How to Draw a Background with 3 Point Perspective - Step by Step

1. Intro Video : Welcome to my class. How to draw a background with three point perspective. Hi, my name is Robert Marcelo and I've worked in comic store boards and three D animation for television, and over the years I've had to create many different types of scenes and elements for backgrounds. So I want to share that knowledge with you. And one way to accomplish that is through the use of perspective. Do you find yourself avoiding drawing backgrounds within your art because it just seems too confusing or time consuming? And if you do implement them into your work, do they appear flat and uninteresting in this class has been designed for you. This is where you'll learn how to draw detailed scenes from your imagination with the power of perspective, work alongside me and learn how to create your scene with three point perspective that will make the drawing process much easier and give you the professional and result. You're looking for it. You'll also learn how I created out of the work many times as we work through our illustrations, we have stumbling blocks. I'll show you how I work through those mistakes to complete the arm for your skill share project. I would like you to give your own imaginative spin on this work. Use the methods here, but feel free to create your own version. Can't wait to see you come up with. So let's get started right now. Please allow me to de mystify the art of drawing backgrounds with perspective. Remember, I'm here if you have any questions to help as you work through this course and I can't wait to see what you come up with, good luck with your art and I'll talk to you soon. 2. L1 Basic Understanding of 3 Point Perspective 1: welcome back. So now we're gonna talk about three point perspective and I want to give you a bit of a crash course and how this works. So three point perspective can be very complex. It's actually the most realistic in the way that we kind of perceive the world around us, but actually the least used because it's probably the most, you know, difficult to figure out. I understand a lot of people fake it. A lot of people just draw without really understanding it. So what I want to show you is this little bit of a diagram that I worked up and talk about what you're seeing here. So, for instance, when you develop three point perspective, you've got three vanishing points, okay? And notice that each one is, ah, designated with a different color just to make it easier to read. Now, obviously is still a little bit complex. But hopefully simplify that for you demystify this process. So the rise in line is where your eye is in the scene. So essentially the height of your eyes. So think about it like if you're higher up in a scene, you're looking down. It objects. If your horizon line or eye level is lower in the scene. Then you're gonna look up. It objects. So that's probably the easiest way to toe picture it is that this is where I is. I level and scenes. Maybe on top of a building at this point. Looking down now I like to connect the vanishing points with this kind of triangle shape just to make it a bit easier to not go outside of your cone of vision. We'll talk about that some other lessons. But for now, I want to simplify and just help you to understand that if you stay within this triangulated perspective, you're generally going to get a little to no distortion inside of your you know, your picture plane and noticed that the picture plane is just a squared off object. So the best way to think about this is that if you are to hold up a window in front of your face, what you saw in that window is your picture plane. So there could be no mountains and landscape and all sorts of things going through here. But what resides in the picture plane is you visually looking through this window. You know, everyone looked that, but But basically, sometimes you may notice more distortion on the very edge of what you're drawing eso. In that case, you want to bring it in even tighter. So if you're generally inside of this triangulated area, you're pretty safe. So just be aware that if you want less distortion in your work, you're gonna take these vanishing points and you're gonna go further out. But there's times you're gonna want to bring these in as well. So you're gonna wanna kind of pick and choose your battles. Sometimes you want the look of distortion or very, you know, perceived. Look, you know, maybe you're looking at some reference, and one vanishing point is very close. One is very far out, you know, you'll see they're kind of all over the place of times. Sometimes this ah, lower vanishing point could be extremely far off the page s so you just have to mix them up . But make sure that you stay inside of this era so you've got your vanishing points, which are where the perspective lines received back into space, and you've got your picture playing. You've got a rise in line. And then again, if you stay inside this area, you're generally going to be pretty safe now just to kind of testes and show you what you're seeing here or how this would work. We've created a perspective grid, and I'll make sure to share this with you so you can test it out yourself. But let's dive in here and just kind of take advantage of this real quick and show you how you would use something like this. Now one of things I'll say, is whenever I tend to draw, I draw Freehand as much as possible. I will roll out some lines occasionally, especially if it's something more technical. So a ruled line is going to be something like this. And you know, we could quickly draw out a bit of a box shape or cube, and we can see some of this perspective in action. So something like this we got to kind of follow his back. There's not a line there, so we've got to just gauge it based on the two lines by it. And just like that, we've established a cube like shape or rectangular box in perspective. In a three point perspective now. So obviously you can tell that we're now looking down at this object. So this perspective grid is designed for that type of scene. Eso. The main thing is, you play around with this, you try to draw, you know, a variety of shapes in perspective using this and you just kind of feel it out, see how it works. So you'll notice as you go back in the space here, the plane on the top of this box like shape is going to get very narrow. It's gonna be very tight because it's very close to the horizon line. Now, another thing to keep in mind. As faras distortion goes, it's pretty evident that if you were to draw very, very close to these edges, you're gonna get distortion, mainly because these vanishing points would now contradict one another or coincide in a particular space. So it's gonna be pretty hard to perceive which vanishing point to use when you get very close to this outside edge. So just be aware of that. That's why it's good to stay in the safe area. Okay, so let's just draw a couple more shapes and then we'll move on and start sketching over something like this. And again, I'm ruling these lines intentionally because I just want thes toe look very evident. But we're gonna move on to the next lesson, actually thumbnail out some concepts and we're going to start off Freehand. And I'll talk about why I think that's so important when I work in Perspectively. Now, another thing you can do to make this feel more dimensional has also used thicker lines. And we're gonna talk about that as we complete a scene. But notice that if the lines are thicker up close to the viewer, that's gonna help to convey larger shapes. And again, kind of give this feeling of depth. And, you know, you just want to try this as much as possible so that you start feeling confident and looking, you know, engaging the lines without having to drop a new line in place. Obviously, that's not hard to do. We could just run that back to our vanishing point, and we can find the exact placement of this line. You see, I'm kind of guessing a little bit, but just like that were to take off our perspective guides now, just like that we can see some floating boxes, and that's really the basics of it. That's the essential, you know, basic essentials of how this works. So that's That's the bare bones. There's obviously a lot more that we could get into with perspective, and we're gonna cover lots of things over time. But but we want to do is just get you up and running. So this is a bit of a crash course on basic terminology. Let's head over to the next lesson where I want to show you how to utilize a perspective grid like this and start to build an actual scene. So with that, let's move on to our next lesson. 3. L2 Sketching Out Our Concept: All right, so now we're going to use our perspective grid, and we're going to do an upshot. So you probably think, Why would you redraw all of that information once again? And I want to say I didn't I just flipped it. You're probably noticing that, but, uh but even the boxes that we did in the previous example, uh, are now we're looking up at those boxes, So that's kind of the neat thing about these perspective rules. You can really utilize these grids so you can download various grids again. I'm gonna give you a copy of this, but, uh, it's they're very effective. So essentially, what we're going to do here is just take this and sketch out are seen. So I'm gonna get rid of these, and I'm actually gonna add a layover top, which this could be like vellum or tracing paper. And I just want to knock back the visibility of these perspective lines. So now we're gonna rough sketch over top of this, and we're going to do a bit of a upshot to a city, and I want to show you how I try to keep the rough sketch Our thumbnail stage very loose and energetic at the state. So I just want to get some ideas in place. So first off, I I tried to just get in some basic shapes, so I'm picturing a building up close here. Ah, bit of allege, and I'm not gonna try to refine this, but I want to get the ideas in place. Might have it come out and do a second ledge. You know, the ideas air basically loose at this point. Eso Aiken sketch some quick lines and notice that I'm making sure the ledge goes back with these green lines at this point and with the magenta lines at this point. So as they go back to this point up top that's receding away from us into the distance, they want to converge up like this. Okay, so that's our you know, that's our information going up into the air and away from our low viewpoint because you've got to remember this line down here is our eye level. So we're pretty low on the scene. Eso. So the main thing is to try to think about this compositionally so the shapes that you want to see, what's important, where's your focal point, Things like that. I'm picturing another building. Maybe about here. Maybe a little higher, actually. Yeah, let me raise it up just a little bit more. So the neat thing about rough sketching and not being too concerned with things being exactly where they should be is your allowed. You're allowing yourself to make changes on the fly and get the most out of the work. And, uh, again, if you kind of roll out every single line, you'll get a little less life on energy into the work they're doing. So at this stage is more just like quick shapes to kind of get a basic read of what you're gonna dio. We're gonna have a couple of windows here. How big are they gonna be? You remember that Everything is scale at this point. So if I make smaller windows, it makes the trim look bigger. Makes the building look larger. So just all these things are important to just get in quickly and try to figure out, you know, if this is where you want to take it. Uh, you know, if you were to sit here and refine this entire building right here, and full detail. You're gonna be a little bit too committed to it early on and maybe not make the necessary changes you want to see? So now what I want to do is that another building? I'll probably bring a line here. Now I can rule these lines like this and it's not a bad thing. But I do recommend you try to free and as much as possible and especially in the beginning stage. But you'll see, even throughout, I'm gonna try to mix up areas where I do ruler out the lines compared Teoh Samaras that I just strictly tried to draw by hand eso that it, you know, or at least go back over the ruled lines with some hand drawing just to kind of give it a different feel. So here, maybe another building. This almost seems a bit awkward and contradictory to the area, but I still want I want this overlapping of shapes and we're gonna talk more about that. But I feel like when you overlap the shapes, you get a bit more dimension in space, and I may need to bring this building back to here to make that not read poorly, But see if this is a bit better, and then what I want to do is actually take this a bit further and try to convey even more size and scale of this. So to do this, I'm actually going to put some larger buildings back here, and I'm just going to start off very boxy with ease, very basic. But the main thing is is that these appear to be like larger, almost skyscrapers. So this is another way to kind of get that feeling that, you know, we're really up close to these buildings but then introduced this feeling of scale by putting in these larger kind of massive structures in the background and you play around with different shapes. We're gonna talk about looking at reference and taking cues from that. But again, the main thing that I try to do anyways with the way that I designed these scenes is introduced overlap. So I'll have this bigger building here, another building next to it and kind of fading behind it. I think that makes it Ah, you know, look a bit more interesting. And you could take that as far as you need. Teoh. So for instance, you could have, you know, even a silhouette of buildings back here. This would need to come back like this, you know, so you can keep trying to push that depth. Probably want to do a different shape back here. And this might even be ah, piece of this building kind of connected and extruded out or raised out from this larger structure. So that's another thing. It's it's really easy to kind of get caught in this habit of drawing a bunch of rectangles , and, uh, you want to be careful of that. So one of the best ways to fix that is just to kind of what I call extrude and, you know, basically raised in lower areas in the structures. So just kind of add pieces, basically kind of like playing with Legos is probably the best way to put it. Um, so I move this window over maybe one window, maybe to still not entirely sure about that, but I'm not too concerned with details. I just want some ideas in place. I might add another little ledge up here. We had, like, a little smoke stat or a chimney coming off here. But again. Not because I'm worried about details, but I'm thinking, you know about the composition and do I want, like, a neat little dynamic of smoke or something just to break up all these overly angular and Steph shapes. So another window here, one appear, probably some right here, and we can make these smaller. Now, this is, you know, one thing that kind of get away from this problem area that I see where you know this building's coming down and it's meeting this edge, and it seems contradictory. Um, but one of the ways that we can kind of fix this because it looks like the real big on the right by one another. Now, if we connected it like this, then we could just say it's one structure and that would be one way to fix it right there. Now, if we want to separate these more, we could do this by making the trim and the windows significantly smaller. So now if the windows air this large here and we know that's a window than by making the windows smaller here and other details that let us know that these air obviously small windows, uh then by putting another site here. This this would signify that this is a floor and maybe another ledge here. While sudden we've pushed this building back a lot further. And this again, we can do this by other. You know other mechanisms as well by like, introducing a heavier line, wait here than here and more obscure detail on this building, where the details more in full focus. So even the size of the bricks, all these things will help us to separate those from one another and make it read a bit better. And also, hopefully, Comptel. I'm really trying to work large to small, so it's like a painter, you know, they block in these large areas of paint in the cut into it. Same concept here. I think it simplifies the process. If you worry about the big broad strokes of the layout, get all the necessary pieces in look at it from a distance as a whole in entirety, and then we can always chisel away at it at in more details and more refinement, but tried toe work as large as possible and really fight the urge, you know, maybe get caught up in the design and start, you know, detail ing the window trim early on or something like that. You know, we really want to let this kind of come together a bit mawr. Naturally, eso I think that will conclude this lesson. Let's head over to the next lesson and continue developing this scene. So with that, let's move on. 4. L3 Adding Details to Our Rough Sketch: All right, So now let's go ahead and continue to refine this and, you know, just getting more of the details. So we've got the broad strokes of the larger forms in place. But now what we'd want to do is think