How to Create 3D Anamorphic Drawings | Mike O'Hara | Skillshare

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How to Create 3D Anamorphic Drawings

teacher avatar Mike O'Hara, Artist and Musician

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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.



    • 2.

      Class project


    • 3.

      Drawing a 3D hole


    • 4.

      Setting up your object for a reference photo


    • 5.

      Creating a stencil manually


    • 6.

      Creating a stencil using Photoshop


    • 7.

      Transferring your stencil to paper


    • 8.

      Refining your drawing


    • 9.

      Adding colour


    • 10.

      Photographing your drawing


    • 11.

      Bonus - Intro to mirror anamorphosis


    • 12.

      Key takeaways and next steps


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About This Class

Have you ever seen that really cool street art? Where, if you stand in a certain position, everything suddenly comes into perspective and looks amazingly realistic and 3-dimensional?

That is an example of anamorphic art, where the perspective of the drawing or painting is distorted in such a way that it has to be viewed from a certain angle - or reflected in a curved mirror - to appear realistic to the viewer.

This type of art originally gained popularity during the Renaissance, when Old Masters such as Da Vinci and Holbein experimented with it. (A great example of an anamorphic skull can be seen in Holbein's painting, "The Ambassadors", so if you're ever in London, go along to the National Gallery and check it out, it's awesome!)

I'm Mike O'Hara, an artist based in Kent, UK, and I love creating anamorphic art. I've found that it is surprisingly straightforward, once you understand the principles and methods. And it can give you some really cool results.

In this class, we'll be going from first principles through to more complex techniques, where I will show you:

  • How to draw a "3D hole" that seems to disappear into the paper. This is a quick and simple exercise that will introduce you to anamorphic drawing. All you need is a sheet of paper, a couple of pencils and a little bit of imagination :) 
  • A step-by-step guide to creating 3D anamorphic drawings of simple objects that will seem to "pop out" from the paper. In this section I will show you how to:
  • set up and photograph your reference 3D object
  • create a distorted, anamorphic stencil from your photo
  • transfer your stencil to paper
  • add details, shading and colour to your drawing
  • take a photo or short video of your anamorphic artwork
  • An introduction to creating drawings using "mirror anamorphosis", which can produce some pretty amazing results.

Although the class is aimed at artists of an intermediate level and above, beginners are of course always welcome.

Once you have completed the class project, you will have the skills to be able to create your very own 3D anamorphic drawings! 

I hope you enjoy it!

Meet Your Teacher

Teacher Profile Image

Mike O'Hara

Artist and Musician


Hello, I'm Mike. I've been an artist all my life and recently turned professional at age 57!

I specialise in character portraits and work mostly in pencil, but I also do larger oil paintings from time to time and recently I've been getting a little bit addicted to digital art :)

I'm pretty new to Skillshare and I've just published my first class, How to Create Anamorphic 3D drawings - check it out and let me know what you think!

As well as being an artist, I'm also a musician. I just love doing creative stuff and learning new skills, so I guess I'm in the right place for that!

I'm married with kids, foster kids and cats, and I live in a house called Carrot Cottage in Kent, UK, which is a beautiful part of the world.

