Transcripts
1. Introduction: Hello, my name is Molly barker. Thank you so much for
joining my class. Today we are going
to be completing an illustration of a cottage
in two-point perspective. I think we all tend
to feel like we need to be completely inspired and only make beautiful
pieces of art every time or
pencils touch paper. This, however, is so
far from the truth. And in order to have the
ability to spontaneously make beautiful pieces of
art from our imagination. We also need to
have discipline in our daily practice so that
when inspiration strikes, we are able to capitalize on it. When I hear the word discipline, I always think of
something that is very militaristic and robotic. Though this doesn't
seem like it would be part of the creation of art. It is very relevant. With discipline, we can have great joy in what we're
able to accomplish through the persistence
of sketching from reality or from
photo references. And I'm going to show you what that looks like in this class. We're going to be breaking down this pencil illustration
into a few separate steps. We'll go through an introduction of two-point perspective, how it looks and works, plus a few real-world examples. We'll take what we learned
there and complete a series of sketches of several cabins
from reference photos. Choose our favorite. And finally, turn it into a beautiful full-page
pencil illustration. In the next lesson,
I'll be going over the steps of your class project. I'll see you there.
2. Class Project: Your final project for
this class will be a complete pencil illustration
of a cabin or cottage. Will be breaking this down
into four main steps. Performing your study. Choosing your subject
from your study, taking your chosen subject and flushing it out into a
final pencil illustration. And then finally, photographing
your study sketches and illustration and uploading them to the project gallery. You can download the
images that I'll be using as references in the
class resources section. I've included all of the images that I'm
going to be using, as well as several others
that look different. So please feel free
to look through the references and use the
ones that you like the most. Or you can find your own
references that you like more. In the next lesson, I'll briefly cover the materials
that you'll need. I'll see you there.
3. Materials: In this lesson,
we're gonna go over briefly all of the
materials that you're going to need for this class and to
complete the class project, It's fairly simple all you're going to need
something to draw on. Right here I have a
most kind drawing pad. You can very easily use
something like this. You can use loose leaf paper or any sketchbook that you have. I see intend to use
this drawing pad. This is Moleskine
watercolor pad. Has a bit of a thicker tooth. Your paper, you can see there's
more of a texture to it. This is what I'm going to use
both for the sketching and also for the final illustration. The illustration that
we're doing here will be in a watercolor
class coming up. So if you want to do watercolor color with
this illustration, definitely finally,
watercolors specific paper. You could also use an
iPad with Procreate. Let's just say
you're going to use sketchbook and then you'll
need something to draw with. I'm gonna be using this pencil. This is a Pentel,
0.5 millimeter P2O5. And it's just a little
mechanical pencil. It's light, and I like it so much that I
bought three of them. Actually. You can use
a mechanical pencil, you can use a drawing pencil, something lighter if you prefer. I've got Tooby and
3D or can also use just a regular
writing pencil. You will need a kneaded eraser for the final illustration. Not for the sketching portion, but just for the
final illustration. And then I'm going
to use a clip to keep my sketching book open. So these are all of
the materials that you'll need to complete
the class project. I'll see you in the next
lesson where we'll be going over two point perspective
and some examples. I'll see you there.
