Introduction to Drawing in Perspective

1. Introduction: [MUSIC] Hi, my name is Sam Gillette and I'm an artist and illustrator from Ontario, Canada. I started drawing seriously in around 2017, and I have drawn for professional clients, from publishing houses to musicians, to letting drawings, everything in between. Along the way, the main thing I've done and is just sketch all the time, mostly with pencil. In this class, I'm really excited to teach you how to draw perspective. Sketching perspective, because there is a difference. Sketching perspective doesn't require a ruler, or a protractor, or any fancy math equations. All you really need to do is practice, and really all our drawings can use perspective because everywhere we look, we live in a four-dimensional world and we view things in three-dimensional way. From viewing a field of far side of it is much smaller to the city skyscrapers among us, when you look up, they seem to disappear into the clouds. Perspective is a really easy way to make your drawing stand out, to make them pop. To make drawings really dynamic that suck people in them, and this class focuses on that. How you can use a pencil like this and a pad of paper like this to create drawings that make you feel like you're standing somewhere and looking into this scene. This class is for beginners or anyone looking to kind of brush up on their perspective skills. I'm really excited to get drawing. I'm really excited to teach you how to take your drawings to the next level. From pencil sketches, this is really a great thing to add to your toolbox that can help you draw digitally, then start to paint with acrylic, or oil, or like I do, finish off your drawings with ink as well. Come on in and let's get drawing. I'm really excited to get going and to sketch out some interesting perspective sketches with you. 2. Before you Sketch : Hey, welcome to Freehand Perspective Sketching. I'm really excited to get going. This is the project that we're going to work on in this class, and it's one sketch. That can be done on any size of paper you want, any kind of paper you want. It really doesn't matter as long as you're sketching that's the main point. Now, this scene is going to have a cabin, as you can see here, along with a whole bunch of other elements. I invite you to draw something similar. You can do whatever you wish and at the end I'd love to see what you create, so feel free to post it on the Skillshare chat room or tag me on Instagram in your post as well. All you'll need for this class is, as I mentioned, a sketch book like this and a nice pencil. Intermission. Let's talk pencils for a second. For this lesson, I'm going to use a HB pencil like this. It's like a middle of the road pencil. It's the one we probably all used in grade school. But on either ends of the drawing spectrum, you have B pencils that are generally more soft and H pencils that are generally more harder. If there's B like a number next to the letter, and so like a 2B, a 3B or a 4B pencil are generally softer pencils better for darker lines, softer shading. Whereas, H pencils 2H, 3H, 4H, and even go up to F are really hard graphite and they're better for a line drawing and lighter gesture drawing, just lighter drawing in general. But for this drawing, use whatever you have. I'm going to use this pencil that we all used in grade school, this yellow generic 99 cent pencil that I probably got at Staples or a store like that. But really use whatever you want and don't really worry as much about the tools that you're using for this class, as long as you have a pencil and a piece of paper. Each lesson is going to be a different part of this drawing, and through each part of this drawing, we're going to discuss composition, shading, value, texture, and things that I keep in mind in each step of the way that help me create drawings that are a little bit more dynamic and that harnessed perspective to create really interesting and unique angles and drawings as well. I'm really set to get going, so let's dive right into getting inspiration for your sketches. 3. Finding Inspiration : Perspective sketching is hard. It's hard to translate 3-D environments into a 2-D workspace. It's hard to translate what you see in the real world, or what you see on paper, or in your mind to what you want to draw. That's why getting inspiration before you start sketching, especially when you're sketching 3-D environments is so important, and there's a couple of ways to do this. I love to go on Pinterest and find images in motifs that I can put in my drawings to make them more realistic. You can do the same with Google images, or any other platforms. Instagram as well, and the thing isn't to copy other people's work or photographs or drawings. It's to find elements in that work that can make your drawings more realistic. This drawing here where there's like a cabin and a rope where it's going across to it with some more detail on the rocks and trees. I looked up at animates like this, that gives a little bit of a more realistic way to draw all these things. That's because it's hard for our minds to remember what we see. If it's not right in front of us, I find me, I can't remember the details or the angles, or the shading, or the textures of what I see in front of me. Now that applies to any kind of art, yeah, but with perspective, it's especially tricky because to draw some of these architectural elements, it's really important to have