You can find me ... See full profile

Level: Intermediate

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1. Introduction: Hello and welcome to the Skillshare class on how to create anamorphic 3D drawings. My name is Mike O'Hara. I'm an artist and a musician based in Kent, UK. I recently turned professional at the age of 57. It shows, it's never too late to follow your passion. What is anamorphic art? Well, basically it's where the artist has intentionally shifted perspective so that you have to view the piece either from a particular angle or through a distorted mirror or lens in order for the dimensions of the object to resolve or to make sense. Now, anamorphic art has always really fascinated me. I love how this style of drawing makes you want to grab the object because it appears to be jumping out of the paper at you. It's a really cool effect. Once you've learned how to create it, if you're anything like me, then you'll be completely hooked. For the class project, first, I'll show you how to draw a three-dimensional hole to get you warmed up. Then, you will choose an object that you'd like to draw, and I'll take you step-by-step through the whole anamorphic drawing process. By the end of the class, you'll have learned the skills that you need in order to create some amazing three-dimensional artwork of your own. Now, this class is probably aimed more artists of an intermediate level and above, rather than complete beginners. Ideally, you will have some experience of drawing, shading, and coloring, but if you are a beginner, then go for it. You're absolutely welcome to join the class. I'll be explaining everything in a way that will make it all easy to follow. While some of the techniques that you're going to learn in this class might seem a little daunting at first, I promise that you'll quickly get to grips with them. Ready to get started? Then, grab yourself a pencil and a piece of paper, and we'll crack on. 2. Class project: Welcome back. Now, I'd like to tell you about the class project that we're going to be doing. This project is actually split into two parts. The first part of the project is a fairly simple exercise of how to draw a three-dimensional anamorphic hole so kind of drawing a hole in the paper that looks like it's going very deep into the depths of the earth. The reason I've chosen this project to start with is because it's a very simple exercise, it doesn't take long to do, you don't need much in the way of materials to do it. We'll be using just a very, very simple, not even drawing pad, a writing pad. So this is very cheap writing pad with lines on and couple of pencils and it really doesn't take long. But the good thing about it is that it will show you the results of anamorphism in a way that you can quickly understand how it works. That'll be the first part of the project. The second part of the project, the main class project, is where you will actually be choosing an object that you want to draw. Now for myself, the one chosen is this nice glass. The reason I like this is because it's a three-dimensional object. It's got some nice reflections in whichever position you hold it in. When you draw it anamorphic lee, you'll see some real depth in there. But you don't have to choose a glass. You could choose any three-dimensional object, something like a Rubik's cube, it is always good or a bar of chocolate or a jug, or basically an apple. Anything that has got three-dimensions to it. I'll show you how to set it up for photographing so that you get it at the right angle for when you're drawing it. Then I'll show you how to create a stencil from the photo that you've taken so that you can transfer it to your drawing paper, add the various details, the coloring, the shading, and so on. Then finally, how to photograph the piece from the right angle again so that it looks like it's a three-dimensional object and not just a drawing. What do we need to complete the project? For the main part, the class projects, you'll want to have an objective to draw. You will want to have some good-quality drawing paper. Now, that's totally up to you, whatever you use. I use this this kind of card, fairly thick paper with a little bit of a tooth on it, but not much. You'll obviously need either a digital camera or a smartphone to take the photograph of the object and to take a photograph of the finished piece. You'll need a printer to printout the photo that you'll use for making a stencil. You will need some tracing paper though some cheap stuff and couple of sheets of that. You'll probably want a ruler, which if you're calculating the dimensions of the anamorphic piece manually, and I'll show you how to do that, then you'll need to draw a grid with a ruler. But you don't necessarily need that if you're using Photoshop. If you are using Photoshop to distort the image, then I'll show you how to do that in Photoshop as well. When you want to really have details of drawing, I like to use colored pencils so I've got this nice set of favorite coastal pencils that I use. There's 120 pencils in here. I'd probably end up using maybe 10 or 15 of them maximum. That's about it. Without further ado, let's get started on the first part of the project and don't forget to post your project in the project gallery. I'll be very interested to see what you come up with. See you in the next video. 