4. Two-Point Perspective : Hello again. I want to start this class
with a quick explanation of two-point perspective and some
examples of how it works. I have my iPad with Procreate, and this is the photo
reference that I'm going to be using for our
final illustration, which will also be the main
part of our class project. In the next lesson, we will be sketching
several cottages from photo references, which you can find in the
class resources section. So the first thing that
I'm going to do is size the image down so
you can see it better. With two point perspective. What you need to
identify is first, you can see that the house
is three-dimensional and it appears to be
travelling backward. So as it gets smaller, it appears to be followed
up farther away. What you have are these
vanishing points. And if you put a line that
intersects these two points, you have something
called the horizon line. Imagine that you're
standing back from this house and you're
the one taking the picture. This is the line that
your eye level is at. And if this were a street corner and there were houses on either
side going backwards, what would find is that
they would look like this. These lines would go back
towards the vanishing point and houses would become smaller as they
became farther away. And as you can see here, there are different
colored lines, these gray lines on the houses. They move back towards
this gray vanishing point. These blue ones here
and here and here on these houses traveled back towards this blue
vanishing point. If we were to then take those
lines and instead turn them into the plane of the
house or the side of the house that's affiliated
with each vanishing point. You'd see that this
side of the house, so the sides and the roof
on this side of the house, going back towards
this vanishing point. And these sides of the house going back
towards this vantage point, these would be
associated with this. So the gray sides are associated with the
gray vanishing point. Then again, if we were to apply it to the other
sides of the houses, the sides of the
houses are going to be pulled back towards
this vanishing point. So you can see it looks
like it's getting smaller as it's
getting farther away. And the same here, smart, smaller and farther away. If we were then to apply this idea to our
little cottage here, what you'd see is that we
have all of these lines, e.g. the lines of the eaves
here and the line of the top of the roof and
this edge of the house, they are all going
to be traveling back towards the gray
vanishing point. And then on the other
side of the house, what you'll find is that the eaves here and
this front portion of the house here and this line of the roof are all
going to be traveling back towards this
blue vanishing point. So let's go ahead and apply that will get rid
of these lines. Let's apply that to the
planes of the house. Here's the side of the
house that's gonna be associated with this
gray vanishing point. And here are some of the lines. Then let's go ahead and also see the blue vanishing points side. And some of those lines. And what I'm gonna do
here is turn on something called Drawing Guide,
two point perspective. So you can see here are
all of the lines that are governing how you would
draw these houses. You know what the
size of the houses, what the angle of the line is. One thing I wanted
to show specifically is that as you get closer
to the horizon line, you can see that these lines are almost
flat, almost straight. And then as you get farther
away from the horizon line, they became, become much
steeper, much more angled. Also when you go below the horizon line,
they actually invert. So they're going
to become, they're going to come downward. And as you can see
here, this corner here, and this corner over here, they're traveling at
this kind of an angle, whereas the top
portion of the house is traveling at a
downward angle. That's how two-point
perspective works. I have a few more examples
that I wanted to show you. So let's get rid of
the drawing guide. And let's just look at
this house for a moment, just with these lines. And you can see how it looks like it kind of pops out at you. You can see how it travels far, farther away because
it's getting smaller. As you can see, these
window bottoms, they're almost flat
because they're right on the horizon line. However, the top
of this roof is at a very steep angle because it's quite far away from
the horizon line. Now that we have that covered. Let's go ahead and see
some other things. Let's see. You're going to
check this one out. Alright, so here we have a street corner, just
like I was saying. And if you look at this, you can see that again,
it travels away. The largest thing is going
to be in front of you, and then it's going to travel
away and becomes smaller. Even though you can tell
that this house is taller. It's smaller than this house because it's farther
away from you. This side of the house, again, is going to be associated with a vanishing point and this
side with another one. And you can see
the angles there. Let's go ahead and
draw some lines. We've got the horizon line here, and then we've got
the vanishing points. You can see this one is
actually so far away, it's almost outside
of the page here. One thing that I thought was
