Paint Your Home In Perspective

1. Introduction: Hey team, Welcome to Authors and my name is China. And today I'm going to be showing you a really FUN technique to be able to paint Your Home. Homes are really special to us. They are somewhere that we live is somewhere that we host our guests. But it's something that we are involved in every single day. We'd like to keep it tidy or we try to keep it tidy. We raise our children, that we raise our dogs, that for all plants, Home is really important to be able to do this for yourself or for a loved one, is a great thing to be able to do. In this class. You're going to need your ruler, your pencil, your watercolor paints, watercolor paper, some water clean Rag, and an eraser just in case we make any mistakes, which we probably will. So grab everything you need and I'll see you in a second. 2. Stage 1 - The Drawing: Once you have everything ready, the first thing we're gonna do is taped down on paper. This will help to prevent the paper from warping, especially if we're doing something that's quite geometric and angular. So tape it down with your masking tape. So we're actually going to add two more pieces of masking tape. We're gonna put these either side of the paper because the paper that we've chosen is a bit smaller. But even if your painting this on a full, you still want to have your vanishing points way further out than your paper because it's just going to help to make your drawing feel a little bit more accurate. Now, the Perspective on my building is not center to the horizon line, so we've actually shifted closer towards the right hand side vanishing point. And it means that the left one is gonna be way further out on our page. So let me show you where I would place my vanishing points and have a think about where yours would be. You'll be able to notice this because you'll see that some lines are really sharp. If they're really sharp, it's very close to the vanishing point. And if some angles are less severe, so maybe that pointing in this direction, then they're going to be further away from the vanishing point. So let's place our vanishing points and then we'll start our Construction. So we want to have a vanishing points, a very different places on this piece. So the first one I want to put as far away from me as possible. And the second one, I think I'm actually going to pop that on the page. So I need to make sure it's on a horizon line. So I'm looking for my Ruler to be parallel with my paper. I don't really have to draw the horizon line. Only need to do is a little mock. You can see with one vanishing point is and then another mark to see where it is on this side. So I can see these two marks there. And that's just going to make life a little bit easier for me. So we don't have to keep rubbing out this horizon line. And I can start with my Outline 3. Stage 2 - Perspective: So we always look to the corner that's closest to us. For me is the corner That's right next to the door. So I want to think about where to place that. I'm looking at the picture kind of halfway between the edge of the building and the edge of the toys, just over halfway. So what I'm going to do is think about if that's half of my page. If I didn't lie on their behalf, my page, I'm just going to move it slightly to the right. And then I'm just going to extend that line down that it doesn't really matter if it's the right length or not because we can always change it. So I like to extend them a bit to match. I had a bit of room to play with. Now, what we can do an easy when it's a think about where the building ends. So every time you have a corner, you remember from our previous lessons, always aims towards the vanishing point. So that means I can draw a line that goes from that to that. And I can also draw a line that goes from this vanishing point to that corner. Again, overextend it if you need, I think that's quite helpful thing. And then I need to think about the top. So obviously we have a roof and I want to think about where the roof ends. This probably is way too long. So instead what I can do just saying, what if I put my roof down there? And then than I could think about where some markers can be placed to help me figure out my proportions. So an easy one is to think about the top of the door. So let's say that lives here. Then we can think about the top of the window. So where that drainage I guess that's where the drains go where they are. Probably the same distance actually from float to Joe, Door to drain, drain to roofs. I think about those three as proportions. Then what I can do is find my drain point and attach that to my vanishing point. And I'm starting to build that wall in the middle. So this section is going to be quite narrow. Speaking, draw a line there, and then I can construct the rest of my roof on the right-hand side. So I've got a new coordinate inverted. I can just extend that. And then at the bottom there from the corner and extend that. So that is a very accurate version of my joy. Also need to just do the top of that going down. Great. So I've got my dual plane, and then I've got my window plane. Then I can think about where this needs to end. So I've got a bay window that, but I've also got perspective. So anything that's closer to us is gonna be bigger in size. So for example, from the corner to the edge of the bay window is going to be bigger than from this corner to the edge of this bay window. Always work from the closest area. We can make a little mark here. So from the