3. Drawing a 3D hole: Welcome back. This is the kind of hole that we're going to be drawing on the paper. If we break this down into its component parts, what we have is a zigzag, just a zigzag line that defines the shape of the hole, so that's the first thing that we'll be drawing. Then we'll be drawing a series of lines from the points that face in towards the hole, down towards the deep part. These are fairly straight lines that depict the edges of these points. The other points of the zig-zag, the ones that go outward, they're all in shadow as you can see because the light wouldn't necessarily hit those. When we do the shading of this, all of this part here is going to be very dark because that's the deep part of the hole and the parts that would be in shadow will also be very dark. Whereas the points that face in towards the hole will be more in light. It's important that we get that idea across so you can see how this will manifest in the finished piece. I'm going to take you through the steps of how to draw this, starting with the zigzags and then the lines and then the shading and also how we photograph this. Let's move on to actually doing the drawing. In terms of what I'm using for this drawing, I've got my lined paper. I've got just a standard pencil. I think this is an HB pencil. I've also got this graphite stick. This is a 9B, which is a very soft pencil. A 6B would be good, even a 4B. Anything that can give you that real deep dark black for the most intense shading is good. I've got my pencil sharpener; it's good to keep your pencils sharp and I've got this putty rubber. This is the equipment. The first step is to draw the hole, which is basically nothing more than a zig-zag line and you can do this in any way you like. I like to just do a bit of a squiggly zig-zag line, doesn't have to be perfect and you can see that's how I've done that. The important thing to remember here is that you want some angles coming in and you want some angle's going out. The angles coming in will be the points that go into the hole, the angles going out will be the points that go away from the hole. That's the first step. The second step is to draw a little point at the bottom of your paper. The reason why you have this is; this is where all of the lines that will appear to be parallel lines when you view from an angle, you want those lines converge here and that will help with the perspective. From this point, you want to draw lines that go to each of these inward facing angles towards that point. Again, they don't have to be perfectly straight lines. You take each one of these points that is facing in and draw them towards that point on the paper. You can see that this actually creates an angled effect. You can see that these lines seem to be coming in at an angle, but when you view it from the correct position, they will seem to be straight, going straight down into the hole. The next thing I'm going to do is to start the shading process. What you need to keep in mind when you're shading is that the points that are facing inward are where the light is going to catch. Each one of these inward facing points, if you imagine the light is coming down directly from above, then what you're seeing here, if you view the hole, is that these parts will be in light and all of these deeper parts will be in shadow. You want to make sure that when you start shading this, you keep that in mind. All of these bits around here will have some light on them, whereas the deep parts and also the parts of the angles that are in shadow, the bits going away from the hole will be in darkness. The way I generally start this is by defining these points on the cliffs, if you like, and just making sure that I'm going to get those in shadow. The next thing we want to consider is these outward facing points as opposed to inward facing points. In each of these sections, there's going to be shadow. The important thing is to make sure that there's still some light on each of these angles that's facing towards you, that there's some light at the top of those. Then you want to try and graduate the shadow, the deeper you go, and the closer you get to the next point. For this angle, this is a point that's facing towards us. But if you consider that, maybe one side of this might be in a slight bit more darkness and the other, you just want to make sure that you put a little bit of shading on this angle here, just so that you can see there is a difference between the two. Now we have the basic elements of our hole. The next step is to start bringing in the depth of shading. When I start using my 9B pencil, the 9B is a very soft pencil, so it can tend to be a little bit messy. What I always do when I'm using this is to place another sheet underneath my hand and that stops me smudging because otherwise there'll be a lot of smudging going on. I always like to start adding a bit more zigzag in here as well. You can see the difference between this pencil and the original pencil that I used; this gives you a lot more depth of shade. Now we have our edges moving away from us defined. The next thing we need to do is to make sure that the bottom of the hole is a really, really black. You want to try and make the shading as gradual as possible, try and keep it graduated as much as you can. You can see that I'm going a little bit of a circular motion when I'm shading. I find that that's the best way to get an even shade although, because these points are going down, you can also do some straight down shading as well. All the time, remembering that the angles pointing in, that we can see towards us, we want to emphasize the light on those. Anything that's going away from us, and going into these crevices is going to be in darkness. The final step really is just to emphasize the edges of the hole, just to make it seem a little bit more realistic. With each one of these lines, for the zigzag, you just want to make sure that they are well-defined and you can really have some fun with this. Then I sometimes like to add some more sharper points as well and maybe a few cracks and crevices. Again, just makes it a little bit more realistic. We've now drawn an anamorphic hole and we want to take a picture on it. What we need to do is to put the camera in the right position and apologies if this is a little bit unsteady, but what I'm doing, I'm just moving it down until it gets to a point where it really looks like the hole is falling into the paper. That's quite a steep angle and the secret here is to just experiment. When you're taking the picture, is just to move the camera up and down to the point where you think it's a good angle and it looks realistic. To me this looks pretty realistic, so that's what I'm going to stick with. Now you have your three-dimensional hole. Let's just have a quick recap of all of the steps that we've gone through. I hope you've enjoyed drawing your three-dimensional hole and I would really like it if you were to share your work in the project gallery. It'll be really interesting to see what you've come up with. See you in the next video. 