interesting is that you can actually see how it extends beyond that with these traffic lights
that are coming out at you from the street corner here. So you can see that this one, even though it's
on the blue side, it actually vanishes back to
this gray vanishing point. And then again at the opposite, this one comes back to
the blue vanishing point. So you can see how each
side is associated with each vanishing point
and the direction in which you'd make it smaller. I think that one's cool. Alright, let's get
rid of these guys. And let's try this one. Okay, So this is
even more extreme. You can see the horizon line
is going to be very low. Then the angles are very steep because the building is so tall. So let's go ahead
and put those lines and just so that you
can kinda see it, you can see the vanishing
point is much closer. The closer it is, the
more extreme it's going to be farther away. These points are the
flatter it will appear. So you can see how these
lines travel back. And then these lines travel back and you can
actually see that this front portion of
the house is flat, so it's actually perpendicular
to where you're standing. So it would have a line that
just comes across as opposed to align that comes
out at an angle. But I thought this one was
interesting because it's so, so tall and so you can see how the sides of
the house would be associated with each
vanishing point. All right, and then
one more thing that I wanted to go over. Let's get rid of these fellows. Here we go. Here's the last one. This one is interesting because it's
actually a bird's eye view. So you can see that you're above the horizon looking
down at these, these houses and obviously
they're very large, but they appear small
because you're above them. Let's look at that horizon line. You can see here very distinct. The horizon line is right here, and then the vanishing
points are here and here. You can see how everything is pulled back in this direction. And as you can see, like I was saying before, the horizon line is here and the subject is below
the horizon line. So instead of being
at this angle, we're actually going to see
it in the opposite direction, coming down like this. And again, it's still vanishes into these smaller sections. So you can see how the buildings
becomes smaller as they go backwards towards
the vanishing point. And then let's go
ahead and just throw in some of these lines
here so that you can see, here's the side that's gonna be associated with that
gray vanishing point. And then the blue over here
with this vanishing point. This is two-point perspective. One of the things
that I really want to focus on are these lines. You can see that this is a very distinctly two-point
perspective kind of cottage because it has a
portion here that's associated going back this way and then a portion here going
back this way. So it has very
interesting planes. What you notice is that the horizon line and then the vanishing
points are gonna be very far outside of this page. So this is what we're going
to be focusing on this house. We're not going to
be drawing all of these lines and making
it super difficult to, to actually have
artistic liberty. But what we're going
to do is keep in mind the angles of these Eve's keep in mind that the taller it is, the more steep of an
angle it will have. And then the closer
to the horizon line, the more flat it will become. So keep that in mind as we go on to do this
final illustration. I like to have things kind of
understood but not perfect. So what you'll find is
that with illustrations, ones that are very
perfect lines, very sharp corners, they don't necessarily
look that great. They're not very interesting. If you have a wobbly line or
a corner that's slightly, slightly off angle, it
actually causes interest rate. So keep in mind that two-point
perspective as we move on, but don't go crazy about it. So I hope this
helped and I'll see you in the next lesson.
5. Cottage Study - Sketches: Okay. We have our sketch book, open, our pencil in hand. I have my iPad propped up so that I can see our
reference photos. You can also use your
phone if you prefer. As you can tell, I've sped
this catching up a little so that you can quickly see
how it all comes together. When I begin sketching, I like to think first
about the big shapes. Where am I going
to put the sketch? What are the most
prominent lines? Where are the vanishing points going to be for this cottage? I like to start things
out soft and vague. You can see how I'm
holding my pencil, hold it farther away from the tip and had a
pretty shallow angle. This makes it easier to
plot these initial shapes. After the soft sketch and all of the large
lines are plotted, you can choke up
closer to the tip of the pencil to get more
control and add more detail. In the beginning. Try to pay attention to the lines and angles
of your subject. Now I completely
agree with taking creative license when
sketching something. Don't like that odd
Bush, leave it out. One to add some leaves to
the foreground, add away. But for this stage
of the exercise, try to follow the general
shapes and angles of the cottages so that we can have a groundwork that's
based in reality. These are photographs
of real houses. So by drawing from