about some of the details that make this, you know, a bit mawr. Interesting. So we've got these basic concepts in place, you know? Is this an angle here? We want to kind of, you know, make sure that this stuff is where we want it. So my kind of chisel way at it. So bring this in a little bit. I'm gonna keep using my perspective lines. Take me in the process. I might rule out a couple lions just to check. You know the perspective. Now, remember, to you can actually use, you know, if you're working traditionally going to use very light sketch lines, maybe a later pencil, things like that. So you can kind of slowly make these decisions on that. If you're working digitally, you're just gonna maybe use a thinner line. But just get some of the information in place and, uh, you know, keep softer racing back and, you know, looking into the work a bit more so, letting it kind of slowly transition so that you can see where it's going. So I'm thinking like this ledge and I want toe always have these, you know, these angles, things that make it look more interesting than a bunch of ah rectangles. Again, it's really easy to fall prey to that concept of drawing a bunch of rectangles in your work and then getting a bunch of boring kind of buildings. So what I want to do here is try to think about you know what this ledge might look like. Maybe there's like a little bit of kind of a design, these tiny little bricks here that are raised off the underneath ledge. So these are pretty easy to dio generally just kind of repeat the pattern that you're seeing. So now you can map these out, you know, in perfect perspective, by developing a certain area, mapping it out as a box finding center, going over with that line in perspective. So this line that you would add in center goes back to that vanishing point, and then, from this corner to this middle, you would map it over and that will give you that next shape and perspective and you continue on and you do that. So we continue this line and you repeat the process. So from this corner to this medal, next line corner middle. Excellent. I'm not going to get into all that. I find it to be pretty messy the way that I do it anyways. But it does work. So if there's a certain illustration where you have to have it incorrect, ah, distance and that's the way to do it now keep in mind, too. That does work, incorrect distance and perspective, meaning it's not just mapping out the same shape. It's even compensating for the perspective. So the you got to realize that, for instance, if you mark these lines evenly down the side and you run from that vanishing point over there through these lines, they're gonna be tighter to the left. But they're gonna be wider, much wider, toe the right because they're fanning out because of perspective. You can actually see it in the grid, so just remember that you would you would map the line lines to the side. I'll actually demonstrated with the brakes because the bricks are perfect example where you might use something like that. But the more you tend to do this, the more you'll find comfort in doing ah doing just freehand. You'll even start compensating for the size difference. You know, you're just kind of wide now as you draw to one side of the other eso That's just what I find to be the most effective. So now, right here, I'm gonna add another ledge or I should say like a raise, kind of almost pillar, but edge capping. And then I'm gonna put another one right here. So to me, I think the most interesting way or the easiest way to make building look interesting is toe overlap a bunch of trim? Uh, you don't want to probably do it too much, but it's it's pretty easy to do this. So you notice I just have a line coming down, going back, coming down, come back. So I'm just incorporating a bit more than I could easily have just said. Here's my you know, Trump ease. Here's the wall, but it would have been much more boring. So and what this does, it gives you an opportunity to do different widths of breaks, if that's what you're looking for. Oh, are different patterns altogether. You could do scrollwork. And here whatever you wanted on, then I'm gonna do some of the actual breaks. These I've freehand for the most part, but I will Ah, you know, probably check perspective as I go here, but for now, I'm just kind of putting in cliff notes to what I'm gonna do, so But I just measure these out by going to the next distance in finding center and you're running that center line down. I see I started to make that crooked. So I look at that perspective line there, and then I just kind of slowly correct. But I'm not entirely too worried about these breaks being perfect. So I really want to stress that, you know, I want to make him look nice. I don't want it to look unprofessional, but I don't want them to look just machine, you know, I don't want it to look like a three d rendering. I wanted to look like a drawing when I'm done. So, um, illustration anyways, so then these breaks I might make thes thinner so that they read individually or separately from the texture of the brick wall. So just little things like that. And as far as these windows, I'm just gonna figure out some kind of ledge here. Some little raised area. I know for sure. If I want to do that second window so close, I think I'm gonna just to the one window, maybe. Move it over. Now, let me do that. I'm actually gonna just Raissi's back. So again, this is the beauty of keeping the rough sketch rough, allowing yourself to figure things out, make adjustments on the fly. And I want this window to be larger anyways because I really want to push the depth from this building in the foreground to what I would consider the building in the mid ground, which would be back here. So if I make this window larger than that helps to kind of sell that idea, How does something like that when those a bit too high. But see how it works out there. So again, it kind of worked back with this part. And as faras the inside of the window, we got to remember a rise in line are high levels way down. So that means we're looking up into the edging of this window. So in that case, we're gonna see that up, you know, up into it. And to the left, based on where Vanishing Point is he and as faras the window trimming. I just had a few layers of that, and then I'm I had some kind of divide to the actual window frame again. I'm kind of falling off my perspective because I'm just really focusing on concepts right now, so I'm letting my sketch be a little bit loose. Will won't correct this, uh, in the next few stages. So something like that, maybe a design on top of the window. I'm not sure yet. Who? Something, So it doesn't look so boring, but for now, we'll just go with this. Okay? So now for the mid ground building, you know, maybe some this I will do double windows. So again, it's This is a way for me to not fall prey to doing the same thing. I could easily draw this one over here, and it would look very boring. I could use the same style of trim and again it would sometimes it's nice because it it, you know, makes the viewer feel like they're in a maybe an area of its kind of all the same aged building, same neighborhood kind of thing. But then you also have to think about different architectural styles, different years, that things were built and, you know, so you have to try to vary it up a little bit. So I'm gonna put a larger ledge below these two windows. Um, probably a different kind of, ah, designed up here. Maybe a little bit. Fans here, trump peas or something. Just something to break it up and make it different than what we see in this other one. Or I could Yes, I could omit it. Or we could do an arch, just a slight round over something like that. Figure that out now do kind of want to put another edging. But I want to make sure it looks different than this one here. So it's a way I could do that. I could make it a lot thinner by comparison. Put an angle here. Well, just trying to figure out the lines here in the perspective, in the windows, I could make these a little bit different. I could run a bar straight up the middle, have some smaller divides, something like this. So, again, anything that just kind of separated could have these kind of fan around, I guess. Something like that. Real centerpiece. And I'm also gonna try to make, you know, just this area a little bit less detailed, or at least the details read a little bit, uh, differently than the building up front. So hopefully that will help to convey that at depth from the scene. And I don't need to drive a break that I'm going to kind of work back into this and probably another window back here. Remember, too, that you can always use your existing illustrations. So, for instance, if I draw this window, it gives me all the lineman I need for the next window and so on and so forth and even down . So if I vote said a windows down here, I'm gonna draw perspectively down, and I'm gonna find those lines so it does actually get easier as you progress. It's like a I always compare this to a pretty extreme game of connected obs. Okay. And over here, same thing I want to make sure these details are larger and almost ah, bit more in focus. Think about this ledge coming up. We see a little bit of the underneath of this. So as I detail this, I just want toe kind of make sure that I'm getting more of that perspective in place and we kind of find these windows down. Here is those blue lines for the the perspective, so on and so forth. It's also a good idea. Toe look at it from a distance. Make sure it's reading properly again. You could see some of my lines are skewed, but we'll fix that as we go. Uh oh, yes. So it's going to wrap up right here. We'll head over to the next lesson, will continue to detail this scene and get it all figured out and keep pressing forward. So with that, let's move on to our next lesson. 5. L4 Studying from Reference with a Mood Board: All right, So now I want to talk to you about looking at reference and pulling inspiration and ideas. So this is what is called a mood board and commercial are kind of picked it up when doing storyboards, and it's it's a great way to kind of look at a variety of things, kind of get a bunch of ideas going. But the main thing is that you realize that you're not going to try toe emulate every aspect of this. You're not going to try toe redraw this for verbatim or nothing, but but just kind of study from it. So what I like about doing this is that it gives me a lot better understanding of some ideas that I might want to see in my own work, but again, not to this level of detail are finished, but notice how the window shapes are very, very different. So for kind of studying this area right here, actually, go ahead and put a bit of tracing paper on the way here. Seriously, So you want to look at this and again, kind of look through it. So you're going to study from it? You're going to gain ideas. But again, you don't want to be, um, you know, kind of overwhelmed because there's a lot of information here, Right? But there are some great ideas. So, for instance, like if we look at this ledge and we noticed was this thin kind of, ah, spot right here, then it comes down a little bit deeper, a little bit deeper, And then, you know, you've got this shadow here, So if we're to simplify this in line are it might look something like this. So when you look at it like this, it's it's not overly complex, you know, you're gonna skip some of the detail and you're just going to use shadows and in lines. Convey that, um, but you can study these specific areas even if you're tracing like this, just kind of pay attention to it or look at it and redraw it in your own style. Don't take anything off the table, but noticing how there's that much depth and dimension to the ledge and then how it turns into a an arc in it parks around the side. I mean, just very interesting stuff. And look at the arc here for these windows So I found myself when I was drawn my own sketch , wanting to do windows that were a bit like this, which is a little bit more graphic, and it's not a bad thing. But for whatever reason, it didn't even occur to me. Well, what if I just this tiny little arch Look how interesting this window looks because of it. Study the framing, you know? So this thin framing here and in this kind of dual stage, you know, Basil framing right there. Pay attention to how deep the end set here and how thick that wall actually is. So all of these things can be great little notes to pay attention to, um and you don't have to go for just a complex detail. I love the simplicity of this window on the shutters, but also, it's just the idea that, you know, you're kind of forced to look at how much depth and dimension is here. So if you were to cut into the these angles, I mean, look at all that. There's just a lot of neat little angles and various depth that give you Ah, good looking kind of trim work to your windows So I think when we first start out, you know, we go to draw window from imagination and, you know, we get the gist of it. We do something like this, and that's kind of what you have seen me doing my sketch. But then we have to remember that, you know, there's a lot more trim work and death to that window. Maybe there's shutters and so on and so forth. So you just have to kind of remind yourself of all these cool details. Eso Amoud map is a perfect way to do that. Here's was nice. Assume Mrs Gothic, maybe Victorian, but, um but I believe it's Catholic, actually. But it's just very, very neat stuff, you know? So you look at this arch here again, you've got all those multiple kind of basil's you see here you've got these circles with these, you know, these are basically circles again, but opened up in the middle on with the bustle. I'm just very, very neat stuff. Very rich detail, just amazing. Even that brickwork, you know, pay attention every aspect. Look how randomized this brickwork is is a big block here. That's but smoother bunch of rigid ones, which is smaller ones. So this kind of opens your eyes up to the fact that you don't have to try to make all your bricks perfect. I mean, you can. It depends on the look you're after. But look how nice that looks. And they're all just randomize, stacked bricks, even the brick pattern up here. It's not a traditional what you would imagine most brick patterns. They're kind of like a business, and this is how you'll see bricks drawn most of the time. So this kind of pattern, but in actuality it's It's two different layer pitch patterns, so it's this longer break short break, longer breaks and neck. She looks like another locker break, but it's probably shorter one and then these air kind of more even. But they're still not even their different in shape and size on their their bumpy There. There, you know, the mortar is different thicknesses in different areas and bleeding over. So again, you can kind of take rest on that idea. Take solace in that idea that your brakes don't have to be all perfect. Uh, and then you've got very basic window designs like this, which are a lot easier to accomplish so you could start their build confidence, you know, study or archways. You know, texturizing with rough things like that. A lot of straight lines, a lot of clean kind of look there on again. I love the simplicity, but the richness of this window, it's just Yes, it's just basic repetitive windowpanes right here. But there's lots of neat little trim work that makes it look interesting. These shutters air just so cool to look at even though they're just kind of basic. But that kind of rustic or aids look to him really make some impressive. And, you know, you could just get away with the, uh, square off squared off area here, embezzle of the squared off area and look out while that reads, it doesn't have to be all that dramatic, you know? So I would say mainly because I don't want you to look at this. Ah, this mood board and become overwhelmed. Start simple and kind of find. Ah, the things that you can draw that translate. Well, because you got to remember, you're going to take this information translated into your own style. So you're gonna grab bits and pieces of it, and you're going to rework it and put it into your artwork and then see if you like it, See if it identifies or you identify with it as you re create it. So again, look at this as just great food for thought. Take bits and pieces of it, but don't try to grab every single element you see here. It's just too much. But ah, lots of great information. And look at that fire escape. Very cool. And, you know, you gotta simplify this when you can. So looking at this fire escape, I don't see a whole lot of light, dark and a bunch of different lines. Actually, just see a silhouette. So I would put any detail, maybe on these structures back here, the windows and all that give my perspective right. But then when I go to draw this ah, fire escape, I'm gonna use a lot of heavy silhouettes here, and this is gonna be messy. But I just want to quickly explain this, and I'm gonna allow the shadows to kind of paint the picture here to illustrate this. What that does it speeds things up quite dramatically and then also, it doesn't fight to read against all this other details. So you gotta get no one to simplify the work so that it reads well. And I might do it like a heavier shadow here, just a little bit of light source on this top bar, because it makes sense that I would have that. But I couldn't fill in most of it and just leave a little bit of light on parts of it. So again you're going to try to simplify this. And then it becomes much easier to illustrate because you're not trying to go Well, here's a line. Here's a line. Here's three lines. Here's three lines and all of sudden it's just this overwhelming kind of thing. Eso remember, Simplifying the work makes sense. Ah, and it's just gonna read better in general. Eso That's it. I just want to share this with you. This is kind of how I study when I start running out of ideas for any sketches that I'm doing. And then after I visit a mood board like this, I always seem Teoh build up my visual library and I could go back to my artwork and add and Mawr unique details. So with that, let's move on to the next lesson and continue to refine our sketch. 