4. Setting up your object for a reference photo: Welcome back. Now in this short lesson, I'm going to show you how to photograph the object that you've chosen to draw in a way that will allow you to easily distort the perspective of the image. When we do our anamorphic drawing, we're actually going to be working from a stencil of that distorted image, rather than directly from the object itself. It's important when we photograph the object, that we do it in the right way so that we can create a good stencil. To get started here, you'll need the object that you're going to draw, I'm drawing this glass. You will need a sheet of white paper or card, which needs to be larger than the object that you're drawing. You will need a pencil, a ruler, and a good light source that will cast some shadows of the object on the paper, and a camera or a smartphone to take the photo. The first thing we want to do is to mark some grid positions at the edges of our paper. The reason we do this is because we'll need these when we come on to creating the distorted stencil. We take our ruler, measure the short edge of the paper, and we divide that figure by 10. We make a little mark every tenth of the width along the top and bottom edges. We then do the same thing for the long edge of the paper. Again, I'll make a little mark every tenth of the length along both sides. It's time to place our object on the paper. We want to position it so that the light is casting a shadow. I've placed my lamp behind me slightly to the left so that the shadow can be seen quite clearly to the right of the object. The position of where you place your object on the paper is important. You want it fairly close to the bottom of the paper so that when you take a photograph from an angle, you'll still be able to see some of the paper behind the top of the object. This is the angle your camera will need to be at when you're taking the photo, but do experiments and adjust until you get it right. When you look through the viewfinder, or the screen of your camera, you'll want to just check that your object doesn't extend beyond the top edge of the paper. I'm just going to emphasize some of these points because they're not entirely clear, so I Just want to make them a little bit darker so that I know I'll be able to see them when I take the photograph. Once you're happy with what you're seeing in the camera, go ahead and take a picture. Here's a quick recap of the steps we've covered in this lesson. In the next two lessons, I'll show you two separate ways to create the distorted stencil, that you'll be using for your anamorphic drawing. In the first of those, I'll take you through how to do that manually, and in the second, I'll show you how to do it using Photoshop. It's completely up to you, whichever of those two methods you'd like to follow. Choose your lesson and I will see you in the next video. 5. Creating a stencil manually: Welcome back. In this video, I'm going to show you how to manually create a stencil that you'll use for doing your anamorphic drawing. Now, if you are a Photoshop user, you can skip this video and move straight on to the next one where I show you how to create this stencil using Photoshop. But if you don't use Photoshop, then you'll need to watch this lesson to understand how to create the stencil. As you can see, I've got a print out of the image, the photo that I took of the glass on the paper. You'll see now why I made these marks at the sides and the edges of the paper, because these are the marks that I'll use for the grid. I printed this out in the best quality that my printer is capable of. You really want to try and make sure that you use the highest quality settings on your printer. If you do have the ability to crop the image so that it fits pretty much the width of the paper, then I'd recommend doing that as well. We have this printout. I will take my ruler and start drawing lines to connect these marks. Now we have our image marked up with a grid that we'll use for the anamorphic drawing. I'm just going to mark each of the axis so that it will make it easier for me when I'm creating stencil to know which square on working on. Now what I want to do is to take a sheet of tracing paper and the original sheet that I marked up when I was taking the photo. Because that will allow me to create the grid more easily. I don't need to do another measuring on the tracing paper. I can just copy the marks from here. Make sure you keep hold of your sheets of paper that you used for taking a photo and don't throw it away. Next step is to draw a grid on the tracing paper. Again, I'll mark the axis. Now what I'll do is place my photograph next to my tracing paper and copy what's in each square. What I'm doing here is looking at each individual square on the reference image, for example, B, three. Then just copying what is in that square on to the tracing paper. I'm doing that square by square. I am going through each individual grid reference, if you like, on the reference paper and copying that across to the tracing paper. When I do that for each of the squares, eventually, I'll have the distorted stencil that I need. At this stage. The important thing is to try and get the dimensions right. Don't worry too much about the details. Just try and show that empathy is in the right place. What I'm doing here is just looking for patterns. That's a pretty rough drawing of the distortive glass. One way you can check this to make sure that the distorted image is correct is to look through your camera or your phone from the angle at which you originally took the picture to