that inspiration in front of you. When I'm sketching out in a city, I always want to be looking at what I'm sketching. If I'm in a cafe, I want to have an image on my phone that can give me clues as to what kind of angles I need to draw, what kind of interesting architectural elements I can add to my perspective sketch to make it really pop out. Because perspective sketching is way more than just technically correct objects that look like they're receding into the distance. It's about creating an image of the world that really makes sense and makes you feel like you're there. For our drawing today, we're going to draw a cabin scene just like this one. I looked at images like this, and also ones like this that give me an idea of what I might expect to see in a scene like this. Because, yeah, everyone knows what a tree looks like. But the intricacies of the far trees and the receding into the distance, as well as some aspects of this cabin is really helpful to have more of a fully fleshed out idea of what those things actually look like. I wouldn't suggest copying things exactly. But when you're trying to sketch from perspective, it can be really nice to have an image that's either the same subject matter, or as from a shot from a similar angle that you want to draw from. It just helps your hand and work together to create scenes that really pop with more meaning and create a more fleshed out world. For this lesson, you don't really need to find inspiration, I'll draw along with you. But in the future I'd really invite you just to see what's on Pinterest, see what's on Google Images. See what things that can help you. Images that can help you create more realistic when live-live sketches in perspective. 4. Vanishing Points: Foundations of Perspective : But now we're ready to get drawn. This video is going to focus on the root of all perspectives sketches, and that is a vanishing point. Now, in real life, vanishing points don't really exist in a sense that there's no spot on the horizon and everything leads towards. But in a drawing, a vanishing point is like an anchor for all your perspective drawing angles in the buildings natural elements that you put in. Here, I'm going to draw the perspective point in the middle of our page. Whereas you could also draw it in the top part, bottom part, really anywhere on this quadrant. It's inextricably linked to the horizon line. Horizon line is the point at which if there was nothing else drawn, the current of the curvature of the earth would make things disappear over the horizon. It's like if you're looking out onto the ocean, that point where the ocean meets the sky, that's the horizon line. I'm going to draw it here without a ruler because we're sketching, don't need to be exact. I'm choking up on my pencil. I'm going to just start a really sketchy line that kind of meets through this vanishing point and kinda roughly goes across the page. This is kind of the root of all my perspective sketches. It's important to kind of have this to guide everything else you do. Now, this is like one perspective, 2.3 perspective is when you add more vanishing points on different planes. So there might be one up here, or one over here, or here or here. That's the give the idea that you may be looking down at an object, looking up at an object, or looking at an object that receives into the distance in another direction. But here we're going to just start with one vanishing point. That's because in this sketch, I'm only going to place one building and it's going to be like we're standing on the same level as that building. We are just looking into the scene rather than looking up at it or looking down at it. Now, that's sounds complicated and it is, but I wouldn't worry too much about it. As long as you have this straight horizon line and one vanishing point, we can start adding some other guidelines that'll help us plan out the composition of this sketch. I really find it helpful to draw a star pattern. Vertical and then drawing diagonal lines through this vanishing point. It looks funny right now. It doesn't really look like a sketch. But all will be explained. This is how we are going to guide where things fall in the drawing. You can do as many of these as you want, and they don't really have to be straight. Just do choke back on your pencil, really light and soft lines. There can always be erased later if they aren't correct, but you want them to go through the vanishing point and spread out straight in each direction. So now we have our vanishing point and we have the horizon line. We have lines that are gonna help us kind of plan out where the rest of the drawing will go. From here, we can add some elements of composition to create a sketch that is sketched in perspective, makes us look like we're stepping into this scene, but also draws our I in a way that's really pleasing, in a way that engages the audience that's looking at your sketch. 