6. L5 Adding More Details to Our Rough Sketch: All right, So now back to our rough sketch here and continuing Teoh refine this and and more bits of information. And so again, I want to make sure that one of things I notice is that how tightly grouped the windows were together and the reference material. So I'm gonna go and at least take a cue from that and move some of these windows a little bit closer together. I do like I still like the arc here on. I could even elevate the art to the windows because I didn't like that little kind of moon shape our to the other windows were looking at. And then what it's making me think of here, is that it? Now this top trump ease could be a series of breaks. It just go around this top edge. We could still have our little center shape here. Maybe, maybe not. And, you know, there's really no rules. So, like, we could even take thes two windows because I still like the two window shapes and each one could have a little bit of 1/2 art to it. And obviously we're looking up into the window so we'll see a little bit of that edging there. Well, something like that's not bad. And you know what? We could do some kind of decorative piece, you know? And even the one window, it had some flower pots. So that's a nice thing. You know, you got a picture of these air busy, you know, um, Neighbourhoods. Lots of people live in there. Maybe one person has a flowerpot on the edge of their window like this. It was just a little bit of fully agent and things like this. Ah, I think you call flowers foliage, I believe. But But the thing is, is that it adds a little bit more, you know, style and energy to the shot. Like whenever you everything here is so straight and angular. That's really easy to kind of just go with that. And so by adding little details like this, it can really kind of spruce it up. So then, from here, we work over. Remember that any line you have here, you're gonna follow your perspective bag. You're gonna meet the very corner of the building. So in this case, it would be this adds right here on that pink line. You're gonna meet that edge and then you're gonna carry that back with the blue lines, and that's going to give you whatever line you're looking for over here. So what I recommend in areas like this and we'll get there, we're gonna detail this and then we're gonna use the now refined lines to find the detail back here. So I'll keep this information a bit, scratch here or lose to interpretation, and then we'll refine it. And the other thing to think about is that these Windows air going to get very condensed from the perspective. So another amateur kind of thing that we dio is we tend to think of the the same shape on the face of the building, as you might see on the, you know, this back perspective area. So we have to remember that it's gonna get forced into perspective, and it's going to be a lot more narrow. And if you do that properly, you'll start to see a lot more depth within your scene. So just be aware of that. So the other thing that I liked about studying the reference is there was just multiple stages of trim, so it makes me feel like I could doom. Or within this area, I don't have to just keep it to basic. And do you know one line a slant in another line? No. If you're just starting out and you're not as confident with multiple stages of the work like that, then just start basic. Allow yourself to build confidence and understanding of what you're doing. Uh, too many times. I think artists try to jump into more than they're ready for, and then they discount their work. And they say, Why? I'm just not good. I just can't do it. It's because you're taking on too much and you're you know you're worrying yourself. Basically, you just have to ally yourself to slowly start to understand this information once you understand it and the way it works. That's why I recommend studying from reference. Once you understand it in the way it works, it becomes a lot easier to draw. But you do have to have some understanding of it. It's not simply Aziz good as saying Well, I saw it this one time. I looked at it and now I understand you don't understand it because you saw it. You might gain a better understanding of it. If you draw it for sure again, that builds your visual library and then you're gonna gain and even better understanding of it. If you actually study, study what you know. The mechanics are and eso it's it's it's understanding what you're actually illustrating, not just being good at seeing in recreating it. That's one aspect of it. Tryingto figure out where this line to go and using a few ruler lines to do it. And same thing I probably want to introduce. There's other designs to, for instance, really easy for me to want to say, Let's just put these same kind of lines going back like that. It's not bad. It's just not that interesting. Um, wondering if maybe I find some kind of shape verse, so sometimes you can just do some light kind of scroll works as well, and you can kind of reverse. This shape looks a bit weird, but, um, you can like mess around with different scroll types, and you can do it kind of some figure eights stuff. So the way I find this best to work is if I kind of scribble through it and then come back and refine it. But I'm not liking that. I'm just gonna go and go with what I consider the boring look. But it's gonna read better. And remember, as these go back, we need to tighten these up so that again, it feels like, uh, the receding into space. We could bring these lines up right here. Okay, let's get a little bit more of this ledge down here. So we've got window here. Let's bring the ledge out and have come back. It was similar kind of design. Where is that lying? It's a So we want to see where we start above that green line. So back here, it's got a land above that Greenland as well. Remember to If if you want these to be perfect and they're just not reading, well, just go pan back, find your vanishing point and draw back into that. So you see, I'm off right there, So let's fix that. Let's see if I'm off with this one as well. It kind of missed the mark on both of those, but I would recommend, um, trying to do it without, you know, knowing the vantage point every time and then correcting the work. That's how I work. And I I actually prefer it because as you go back to the refinement, states were still kind of sketching here. We're correcting and and introducing new information. So but it's there's something about that when you tend to draw, uh, visually there where you just get a lot nicer feel to the work. But then as soon as you start to snap communities lines, that can seems to suck the life right out of it. So same here. Let's go back along this blue line, get this ridge, and I might need to play around with the exact end point. We got to remember this actually comes off in a 45. So we're gonna kind of nuts that over, because the point it was, it looked more like a 90 degree angle. All right, same thing. We're gonna use this to come down and find the the shapes for our next window. Now, I will admit working digitally, I could simply copy one window and distorted into place. But, uh, that's not, you know, I don't want to make this where traditional artists can't understand. So we're working in the way that of traditional artists would, even though we do have methods for kind of cheating some of the perspective and digital. The only thing is, by the time I had this ledge, so the ledge actually needs to be this piece because I want to pay attention to the spacing from the from this point to the next kind of ledge. So let's get the one doing right here. Can we can draw down, find that other window, our divides, you see just being very loose with it, just kind of getting in bits and pieces of the information. I can go back and correct as we go. So you used to kind of shooting a line right through. Remember, if you have a tough time getting a straight line, you probably see I go back and forth and get somewhat of a straight line. But if you have a tough time doing that, you're going to shoot that line more from your shoulder and your elbow versus your wrist. No, if you can scan back or zoom back, then your risk can generally give you a straight line. But it's gonna be more curved as you tighten up on the work, so just keep that in mind. You really want to use your shoulder and elbow. Just think of how painters get nice straight lines. We're figure drawing artists, you know, they use a lot more of their shoulder when they we'll figure, drawing don't go for a lot of straight lines, but hopefully get my meaning The way they sketch, he's a lot of shoulder eso now for this window design. I want to make sure that it reads differently. I mean, we obviously still got some details here to get with the other side, but, um, but what I want to do is first illustrate the front window and then carry the information back. So we're gonna move over here now, and we're gonna try to get a different look to the windows. So I want to make sure that these buildings that are up close all read a little bit differently and then we'll move on to our background. Eso let's go and wrap up right here will continue into the next lesson and continue to refine this rough sketch. So with that, let's move on 7. L6 Adding More Details to Our Rough Sketch Part 2: Yeah, let's continue to refine this a bit more and just noticed my perspective on this building is pretty far off. So it's kind of easy to get caught up in, um, doing this and then have something skew. But, um, I'm always trying to get the ideas down first without worrying too much about it saying, See, these lines are pretty far off from my green lines there. So that's where I got to start of his ledge pieces need to go with that direction. And since this one that was gonna be on the very edge, probably just going to go, it's something pretty basic. I'm gonna do a different style of ledge up top, so I'm gonna do a thin kind of, ah legend top here just so it doesn't read, the same is what we've got over here. So I want this one to be noticeably larger and with maybe a different shape. So I was trying to create some kind of tracks and, uh, variation as I go here and even the bricks I want to make sure, so here, I've got these kind of more rectangular, elongated rectangles right there. I could even stage these where I have one out, one recessed and one out. Go back and forth with that. I've seen that in some different designs. It looks pretty needs We might do something like that, but over here, just to make sure it's a little bit different, I'm just going to do a, um, back and forth brick pattern. You know what? No, I don't like that s o This is just part of it. Words like try it. And then, uh you think? But I didn't like that. So let's try. Let's just try to make these more square so larger kind of square bricks. There's other things we can do to weaken texturizing these as we go so we could make these ones look more aged and the Owens cleaner that there's all sorts of neat ways. And then, obviously, once you get to the color stage, I go making that perspective off again. Once you get to the color stage, If you're gonna color something like this, then obviously you've got even more range of what you can accomplish. There. It's going softer races back a little bit. I just want to fix this ledge kind of make a decision there and want to change this a little bit here. So this may be back and another little segment defied. And then I want to follow this blue line back this way and the green line. Specht, This way. Okay, so it's a lot better. And then the other thing here, I need to pay attention to this brickwork coming up, getting a little bit of a side of this, so we'll follow that. I know that you have that perspective lines way off, so we gotta fix that. So if we go from here, it's gonna be way down to here. My family. So you see, it's kind of easy to get confused, but then, you know, you just keep correcting you just keep spotting the flaws. And as you refine it, I think that happens naturally because the lines become tighter and tighter. So you just start to spot errors more. Now, this part I want to make sure that looks like this brickwork goes up and under this ledge. But then this ledge line needs to connect back to this other brick facade is what I'm picturing. So so something like that. So you see, it comes down back down and back in perspective. So likewise. If we start to trim this out, we're going to do that with their trim lines. So they're gonna go with the pink line. They're gonna have toe recess back, whatever we imagine. But you could see we've kind of illustrated a arc over there. So we want to continue with that art and then down again. And this actually is anarchists. Well, it was just a little bit different kind of angle to it and then back in perspective. So that's the pattern, essentially, and then as we go just to race back some of the side line work. So it's kind of Spacey's out. Bring another one right here. So again, arc back another arc, not the same intensity and then back with the perspective lines. And it happens land right on one of those blue lines, which makes her life a little bit easier. Okay, so, no, I feel like the perspective on this depth is off. So since I've already connected this line, let's see if this one's corrected. If I think it is, I'm gonna change the other line. It'll just be easier so I'm gonna race this back, leave a little bit of the reference there so I can see where I'm at. And I just want this to be deeper. And I don't want the perspective to be so noticeable. It just felt like it was too heavy of a transition for the perspective. So using that blue line there and then connect the dots again. Just a fun, crazy game of connected ATS. It's offices. And so now we've got enough of this in place. You have used some very structured lines, but again, that's you just want to try to mix it up so I might start overly structured here. And then as I start to refine this back, I may, um as I is a cutting into the work, I may add imperfections. I will add some imperfections, all story that as we go s So let's get this top area here filled in. And let's kind of stay with the same with of the previous segment there brickwork. But then we have to still compensate for being higher up. So it's gonna actually be a little bit better anyways. So, for instance, if we are trying to say it's the same material. We're gonna at least take the distance here, start here maybe even a touch smaller, cause there's a distance of space there and again it's receding away from us. It's receding back to this vanishing point up top, so it makes sense that it's gonna get a little smaller and still studying the perspective here. And then again, if you feel like this is a bit wonky and out of perspective, just go from here. Check it to your center that lines on. Obviously, it landed on a pink line. This line is probably a little off him, and it is, or something like that. But again, I'm gonna kind of keep reiterating things like this. There's a lot of people that really good it not even snapping the lines, will get a basic idea of their vanishing point system or they won't draw any lines. They'll just put the vanishing points in place and they sketch in that direction. That's pretty amazing. I haven't quite mastered that, but I tried to implement that in my work because after seeing others do it, it's like it's such a beautiful way to create. And I tell you some of those scenes just come out so energetic and so gorgeous because there's that fluidity of information in there. And and, you know, you kind of find out a lot about your art process in their ability to kind of keep nudging lines around and make it look good. Um, through just kind of reworking it, it's kind of fun. So let's see. So we gotta figure out our divides here. I could also make this a bit easier by rotating just, you know, just anything to make it a bit easier. So, um, again, I'm gonna take these ones and make them a bit more squared. So I'm just gonna follow these green lines nice and easy when ah, and they appear all in perspective. Pretty simple. And then as I go back, I got a look at that blue line for that science kind of light blue. I just have to study that direction thing that blew when you see how much of shifts looks a lot steeper of an angle. So as that perspective goes up now, you can also notice it, look at the difference in dimension. It's not matching the perspective. The width of that brick looks entirely different than this. So that's where we have to make that adjustment. That's where we have to trust our I I could probably even say that it doesn't need to widen out a bit more. But first, what I'm gonna