see if the dimensions look about, right. That's what I'm going to do now. You can see, I mean, this is the approximate position of where I took the original picture. You can see that while the dimensions are fairly close, it's a little bit flaky. If I put this picture straight onto the camera and then move that out of the way. Close but no cigar I think is the term. What I want to do is just correct some of these fits down here. We now have our stencil of the distorted image. Here's a quick recap of the steps we've covered in this lesson. Now that you've created your stencil, you can actually skip the next lesson because that's where I show how to create a stencil in Photoshop. You already have one, so you can skip that. Move straight on to the lesson after that, which is where I show you how to transfer your stencil to the paper that you'll be using for your finished piece. Thanks for watching, and I'll see you in the next video. 6. Creating a stencil using Photoshop: Welcome back. In this video, I'll show you how to create a distorted version of the image in Photoshop that you'll use as the basis of your anamorphic drawing. Now, once we've distorted the image, we're going to print out a high-quality version in color, which we'll use as our reference photo, and a black and white version that we'll print out on tracing paper, which we'll use for our stencil. Here's my photo, which I've loaded into Photoshop. The first step is to crop the image. We select the area that we want and go to "Image" "Crop". The next thing to do is resize the image, so that it fits the dimensions of the paper. I'm using A4 paper, which is 210 by 297 millimeters. We go to "Image", "Image Size", makes sure that the width and height are not linked. Set the resolution to 300 for high-quality printing, and then we type in the dimensions. The next step is to distort the image. We hit "Control A" to select the entire image and then go to "Edit", "Transform", "Distort". Then we just grab the corner handles so that the corners of the paper align with the corners of the image. It can help to view the grid when we do this. We click on "View" "Show" "Grid" that will just help us to ensure everything is aligned correctly. That looks about right, so I'll just switch off the grid and increase the exposure a little because I want it to pop out a little bit more. I'm going to "Image", "Adjustments", "Exposure", and just raise that slightly. That looks pretty good. The next step is to print out the high-quality image that we'll be using as our reference photo. We hit "File Print" and just check that we're the best quality for printing. Finally, we want to print out a monochrome version of the image on tracing paper. We make sure we've got some tracing paper loaded into the printer. Hit "File Print" again. This time click on the "Black and White" checkbox. You might also want to reduce the quality here if you want to save ink or if your printer is particularly slow. That's it. You now have your distorted reference photo and your stencil that you'll use for creating your anamorphic drawing. Here is a quick recap of the steps we covered in this lesson. In the next video, I'll take you through how to transfer your stencil onto the paper. See you then. 7. Transferring your stencil to paper: Welcome back. Okay, depending on which method you follow for creating your stencil or whether you followed the manual method or the Photoshop method, you should have both a stencil and a print out of the image, which you will use as a reference photo when adding all of the details to your picture. If we've used the manual method, you'll see that we've got this non-distorted image that we'll use as a reference picture and the distorted stencil that we created. If you used Photoshop, you will have a distorted print out of the image and the distorted stencil. One thing to be aware of if you followed the manual method is, when you're adding the details to your picture, you will need to continue to keep in mind that all of the details will need to be distorted as well as you go through and add them to your drawing. That's a little bit more tricky than if you'd done the Photoshop method, but still fairly straightforward. As I go through the next steps, I'll show you both. I will mostly be working from the Photoshop image and the Photoshop stencil just because it's a little bit more accurate. But I will refer to the original image as well for those of you who used the manual method. The next step then, is to take your tracing and cover the backside of it with with graphite, with pencil so that you can transfer it to your paper. The way I do that is, I'll take my image here, just turn it over so that I've got something to work on and I'II also turn over my stencil. I am now working on the reverse of the tracing. I take my soft graphite pencil. This is where you want to go back to your 4B, 6B, 8B, 9B, whatever the soft pencil was that you used for your original exercise of drawing the whole. Just cover all of the lines on here so that they're all covered. This will enable you to transfer it to the paper. That's well covered. Now I'm going to take my paper that I'm going to use some final drawing, place the stencil over it and I'm just going to use couple of paper clips to hold it in place because what we don't want to happen, is for it to move around and that will hold it in place. Next I'll take a biro. Now I'd like to use a red one because it just it makes it easier for me to see what I've transferred and what I haven't. We're just going to go over all of the lines of the stencil. What this will do, this will push down the graphite, that we've laid on the back, onto the paper. That we are. That should hopefully have transferred the stencil to the paper. Let's have a look. Here we are. This is going to be our finished drawing that we're going to be working on. Here's a quick recap of the steps we've covered in this lesson. In the next video, I'll show you how to add details to the storing to make it look