5. Composing a Perspective Sketch : We're ready to talk about composition, and composition is the way that a drawing is composed, the placement of the elements within the drawing, the way that they're ordered in where they are on the page. You can really use competition to create really interesting and dynamic sketches that harness the power of how our mind works with our eyes to create sketches that going to guide your eye through the drawing. For instance, this sketch by Mark Pooley on Instagram, I probably butchered your name Mark, I'm sorry, guides your eye towards the important section of the drawing by using whitespace, as well as positioning the building in this drawing to the side that naturally guides our eye towards it. The angle of the perspective lines, the angle that things are seemed that they were receding into the distance is a really valuable tool to guide our eyes towards what's important. For instance, in this drawing that I did, you can see that the angle of this building draws you further into the scene. It creates a triangle that guides the viewers' eyes into the middle, into what's important. In our sketch here, we're going to use those same rules. The most important is probably something you've already heard, the rule of thirds. The rule of thirds takes your page and slices it all up. It says that if you draw your page and put it into thirds, if you draw some really light lines. I'm choking up on the pencil here, so vertical ones, as well as horizontal important parts of your image, should fall on where these lines intersect. Our eyes are drawn towards those quadrants of the page. For us, however, we're going to use these lines to our advantage and position the most important elements of our drawing on this axis here. That's going to be where our cabin is. Right now, it looks like a blob, like nothing. But that's okay. We just want to sketch it out where it's going to be eventually. We also want to have some relationships in our drawing. That means that positioning things within your drawing to guide the viewer's eyes. A really good way to do that when you're sketching, is to use streets or trails or rivers to guide your eye. The way you can do that is by using the way people read. What I mean is that in all Western cultures we read left to right, and that's why our eyes are guided left to right in the page. In our drawing, I'm going to put a guideline that I want to have a river maybe or something guiding from this quadrant up into this area. There's going to be a relationship from a line down here, but it goes all the way up past our carbon. When you look at this drawing, most likely your eyes take you from this line all the way back up here. We also know that the closer you get to the horizon line and the vanishing point, the smaller things get right. Like if you look out your window right now, the farther away you look, the smaller things are. That's why you can create really nice relationships with triangles, that guide you towards what's important. Here, maybe I'll eventually do a treeline, a background like in any other sketch that points you right towards the cabin, that points you to what's important in this image. Now we have our rule of thirds, this way of dividing up the page, as well as deciding where the important elements are going to go. We know that the most important thing in the drawing, the focal point, the point that the drawing will focus on is going to be up here. This is going to be the cabin here. We also know that there's going to be a relationship between the cabin and a point that starts down here that'll guide the viewer's eyes towards it. I think now we're ready to start sketching out the important facts of the cabin and important parts of the drawing, and that means starting with the cabin. 6. Filling in Focal Points : The reason why I want to start with the cabin, with the focal point of our drawing is because, I find when I'm sketching and perspective in dealing with tricky angles and a scene that recedes into the distance, I always want to start with the most important part, and that's because if you mess it up, if the lines look weird and wacky, then you don't have a whole drawing behind it that you have to change as well or erase around or try to work with. If you draw the cabin or the trickiest part of your perspective drawing first, that means the hardest parts out of the way and you can build the drawing around it. It also makes it easier to scale the rest of the objects in your drawing. The most important part of your sketch I find, especially in perspective, guides the size of everything else. Because if I'm sketching from real life, I don't want to draw a tree and then draw the cabin the wrong size to make the tree look like it's gets 300 feet tall. Unless of course that's what you want to do. In that case, go for it because sketching should be food for the imagination. But here I just want to have a realistic size cabin. We have the vanishing point here and we already talked about in the horizon line. We also have these star lines that radiate out from the vanishing point. I want to make sure that the line that makes the top of the cabin would intersect with that vanishing point. I'm going to sketch a really light line, as straight as I can out here, and another star point, out here. Now, I want it to be a little bit farther back from the horizon line, and then I'm going to draw some vertical lines here. and now we have one side of the cabin. Now the problem is that, to make this other side of the cabin and the side that faces us a little bit, we need to add another vanishing point, and that's because it would look awkward if this side was horizontal. Not awkward so much as it just adds a little bit more zest to the drawing. If the building's angle a little bit nicer. If it looks like it's pointing towards you rather than straight on towards us. This vanishing point is going to be imaginary. It doesn't really have to be drawn in here. I'm