coordinate to the edge of the bay window. And then from that first glance, I can do a line to the wider middle section. I can do a line, the skinny slump next to that and maybe it's even skinnier. And then to the wool. So this section is smaller than this section is the same on the house. If you're standing right in front of it, you would notice that there probably exactly the same size, but in perspective, we need to be aware of that. So now I've got that. I can do a vertical line going up to the roof. This will help to set my proportions and also helped me to get the top of the point here. Now the same rules apply. The point at the top of the triangle is probably right in the middle of this white pop. But because we have perspective from this section to the middle actually will be a little bit bigger than it seems, because this part is further away. Therefore it looks smaller. Now I've got that. I can just do little mock top. I don't know how big I'm gonna go with that, so I'll just do a little dot for now. And I will, I'll actually add to the roof. So this is on the same lines that is on the ground. So I can just overextend that. I can actually get rid of this line because we don't need that anymore. I just wanted to draw my triangle ends. I think about the height. Happy with it. Could it be a bit low? I might be a tiny bit lower. So once I've got my point in place, I'm then gonna do sideways line. And a sideways lines. These actually don't fully perspective because they're on a very interesting angle. Now I feel like this should be something in here just because of the rules. But let's see, let's just leave that for now and continue drawing the rest of the building. So let's do the bay window. So only want to do because it goes pretty much all the way up is a couple of nuances. Make life easy. I'm just gonna do some straight lines. Remember they have to be parallel with one another if they're going up to the sky. This is going to help me to see what bay window really easily. Now, obviously, we do have some sections coming further out, but what I wanna do now is figure out the proportions of the height. Again, just use little dots and you can always move them around if they need to be changed. So let's start from the ground to the bottom of the bay window. So I'll do a little mark. Then we have the window. We've got that big Brookie section above, which is probably the biggest section, then you've got the window as the remainder. So again, think about the proportions. The window on the top compared to the bottom. This will be slightly smaller because it's further away from us. So I'm actually going to move that line tiny bit. How is easy when, at this point is to draw perspective lines across to our dots. Attached your rule it to your vanishing point. Then just work your way down. Good window, brick brick window. I don't know why I did it in that order. Doesn't make any sense. So you've got window, brick, window, brick. Good. So let's think about these lines are on the bay window. This is a little bit tricky because the angle of the break, if we were face on, you'd have a flatline and then you have these two lines that go out. And then you'd have the waltz your corner. So it means that this angle isn't following the same perspectives as this is not going in a perpendicular way. But what we can notice on the picture is the change in directions. So the first two lines, oh, angular. And one's going probably in this direction. When you move up, it probably flattened a little bit, not too much. Then when you move up again, there's a change in direction, so this starts to point downwards. Instead of going upwards. I can do a lot that and then at the top, that angle is going to become more severe. So I can pop that line there. You see this starts to give the illusion of this coming forward. Obviously, I need to do a little bit on the button. So that's my angle that it's gonna be a bit more severe. Then I can just pull that, Draw that in. That. That looks fabulous. And it also means that the bottom of my very window has actually changed, so I can pop that back in. Then it's gonna be a very similar case on the left-hand side. So this one, it does need to touch that quota. So I know that, that you go that. Then they start to get a bit flat. Slats it again. And then we change direction completely here. So, so satisfying when it starts to look like that. Okay, fabulous and fairly happy with those proportions as well. 4. Stage 3 - Final Drawing: So long as you follow the rules, even if it's slightly off, it will still work. So hopefully, you're at a point at this stage when it's working charters coming together. If not, you may need to revisit my perspective episode just to help you remember the rules and depression. But for now, let's carry on and let's add the dual. The dual lives in here. We do have a roof that protrudes it. So why don't we start with that. Let's think about where the ends. So he said this was the top of a job, but actually now I'm looking at my bay window. I think it should be a little bit lower. So let's say that's the top. And then I just want to wedge it does so it stops coming forward. So we don't want to do on this background because that means you won't have porch. And I'm just going to do some rather long lines over here. And that should show I, you got a bit of a porch going. Now. You can see the roof on my perspective, maybe not my actual picture. If it needs one, draw one. Then there's think about the doors so I can do a little