this photograph, which is as close to drawing from life as possible without getting out with a sketch book and sitting on a street corner. It allows us to better
hone our abilities, skills, and general
understanding of perspective. We are putting in practice, just like someone practices
the fundamentals of piano to improve their
overall skills when performing more
complex compositions. You'll find that the
more you practice from life or from photographs, the better your drawings from
imagination will become, because you will
have a foundation based on how things
actually look in reality. Okay? I'm going to be doing
several sketches here so that you can see
how I hold my pencil, how to add details and so on. Again, I've chosen a few
different cabins and cottages. Some that I really like, and some that I think
are very complex. After going through
the motions of doing all of these
different sketches, we can then really
look at all of them and choose
our final subject. Don't feel like you
need to really worry about where each of the
sketches are on the page. If you want to keep
them separate and go to a new page with each
sketch, feel free. But I like to have
my pages full when I'm just sketching
so I might overlap. It doesn't matter. Okay. So as you can see here
as I've been drawing, I've laid down the
large initial shapes. And now I'm starting to go
in and add more detail. You can see I'm putting in
little details on the roof, on the chimney, putting
in shadow and light. I'm shading around the
windows and the eaves, and I've added details to the
door into this back shed. This is the time where you
add the details to make the subject really look as though it has three-dimensions. I like this cabin. I think it's nice but simple. And then in this next one, you can see here I go, I'm adding all of
the initial shapes. I'm laying down the
chimney and the roof. These are the shapes
that you need to add first so that
you can make sure that you have the
right perspective for the rest of
the illustration. So you can see how you
start out very basic. And then you go on to add more detail and really make the illustration
look wonderful. Why a cabin you ask? There are several key aspects of a cabin that can help us
to improve our skills. Firstly, there are
always organic shapes. Wishes, trees, clouds, smoke coming out of a
chimney, a winding footpath. This allows us to
understand the things of nature and how to add shadow to make the actual
depth and shape of the tree or bush
or path pop out. And how to not
overdo the details so that the highlights
can also pop. And then there are inorganic shapes and
the lines of the house, the walls, the roof,
a chimney, windows. All these things are
flat planes with a really distinct
lines to help us practice and understand
perspective. There are shadows,
so it's simple to make it feel as
though it has depth. Plus who doesn't like
thinking about a calm cabin? It always reminds me of a
time when I'm able to rest, go on a hike, recharge. These are all nice things to
think about. Well, drawing. Some people like to set
a timer for each sketch. Let's say that they
don't want to sketch any one subject for longer
than two or five-minutes. They'll set a timer and stop
that drawing when it ends, regardless of how far along the sketches or if
it's incomplete. I don't really like to do that. I like to follow a more
organic way of sketching. I'll maybe spend 3 min on one subject and find
that I want to move on and then spend 10 min on
another. I think that's fine. But if you want to set
a timer, please do. This is the last cabin in my
set of illustrations here. I really liked this, Kevin, because you can see it
has several additions. There are different
angles coming out from each of the roofs
and the windows. And the light was
quite interesting. It's also behind a
little stonework fence. So you have a different kind
of feeling of the cabin. You're more above
it so you can see a different perspective of
the roof and of the lines. So this won't be our
chosen illustration, but I thought it
was good practice.
6. Choosing Your Subject: Alright, here we go. I have these four cabins, and this is where
you get to step back and decide
which one is best, which you'd like as your
final illustration. Try thinking about
several different things. Is it a good composition
or they're interesting leading lines that draw your attention back
to your focal point. Is there something
indescribable, but you just like it
more than the others. When you look at it, what
is the overall feeling? Is it moody or cheerful or dark? What do you want to show
in your illustration? Let's see, I like all
of these cabins a lot. These two are my favorites, but I think I'm going to go with this one because I really
liked the way it looks. I like its shape and
the surroundings. I like the chimney
and I can imagine a chilly night when
it would be just so nice to have a fire going. The windows would be
cheerfully lit with a warm glow and smoke would be billowing
out of the chimney, maybe at an angle because
of some stormy wind. And you'd be able
to see it white in front of the dark storm clouds. It just seems like a
nice place to live. Good luck and choosing yours. And in the next lesson, we'll be starting our work on our final illustration.
I'll see you there.
