll put a door maybe a little bit more in the center, on this side. I had that center line. I've lost it now. But you might still be able to see yours. And I'm just going to decide how high it goes. May might go quite as high as in the photograph because it goes right up to the roof probably about here even. That might be a little bit too tall. It'll be okay. You see what I mean about you can get a little bit of distortion happening just because we're not strictly sticking to the vanishing points that are in the photo. Which would be way out here, way out to the sides of the page. We've got to have them on our page. Just so that you can see what I'm doing. The top of the door here needs to meet the vanishing point. Just put in lines and vertical lines to guess how high it would come up and how they'd align with each other. But then I need to make sure they match with the vanishing point. Choose the top of one of them. You don't even have to draw this line out. If you don't want to, you can just line your ruler up with the vanishing point and then just draw the part of the door that you want to put in. I'm going to go ahead and make some of these a little bit darker, just so you can see them, but I keep those pretty light to start with because you might want to make a few changes. You might want to put things over top. So you might want to put that porch overhanging the door there. One error I've just noticed in my drawing is that the bottom of this roof overhang isn't coming down quite far enough. That should line up with this one of the side of the roof should line up with this side of the roof because it's on the front side of that cube. I put a little mark here that's going to tell me where these need to come down to use your imagination, come up with whatever window you want. I'm going to stick to something similar. I'll probably make it line up with this point of the door, though it looks like it's evenly placed on the other wall, lines up with the top of the door. But it needs to match this vanishing point you might want to put on your verticals first to decide how wide it's going to be, where it's going to go. Then the top has to meet back. The top angle has to meet back with the vanishing point there. Blind my ruler up. I'm only drawing the top part of the window. Then the bring it down the bottom part of the window. It might look like I'm putting these verticals in exactly the right place, but I'm actually adjusting them. Once I find that angle, I'm coming to bring these verticals down a little bit further or maybe rub a little bit out if I've gone too far with them. I'm also going to put in this front part on the ground. And then I'll also put in the top over the door as well. Lining up with the vanishing point in the front corner. Bringing that line out. This one here, it's going to match up with the vanishing point. This is the other side of the little p. I'm just taking a guess at how far out it's going to come. And then I can line up with my vanishing point on this side. I can adjust that the length of the porch. I might decide I want it to come way out here, and that's where my line would go. And I'd have to bring these vertical or I'd have to bring these edges up to meet it. I might just go from that one there. I've gone over a little bit. Go up that out, let's give all of these things a little bit of thickness, especially the window. I'm just going to do this free hand, you see in the photograph you can see the back of it, the back in edge. You can't really see much of the front in edge. And that's because of the angle that the viewpoint we're at, where we're standing, it's hidden. So I'm just doing the top and the bottom in the back, maybe a little bit of the front. This is the inner part of the window or the trim. Then I can do the same with the door. You can do this free hand, or you can do it with the ruler matching up to vanishing points. Leave the top because I'll do the porch. But it's line down here, that's where the glass starts. I'm going to line that up with the vanishing point. You can keep using your ruler or you can just start working freehand. Just be careful when you're doing these. Lines are on an angle that you either visually lining them up with a vanishing point or you're actually using your ruler there as a little guide. It was put in that green part at the base of the door there. 8. Project: Roof, Window, Door Continued: Let's put in this overhanging part of this awning here. Now, it doesn't fit with two point perspective because it's not parallel with this side of the building or this side of the building. It's sticking out on its own angle. It doesn't fit to our system of two point perspective. You're always going to come up against things like that. And then you just have to go back to rule of measuring by eye. All I'm going to do is just look at the angle that it's coming out at, on either side. And just take a guess, it's not meeting the side of the building in my drawing like it is in the photo. But I'm not worried about that because I haven't stuck exactly to the correct proportions. This line of the front of the awning that is parallel with the front of the house or with the cube shapes, that one does have to line up with the vanishing points. The trick is really understanding how to draw those cubes in space like we did here. And understanding which parts are parallel, which edges, these edges here are parallel to each other. In reality, if we walked around this side of the house and we're standing directly in front of it, and same with this side. If we walked around the side of the house and looked at this wall, this line in this line would be parallel. We're applying perspective to them. We're trying to make them look like they're three D, and they're moving back into space, and that's why they're angled. But if we moved around the front of this house, we're standing at the front door. This line, this one, This 11, this one. This one. This one, and this one. They'd all be horizontal. Then if we walked around this side of the house and we were standing straight in front of the window looking in sight, this line, this one, this one, this one, and this one, They would all be horizontal lines. They'd all be parallel with each other. Once you understand that, then you understand which lines need to be subject to the vanishing point. These ones here, if we're standing in front of the house, at the front door, these lines are coming towards us. They don't actually fit with the cube and with two