pointers again, actually, think there is a window and frame. There is still perfect window a frame because that's bigger than this. I might even just first that tiny bit actually. First time. It's not perfect. Celebrate too soon. Just put them all a little bit and then we can do. That's cool. I just have a look at it. You happy with it? Or can it be smaller? I think nine, be a bit smaller. Which is sad. It's annoying when that has to happen, but it's better to make the change than live in regret. So let me make that smaller. So you're actually going to go, you're gonna get that. You should never say it's perfect. Because if referred to change this the most yeah, that feels better. I think when the doors in there, it's going to feel a bit narrower and a lot more accurate. Fabulous. Okay, so we can draw the detail in a second, but for now I just want to get a window in. And I'm thinking about that corner and going all the way. There we go. So let's think about edge. So I think that'll come there. And then the rest of the window and go that so bigger than what it should be. But the only person that will know leave alone because this is actually and then the bottom of the window. Then of course, a straight vertical lines. Now, let's separate this house from its neighbors. And actually, I want it to be that separate. That line ending up there, which means a window does need to become less and maybe this would be much more accurate. There we go. So this is a gift which means I'm just going to open it up. I think what I'll do is I'm just going to add, how would you end this? Obviously, if we were painting it, you can end on there. But maybe I do just have to just have to extend it. And that's annoying. But I'm not going to add any of the neighbors details because it's not about that. Okay, good. So what do now is fill out the details. So think about your Windows. How many are in there? Do you have any frames around it? Is there any detail in the word? But don't worry about things like brick or doorbells like nothing small. Just think about frames of windows, frames of the door. And also on this brick part, this extends a little bit further out so we can add that detail as well. 5. Stage 4 - Watercolour Base Layer: Okay, So the hard work is done. We've got outline which is quite stressful. I'm not gonna lie. You're often like, Oh, is it too big to small? The main thing is if you've followed the rules of a line going from one vanishing point, hitting a corner, going towards the other, then it will work. It will still look like a house. That's so many of you are saying, well, it doesn't look like the house, but it looks like a house. So there's still winning that. But I also think people would recognize it as the house you're trying to draw as well. So give yourself a break because it is tricky. Now what we're gonna do is we're going to paint it in watercolors. I love this. I love Watercolour, so much. So grab your paints and let's get started on the Watercolour stage. The first thing I'm gonna do is just paint the whole thing in a base color except the white windows. Now, if you do have masking fluid, feel free to use that to block out any of the white. Or you can do it section by section. So I think I'll do section by section just because not everybody will have masking fluid. I want to think of the average palette. So it was quite warm house this orangey red. So I want to think about those colors for my base. So first I want to add a bit of water into my palette. I've done two big drops. And I'm going to add some yellow ocher, little bit of red, which is quite nice, but it's very, very bright. So I'm just going to try knock off the brightness a bit with literally the smallest amount of blue and then still feels quite orangey. So maybe I'm gonna go for a bit of purple. Yeah, there we go. A little bit of purple, which I suppose is, is blue and red. And that's gonna be a really nice paint. So just notice how thin it is. So if we're gonna go section by section, we're trying to get rid of as much white as possible. So we're not worried about shadows too much at this stage. All we want to do is get color on the page. So I might actually just start with this side on the edge because this side doesn't have to be perfect. This is just blending it away. They do have to work fairly quick with watercolor because you want it to be consistent and smooth. That's what we're aiming for in this painting. Guess I probably could have done with a little bit more, was actually a bit more haste. So just going to let that dry for a second and move on to this side. I think just staying in the lines helps for any drawing. It gives you a bit more time just to make sure you don't get any streaky lines. So if you just work within the sections of the house anyway, then it's gonna be much nicer. Now the reason why we're gonna do it in a couple of ways is because layering it really can change a whole painting. We have a Base Layer with an average color. Then it's going to help a whole painting to become a much more 3D looking and realistic. So that's what we're aiming for. Just work your way around now, adding your color and you'll notice I'm just skipping a section each time. Just gives it previous one a bit of time to dry. So you don't get any weird like to know Water, spillage or whatever it might be. So I'll give all of that a second and I'm gonna go in with a bit of navy and black for the Windows. I'll just pop them in there so much. I'm going to try and go for the furthest away