7. Final Illustration - 1: Alright, we've reached
the final step. We've already put
in the hard work of doing our study of
different cottages. And we've chosen the cabin that we want in our final drawing. So this is where we get to apply all of the things
that we've learned about two-point perspective and sketching out initial lines and the proper angles and
making the big shapes before moving on to add
in detail and shadow. Here I have my
Moleskine sketchbook with watercolor paper. Again, I'm using
watercolor paper because this very illustration will be used in two additional classes. One which will be
an introduction to watercolor techniques, where we'll be adding
even more dimension and beauty to this
final drawing. The other will be
an introduction to procreate and how
to digitally color a physical drawing to
make it look almost as if you were using
traditional physical media. Only with a little more magic. If you're not
interested in using this illustration for
the watercolor class, you can use any paper that you like or keep it in
your sketchbook. We can use either
style of paper in the introduction to
procreate class. You may want to refer back
to your study sketch. So if you keep it in
the same sketch book, I would recommend completing your drawing on a page that you can easily flip back to
your study for reference. Now, I'm working in
this larger sketchbook, but you can do your final
illustration larger or smaller depending on your paper size and what you want the finished
piece to look like. So first off, I went to decide about where I want
the drawing to sit. I have the study so I
know how it will look in its final form and
what aspects of the reference photo that
I want to keep in place. And if there's anything
that I'd like to remove, you can see how messy and indistinct these
lines are initially, as I'm figuring out
the proper size and angle for the
correct perspective, you'll see the lines become
darker as I become more confident on the overall
size and shape and location. On the page of this cottage. You'll see that I jump around between different areas
of the cottage as I complete the size and angle of one section of the cottage
with another aspect. This is to make sure
that I'm keeping the correct proportions as I set the sections
of the cottage up, the best time to make
a major mistake, like the angle of the
roof being incorrect, or one side of the house being too large in comparison
to the other, is right now at the
very beginning, where you can most
easily correct it without having to
erase many details. I'm going to be working
the same way that I did when I was
making my sketches. It's important when you
put forth the effort to practice that you do it in
a way that will be useful. You want to be able
to draw off of what you learn in your
daily sketches and studies to improve
your abilities when you really need
for it to look good. If you practice
sketching very sloppily, you won't be able to use
that when you want to have a more detailed and realistic
finished illustration. Whereas if you practice sketching to refine
your technique, your overall abilities
will improve. One of the wonderful
things about using a photo
reference is that you don't have to spend
a lot of time composing your
final illustration. You can choose the
photo reference based on how it was
already composed, how it looks in its entirety, even before beginning
your illustration. Instead, you get to
use that time working out the proper angles
and improving how you're drawing looks to be solely
on the mechanics of your technique and you're
improving abilities. Alright, at this
part of the drawing, you can tell that
I'm starting to have more distinct lines. The angle of the
roof is correct. I'm starting to add details
and the lines are darker. I'm starting to understand the angles of the
house a bit better. I'm laying out smaller
details like all of the windows and
the proper angles to this wonderful trim that
goes around the house. You can see the angles of the windows change depending on what level they
are on the house. Because of two-point
perspective, some window bottoms
are going to be at the opposite direction of an angle than the other windows. So you can tell when things
become more finalized, when I go over it a
third or fourth time. And you can see the lines
are straight or more distinct where I understand how to plot those aspects down. So this is the part of the illustration where the
main portions of the house, all of the sides
of the house and the roof, all of the angles. Those are all plotted down. So now I'm going to go back and I'm going to start
adding details, more like notes to myself to make sure that I remember
to add certain things. And you can see that I'm
adding little pieces to the chimney and little
pieces to the roof. There are small things about this cottage that I
think are very interesting. Like these little tiny knobs
that go on top of the roof. They're pretty tiles
and real-life. And over here you can
see that there are little pipes that come up
off of the tips of the roof. I thought that was
very interesting. It kind of leads into the sky. In their final lines, I'll be adding in small
details like the down spout. This is the fun part. Alright, I'm quite liking
how this is turning out. I think the overall
proportions of the cottage and the angles of the
most prominent lines are looking pretty good. Let's move on to
the next lesson, where we will be focusing
mostly on adding in the plants paths and
overall landscape. We'll also be adding a few
more details to the cottage. I'll see you there.