dio is just changed the death to the side of the whip. Yes, I'd be depth at this point and even that looks a lot better. It was just far too thick for the transition that we're getting from from that perspective . Eso Now, let's get in more of the window details again. I'm gonna keep these windows a bit basic by comparison. But I would like to see a heavier ledge right here, mainly because I want to show you that now that we're getting really to the top of our scene, we're gonna remember we're looking up at this area of illustration. So this ledge needs toe to fit that narrative for that concept. Basically, So whatever thickness or height you decide to pick for the ledge, that's one thing. That's your first plane that you might define. And then you have to use the blue perspective lines to figure out the bottom and you're gonna see a fair amount of the bottom, just like you see a fair amount of the bottom of this ledge. So you just have to be aware of that. And then as you dear, divides, if there's any separation of the break, it's gonna match the blue and then the magenta, something like that. We're not going to see the bottom edge of the window because it's obviously blocked by this ledge. But we are going to see the top inset side of the window in any trim. Corresponding with that Are you know also with that so we can drop some of that in there. This will be our center divide, and we're going to see a little bit of the side of that as well. So just a simple as that. And then if we've got any cross sections for the windowpanes, those were gonna follow our green line. So pretty simple. And we still gotta fix the sledge a little bit down here, snap a couple lines, actually, let me solve to raise this back first when a dealt through lots of angles. So something like that and in the side of the break now The other thing is this were at the bottom of it, and we're pretty close to it as well, so we can get in more detail if we want. So that's another thing to think about as things they're closer. They're gonna be darker or in our line work, representation. They're gonna be more detailed. You're going to start to be able to make out things like little cracks and imperfections in the brakes a bit more clearly. So again as, ah, kind of illustrate as we go through here as we start to go further back into our drawing, we're gonna obscure details and we're going to kind of group things together. But we still want to make it look pretty nice and pretty. Ah, informative. Lots of information on the scene. I don't like that angle, and I feel like this needs to be shifted, which it does. That's off. We need to re some of these lines back. So let's do this. Let's go and wrap up right here. We're gonna head over to our next lesson and continue on, and I keep getting this thing. Ah, refined. So with that, let's move on 8. L7 Adding More Details to Our Rough Sketch Part 3: okay. And I've lightened up the perspective grid even a little bit more now. So I really want to focus on the drawing and a little bit less on the grid. You gotta remember to. There's a lot of lines and place that we know are correct, merely the ones that are snapped. Eso That's another way where you can start to kind of do away through perspective grid because you can relate to the other lines. Eso again with the detail here of this midsection, I really want to finish refining the center window first and then likewise, I'd probably go from this window first, this window here as far as my thought process and then I use those to carry down, see if I follow this window line back. It's ah pretty far off from this one. So draw down places next window, slowly move it over, nudge it around, and then a race back the previous lines and these lines here and get those in place pretty quickly. And I'm still kind of up in the air. As far as what I want to see for this area of the design, I almost feel like it needs an end cap, but these other to have it. So I'm almost leaning away from that now, So I feel like that's getting a bit too repetitive. So what I could do is maybe add another little drop down ledge or whatever you call this. But let's see if we follow this back to our perspective. Wine just kind of check where we'd be. See, it lands right up to this point. So drop it right there, and I think I like that a bit better. So race this back, and I think I got to correct this line right here. So same thing paying back. And this is obviously just like traditional where you would find your point. Check it against the vanishing point. In this case, I'm just going toe eyeball it after that fact. So I don't draw through my artwork, but I've received for using a ruler you would just draw to this point just like that. Okay, so now we know that's ah, bit more correct. And then I would just run my breaks down from there. So one way to do the BRICs is just to kind of make a series of marks. These don't have to be two entirely correct. But just, you know, it's do it visually, But you can obviously do a lot to different ways. You could use a ruler and measured these out. So you get a nice alignment and Siris of, you know, just the right with that, you might want to see something like that will be fine. And I'm just gonna use a very thin line so that I can see through this, and I'm actually gonna create a mask through this area. So just so you know, if you're working traditionally, this would mean really, just taping a piece of paper over this area is probably the most effective way. But for me, it's actually dropping a layer behind it, working digitally. So just take this area flood, fill it with white, and that will generate basically mask so that I can draw behind that area. Don't bring that up. And that's all I want to do is I just want to flood fill that area. It also gave me a selection to delete it after I go back. But now I go back to my sketch layer. Yeah, And then as I draw these lines back to my vanishing point the center of this dot preferably with white or black, that white sari Then I can generate as many of these lines I need. So again, this is based upon the style you might like to see and how correct you want your illustration to be. Not entirely necessity. But I think for this type of looking after this a lot, this will do the trick. And plus it allows me to explain that process to you, and you'll see these aren't obviously perfect cause I didn't measure him out, But they will do the trick. They will get the job done so I can tighten up on this. And I want to study the angle from the the pink lines. And I just want to picture the with of any one area of the break. Well, say right about there. I'm gonna say we're close enough where we're going to see the divide of the mortar. So that's why you see me putting two lines. If I want to simplify this, I could just use a thicker, waited line. Obviously, that's a little bit off. Actually, I think that's off because I needed to first establish the with of one of the breaks. How about that? So then, from there, I'll find center to the next break, and within reason and again, I'm not only placing center of the skip each break here and go down, I'm also floating by that pink line. I'm actually looking at the pink line magenta line as I place these same thing over here, we could start a little bit more rough. Oh, kind of figure out the distance based on the scale of the brick that I get, and that's about it now. I'll be honest most the time. When I do breaks, I purposely move these lands around. So I think it kind of alluded to that when we were looking at a reference that a lot of times the brakes air pretty uneven. And you could do yourself a service by showing that in your work it always looks a bit more creative, I think. And again, styles very depends on what you like, what your flavor is and, you know, maybe even the scene of the client. You know, there's different styles for different clients, right? So you may need to do a cleaner, more polished style because that's what your customers kind of conveying to you. But at any rate, these lines will make it a lot easier. You see, from here, I can just kind of start gaining a little bit of speed. Now, I could copy and paste things and even probably saved more and more time. But But I like the hand drawn feel. So draws. Much of this is I can, uh, strictly my hand just like that. Now the other thing is to you don't necessarily have to draw every little line and break it as well. There's lots of you'll see is a Well, I guess there won't be a lot of examples here to show you. But if I'm doing a bunch of these types of buildings, the further they recede into space, the mawr, I will kind of just hint to the brickwork. So now the other thing is this. Now these lines have given us what we need to work back into this vanishing point. So again, I'm going to create a flood fill just toe, isolate this area, so go back to my my flight, fellow voi and isolate this other building it's like this. I was just kind of clicking around and drawing a selection except the times that does that , which is pretty annoying. And this doesn't have to be clean. In fact, really don't even need the selection over here. Throws skip through a little bit of this and just like that, Philip White. Yes, I know I can go back to my rough sketch layer. And again, I'm just kind of saying that for people that might be working digitally. So just be aware that for people working traditionally, this is just a piece of paper in the way and on you go. So now I can use these existing lines, go back to this vanishing point and figure out the placement of the rest of the brakes. And this is probably another reason why people fake their brickwork because it can just get really time consuming. But it's worth it when the job is done, right? Okay, so there's that. We obviously want to raise him back where things like the windows are stuff like that on. This is why it's good to get this part done, a rough sketch and then when you draw over top or when the ink overtop whatever your finish line work layer is gonna be, you won't re snap these lines. And least at least I will. It will be enough of this kind of good information here where I could just ah, drover, top of these. So again, just kind of placing these based upon the scale of what I think this brick would look like . And then from there, I'll find center and just keep moving back and forth. We can go straight down here by paying attention to the, uh, pink line or the window. As long as I know that I corrected the perspective of the window. I can use that as a guide as well. It's pretty good right there. So there we go. We've got some brick patterns in place and we can continue on eso. No, we've got this top portion of break. I'm actually gonna add this other divide right here, So I kind of do want to see it right here. Remember, to the front plane of this area is gonna be wider in the side plane. So I want to show that. And then again, this will probably just be some better brakes like them. He's wasn't perspective and so on and so forth. So correct our windows. We go here now, the other thing to remember about these windows is since we're looking into him from an angle with windows themselves are gonna tuck right against, like, from the side. They're gonna talk closer to this left edge. So we got to be aware of that as we were. Fine. He's not to center the windows on, then. Likewise, you're going to see more of the inset of this brickwork on this side. You might even see the bricks in perspective going back and creating that depth right there . So just remember, you know, if your if they're perspectively going converging to the right like they are, you're going to look into that right edge, and the windows were gonna tuck to the left over. That makes sense and you'll see, as I continue to refine this so likewise in this side, we're going to see more of an inset. So we've got to cut this area out basically and pushed these lines back in perspective for the brakes. And then as this arch comes over, it's gonna kind of meat, this window edge. So here's the know, the feeling, the illusion that these Windows air pushed in set of this material. And then we got to remember a small arc for each one. Just like that, little by little, might even carried through that brick pattern on the front of this center divide. But well, we'll see when we get there, just kind of keep reworking this. So yeah, so, just like that, we've got some of that in place, senala Ted over to our next lesson and continue to detail this. So with that, let's move on. 9. L8 Cleaning Up Specific Areas In the Work: Okay, so now I want to try to show you how to correct perspective from this rough sketch. So you see, it's pretty RAF. It's actually pretty off as well. So the vanishing points, especially the top one, probably could have been moved a lot further off screen. But But we're gonna make this work, you know, sometimes you're going to get distortion. Anyway, sometimes you're actually gonna want distortion. But what I want to do is show you how you can isolate a certain area eso if you start getting too much on the page, people always talk about, you know, I start drawing the stuff and then I started seeing cross eyed because I got lines everywhere and that can be tricky. So one of things you can dio is just isolated certain areas. So, for instance, I'm going to just pretend that I soft to raced everything back, and I just want to correct this window, and you could see rather quickly that this window is really off from our perspective. In fact, this entire building is so, But instead of worrying too much about everything, I'm going to work on correcting just the window at this point show you how to do that. I'm gonna draw just the lines I need. And I made a few more, but I'm just focused on the window on the tram, things like that. A few guides here and there. Just toe figure out where that is. Okay, so now as we tighten up on this, remember, we don't need our third vanishing point because of the position of this building. So we're just focused on the window. Um, so it's going to take this, and I want to make these a little bit less in the way. So it's blue line these And so now I'm gonna work on the sketch and, uh, clean this up so I could do something like a softer race, which just remember, that's like you using a kneaded eraser. I want to keep some of this information and play, so I don't forget my details. Monson's like that. It's really lighten it up a bit and obviously get rid of anything that just doesn't need to be there. So these other lines I accidentally drew through and stuff like that, just get those right out of there, Okay? So now I need to fix us. I actually think I'm gonna try through it one more time. Um, like it snaps, um, lines as well, but I think with these guides in place, I should be good, but well, we'll see. I'll probably sketch over one more time to fix the angle, and then I'll Then I'll snap some lines. So I want this kind of peak of the window where it kind of rounds in right here. Maybe another one more little divide or edge. I like that. And then from here, it needs to come down this blue line, Give us the sides of the window you see in here on this side, it's a little bit shallow from there and have to bring this out more to hit that blue line . So there's that. So now we're looking up into the window so we could see up under the brakes here. So that's a clear sign that we're looking up into the window here, so we're gonna first establish the depth based on the angle. You might still get some of the side of this. Ah, this area. So you just kind of have toe, visualize that and play around with it, But you're definitely gonna Seymour on this side. There's gonna be a lot more visible space on this inside of the window, another ridge like that and that's going to race. Thea other information back now, just like that, we've kind of corrected a little bit. Doesn't mean it's perfect. In fact, I think these lines do need to kind of just paid off. I think from this angle, they're just going to kind of get hidden by this edge. Now, that does mean that this area right here, we're gonna get some of the side of this, so it's gonna be more like and we're gonna cut this. We'll move this line over. I'm gonna Race is back. They always shift that over by now, exposing that edge that side. So again, this is more visually checking the work than you know, making sure it's some sort of idea of perfection, I guess. And sure, there's a lot more technical ways to do this. But I want to share with you the way that I created this is s O Okay, so now let's bring a center line down. But we have to remember that we're not really seeing the whole opening of the window source , and we've got this edging back here. So if anything are opening of our window, tried L a shoot. This is, like right about here. 10. L9 Adding More Bricks: Now let's go in and add in some breaks here, so we need a few more reference lines for that. What I'd like to do, though, first is defined. You see, I raced back a lot of the bricks that were there. So let's go ahead and define a ah break shape here like this. And that will be our starting point. So obviously you could rule her out The measurements here, which wouldn't be a horrible idea. What I'm gonna do is actually just take and, um, kind of copy the distance. So let's see here just to make this a bit more evident, what I'm doing, I use red here. So there's the spacing for my break, and I could just copy this. And if I