going to guess at where it might be over here and then make sure that these lines on the side of the cabin generally go towards that vanishing point, and then I'm going to cut the cabin off here. The great thing about sketching and perspective is that these lines sometimes even look better if they're not completely straight, because it adds your own flair, your own organic style to the sketch. Using a ruler I find, sometimes takes away a lot of that personality from your sketch. Here it's okay if the lines are a little bit wonky, as long as they generally go towards the vanishing point, they generally make the cabin look like it's receding into the distance. Now, I'm going to draw the roof of this cabin. I like to kind of sketch it out really lightly with guiding lines, and I'm going to draw the roof here, a pointed roof, and the main thing, no matter what you're drawing, when no matter what the focal point is, is you can really start light and sketchy. Hardly any sketcher draws one line like that. Usually it's really light sketching that firms in the lines, if that makes sense. A little bit of mumbo jumbo and now this roof has overhang. I'm going to draw that overhanging now, and another overhang here. As you can see, the lines that go this way, are pointing towards this perspective line. Are this vanishing point? The ones that go this way point towards that line here. Now we have the scale of this cabin and I think these lines look pretty great. Maybe if you had a ruler, these ones wouldn't necessarily intersect with that vanishing point, but they look good to me, and I'm not going to finish it in and I'm not going to shade it yet. But I'll add a little chimney and any other elements that I'd want to sketch onto the main focal point of the building to define its size and shape. That's what I do right now. But we have the main idea of the cabin and now we're ready to kind of sketch out other elements that guide our eye towards the main focal point of our perspective drawing. 7. Filling the Scene : In most prospective sketches, it's the environment around the central focal point of the sketch that really makes it pop and really makes it look like it's a dynamic perspective sketch. As you can see here in this drawing that I did awhile ago, it's the grass, and the trees, and the rocks, that really flash out the castle in the middle of the sketch. Without those, it'll just be a castle. It would look like it's in perspective, but we don't really have a grounding of the environment that we're in. It doesn't really make you feel like you're actually there looking at it. That's why the natural elements that we're going to place around the focal point of the sketch are, I would say, just as important as making sure that buildings look like they're prospectively correct, or placed in the correct position. I like to start with adding a background. Here, I'm going to raise up way above the vanishing point and add a line of trees. Now, since it's way back there it's going to be really light, it's just gesturing the shape of the objects. This is a great time where it is awesome to open Pinterest or Google and look at the environments that you're sketching, if you're not sketching from what you see in front of you. You can see what a tree line might look like, see what things are up there. No matter what, you'll see that a tree line like this of evergreen trees is never the same. It's not a cookie cutter trees that we might have all drawn in grade school. That's why I can draw a really loose line here, I don't want to have to darken it in too much. Like we talked about in prior videos, it's guiding your eye back towards this center cabin. Now we have a general idea of the background. With backgrounds and with the other natural elements, it's really nice if they point towards this center part of the drawing. If I had the tree line come down like this, it's really nice, but there's nothing important here at the bottom of the tree line. Whereas here, it guides your eye down, and at the bottom is this center point of our sketch, the cabin. I'd invite you to try sketching in these natural elements in a way that points towards the focal point of your perspective drawing. Keep in mind when you're sketching things, they have to get smaller and less detail the farther you go into the horizon. Here, I'm going to sketch out a little river that cuts across. I'm going to draw some other bigger natural elements to give the center of our perspective sketch, that cabin, some size. If you check out Pinterest or Google images, like I say way too much by this point, you can get an idea of some other props or other things you might want to add to your drawing. You can see the scale of them as well and compare that scale to the main part of your drawing. If these trees are the same height, which I'm going to make them the same height, then the tips of them should make a line that recedes into that vanishing point if they're in one line. But I don't really want to make them in a line. I decided I want to make it look like a real forest with lots of depth, and also I want to make it look like it's receding up into that hill. When you're drawing natural elements like this rock face here that's going to cut into this river, the really important sides of it intersect with that vanishing point. As I'm chocking back on the pencil, I can sketch out rough lines to make sure it still meets up with it. Notice how I'm overlapping some of these natural elements and creating a sketch that is really loose. Since it's in nature, the lines don't have to be very firm here. Let's sketch the far side of this river bank, going back to the horizon. I'm sketching the trees that recede into the distance here. Now I have a general idea of a natural scope of my drawing. I know that it takes place on a river. There is evergreen trees, and in the background there is a slope leading up the side of a hill with a whole bunch of trees on it as well. Now, we're ready to start playing around with layering. In the next lesson, we're going talk about layering the foreground, midground, and background of your sketch to create a drawing with a lot of depth and a drawing that pulls you into a life-like environment. 