point perspective with that system. Let's move on with the drawing. I do want you to understand what's happening, and that's why I keep stopping and talking about these things. But we're going to move on. I'm going to put a little bit of thickness into this porch chair. Just free hand, just following what's already there. Everything needs a bit of thickness. Even this awning here, a little bit of thickness. Maybe put a top part there as well. So this line here would be meeting the vanishing point. You can rule if you want or you can just take a guess. Technically, this side should be slightly wider than this side. We can put in the corrugated iron on the roof and it's up to you how you treat this. If you wanted to put in tiles, you could do that. If you put in tiles, then each line of tiles coming along like this would be meeting the vanishing point. I'm just going to do the corrugated iron and that is just going to be parallel with this line in this line, I'm drawing lines up there. Just adding some texture, really pretty. Should have started at the front. Actually, it's more important that it's parallel at the front. Any more details that you want to put in, You're going to put them in now and then we're going to add a little bit of shading. Might just put in this part here holding up that warning. Maybe on the other side, it's going to line up with this one on the other side of the warning, we can't see it, but the top of it will line up with that. And then we have that angle coming down slightly underneath it. Let's put in a bit of shading. And I'm just going to put in this welcome as well. This will be matching our vanishing point. So I just took a guess, it's not very accurate, so let's do that properly. And this side of it will also be meeting the vanishing point. And then this side here, the front edge, will be meeting that vanishing point. 9. Project: Simple Shading: Now let's put in a bit of shading. You might want to switch pencils. I'm going to stick with this one. This is just an HB pencil. All of this side of the house is darker than the side of the house. We can put in a layer of shading over the whole side of the house. If you've got your tissue, then you can do this quite rough and then just tidy it up with a bit of smudging. We could even put paneling down here if you want to. There's this house here which I'll include in the photographs. It could be one that you try later, but you can see the different way that it's been built with the logs along the front, the slats up here in the front of the roof there. You could apply whatever you want to this one as well. It doesn't have to be the same as you can also see the decorations around the windows in that photograph there. But I'll include that photograph for your practice when you do your second one, building up the shading smudge. Definitely not finished drawing. It's more of a diagram than a drawing. We just want to put some shading in there to give it some depth. And then under this roof here is going to be a bit darker, is a bit of an overhang there, choosing the side of my pencil. So get something nice and soft, you could put a bit of shading on the front of the house if you want to be lighter than this side. But just to have something, we can just leave it white. Then we can see the shadow under this Eve. Here, again, nice soft shading mark, faded out a little bit. It might even be a little bit of shadow under this one, straight away. That's given us some depth. We could go ahead and put in something darker if we want to later on, but I'm just going to leave it there for now. Put a bit of shading in the window as well. Might want to leave a little bit of white. So it looks like there's some reflections in there. It's going to have a bit of shadow at the top, probably from the eaves and from just the top of the window frame. Remember, we can't see much of this front edge of the window frame. If you look at the photograph, you can barely see it. I'm just going to define it a little bit of a darker line, though there's actually a couple of levels in that window frame. I haven't worried about those, I'm just putting in the one level. It's a little bit of shadow underneath the window frame as well. Nice soft shading. If we want to show this as a color, we could do that quite dark. This is the red around the door, might have to switch to a darker pencil, but maybe not corrugated. I'm not sure, but there's some texture or pattern along the top of that warning. We could put some curtains in. I'm definitely following the photograph here, but you can do whatever you want. There'd be some shading underneath that warning there as well. I think maybe to make this more interesting, I might put in some timber on the outside. I'm just going to add a texture. These are going to get smaller as they go further back. Same on the front, front, they're going to get smaller as they come towards the vanishing point. I'm not doing lines all the way up, all the way down. Just giving an idea of what materials are used, that gives it a little bit more character as well. To switch to my dark pencil and just darken up some things like this front corner underneath here, whatever is closest to us, which is that front corner, we can afford to put a bit more detail, a bit more contrast in there because that's just the way vision works. Things that are closest to us are more in detail. They have brighter colors and deeper shadows. And just darkening up this door frame door handle, there a texture for this mat. In a moment, we're going to just put a few extra details around the house that aren't anything to do with two point perspective. Just to give a bit of context at the moment, it's like a floating house. Better just put a little bit more shading and things in here. 10. Project: Adding A Background: We didn't put the wheels in this one, but we could have a little bit of grass coming up the side of the house. If you want to put in a pot plant, you can just see one there in the photograph. Just bring it up a little bit. See that pot plant just in the front there? If you want to put something like that in, we could put it actually on this porch if you haven't gone too dark. A little oval in another little oval, and then the two sides is drawing like a cone shape. You get a little plant in there. I'm going to zoom out a little bit so we can see what's around the house. We can see some trees there. We can see the plane of the ground that the house is sitting on, and then some shrubbery around the