align the 1st 1 over and this works with paper to this, actually is the way I used to do it. I draw on the side of a piece of paper and then just a line it, um and then draw my lines over top. So those ladies, that same spacing, it's pretty close. And again, I'll be honest. I draw my bricks. Freehand These Hamza, If you look at a lot of my illustrations. You'll see what I'm talking about. I just like the character it adds. But I know a lot of people like a structured approach to bricks s. I want to make sure to include that in these lessons. So now we've got our registrations. And since we started from this side, though proportionately draw back out into perspective, let me go ahead and get this way need and go back to our building copy and draw out from this point. So again, if we need to are actually need to go to my am perspective lines. So if we draw from this point and we connect each one of these lines were going to get these in correct perspective. Now, the bad thing is, a lot of these other lines are gonna get pretty hard to read as well. So may go ahead in a race is back first just to make sure it doesn't happen and just keep in mind. I think it's, ah, prison color. But there's definitely race herbal colored pencils for this type of work as well. So I cant rember the names anymore because I don't use them as much as I used to, but they're definitely out there. Look up, think drafting supplies and things like them. So now draw each one of these right through that red mark. And that will give us our a brick pattern. No, no thing is you could copy the brakes from the other building if you're working digitally. So that's the the way to cheat this process. But I don't want to cheat anybody out of the experience of drawing every single break because I know that could be lots of fun. Okay, so there's that zoom back in and go right to our drawing now, because, you know, we're pretty good artists, right? We can draw breaks, so we just go back and forth. And if you know, if we need those perspective lines back in this way, then so be it. But we've got this line over here. I'll tell you what you could really do to is just say, extend these lines. So, for instance, if you want these back, just go right through that line. Just give yourself a couple of, um, you don't really need all of them because again bricks air just not perfect. So it doesn't matter but maybe one right there here just toe make life a little easier. Okay, so, no, we're closer up to this area. So I think I mentioned in the other part when we did the bricks. The closer you are, the more you're going to see, like the mortar divide. So in this case, I'll I'll show that. So I'm showing the separation there. Uh, you probably see it both ways, But whatever your style is, just go with that. You can run the corners of the brakes again. Once I come back and refine this, I'm going to chip away some of these. I'm gonna make some of them crooked intentionally, things like that. I could make the top roll larger. I kind of see that happening anyways the way that I laid it out. So I'm gonna go and do that. I'm actually purposely making these top ones a bit larger, like we noticed in our reference art that there's all different types of variations when it comes to brick patterns. And when I don't makeup your own and I'll be be creative, that's how things were invented, right? You might be inventing the next brick pattern. So just like that again. Got a trend line up to that? The registration mark. I'm purposely widen him out a bit more cause that's the way the perspective is going. You can see on this side the area is a lot more narrow. So to keep him to coincide with that, I have to purposefully wide them out as we get to the other side of the page. Here it was at you see, I'm trying to draw inside of the area so that I create that next little gap, a mortar on the bottoms on the other way. To do this so much easier ways just draw a solid line through which I might still do that. But this is still a little bit of the design phase. It's just the final kind of. I would call this like my final pencils. Basically. Well, then it becomes really evident how far this perspective goes off. I just lightly sketched through here, just like you would on paper for in that line. Now I'm looking at the window, obviously, because it's the next the most dominant thing on the scene for the line work, so that it's almost there. You know you get faster and faster at these as you create him. So it starts off slow, and then it picks up a little bit of speed and you quit stressing about it, which makes you even faster. You start remembering how nothing in this world was perfect. Why am I trying to get every little perfect line in place? Okay, so just like that, we've got it there. And that's our That's our next starting point or not starting point, But, ah, reference point for what we need, you know? And I guess what? I guess there is one little area we need our next vanishing point. If we want these bricks to go back into space this way, then we do need that vanishing point to the right. It's by the only part that we need it for. Unless we're trying to make this side of the bricks over here more dimensional, probably more correct anyways, then we can utilize that. So But this one you can fake because it's such a small area, you're not gonna need that to be You're not going to see that in perspective. And when you paying back here, you're not gonna notice that, but yeah, let's grab this last little vanishing point and just kind of double check this one more time. Let's go back to our perspective lines. Grab a few of these. I think it'll make sense to have those lines proceed back into that area will make it look a bit more dimensional. I think maybe, maybe not. We'll see. All right, so now we bring these lines back. My Pam, I think we could even make the argument that you see another set of divides in there. Maybe, maybe not. And, um, maybe in the top two, And I'm just gonna go and fake this area, my Pam. And once we shade it, it'll all start to come together. Probably even add some little divides right here. All these air. Just whom choices you make in the end to say, I think this might look cool. Let's try this. Let's do that. Nip and a tuck. Yeah. So there we go. So there's our building. Let's take off our perspective lines now. Yeah, and that's pretty much what I would call, you know, finish pencils. I mean, it's still a little sketchy, but when I go back and think the work I could fix any last little bits and pieces that are off. But I think that's close enough for what I'm looking for. Okay, so now let's head over to our next lesson. Continue to refine more of this work and keep this moving on. 11. L10 Cleaning up the Building on the Left of the Scene: Okay, let's go and do the same thing for the building on the left now. So we're gonna again just add the lines that we need specific to the areas. So they want to hear in the center of that vanishing point in my try that again, probably making the point smaller would make sense so that to stay in the center. But I think this one's corrected. For the most part, it just seemed like there was a few spots that I think we're pretty good. I might just need toe re sketch the window shape. That's kind of what was bugging me. I think I've free handed that in, just double checking the work there. So yeah, so, again, this is kind of that nice little effect of isolating just what you need, Probably a smarter way to work, then draw them all over the place. So, really, the initial perspective grid can just be for the drawing process. And then for correcting the work, you're going to just use specific control points, you know, in essence, just right where you need it may exceed. There's some inconsistency in the window there, which isn't a big deal, because again. If it doesn't look too visibly off when the piece comes together, then I wouldn't worry too much about it. But it's going to tighten up in here one more time and just go back to our sketch layer. I will draw through this one more time. Little angles here, and I think I just want to fix this window a little bit. Edging here perspective line there, we'll do. A thinner version of this trim actually looks a little too thin. So I was just thinking that up a little bit while we're here can actually making changes. Its if you see something that could be better than when I write. Like I said, the beauty of it is longer. You do this, the better ideas you start to get and the where you start to save yourself time because you see a bad idea kind of coming into play. It was like that. That should be enough. The rest Aiken kind of draw through, and we need to see some edging here. It's going to rotate this. Forgive me as I get quiet and I try to concentrate the hardest thing for me to draws a straight line. So that's when I generally have to focus the most brain cells on that activity. Well, Angel, right there and again, we're gonna jump in here and shadow and texture and all that. But that's gonna come later. I don't like this little design right there. Do something right there as well. A small bumps or something. So you see, a lot of this is pretty basic, pretty straightforward. It's nothing to groundbreaking, but by time it all comes together. It should look pretty meat. I think a lot of times what makes this stuff more impressive is knowing where to add any kind of information. No detail, but in a sense, just basic line work. Basic hence to a concept doesn't have to be this immaculate, realistic detail everywhere for it, too. Be impressive. But sometimes it's just knowing where to put the lines. Let's try something like that. See if that looks a bit more cleaner to the viewer. And again, I feel like this one's even closer. So this is probably the closest structure, so we should see the most detail. So get rid of those lines, and I feel like that's starting to read better Now this one's clean and it makes the one on the right look a little bit more poorly drawn. But that's not a big deal, because again, you start getting to a level where you can look at and say I can think over that I could draw it one more time and I'll be done on. That's where I see that even though it looks a bit rougher, The main thing is the bricks look more rough. But I want that. In fact, I kind of like the look of where Let's see how to find the right one. Because I've separated these. I kind of like the look where you can almost picture some of these bricks being higher and maybe even cast in a slight shadow on another break. And then what I want to do over here is actually make this appear rough where the bricks are, but then the sides and the top nice and clean. So again, introducing that contrast in the way it's designed, I think, makes it look better than if it was all just clean. If it was all just pristine, then it would almost be boring, so you'll see as we rented that out a bit further. So we're gonna go and wrap up the lesson here. We're going to start introducing more refinement details to the background. So with that, let's move on to our next lesson. 12. L11 Adding Detail to the Background Buildings: now. Time to add some details to those big giant cubes in the background. Probably just wondering, when are you gonna add something to those? Those look really childish handy. Right. So what I'm gonna do is just kind of hold this line over it. Check? Make sure. Yeah, it's all for the most part of place. That one, somehow a little bit off. I don't know. I managed to do this stuff, folks, But anyways, what I want to do is just again kind of work through this. These were going to be very simplistic by comparison again. That's going to allow this information to read Really? In the foreground. Um, but also, you know, big skyscrapers, whatever. We picture these to be there generally less detail. I mean, I guess they're more detailed, but again, from the viewpoint, they appear to be less so. What I want to do is just get in things like some divides to the trim. So might do, like, always seem to notice this, you know, edge work that goes around the building like this. And then you might get some cross sections. So we'll check that against their we'll get like, a cross section here and there again. We're looking up at it, so we're going to see under it. You may have one of those there, Um, maybe another one here, player off some concepts, and then you might have some cross sections the other way. So, for instance, you could do an inset like this. Play some tinier windows right there, drew some vertical slats. Then here you could have. Let's just say another inside, but larger. My bad again. You're gonna see up into that space into the side, and maybe it will just continue with the vertical sites. But I think it's a little more interesting than just. It's real easy to want to do this for all your buildings. Those are Windows, folks. I mean, you could do that, but it's it's gonna get boring. You could probably just do that on the occasional building and get away with it or something. It's in the very extreme background, but, you know, just little divides like this and again. Sometimes you want to show that there's just another piece on top. Maybe some. They're called weathervanes. I'm not sure exactly, but there's always stuff on top of these structures. So something like that you could get down into this area and you could maybe do some, uh, squared off windows so you could say that the building is different altogether from section to section. So again, imagine whatever you want there. But that's that's kind of how I do it. I just kind of peace it out. And then I might make this side that's more in perspective a bit, um, you know, easier on myself, essentially. I mean, there's times when you shade it where you would just kind of silhouette or fill in the sides. You see that with a lot of comic are that they'll actually just fill in the sides. Or I should say we since I do card tricks to its they. But, you know, we fill in the sides, and then, you know, we put the attention on the front, you know, if the light source, if it works that way, but generally, that's how you can do it or you can simplify the side. So in this case, I'm just going to draw some vertical lines in one divide. So a little more attention and effort on the front side and you know, whatever. And you could, you know, you could bury this up is many ways you can think of so you could do some vertical divides here that no inset or even raised. And the only difference there is where you place your shadow. If the edging is too boring, you can bring one of these edging zehr line work out around the building so more of a ledge . You know, you don't see that a lot of these bigger buildings, but again, whatever you can imagine, So they're just You just have to play around with shapes. But again, I kind of just almost start him all this way, and this is probably a little bit of a force of habit thing, but there's a lot you could do even from this basic approach. So you cut into it, this could be raised, could be lowered. What have you imagined? You could add another shape that's now coming off this building. So maybe an elevator that's coming away from the structure. So to show that it's coming away from the structure again, you're gonna add a shadow to one side. You're gonna change the silhouette a little bit So you're gonna have it raise up past that top edge just ever so slightly. That's a good way to show that it's no in front of the other material. You see, it's a bit skewed, but I'll fix that. You could do some of the lions something like that again, any number of things you could imagine here. But that's just something else. Weaken, try and then, um you know, when in doubt, give yourself more lines. Start sketching again because that's how you find all your great concepts. Is sketching and softer, raising a redrawing eso just play around some basic shapes. And so we come up with so I might have the side change the badging of it. Just a little bit disease Do look Teoh, just two rectangular And I actually feel like this elevator, whatever that says doesn't look right going on Lloyd on top. So I'm actually going to go back on what I said there. But again, this is exploration, so we give may sometimes make some bad choices, but I do fix them. That's the main thing. Fix may keep on going. Okay, so now we really like those little lines. But I need something. I might shift this to be a rectangular shape. I don't think I'm liking the rounded area. Maybe just ah, raised kind of wedge shaped or rectangular shape right there. We'll try that and try not to make everything you see. Up until this point, everything is kind of vertical. So, you know, five years to do too much of the same over here, do some vertical slats. The top of this building, it always seems to look a bit more like a prison or some high tech building, even with just a rectangular shape. But then, obviously, as you term it out and give it some, like wedge angles or whatever, you can start making something that looks a lot more modern, high tech or a president. Whatever you imagine again, back to the old imagination. But and then we could maybe get rid of this line. And I think this land needs to drop down racist, back and again see some kind of ah, smaller structure on top, maybe from two sides. So, yeah, just playing around shapes. Basically, the more overlaps you create, generally, the more detailed the scenes gonna look and, you know, you could