8. Layering your Sketch : As you're deciding how are you going to go about drawing into details of the surrounding environment that surrounds the focal point. You've got to consider layering. Layering is a really invaluable lesson that you can learn about perspective sketching because we see the world in layers. What I mean is that when you look at a scene, you see a foreground, mid ground and background. Background is the things farthest away from you, maybe it's the skyline, the city skyscrapers. The midground is things in the middle, they could be the storefront in front of you, or the takeout McDonald's sign. The foreground is right in front of you. It's the steering wheel of your car. It's the coffee cup in your hand. It's the street that you're walking on. In a sketch like this one, you can see that the foreground here is the steps leading up into this path and the rocks. I think I don't want to [inaudible] it myself, but I think it almost looks like you're stepping into the scene. But then the midground is that back section with the neural trees and the Planck bridge. The back section is obviously the path that recedes into the distance. The relationship between these three sections is really important because it's the way that you layer section upon section that gives your scene depth. We have our background here and we already drawn in our mid ground. We just get a foreground. I'm not saying all sketches need to foreground, but I find it's a really nice way to frame your sketch and create more depth. Here I want to just do some really nice light vegetation to make it look like we're standing beside this river and we could like look into this scene here, long sections of graphs. You don't have to worry about how much detail. Right now we're just creating a framework for or going to detail in later. Now, I will finish off shading in these trees. Again, drawing trees is own art all by itself. But I'd really suggest you'd look up some other really great tutorials on tree drawing and how to get those details right. But in sketching, all we really need to do is shade in the forms of them. You can add as much detail as you want close to you and then as you get farther away, fade the detail out. When you're adding more elements or layering in your drawing, I usually don't start shading until later, and I'll go over that in one of the next videos. But for now, just add some of these natural elements like rocks, like trees, and then start to draw them in as they recede into the distance. With trees is a little bit different because these are evergreens. They're dark but as far as the shadows of them go or the intricacies with shading, I'm going to leave that a little bit later until we decide on which direction the sun is coming from.The beauty of layering is that you can leave blank spaces. Your eye is really great at filling in details thus, I don't need to draw the whole hill of trees. In fact, I think it's better if I don't. I can leave this white space and let your eye fill in the details of the tree is crawling up the hill. Now, the great part of our layering is when you can layer different planes on top of each other.This cabin here, as you can tell, isn't actually on the same plane as the background. But the peak of it reaches above the trees, creating a sense of depth. Our eyes naturally adhere to the notion that the cabin is in front of this background. I think it really makes it pop a little bit more when you layer objects of each plane of the foreground, mid ground, and background on top of each other. But now we're going to just start the details and first off, we're going to start drawing details in the cabin. 9. Details in Perspective : Now, in perspective sketching, I find that the details can make or break your sketch. What I mean is that the details that you add or the ones that you leave out can elevate your sketch to a new level or take it down to a point where it's not really that much fun to look at. For instance, in this sketch here, the fact that I fade out the water towards the horizon line, I think, makes for a more enjoyable viewing experience than if I added the same waves that you see up at the bottom here to the background. That's because as I said in the last video, our eyes are really great at filling in scenes, at filling in what we don't have to draw. Makes for great lazy sketchers like me, but I think it makes for more enjoyable sketching experiences as well. Whereas I think there's some details on the ship here that the drawing would not pop as it does if those details weren't evident there. Now, as I mentioned earlier, the closer to us in the perspective drawing, the more details we're going to