realistic. See you then. 8. Refining your drawing: Welcome back. In this lesson, we're going to add all of the final details to the drawing that we've transferred to the paper from the stencil and that I'll be using colored pencils, and you can see that I've got this set of Faber-Castell, 120 Faber-Castell Color Pencils, Polychromos. You'll also see that I've got the two reference images. This is the image that I use for creating the stencil manually. So you can see the grid lines on there, and the fact that the image is not distorted. This is the reference image that I've created using Photoshop. I actually distorted the image in Photoshop and created the stencil from that. I've got both of them here that I can refer to when I am doing my finished drawing. You of course, will only have one of these. If you did things manually, you'll have an image like this. If you did things using Photoshop, you'll have an image like this. I've got a gray pencil, nice and sharp, and I'm starting with just copying the details from the photograph. What I'm doing here is looking for patterns that I can copy. For example, I can see this pattern here, and that's the one I'm doing here, or the way this comes through here. You see I'm trying to copy that and some of these dark patterns here. Again, I'm just trying to replicate those. What some artists like doing is working on a small section with lots of different colors, but I personally prefer just using one color first and getting everything that went with that color than bringing more colors in later on. The reason I like to start with a gray is because it lets me do some basic shading. As you can see, I'm starting to get some shading in here, and with the gray that just allows me to do that. I'll emphasize all of this a bit more later on when I'm getting to doing more detail on the drawing. All the time I'm looking for patterns that I can match to try and see. What's this pattern I'm looking at here and how can I replicate that? What's this pattern, and how can I replicate that? You can see, if I make a mistake and I want to highlight something. The reason why I like this putty erasers, can make a very sharp point and just pull something out there. Here we go. At this stage I'm shading really, really lightly, I'm only pressing very lightly on the paper. But I don't want to do at this early stage is to make the marks too deep. Keep it very light so that in case I do need to rub anything else, I can do, and I can go over it later with more depth. Again, as we did when we did our original drawing of the hole, you'll remember in our initial exercise, I was doing circular shading there. I'm doing the same here because I wanted to do a gradual shading. I'm just doing some initial shadows behind here. Let's try and get those shapes of the shadows marked down. We'll emphasize these in more depth later on. One thing we can do if you're working from the manual stencil. If you're a reference picture is not distorted, you can bring your distorted stencil next to you and just refer to the squares that you're working on. For example, if I'm working on this section here, which is F5, I can refer to F5 in here and just see how that should go. I will admit it is more tricky working from a non-distorted image than it is from a distorted image, but if you keep your stencil nearby and refer to the squares, then that does make it easier. If you're not entirely sure where certain elements should be, then you can just measure them with your pencil and say, okay, for example, the left side of this part is almost in line with that line going up there. I just emphasize this line going up. Then the left part of this light comes around there like that. I'm shading this bit very, very lightly. I'll probably go over this a little bit nicer with a lighter gray to clarify the colors, but right now, again, I just want to get the light in the shade in the right places. So I'm doing this very lightly at the moment. You can see I'm using the edge of my pencil here doing the shadow. Again, shading in a circular motion. I'm using almost no pressure here, just letting the pencil touch the paper. So that's the basic details and shading done. In the next lesson. We'll go through adding some colors to the piece before we finish. See you in the next lesson. 9. Adding colour: Welcome back. In this lesson, we're going to complete our picture by adding some color and a little bit more depth to the image. I've got my colored pencils, the selection of pencils that make up my palette for this picture, a couple of yellows, green and a blue and a red. Those are the colors that I am going to use to complete the drawing. We'll start with a little bit of yellow over here. Just a light. I quite like to make it maybe a little bit more vibrant than the original image. That's just my preference so I like bright colors. We can see a little bit of blue over on this side, and this blue goes into a darker green here as well. We've also got a touch of red. We'll dark red. I've got this Indian red here. There's not much of it, but a little bit of a tint. I'm just going to add a little bit of that, just bring that out a little bit. There's not much in the way a color down here. This is mostly fairly monochrome, so I'm not really going to add much color there, but what I will do is add some different grays and I've got a whole bunch of different grays here that I can use. This is the main one that I used when I did the main part of drawing, but I'm going to use some of these others now to add some depth. I'll start with a very light one because this I can go over some of these sections that I colored in before. These sections here by the way, you can see that we've got some white highlights which aren't really coming out yet, but what I'll do when I've finished all of this is to take a white pen, either a gel pen or a paint pen and just go over these so they stand out a little bit more. If you're doing shadows where there's a lot of gray, then it's always good to blend a few different