tell these earn advanced lines or illustrations is pretty easy, basic rudimentary stuff. But hopefully through the way that we place it in the way that we keep adjusting it. We can get something that looks impressive. That's the goal, anyways. And when in doubt, if you run out of ideas at this stage pull reference, I don't think of a different Siris of Windows here. Just like that, Rectangles are starting to appear but more impressive and just rectangles, I hope, anyways, hopefully you agree. Okay, so we'll wrap up right here. I just wanted to detail a little bit of his background. It was looking a bit too playing. Jane, lots of these little weathervanes. Whatever you want to add there, we could do some Claire's across the windows, but we'll figure that out as we render this a bit further. Eso With that, let's head over to our next lesson and continue on 13. L12 Adding Detail to the Background Buildings Part 2: let's continue to draw on these background buildings. I'm starting to feel like they're just Ah, yeah, just to strange looking. They're not. Ah, but the way I would picture them to be. So what I'm gonna do here is happy these and re suspect. So using a soft to race. And I'm just not like in this building here or this one here. I mean, they want there to be a feeling of scale, those ones kind of growing it. So just remember that a lot of times a scale is gonna be from the smaller shapes that air within the building. So, um, if we take something like this and from what we had before and we do a lot smaller windows were gonna therefore make this appear to be a lot larger structure. So I do want to see some kind of separate shape here. It could even be just some things off to the side. What kind of create this angle here? Maybe something like that. And again kind of some smaller windows. So generally the tinier those windows, the bigger the building. Look, we can divide these up, make these real small is well off the side, - and this building here is in front. But I'm almost thinking of bringing another section something like this. So when in doubt, just keep trunk, keep sketching, drawing, figure something out, try different things. Different shapes. Still not entirely like in that, but well, better than it. Waas. And then for this one kind of picturing, um, I don't know who will bring the horizontal window patterns over on this one. See, if this reads any better, and then let's try to larger sections like this. Remember that. We'll see it up in word of those areas. We can create some shadows there just for the quick read kind of understand the look we're after, can we're gonna have toe check all this perspective work. Tiny little details on the top can make it pure, larger as well. That's a tiny windows, my office and something over here. Let's just do some tiny horizontal on the patterns. Okay, so and then for that building way back here, this is where I'll do that little bit of a cheat. I talked about earlier where you just do this crisscross effect. You'll see a lot of people do is and they call that buildings, and I save that for the everything that's in the very background. I just feel like it's a little bit of a cheat. If I tried Teoh do that in all my foreground buildings, you can change the top edge a little bit and then do all these windows. It's kind of like a frameless effect is Wallace, so you're just you'll see as we refine it. But, um, we just kind of draw those lines edged ahead, so it simulates that this is just a big glass building that doesn't have as much framework . So this might look like a building over here that has more concrete edging glass and set, you know, things like that. So there's just different designs that you're tryingto get the look and feel of, and the other thing that we should do since this is receding into space upward and away from us is we want to make it real apparent that these windows get smaller, so it's very important to Dio and you know you could map it out like I mentioned about drawing a square finding center and then a zoo working down. You would go through the center of the middle this way. So from corner to center gives you that the length of that next window and networks going down or up. So just so you see that in perspective, I'm not so straight that real quick off the side in perspective. Whatever the sizes, crisscross your corners, find center mark a center line in perspective Corner. The center gives you that next length and perspective, so on and so forth. Repeat the process corner to center, and that will work going up, going outside what you know. So it's pretty handy technique. Just, uh, practice it a few times. You'll memorize it, and it's, ah, really, really helpful. But may I just visualized So for the most part, for this type of seen, if I really struggle with it, then I might employ that technique. But this case, visual is good enough for May, so okay, so there's a little bit more to it. Let's take this one. We can try. Bring the edge, work all the way around like this and again seeing into that area a little bit like that, create some divides and which window shapes here. I also try something where the windows have their own pattern. So you have larger and smaller windows. Just repeat that process. We're going a little bit of smoke right here, so it's gonna cover up some of our window designs there. Let's just say that once it gets down to the bottom here shifts or changes and we get another, you know, pattern of some time. I'm still thinking I want to see something on this top edge of this building just so it doesn't look so playing right there, but not exactly sure yet. So, yeah, so try different shapes, mix it up, re draw a few times, even if you see I'm still trying to figure it out. And I still don't feel like I got it the way that I want. But it's better than it was before, so that's pretty much the way I work there. Everything. I just keep picking at it. Sometimes ideas fly right out, and it's easy peasy, and I'm happy about those days. Other days I have to work a little bit harder and have to try about two different things. The main thing is, is that you just try different shapes and different patterns toe kind of jog your ideas. And then if nothing else, works, uh, go back to the mood boards and reference and create a mood board just for tall buildings. Create a mood board for just windows and whatever it ISS, and you get used to referencing those. But I can tell you for the most part, if I sketch long enough, these ideas will start to present themselves. I just have to almost give my mind a chance to warm up and catch up to, you know, my John process or something, but you just have to keep doodling essentially until you get it. I think that's the best way, but But sometimes we're under the gun and we obviously have to make things happen a little bit faster. And that's when reference is your best friend. Okay, so we're gonna go to the next lesson. We're gonna continue to work on our mid ground building this one in the middle there. So with that, let's move on to our next lesson. 14. L13 Adding Detail to the Midground: All right, so now we're going to start cleaning up the window, and I've done the same thing that just kind of jumped pass because it's getting repetitive . So I pulled just enough lines from those vanishing points to be able to see into the work a bit more clearly, and we're gonna correct the windows here, so the rest of it's pretty much tight enough toe for me to think. So the main thing that I want to be able to fix is any perspective issues with these windows shapes. So I'm gonna start with this one first, and it makes you gonna leave these red lines and pretty clear focus or full capacity because I want to really correct anything here and one of the drawbacks to maybe softer racing it too much or lightning the layer opacity like I've been doing. You might miss something you might not keep to this correct perspective. So what I want to do now is snap. My, um, you know, my lines of the most important. So it's a beside here. Probably help if I was on life in that red there. Okay, so I want to get these in the place. Remember that we can carry over here to see where we need to drop that other one. We're gonna insect these windows, so they're going to need to go down and back to the left of this structure. So I'm gonna get my major guides in place, and then I can get rid of these. So center line for the windows I could draw on my arch. You know, one a bit of a drop shadow to show the depth of Ah, this kind of center area right here to the window center. Divide and remember for archway here to the top, we can create a square in perspective. Make a mark here and work here. Connect those. And then you can crisscross your corners, right center, and then make a mark on each one of these lands pretty close to where the the spot would meet on the other side and then arc over. So a lot of times, when doing this, you want to get used to looking at your negative space like that. I find that to be more helpful. Eso not just the line itself so kind of variations of both. Really. But and then for this one. I'm just going to mirror that line, try to mimic that line with the next portion here, like that on a racist information back. And I think I want to change the information that's right up onto the ledge there. So race that back for no, and bricks are pretty easy to throw in. So I don't really need a whole lot of guides for those shadow there. Number kind of sporadic foliage of fact that we have here just a bunch of little broken up lines can convey this from a distance, and the new one are divides to the windows like this. And I'm thinking for this ledge area that we see under this. So we're going to give us a nice depth right here, and the brickwork would need to kind of meet this line. Think so? We're gonna draw down, then imagine that our brickwork was back like this same thing here. We're gonna do some divides and these breaks we're gonna need Teoh come back as well. No, it's not working well with the window designs. We figure that out. Let's do this. Let's get those perspective lines out of the way. now, Ham, let's figure out these shapes. So what I'm picturing here is that the the brickwork needs to come over more. So this is still the front of the brakes. Get rid of this line. Basically, we actually we need the line, but it's gonna be just like another Siris of breaks. And then from here we see the depth on the sides, her inside of these breaks. But to do that, we also have to adjust our windows. I couldn't move these bags. Get those right out of there. Bring these over the ark in place. Remember, we can draw over in perspective to find out the positioning of that art. I was starting to draw a bit high. Let's try something like that there. And we could also bringing this up. So try that. Bring this shape all the way up and then have it and have bunked under this this death of the arch, where and also going to see some of the thickness of the brick material on this side. So we got to get that in places. Well, it's one of softer races back. Just enough to see through it and try toe. Try to find the shapes. Okay, we're going Rotate this and respect some of these construction lines, so starting to get there Still a bit off from when I was trying to create. But the main thing is to just keep moving these shapes around till we figure it out. What I find to be the most useful way to create, just keep nudging things around and correcting and pressing forward. Okay? It's the window shape again, actually. Need to bring this in just a little bit here. So we're gonna see the edge of the window on this side, but on this side, it's gonna get covered up. But we will see the edge of this side of the window. So I get It's just not simply drawing the shapes from left to right. It's also picturing those, uh, dimensionally pushing backwards into the scene. A little bit of trumped the window here, - clinic in these window divides on a partners draw through and respect. Okay, finally, this ledge, so come down back kind of meat. This land with bricks are and just create a simple kind of box here. We'll see outside of this ledge over here, and kind of just some scratch. He's scribbling lines for the foliage. Little flower pot hanging off the edge. Then maybe just some little design right here. Nothing to intricate. It was just something to break up the flat spot there. Then again, our break pattern. These lines could actually go back to our vanishing point to the bottom left. But I'm just gonna try these in for now. Okay, so there we go. So now we've refined the windows shape. Now, the next stage of it, we need to figure out how to ah, Relais this information to the other windows. So that's where it gets a little bit trick here, Bull run. Work on that now. So with that, let's move on to our next lesson. 15. L14 Recreating Our Window Design on the Lower Level: All right, So now with this window in place, let's work down into the illustration and move a window below. So we're gonna do is first a race back. Some of this information succeeds pretty scratchy by comparison. You see, it's also low if we were to use the same height away from the top ledge which actually that could stand to really be a tiny bit lower. But we'll see how it looks if we raise that up a bit. So one of the things that I remember when we were studying the reference is that a lot of the windows were a lot tighter in succession than I imagined. So just one of those little details that you don't start to forget about when you're not looking at buildings all the time. Um all right, so I'm gonna bring this line down from probably about. You see, it's lined up right in there, but I need to raise it a little bit. I'm gonna bring it to about right here, have started, and also the next line. That's right here. So you see, I place these guides where it was more beneficial, Teoh to align the details of the window. So just to make things a little bit easier and same thing, these two lines converge over here. We can follow this back Perspectively to kind of get placement for that. So something right about here and the depth of the window for drag this down looks to be about something like that. So, you see, it's widening widening out quite a bit, um, as it comes down to here, but again, that's because of the placement of the vanishing points. So probably a little bit of distortion in there, But I'm gonna go ahead and go with it because it's ah, I don't know. I think it still looks good as a scene. Could it be a little bit tighter to the quite perspective of something you might see, of course. But, um, I don't know. Sometimes I really like scenes that were just a little bit warped Way are creating imaginative worlds anyways, so eso basically, as we figure out our arch here again, we're gonna have to kind of pay attention to our negative space. So I'm just going to look up top there, you see, it comes out to his outside line, so I'm gonna do that? Our center is right in between here. So as the round over occurs, it needs to meet on that center. It needs rest there for a little bit, and then it needs to start, you know, curving back down the other way, but obviously have more abruptly because there's less overall space here. But then again, it needs to align perspectively about there. So we're just going to round over, meet the sedge, that sort of shooting downward. So again, a racing back Thea rough construction land that we have here, We're going to recreate the top brickwork, some obviously glancing back and forth studying What's up here? We needed arrange for the, um the depth that we're going to see here now it's gonna be more narrow from this land of this line. Well, you see my little arrow there because we're now closer to the the rise in line. So just remember, the further up we go, the more we're going to see into the recessed areas and the further downward gonna go, the more I level we're gonna become with our details and therefore see less of the, you know, underneath or recess areas. so something like that again, we're gonna bring this peace up the center divide. See, it needs to come over a little bit more. Some of the nuts that line over just like this. Kind of trying to make little corrections to get this right. And we'll bring that land up. And that's gonna meet the underneath of this ledge so we'll start there. We'll get that in the place. Mental work, work bag. So, you see, the next thing would be seeing the inside of the window this edge work, basically of the window, leaving some room for that little segment that I'm actually not liking now. But I I still have some little decoration in here. I think it just needs to show a line all the way around. It looks kind of strange that it bumps up to the brickwork, so I need to leave space in there for that. If I decide to keep that in the illustration, remember, on this side, it's gonna get blocked. Was a little bit, But first, let's carry through. Remember to draw through unnecessary. It's usually a lot easier to find that line if you draw through. So you're not guessing as much seems to, ah, be a good practice. A good thing to practice in your work. Okay? Something. Pam, As we bring this over, we got to remember that it's widening out, too. So, um, probably gonna bring that line. And I guess the window just has a wider field. Let's try Teoh, check the window. Okay, that has to come over much further, So we'll do that. Check that centerpiece one more time. Yeah, that's