get. That's a really great way to make your drawing pop by having the points nearest to you more vibrant, more detailed. As I sketch in this grass, it's going to be more detailed. It's going to be darker than the background, which we're going to fade out. Now we're ready to start a really important part of the drawing, and that's detailing the cabin because as we decided earlier, or I guess I decided earlier, the cabin is going to be the focal point of our drawing, is the main part and a lot of the other elements here lead our eye towards that part of the drawing. I'm going to add some windows here. The part of the cabin that's facing us, I'd say, is the most important because our eyes are drawn there first. That's where I want to have this door, give the idea that maybe you could even enter the cabin. There's a door, maybe welcoming you in there with some hot chocolate or cold beverages, who knows? The wides on these windows and doors, the top one here goes towards this vanishing point, and this interior line to give it some depth goes towards that one. But again, we're sketching. It doesn't have to be exact as long as it looks right to your eyes. This is a great part where it's awesome to look for references because it's such an important part of your sketch. It's great if you're doing something for a client or a really important drawing to have a reference to know maybe window design that you're missing. Because trust me, windows and doors are pretty complicated things when you look at them, there's lots of different layers of deciding that can go above and beside the doors and windows, I don't even know that correct terms for it. But it's always nice to give them some depth to suggests that there's more than meets the eye there. I'm going to do the same to windows on the other side here, and I want to make sure the tops and bottom of them both lead back towards that vanishing point. Now, texture is a major part of your drawing. When you're drawing in perspective, texture can really make things look more lifelike and add some really nice detail here. Again, I'm drawing really lightly gripping back on my pencil, and I want to make sure these lines just like siding or wood or whatever is leading back to that vanishing point. I'm going to vary the texture up here for the roof and make it look like a tin roof or something. Nice to have some different line directions here to mix up what the drawing looks like. 10. The Importance of Shading : Shading is maybe one of the most important parts of your perspective sketch and I use shading in a variety of ways to create more interest in my drawings. Also it's a nice little cheat to guide your eye towards where you want the viewer to look at. By shading, the way that you use a pencil to create the illusion of a texture or some shading or shadow, anything like that. Usually when you shade with pencil, you want to tilt your pencil to the sides so you can go catch the long end of the little graphite nut. You can create nice, really dark areas like this. In this video, I talk about shading and shadow interchangeably, because in this perspective sketch, we're going to use shading to enhance the shadows in our drawing to create really interesting perspective angles. For instance, in this drawing, you can see that the direction of the sun shines on the most important parts of the drawing, on the faces of these buildings that I want people to look at. It also provides a good opportunity for contrast. Because we're sketching in black and white, contrast is another really good tool you can keep in your toolkit to create drawings that pop out. Because I really likes that nice distinguished difference between the black and the white, our pencil. Here I think I'm going to make the sun come from this direction, because I want it to shine on this face of the cabin. That's the most important part. That means that this is going to be dark. I'm gripping up on my pencil and just shading with the side of it here, darker in that spot. That means that the 3D objects in this drawing that rise up here, they all are going to cast the shadow in the same way. You really want to make sure that the shadow follow that same direction to keep the drawing united here. Another big part of shadows is reflections and since I'm dealing with a river here, a reflection is really nice way to add some zest to your drawings and it's really easy thing to add to your perspective sketch as well. Just a loose line that mirrors the ground above it here and I'm going to shade it in really lightly. When you're shading in your sketch, the parts that are closest to you will be the darkest here and even though there's no shadow, that means I can adjust the tones and the value of this part to make it look a little bit more detail, a little bit darker, and slowly fade it out towards the background. Now that we've shaded in some aspects of the drawing, I can go over it now and reconsider what parts need to be darker, what parts need to be lighter, to make your perspective pop a little bit more. Most are going to shade in aspects of these trees here to make them look a little bit more layered. I find it really nice. Last tip about shading is that you can darken the beginning of some of these important lines here and fade them out as you go. This works for brickwork or anything really. It just adds a nice little flourish, that makes your drawings or your buildings look like they're popping into the foreground