back. That's some garden furniture at the back there as well. I'm not going to tackle that for this one. Let's get rid of these lines now. We don't need them anymore. We could put in an idea of where the ground meets the shrubs and the trees. I'm going to make it just a little bit higher up than it is in the photo. It doesn't have to be completely straight then. And a few things around the house. I'm going to put on this tree here. Be wherever you want. You can bring it forward a bit. Might take over the house a little bit in terms of what the eye is drawn to. Maybe I have a little bit further back here. All of this is going to be quite loose. It's just context really. I'm just bringing down some branches, you can see a few in the photo there. And just the scribbles, leaves, bunches of leaves, letting my pencil move quite erratically, so I don't get something that looks too forced. And then the trunk has a few knobby bits on it, but the main thing for the trunk is to make sure that you've got a dark side and a light side. It's using an up and down motion movement bit of texture that's like bark. This side needs to be darker. Same side as the house that is darker side of the house. Darker. The side of the tree is darker probably make my house a little bit darker there. Again, there's some more trees coming out there that we could put in as well. There's some coming back of the house and another one back here, one of these Very quickly. There's a grassy area and then a gravelly area here. Gravelly sand and dirt. I'm just putting in something that it's just going to show me where my grass is going to go and then I could add a bit of texture. If you've done any of the other perspective drawings, there's a one point perspective barn and one point perspective landscape. We go over some of the s textures in those classes. The trick is just to have them looking natural, not getting too detailed with them. Some of them can just be scribbles. We're creating the illusion of a pattern rather than drawing every single blade of grass. As we get further back, you're going to see less detail. It could just be a bit of shading there and a bit of smudging. Then maybe just some dark shading in here. Actually, I'm not going to even do those shrubs, I'm just going to put some value in there and you can have some trees coming up. We don't want any detail in these trees at the back because then it's going to bring them forward. We want the house to be in the foreground. We're just shading in the values right now. Not texture. Maybe this one could have a little bit of texture on it because it's a bit closer than these ones at the back. 11. Project: Final Details: I am treating this one more as a diagram than a finished drawing. I wanted to show you how you could use two point perspective to find the angles of a house and make sure everything thing fits in to that system. But you can also use your imagination as well. If you were doing a more finished drawing of this, then you might not put in all those lines that we did at the start. You can still sketch free hand as well. You don't always need to use a ruler. You'd have an awareness of where you vanishing points are to make sure that you're getting these angles. These ones coming this way and these ones coming this way. Correct? I'm not going to do too much more to this except maybe just add in a little bit more value and that might be something that you want to do as well. Just balance out your values a little bit. At the site of the house here definitely needs to be darker. I can go over and put in some more details for my cladding on the house there. All my shadows could be darker as well. I'll just go through and put in a few more black points as well. So things like around the side of the mat here, a bit darker, maybe a little bit of a shadow under the pot plant, on the same side shadow here. In the shadow here, actually there'd be a bit of shadow on the grass here too. That's a sandy area as well. Then I might put in a little bit more value in the background. I'll show you what I do, but I might just leave the teaching there for now and let you get on with your own. You could finish this one in your own time, maybe add a few more details. One other thing that you can add is like a finial or something on the top, decorative wooden things. Make it your own. Then I've also included that other photograph there, the one that's a little bit more like a wood cabin. If you wanted to challenge yourself, then I'd have to go at doing that one. It goes in a different direction. You can't as clearly see the bottom of the house. You're going to have to make some decisions there. Leave out some of the bushes and things in the front of the house, or just draw it very lightly at the bottom and then put the bushes over the top. I hope you've learnt something from this lesson that you can then apply into your own drawings of houses. Remember, two point perspective is a system, we've got to stick to that system, which means that sometimes we need to change what we see in the photograph to meet that system. Either that or we just draw from observation, so you can forget about putting in your vanishing points and that sort of thing, and just draw what you see. When you do stick to the system, you may get something a bit different from the photograph. This house here. The actual proportions, I didn't measure them out so carefully, but that the angles and the proportions are not exactly the same as the photograph. Because of where I had to put my vanishing points. If we were being really accurate, wanted to have a really accurate representation, we'd have to make sure we have the vanishing points at the distance away. We'd have to make sure that our angles are all exactly the same as in the photograph. That angles are based on where the vanishing points are. The main thing that I hope you've taken away from this is an understanding of how everything on that one side of the house, on the front of the house, is parallel in real life if we're looking straight at it, but it's all going to be that same vanishing point. We're looking at this side of the house, around the side, looking through the window. All of these lines would be parallel to where we're standing, but because of the angle it's on and because we're trying to get an accurate sense of depth and perspective, they all have to meet that one vanishing point. I'll carry on with this and show you what I end up with. But thanks for joining me and I'll see you in the next one.