in the right spot. Here. Rants about there to check the side of this window. Pretty close edge Work with this instead of the brake here is pretty close. So that's about right. It still feels a bit weird. I think it's mainly the arch, so the arch probably needs to be higher up. So one of things that's probably gonna be noticeable is that when you were to draw this arch closer to the viewpoint, lower to the horizon line the sloping plain. This arch on top is going to appear a little more flat. So a little more of a just a slight transition as the arches over the further away that gets, the more that's going to slope upward not a lot, but a little bit. It's gonna be just a little bit more noticeable as it recedes away from from our I get this line out of here, we've got our cross sections here in perspective. Actually, this looks a bit off, too. So what I'm gonna do just to double check that bring in our vanishing point and check from here across to here? It's actually pretty close. It's down there. So I just felt like it was a bit off. Let's try this one. So that is a little bit off. So if we go over to here, consume back in, we can see that this bright side needs to go down just a little bit more. So again, this perspective makes the slant here happen quicker because of that. So what we'll do is just kind of note the distance. Get rid of that. You know, you could even make a little marks a Well, it kind of slanted down to about right there. Chance the the curve. Can Nazis lines around? Uh, you can do a lot with that. Pull back some of these lines. Let's get rid of the perspective line now. Her perspective lines, I should say, And let's go ahead and clean this up a little bit. Mawr dropping other lines and see if we can make this make sense. So again, if we were to draw from here down was approximately where we need our center line. This one's are pretty high. I might even get a little bit of the view of the second ones. Second row anyways. Okay, like these air really more of a distraction, but I'm still going to continue on trying to make these work. I just feel like that open space would have some kind of detail in there, but I just can't seem to get it to feel right, so it may do away with that in the final stage, but nothing ventured. Nothing gained. Owen. UCF forgot our spacing on the side. Here, let's get down place and start from the middle here and work our way out. Fan out these lines dimensionally, heavies received back. This arc still feels a little bit off, but I'm thinking by the time I refine it with the final line work, I should be able to correct it a little bit more. Our separations here not worrying about placement too much is kind of throwing him in there at this point. And you've got our window trim. That still needs to be evident. Yeah, just like that. So now we've got this window recreated on the next level. We now need to work outward from this, but again, I feel like it always gets a little bit easier for one. We have now drawn this window almost twice. And so you got a better understanding of the shapes and you could see there's still a bit of awkwardness here, so we may keep nudging these lines around, but the heavy lifting is in place and also feels wider. But that is gonna be evident with the perspective that we have. So it doesn't need to look a little wider. Eso with that. Let's wrap up here and head over to our next lesson and continue to draw some windows 16. L15 More Windows: All right. So let's continue on and tried Teoh trash and to try. We will succeed at putting the other window over here. So we're going to do now is a racist back. You see, I got some pretty bad inconsistencies here. So if we were to follow this red line over here and back, CR Allege needs to be up there, so we'll start there. That ledge and what I want to do is first map out the shape so you can see that the peak of the arch comes up to here. So I've already mapped that line over, so we'll find center and work in both directions. And this could probably be a little bit wider than what I'm imagining here. But also I want to make sure is that there's a good, uh, definite forced perspective from one side to the other. Now, the other thing notice here that from the top of this peak we got on 123 brick patterns are three heights of the break, so that gives us the finish of our arcs over here. 123 We need to bring this down to about here. So the other thing that kind of will make this more parent If if the ark doesn't look good going down three break patterns like that that it's possible we need the wide in the space . So, for instance, you know you've got a few different points here to kind of help you visualize is the brick patterns the alignment from height Teoh, The very bottom point. Obviously your perspective lines going up like this meeting that top vanishing point. So that gets us our base. Kind of Ah, container. His way I look at it like this is the shape that will contain all this information Eso. Now the thing is, is that the first thing that we have to map out is the fore front facia of this break. So it was just kind of draw this in. So I'm gonna ignore the bottom portion because there's gonna be allege there anyways, lip to the pledge. We got to make sure this side is thinner on the face because again, perspective. So I need to be evident while we're here. I'm gonna go ahead and get the depth that we're going to see on the side of this as well. So it probably should be a little bit thicker. So now the thing is, this information on this side is more condensed. So it makes you want maybe think this would be thinner than the side, but not exactly the fact. So we're looking at the very side or not the very side. But we're looking more at the side of the shape versus over here. We're looking more, you know, straight on. So we have to compensate that side, edge and again, you're gonna Seymour of this distance. So in plain sight. So we got to make this wider by comparison. Well, say something like that. Likewise, Over here, we're going to get the full distance or pretty close to it of this instead of the brake, and we're gonna be looking up into his area pretty heavily. So, Paul, that needs to kind of reflect as we draw in the shape. And then likewise, we're going to see the very side of this kind of box shape or the ledge under the window. So let's start with a rectangular shaped like this notice. I'm I'm Maybe you could see it, but I'm paying attention to that red line as I draw this out so I don't have to necessarily pull line for everything. But if I find myself struggling with this, then I'll go back to pull in line. So obviously here I'm mimicking the red line right next to it, and then we're gonna work back in perspective. So there's obviously a few lines they are ready to gauge where this is going and a little ledge beat up the top. My that and I want this to be noticeably out further than the Windows edge because I was. It's It's pretty depth e piece of material. Whatever. Eso it should look like it goes past it, probably even further than that. We wail two year. Okay, let's go ahead in the race in this information back so you can just kind of the power of picking at it, you know, just moving little bits and pieces around. And I feel like this line needs to go up just a little bit higher. Feels like it's slamming down, distorting downward. So just little things like that all Justus, I go and then now the center divide. Now keep in mind like I've mentioned numerous times. Within these lessons, you confined center by defining ah, square and percent perspective crisscrossing your corners and you see centers way back here . So that's part of it. But also, this is inset area. So if I mapped out the outset or outer square like I just did, I would be incorrect. It would need to be the end set area, which we can't fully see. So you have to kind of compensate for that. Which means your center line is going to go way back here somewhere, maybe even further back. So it's right on that second furthest to the right red line of those two in the center. So let's go ahead and mark right there and that'll be our center line for the window. And now I'm gonna go ahead and get thes perspective lines out of the way because they're driving me bonkers. So, just like that, we've got enough of that base information in place to look over here. So now the centerpiece is going to go to both sides of this line. So this this part right here, So look how far it's gonna probably inset into this window and how much of that information you're just not going to see. I mean, we're doing a little bit of guesswork here, but it's ah, it's probably pretty close to accurate. So then we get our term lines. Remember, you're not going to see this one side of the window, but you are going to see some of this window trim, so I'll leave that gap there that decide you're just gonna see it all. Really? Um, I don't even know if you're gonna get a line in there, but we'll try, and then we're gonna use the bricks to feel out the divided. The one don't. Now remember, I probably did that in the wrong place. Let's check this. If you go over here and perspective, meet the furthest corner and then go back. That's where the line is gonna be. Did I actually up Teoh down here? Isn't it something like that? So let's just go and, you know, roughly throw that in, and then we'll guess on the next one, based on the information that's there. So just like that, and we can, you know, figure out the divides of the bricks so on and so forth. Number of these lines are gonna go back at lower vanishing point. Lower, right. These ones are gonna go to the lower left. Yeah, just like that. We've got this other window pretty close. I find it a little more as we start to think. The work. We're at our final pencil lines, whatever we decide to do here. Still kind of up in the air because I like different styles for this, but yeah, I feel like that window reads as the same window. Um, So now what we've got is the window for the hopes and wanted Reese that line right there. So now we've got is that window in perspective on the side of the building? We've got the lower section, and over here, I'm actually going to simplify a little bit. Kind of speed this up along. So I know this is Ah, these lessons are getting a little bit likely. I want to lose you here for your attention to detail. Or now, however much, uh, do you feel you need to re learn this stuff. You can obviously go back and revisit these lessons, but I don't want to be too repetitive into awfully slow going in the process. So one of things we can do because there's another aspect of doing this that I want to make sure to address, and that is saving yourself time that is, you know, taking shortcuts. Nobody likes to. Nobody really brags about it. But it's something you have to do is a professional artist to make deadlines and, you know, just get stuff done. Eso one of things we could do is we could add allege piece here, right here. We'll bring this all the way up. And by doing this, what happens is it gives us a reason for spacing that next window. So like we noticed in the other reference material that we're studying, the windows were pretty tight in succession. And if you've got all that time on your hands and you want to make this beautiful building , then by all means go for it. But at the same time, sometimes it's smart to just introduce a detail something like this, and say, Well, this is going to save me sometimes going to get it done quicker. It's still gonna look really nice. And, you know, we always have to judge what is the focal point in the scene. What is the end result of this illustration. Is this something that's gonna be viewed like this or they're gonna be viewed like this? So with that, there's a very different set of rules that you should play by. And, uh, you know, again sometimes taking shortcuts isn't being lazy or anything like that. It's just smart. It's just, you know, it makes sense for what you're trying to accomplish. Um, you don't Don't worry. If they're, if you're working with a team of people, generally, they're gonna let you know if that's just not something that they want to see. You know, you can really convey this type of detail in the rough sketch as you were finance. And if they feel like it hurts the project, then obviously somebody will tell you not to do it anyways. So just like that, we can We can do that now. Another trick. I just want to mention it for your digital artists. If you are working digitally, remember that you can just simply take, you know, windows from, for instance, for from this area here, and you could copy it and move it down and distort it. So I'll include some separate lessons about that pretty soon, but I want this to be usable content for everybody. But just keep in mind. This is something that a lot of digital artists will do because just so darn useful, you can distort it into the perspective of a square, and then you would change your end sets a little bit, So it's not gonna line up entirely. It's not gonna be a perfect transition, but it's going to save you a lot of time because you're gonna be able to re manipulate that and get something in perspective for the sake of brevity. In this course, I'm actually just going to give us some quick windows right here. Have squared off. There's no rule saying that we can't have. If you squared off windows over here and surrounded ones, there may look a little bit out of place. We'll see here. Actually, you know what? No, that would look out of place. Let's just at least do the four archway windows like this Summary since bag and let's go ahead and, uh, put our perspective lines in the place one more time. Yeah, that should give us a lot. A couple more. I should give us what we need. We'll just we'll just go for it. How about that? Okay, so now we'll bring the slime down. It's gonna land right about here, This one down to here. So you see, even though these I'm not going from that vanishing point all the way the top I've got enough here. Enough information to map this out mainly. This one being right here is just a huge assisting factor to getting all this done. And I could grab everything, including this little thing. Trim line. Yeah, I'm gonna let go of it and just redraw it. So just say, you know what I'm doing that I don't want to put these extra lines right through the artwork so I can kind of figure out where they go on read, dropped the line. Same things going apply. If you're drawing on paper, you just put your rule over top. Just a sketch on lee, the lines you need. So, you know, trying to be as clean as possible. Doing this is important. So know, just kind of figuring out the distance over here. We go from here and then back in perspective to here, so that shows us approximately where archways remember, we first mapped our shape to this red line. That's what we're gonna do again. We're gonna map out the container is I like to call it. Got that from doing three D art for years. You would always create container dibs and shapes for other things that were creating. So that's where the term comes from. Of the thought process, I should say, because I don't think that's really the term you to use for perspective drawing. But it does kind of make sense. So you get this container to apply or other details into, and it just for some reason, it sits in my mind. Ah, a little bit easier. Seems like a good way toe. Remember what I'm doing here. So then Perspectively, we go back, we round over. We want to see a good thickness here like we do in that top window. So we're really just emulating what's up there. But we do have to shift it just a little bit. So as things move up and down on the scene closer and further away from the rise in line, they are gonna shift. They're gonna be slightly different But there's certain things like the the width of the lines that are consistent, or you can at least find them with the perspective that we've established. So again, this is that window trim now, something I did kind of accidentally was. I made the windows taller on these wounds, but I'm actually gonna go with that. I don't like the trim part in the other windows. I might even try to leave him, but I'm probably going to just make the windows taller because I actually like the look that we've established over here. Better. I feel like that. This little trim pieces and there is just forced. So I get that out of there. So just like that, we've got our shape. Will you continue on? And detail are bricks. Actually, let's get the perspective lines out of there again. So we're doing a bit more clearly, so hopefully you see that perspective isn't that hard. It's it can be tricky at times, and it can be a lot of, you know, steps depending on how much detail you add. But the main thing is that there's certain things that are, you know, kind of constant factors and it. Finding center is a very important, you know, thinking about the depth in different ways, or, you know, it is shifting from different angles. Um, and then the thing is just really studying this from life as much as possible. You know, there's some things you can get away with, just practicing out of imagination, for instance, drawing monsters right? Even that you want to relate that back to as many actual creatures as you can. But you know, you can come up with some pretty imaginative monster concepts without really understanding the world around you as much. I guess it depends on how good your visual library