shades of gray because that allows you to bring out real depth of shadow. I'm starting to press down a little bit harder now on some of these areas where the shadow is darker. Now, we can move on to my darker pencils. This is where I really want to start picking out some of the fine detail and making sure that I bring in some real contrast. My final step now is to bring out some highlights in white. Now, you can do this in a white pencil, but it's probably not as powerful as maybe using a white paint pen. Now I've got this pen which is a unique posca, which is basically white paint, and it's very good for highlighting. For example, I can do lines around here, and it really starts bringing out those highlights as you can see. I'll just look for where the key highlights are, and bring those out with my pen. I think that's pretty much done, so I'm going to sign off, and there is my anamorphic glass. I would be really interested to see what objects you've drawn and how you've drawn them. I look forward to you uploading your project to the project gallery. In the next lesson, I'll show you how to photograph the picture so that it looks three-dimensional, and it's the same principle that we followed when we originally photograph the object. But now we're actually photographing the picture, and it'll be interesting to see the difference between the original photograph and the picture that we've drawn. See you in the next lesson. 10. Photographing your drawing: Now it's time to take a photo of the drawing and as you can see, I'm cheating a bit here. I've actually got the original object on the paper rather than the drawing. But the reason I've done that is because it gives you a good indication of how to set up your picture for taking the photo. If you set things up in the same way as you did, when you originally took the photo back in our earlier lesson, put your object on the paper and set your camera up so that it's in the right position to take the picture, and then just move that out of the way and put your picture there, and you'll see that you've got a nice 3D anamorphic drawing. One of the things that I like to do with this, just for a bit of fun, is to film the object actually on top of my picture. I place my object on top of my drawing, make sure the camera and the lighting is at the right angle so the shadows are lined up and then you can see, if I put my hand behind the object, you can see it's a real object, but then I pick it up and it's still there. How is that possible? Clever stuff. Those kind of things make nice little animated GIFs or short videos for your Instagram feed. But will get you lots of likes and people asking questions of how you did it and so on. Just a bit of fun there. The next video is a short bonus video which gives you an introduction to a different type of anamorphic art called mirror anamorphosis, where you have to view the object through a distorted mirror in order for the dimensions to resolve. Stick around and I'll show you how that works. See you in the next lesson. 11. Bonus - Intro to mirror anamorphosis: Now before we finish, I'd like to show you an example of a different type of anamorphic art, which is called mirror anamorphosis. Now with this type of anamorphic art, you have to view the piece through a distorted mirror, or lens in order for the dimensions of the object to resolve. As you can see, this is a fairly distorted picture that we're looking at when we look at it head on. You can probably guess that there's some standard anamorphism going on with these two ladies here. You can see by the way that they are distorted. If you've been through the lessons that we've done in this class, you'll understand that the area that's closer to you and needs to be more narrow than the area that's further away from you. That's part of this picture, but the main part of the picture is, this strange misshape and upside down head that we've got here. Which when you place your distorted mirror, or your curved mirror in the right position, and if we look through the camera, you can see that we've actually got Mr. Leonardo da Vinci looking on us with his Mona Lisa type smile. I'll probably do another course. If there's enough interest in this, then I'll be very happy to do another class on mirror anamorphism and how to create an image like this. I think is a really cool effect. Although it does take quite a lot more work than the standard anamorphism that we've covered in this lesson. It's worth it to get some cool results like this, I think. I just wanted to show you that because I think it's interesting and it's all part of the anamorphic method. If you'd like me to do a class on this, then let me know in the comments and I'll try and put one together. Anyway, let's move on to the final lesson where I will just recap what we've done and look at what the next steps. 12. Key takeaways and next steps: We've now reached the end of this Skillshare class on how to create anamorphic 3D drawings. I hope you enjoyed that as much as I have from creating the whole drawing, the three-dimensional hole at the start of the class through to completing your first detailed anamorphic drawing. Now, I would love you to post your projects in the project gallery and also to leave me some feedback. This is actually my first Skillshare class. So all feedback would be welcome. Tell me what worked well for you, what you think could have been done with more explanation, and whether you'd be interested in another class on mirror anamorphosis, for example. If there's one key thing I hope you take away from this class is that anamorphic drawing isn't difficult if you follow the process. Now that you know the process, I really hope you'll play around with it and have some fun. Don't forget to click on the "Follow" button if you'd like to be notified as I produce more classes, which I'm sure I will. Again, thanks very much for watching. Thanks for seeing this class through to the end. It's very much appreciated and I will see you again. Cheers.