8. Final Illustration - 2 : This is one of my most
favorite parts of the process. The foundation of the
cottage is complete. And in this lesson, we could
add in all of the plants, trees, and landscaping that will make this drawing come to life. We're going to start out with the plants that are
closest to the cottage, like this beautiful vine that's growing up the wall
and down spout. Keep in mind as we do
this part of the drawing, that we're still in the mode of placing things in
a larger sense. We're still not
adding small details. So we're moving on to adding plants that are farther
away from the cottage. There is a beautiful
little rose bush with fluffy pink blossoms that I bet with smell wonderful
after a rainstorm. I'm thinking about how pretty those are going to look
with the watercolor, a deep green wash with a
blooming pink for the flowers. I'm also working on angles
again with a line of this little foot path
that goes around the side of the cottage and
meanders through the gardens. When you're at this stage, you can block in the
larger shapes of the bushes and the trees
that are around the cottage, more detail will be added later. Another thing to consider is that often in
drawings like this, you don't need to go
overboard on the details. Not every single
piece of this paper. It needs to be filled
with stonework and shingles and
detailed leaves. E.g. if you're building is
made of stones like mine is, you don't need to have the entire building
drawn out and stonework. Your mind will
continue the pattern as you move along the
side of the building. So all we need to
do is add hints of stonework and the viewer's
eye will make assumptions. Time to add the larger
plants and trees that are farther away in the background
and in the foreground. I'm also going to be adding
smaller details. Cottage. These aren't little tiny things that we'll be doing later, but more like the stonework
hints of texture so that we can have a
foundation that we can build upon in a later lesson. Also notice here as I'm adding these little
stonework pieces and later as I add different lines to the roof into the chimney, I'm keeping it in perspective. So keep in mind
those two points, those vanishing points, and the lines that
come out of them. And the angle in which
you set the stones. You can see that in
the front portion here that I'm doing right now, it's vanishing towards
that left vanishing point, like we talked about before. And then on the
other side you can see how it looks as
though it's going back towards the vanishing
point that we colored gray on the right side. So keep that in mind as
you do these smaller, more detailed pieces because this is where you can also
go wrong with perspective. Even if you have the
major lines down. It doesn't mean
that you can just ignore perspective with
these small details. I would consider these
small details are equally as important as the large lines to
be in perspective. If you have the combination of these details and
the larger lines of the house in perspective, you can really feel the depth and dimension of
the illustration. Okay, As you've witnessed
with my sketches, I like to work in stages. First, a light vague
sketch that gets down the main aspects of the
subject and perspective. Then my lines get
darker and more competent until the foundation of the subject is complete. Then moving on to the area surrounding the subject,
like in this lesson, main plants and landscaping and blocking out where large
shadows and shade will be. Lastly, in our next lesson, we will be drawing
out the final lines. This is where I'll be using my kneaded eraser in
this illustration. Adding in the
details and shading the blocked out shadow areas that we made a note
of from before. At this stage of the drawing, I'm not really
adding anything new. All that I'm doing
is going back and reviewing the lines that I've already placed upon the page, you can see that I'm checking
the angles of all of the major lines and
some of the minor ones. You can see me adding
a correct line with the windows and with the
trim around the house. You can see that I'm
verifying that I have these lines down correctly. This is the time that I'm
taking a mental note of what lines I'd like to erase
and which I'd like to keep. Who'll do that starting in the next lesson.
I'll see you there.
9. Final Illustration - 3: Alright, this is
the final lesson. All of the foundation
work that we did before this was setting us
up for success here. In this moment. In this class, we are
going to be laying down our final lines
after erasing a bit of the lines that we
made a bit too dark or at the wrong angle while
plotting out the foundation, straightening some
lines on the cottage, and putting in the rest
of the final details. The first step that we're
going to do is erase some of these darker lines and some of the lines that should be
behind other objects. I have my kneaded eraser
and as you can see, I'm really working it. You want the body
of the eraser to be very soft and pliable. And then you want to
be able to create either a sharp point
or what I like to do when I'm erasing a
fairly straight line is create a sharp ridge line. This allows you
to quickly remove these soft straight lines
that we no longer want, but leave the lines that
have the correct angle. You can see that
almost every time that I erase a small portion, I need the eraser again
and reform the point. You want to make
sure that you have that sharp point so that
you can be sure that you're taking only
the lines you want to remove without accidentally
erasing something important. You can also see that instead of rubbing back-and-forth
to completely erase something on lines that are darker than
the surrounding lines. But that I still want to keep on taking the eraser
and just pressing it slightly onto the
page to lift some of the graphite from the