is, but with buildings. And, ah, I think it's it's very important to study from life a lot in, ah, you know, traced through your pictures. It's not a bad thing just began. Think about building your visual library lots of ideas as far as the way that things might look. You know, things like trim and overlaps embezzle Zand different shapes. And, you know, and as you do more more of this, like anything else, you're just going to start to get better and better at it. The last thing I want to add here. Probably chalk this up to one more little kind of cheat is instead of doing all this brickwork again, I'm just gonna do some vertical slats here. Pick. It'll look nice. I'm just going to sketch his infernal fix him the next stage, but just a different pattern. So I think it makes it look a bit more interesting anyways. Okay, so now that will get us are finished pencils. And, you know, we could obviously keep refining this, but this is plenty tight enough to start thinking. I'm gonna go over this with the final line, work to kind of clean this up and show what it can look like. So let's move on to that next lesson and get this done. 17. L16 Inking the Work: Okay, so now we're gonna take this and start thinking the work. Eso basically blue lined it, and now I'm running across the top of it. Sort of like I would use a micron pen and you're going to see a variety of ruled lines and then you'll notice I'm going to FREEHAND areas, so it's kind of a mixed on this one. So if you notice like the first lesson about one point perspective, it was very freehand 2nd 1 was a bit more ruled with the interior design and then now this is a mix, So I'm just trying to show you a range in the way that you can use this. Now this one does have some distortion. So because I didn't snap every single line, I kind of felt prayed to distorting and sliming. Something's personally actually like it, but I know there's gonna be a lot of people that look at and go well, this is wrong and that windows skewed. And that wall is not lining up to that wall. So you've got a different range of ideas that people like when they look at perspective and one of the drawbacks to doing things like buildings and even rooms and cars is that it could be a lot more evident when things aren't exactly right. So you see, like the bricks there. I'm not worrying about those being perfect. I'm still changing some designs here and there, like, I'll end up getting rid of these bricks because they kind of look like I don't know, weird wafers sitting on the side just didn't read like what I kind of imagined. So you'll see. I get get that out of there. So I'm kind of tweaking the design as I do this, but notice it. Some of this is just freakin like I'm just drawing those in place. I've got enough of that preliminary work in place to just draw over top. So again, back to what I was saying as faras the structure. So with things like cars and very mechanically designed things, it's very evident when something might be skewed or not quite perspective. So when you work with a team of people on something like this, you you almost need to nail down right from the start. What style are we going for? I think that's important because again, there's a lot of interpretation here, and some people are just gonna go. Well, that's just not right. The perspective just isn't right. Um, but I think it's also important to realize that in life perspective can be quite skewed. We'll do more studies where we show some of that. But you know, sometimes you'll see a sloping building or you'll see some busted up brickwork and, you know, slanted a light pole or whatever it is. There's just lots of things now when it's inconsistent from area to area. That's another thing altogether. Like we'll talk about it when we get to the window over there that I'm just staring at us that Watts is. But but again, I think that by using some free hand techniques in your work, it does give it a bit more energy and life zeal. That's just my personal opinion, and, you know, obviously that's gonna vary from person to person, but yes, so even if you're using something like a micron pan or you're working digitally, you know you can obviously adjust your brush settings. But I'm just making sure that I get, like, a nice variety to my line, wait, and also that things that are up closer to the viewer have more details. So, for instance, I think I already mentioned this. But, like as we're closer to these bricks weaken, see the mortar in between each break. If we were to push back another building, maybe it would just be, ah, solid line instead of any gaps. And if we were to push back even further, I would actually probably reverse it and draw just the bricks and not the mortar. So there's there's this way that you can kind of convey depth and scale with your line work , And that's why I want to show the process to this, because I really enjoy thinking, and I just I like to try to make things look neat with just the line work. We could also do a shaded, you know, shadowed version of this, but this is just basically clean lines, and I really like to again try to see what kind of depth I can get with just line work. Now, let's see if you go back in color, something like this, it looks even more impressive. So yes, so with window, um, you see that for him? The arch, obviously I snapped some lines for the sides, but this is something that I do feel would need a little bit more structure. And now most instances, I would go back and add a lot more imperfections to even this so chipped up breaks bunch a little like marks and grit. You know, things like that just because again, I think it adds more life to it. I like the variety that the little bit of foliage adds there. So you've got some straight lines. You've got some curves. Got some some random lines with the foliage. It makes it more interesting than just a squared off window. Eso with the brakes here notice that I'm like I kind of mentioned that I'm just not trying to draw the separation of the brakes. Now I'm just drawing basically the mortar with black lines. And again, that's my way to kind of convey that that building is further back than the one that's up close. So line wait line, variation, texture. These are all things that you can dio to get that feeling of depth with, even just black and white. So now, trying to emulate that same window and hopefully you see to that I am trying to clean up so that the rough sketch was still pretty crude in some areas. But I think the more you do this, the more you kind of start to look at and go. I can make that work. I'm ready to start thinking or doing my final line work and one of the reasons why I like calling inking in, for instance. And I could have just said that we were gonna pencil over this one more time. I feel like pencilling too much can can just you just kind of never know when to quit. But when you say I'm ready to ink, it's that final line work that you're going apply. So you're making this commitment to the work, And I think because of that you get a different style, Um, and again, that's why I want to show some different variations from section to section here, not just draw one style all throughout, but to show you that you can. It's a very different looks, which is nice, because then you can beef up your portfolio and you can get more work from various clients because you're not basically a one trick pony. You don't just do one style. You can show a variety in your work. You could definitely have one style that you're more accustomed to him. That's kind of your main style, your favorite style. So now what? This window here, You know, I don't want toe proclaim that, you know, our pretend that this thing is perfect, it's not. And you could see me checking the work and still trying to correct it here, but I skewed the top wonder to the bottom. Now I purposely left that because for one I don't want to spend, you know, hours and days trying to correct a window and try Teoh, Uh, you know, not get you the lesson you need. But also, it just occurred to me that the better lesson the teacher is one that I've had to learn the hard way through working on various clients and things. Is it? Sometimes you just have to get it done. And so what you have to do is make it the best you can for today, get it done, turn the work in, make mental notes of it that it wasn't perfect. Here's the reason why I worked in tight deadline scenarios, store boards, common store boards, even worse in comics. And it was very demanding, very, very tense. At times you have to knock things out very quickly. Uh, and there's times that you're laboring over something you're thinking. It's just not right. It needs to be better. It needs to be better, and then you turn it in. The client doesn't make a peep. And that's so that's one instance. Okay, it doesn't mean to not focus on it, because if you see something wrong and you know it's wrong, you need to fix that. You need to come back and revisit it. And this one does a perfectly well within my our styles. I'm kind of sharing my my flaws here with you, but But the main thing is, is that you do Look at that and you you make a note of it and you revisit it. I'm gonna study what could have been better here, and I'm gonna correct it, and I'm gonna learn from it. But you have to turn and work. You can't let it frees you up is basically I'm getting it. You can't let it paralyze you because If you dio you, you won't think you're good enough to do work. You won't think you're good enough to be a professional. And I could tell you right now, 99% of time, you're gonna be your own worst critic. Not every time some people really let you know. When you're not doing something right, that's a good thing. You got to take that and grow from it. But the main thing is that you realize that you have to keep producing work. Uh, no. If you're just not a professional, you're still in your study phase and you're not even trying to make professional grade work . That's fine. You could just keep studying it. But I still think you have to go for the kind of your weakest link in your armor. And if I would have just drawn squared out windows like very square basic windows, I wouldn't have a problem here and I wouldn't see. I wouldn't have seen in the issue. But because I tried something a little bit more complex, I was able to draw out my weakest link in a sense. Or, you know, one of my weak points in my artwork so again, just be aware that that yes, make note of it. Yes. Combat it head on. Don't hide from it. Don't cover it up. I mean, sometimes you have to just to get the workout on time. But But other times just, you know, go back and revisit the things that you need to improve upon. Obviously. So, yeah, I just want to share that bit with their but yes. So now just texturizing a bit more. And as we get to the background now, the world difference here is that these lines, besides being thinner, they can be a lot more structured. I still tried to free hand a little bit in here just cause again. I try to challenge myself as much as possible, but I used a lot more ruled lines because we're so much further away from these buildings, even though they still have lots of neat imperfections. You're not going to see those. You're just gonna read these as massive shapes and you're going to see the larger differences of shapes. So you're not going to see all those tiny little imperfections like you wouldn't the brickwork. So here it makes sense to use a lot more clean lines, structured lines. And again, I like the contrast that it provides against the kind of neighborhood look up front. So that's that's one of the reasons I did that. I thought it would be kind of neat to not only give more scale to the scene, but again, the variety of the type of lines that you would create. So using a lot of like shift, click and a little bit of line weight variation, but not much now line variation. I am in the sense of thicker lines on the outside of the structure, thinner lines on the inside of the structure, and that's a technique that you can use pretty much across the board. It even works well, faces and things like that. So, yes, so we're gonna wrap up right about here. We'll head over to the next lesson, continue to ink and refine this eso with that, let's move on 18. L17 Inking the Work Part 2: Okay, so we'll continue on with the background here. So, uh, trying to drop in some little shadows and recessed areas. Eso even though I'm trying to keep this relatively basic because you know, it's so far away and I don't want to get caught up in details too much, but little things like insects, shadows and showing that perspective could still kind of help make it create a bit better. You see, I'm fixing a lot of lines, a lot of crooked lines here, and I'm guessing at those lines as well. So even though you see me dropping in a kind of a shift click or what looks like a ruler line, I'm not actually rolling those from the vanishing point. You probably tell because I think this one's a little off in that next building ends up being a bit further off, But again, I'm kind of trying to just use my judgment here and strengthen my eye. So if anything, this is a bit of an exercise may be an exercise in futility, I don't know, but but I think it's important to do because it's allowing me to engage what I think looks correct, doesn't mean that it is correct and it's probably been off. But it's allowing me to work on that because I feel like if we rule out every single thing from, say from a photograph or with the perspective tools that these Softwares have, this particular software amusing has perspective guides. But then you just use sort of weaken that saw that aspect of yourself. So every now and then, you have to turn that stuff off and just try to draw in a lot herself to make mistakes because, as you know, with anything else in life, you learn from your mistakes. It's just the way it is. So every now and then you have to allow that to occur on. Actually, the holes lines are pretty bad. I just noticed. That is I'm watching us. But, uh, now you also see me take a little bit of a cheat here in a second. I think I think cheats air just very important. It sounds bad, but for instance, I know I'm gonna put this smoke right here. So what am I trying to do? A trade, A position, in a way, it doesn't look in natural but covers up some of that detail and save me some time. Um, I love it when artists talk about this, and I have heard of the artists say things like, You know, I love drawing superheroes with capes because you can use that right. Put that where you need Teoh and save yourself some heavy illustration times Just stuff like that shapes the shadows, even though we're not implementing shadows on this one same concept. You can really use those shapes of shadows to avoid unnecessary detail and things that are going to cost you a tremendous amount of time. And if you're smart about and crafty about it, it can enhance the illustration. Doesn't have to be at first. It's probably gonna come across is like Why would you put that there and bad composition? But the better you get at looking at composition and looking through the work, the more you'll be with overlay things like that. People just think, Wow, nice dynamic. For instance, with the smoke here, I felt like it needed that like it needed. The smoke needed to be a nice contrast. All these straight lines, same thing I mentioned about the foliage. If you try to mix things like that up within the work. Generally, it's gonna be more interesting to look at, so just keep that in mind. You don't want everything entirely structured. You also don't want everything entirely, maybe scribbled in. But, um, unless that's the style and it's very cartoony and expressive, you know, then maybe, but, uh, but you want to also think about the various materials in the scene. You want those to read differently, and just because you're using just black and white or pencil lines, obviously a lot of value incorporate with pencils and a lot of value you can incorporate with lines with cross hatching in line rendering. So just try to think about that so that when you implement these different materials in your seen, you make them look and feel different from one another. Eso Now what? This part. I've taken out the blue lines, and I'm kind of looking at it and full clarity, and I usually go over with one Maura. At least one more pass where I tried to tighten up any lines, add additional line weight, really push some depth in the scene. Now, if this was more my comic traditional comic style. I would actually go back through with another pass and put a lot of grit in imperfections and cracks. And, you know, it's just me having fun, really, and style izing it. But in this instance, I wanted a little bit more of a clean read eso, for instance. If you know the artworks gonna go to color, then you could probably go from or this approach because sometimes you put in all that neat shapes of shadows and grit and cross hatching and detail on Lee to have it kind of get lost by some really advanced coloring or something, or maybe not lost, but just not fully appreciate him. And that's really it. So this is my in perfect perspective, seen. Hopefully you've learned from this process, and I'm gonna be sharing more lessons. So I'd love to get Samir valuable feedback so that I can introduce more content and make this a better experience for everyone. So I appreciate so much for you watching this one the way real soon