a little bit more here. Perfect. Now we have most of the details in and feel free to work in as many details as you like, but for a sketch, I think this is pretty much good as far as details go. I can add in some more up here in the foreground. I can add some more grass here, but we're pretty much there. We know that shading is an invaluable way to make your perspective drawing in your perspective sketch stand out. By shading really intentionally, you can guide the viewer's eye towards what's important in your drawing. We know that here, that's the cabin and by shading the one side of it, we can create interest in this other side here, the primary side you could say. As well by fading out the shading, by making things in front darker, more detailed, more vibrant, even with black and white, you can create the illusion that you're looking into a scene that fades away realistically. Now, we're ready to recap, take a step back, look at our sketch before we say it's done and add some finishing touches. 11. Taking Stock : We're almost there. This is the final stage and the final thing that I do to my drawings and all my sketches before I'm ready to sign my name on them and fold my sketchbook over, call it a day. That's reevaluating, looking at your scene and seeing what you can add to it to make it really stand out, to make it really incredible, and to make it the best work that you can do. I think here there's a couple things that I missed. Along each of the steps of the way, I was probably doing things pretty quickly, and so I could probably add more detail. I'm thinking, especially up here, it'd be nice if I faded out this vegetation rather than added a straight line here. Even though we talked about earlier, how it's nice to frame you're drawing with this stuff, having the most detailed and the most vibrant aspects of your drawing right in the front of your perspective sketch. As well, I think a background would be really helpful. While we do have this treeline here, I think almost a third of the drawing is still that white space behind there that is uninspired. If we're actually in a mountain scene, chances are, unless there's an ocean over there, there'll be more mountains or there'd be clouds or more hills. Something else to fade your scene back and give it depth. Because I think in a prospective sketch like this, we really want it to have that depth. We're in a scene with an incredible amount of scenery. I guess said scenery twice, but we're in a scene that has depth to it. There's a huge space that we're looking into. To complete that image, I think I want to add some clouds or other aspects of the drawing like that. This is another great time to look at a reference drawing or even your own photographs to find out how to sketch clouds best, what they actually look like, what elements to add in and the shading that would be in them. But since it's really far back there, I'm just going to draw some really sketchy clouds. They don't have to be perfect, but they're just going to be the big, fluffy ones, we all see when you look up at the sky. The thing is that you can use your background to point towards your focal point here. I'm going to draw the clouds in a trail here, pointing back towards that cabin. Creating more visual aids to guide the viewer's eye back towards what's important here. We're sketching, we're not creating a real drawing here, so I can fib on some of these lines, make them a little bit darker to add some interest up here in the sky. That's a great way to fade out the background with some interest in there, but nothing to steal the attention away from the focal point. Because in your perspective sketch, we only have so much room to work with, as well as we don't want to make the whole scene equally detailed as we talked about earlier, because we want to guide the attention to what's important here. Now speaking of that, I'm going to reevaluate this section and I want to add some more details around the cabin. We're going to add some more grass here leading into the river and just darken in the shading. This is where you can play with a fade as well. Fading out the sides of your drawing to the borders to create a naturally encapsulating sketch that bounds up the elements of your drawing in a neat little package that makes it framed really nicely and really easy to look at and find out what's important in the drawing and where the drawing ends as well. Our mind I think fills in this section. It fills in this section, and you only need to draw everything for your scene to really pop with imagination, and zest, and vibrancy. This is where you can really be creative. You can add the flares and the details that you want. But keeping in mind the elements of sketching and elements of perspective sketching that we already went over. 12. Looking Back : You're done. Congratulations. We learned everything from vanishing points on horizon lines all the way up to adding details, fading out things in the distance, even holding the little school pencil that we are all used in grade school. I'm really excited to see what you've created and I'm excited to see yeah if it was worth it to get these graphite marks on your palm. Well, I guess I'm just a lefties only applies to me. But feel free to post your projects in Skillshare and connect with me on there, and also connect with me on Instagram, I'm @samgillettillustrations. Well, it's been loads of fun and see you next time. Thanks a lot.