page, enlighten the lines. I'm going to do just a few more touch ups with this eraser. And then I'm going to
put the eraser away and I won't use it for the
rest of the illustration. I quite like the look
of leaving the majority of the sketchy lines in
the final illustration. I feel like it gives it
character that it wouldn't have with perfectly
straight lines and angles. After doing all of this erasing, I'm going to go back and
put some of the erase details back in that were
mistakenly taken away. Even though I made that very
sharp point with the eraser, you can see that I still
erase some things like the down spout and the
corner of the cottage wall. So I'm going to add
those lines back in. So now I'm going back and adding the final lines of the cottage on the window frames,
the rooftops. I'm darkening almost every line. These are going to be
the lines that you really see when the
illustration is finished. And they all have
the correct angle because of the foundation
work that we put in. I'm also adding a
few more details to the house and a
bit more stonework. I wanted to add
the stone details to this area of the house specifically because
this small side will add quite a bit of depth. If you angle the stonework to show the correct perspective, the stones will almost
look like a V-shape, showing the different angles on the different sides
of the cottage. I'm also adding in
some more areas that I want to block
out for shadow areas. Also, keep in mind that even
if a shadow is very dark, almost black in reality, it doesn't necessarily need to actually be black
in our drawing, we can make an area seem darker by leaving out the
details in that section. Think about the shadow on a
bush that's in the light. On the side of the
light we can see all the leaves, the flowers. We can see specks of
bugs flying around. But in the shadowed section, perhaps if we were to
really focus on that area, we would be able to make out
some of the leaves or twigs. But when you think about how you actually look at a
bush and the light, your eye moves away from
the shadowed part in favor of the easily seen
details in the light. So the overall effect
is that you can remember the way that those
leaves and the son looked, the general shape of the bush. But you don't really see or remember the shadows
the same way. So all this to say
that shadows in a drawing don't have
to be super dark. But by having the shadow areas
contain much less detail, it gives the feeling
of being dark. I'm also adding a
bit more texture and shadow to the roof. Notice that the lines that
I'm laying down follow that V-shape that makes the roof appear to be more
three-dimensional. I'm also using this cross
hatching technique on the angle of the house to indicate the texture
of the shingles. At this point, I'm
checking all of the lines one more
time in regards to the reference photo
and seeing if there is anything that I left out
like this small bush here. I'm also adding more detail to the flowers and texture to
the ground around the cabin. In the photo, you can see that the cabin appears to be
surrounded by gravel. I'm also adding the lines
on the footpath which need to be placed out
in perspective as well. I'm adding a bit more to the landscaping
around the cottage. You can see there are a few more little plants and
I wanted to add a little texture to
indicate the lawn around the plants and
the large pushes. This part is a lot of fun. I'm just going around and
checking the areas that I think need to have more
texture and more detail. As you can see here, I'm coloring the lawn
a little bit darker. And I'm adding texture around the plants so that you can have some things pop and other things kinda fade
into the background. I'm also darkening a lot
of the lines that I see. Some things that need just
a little bit more detail. Okay, This is where
I go back to all of the notes that I made
for myself from before. These are all of the details
that I didn't want to forget about when I was
laying down the foundation. You can see that I'm
adding details to the chimney and all of the pretty white
window frame details. This is the last look, checking the illustration
as a whole and seeing if there's anything
else that I want to add. I think one of the most
difficult things during an illustration is
deciding when to stop. So this is me deciding to stop. We're all done. I hope you like your illustration
as much as I like mine. Please join me in the
final lesson where we're going to wrap everything
up. I'll see you there.
10. Wrapping it all up!: Here we are. You made it through all of
the lessons with me. And now we have a beautiful
pencil illustration of this wonderful
Cottage to show for it. Let's go over the
topics that we covered and everything that we
accomplished in this class. We learned about
the importance of practicing from
reality so that we can have a solid
foundation for when we're sketching from
our imaginations. We did a sketch study
of several cabins, and we stepped back and
looked at them critically to determine which would be the ideal candidate
for our illustration. We also covered two
point perspective. How do identify the horizon line and the vanishing points, and how to apply it
to our drawings. We then took our very basic
idea sketch and transformed it into a beautiful illustration by thoughtfully placing
it on the page, working out the
foundation of the cottage itself and the
landscaping around it. And finally, using details and shadows to really bring
our illustration to life. Thank you so much for
spending your time with me. And I really hope that you've
enjoyed learning about these aspects of perspective
and illustration with me. Please don't forget to
upload your sketches and your final illustration
to the project gallery. Leave a review and subscribe so that you can be notified
of my future classes. Thank you again. Bye.
Molly Barker, Lifetime Artist - Creative Entrepreneur