from me. So much water. You've got too much water or too much paint, then you can just put your paintbrush on the Rag or the sponge and then just get rid of that. Be very careful in here. Really use the tip of your brush, tries to avoid going in that white section. So that's gonna be the hottest part. Trying to keep the white, extremely clean, water colored lights to dry extremely quickly. And especially if you're in a warm room, it's just going to want the water to disappear, evaporate as soon as possible. So if you're getting any edges that aren't blending in or you're getting annoyed buys because you're fighting with science, which I think painting and drawing is a lot like science actually. So just be mindful of that when your painting now I think a little bit of texture in a Windows is absolutely fine. It doesn't have to be perfect. But if you're a perfectionist, like me, I know the struggles that you're gonna go through. You're gonna be like, Why isn't this perfect? It will be nice. That loaded texture, I think that's pretty cool. Actually. Move up here. So there's all of a Windows done. Let's continue now with the brick. So let's get rid of all the white of the brick. 6. Stage 5 - Shadows: So let that dry, go grab a cup of tea and come back when it's room temperature and when you touch it, it's not cold, it should be the same temperature your paper. That means we're ready to go for a second layer. So stretch your legs, grab a cup of maybe this good, Okay team. So now that most of the Y is knocked off, we've only got the dual to really have a bit of color on, but we want to stop pushing the shadows. So think about when you're building, where is the dark is wool? For me, it's this one then this side of the building. So I do actually have some very nice shadows that are being cast from the roof itself. So I'm actually going to draw those in first. I'm just going to switch to my mechanical pencil just because it's sharper. But let's just draw any shadows that are on our keys. So my picture actually has open windows, but I couldn't be bothered. So I closed and shadows and ask slightly different. So let's start with our darkest shade. Now. If you use brown, I think sometimes it squishes it a bit, so I like to mix a bit of color with my brown, so I'm adding a bit of purple and just a touch of red as well. I want to make a good amount of it so that it will last. But I do want to make it thicker than the previous layers so that it really contrast. So if I attach that, you can see that it's much thicker. But this one might actually need a second layer because this is a dark is one. So let's see how we get up because it does dry, lighter, but having that color underneath will just help it to stick to the value that it should be. So paint that in. It's just starting to have this weird pooling so I can try and blend that in. It's just because things are drying at different stages. So it's really important that we work as quickly as possible just to avoid that. So I'm just gonna go over the whole thing again just to make that nice and smooth. My voice, it goes so deep. Now, that's what I mean, concentration mode. Okay. So, uh, let that dry. And then a break here is a little bit more yellow. So I'm just going to add more yellow ocher to that. Which will naturally lighten it a bit. But should be, well, it should still have the colours from the big boy we just done, so we can add that as well. This one's a bit wetter, which means the pooling in theory shouldn't be as bad. It's always hard to do the straight lines on the right-hand side. Let me get I'm going to pull that color into this shadows being cast from the window. Just a lot of paint my brush, I can just dab that back home was good. Then I can paint this. So pick up a bit more, pop that in the shadow underneath the window. This shadow is bigger. Underneath the bottom window. Anything that's just the position of the sun hoping that to elongate itself. Again, it's just trying dots them. Excess paint. And then in-between here so you can see there's a bit of a difference in brick. So I might just mixed up purple vacuum with it, with OK, I said this shadow here should be a mixture of the two shadows that we've just done. A lot of color. Good. I like it. Now AAA is, this one is really standing out. So I'm actually going to just remake this one. And I'm just going to plot that because technically this would be really similar and it just looked to lights or at least will make it a bit darker and it's similar colors to what was that? So pop that on. Then hopefully we can just forget about it. Okay, good. And then there's a final shadow up here which is very dark. I just want to get a thick paint there. There's really thick. This paint is almost like a pen. Also here too. Okay. Good. So let's add the door. So this is a navy TO all that as array. And then make sure it's dry. And I'm just going to paint around that. Essentially it's the same colours, a Windows, but because there's more pigment in it, it looks like a completely different color just because it's darker. Okay. So we've got a lot done. We have added the shadows. There's still a bit of detail that we can add to it. But what I want to do before is I just want to find those little black edges that are around the door and across the top of the ceiling because we just haven't touched that at all. So let's do that bit of detail and then we're going to relook at the rest of the painting, seeing if there's any shadows we want to add to make it look more 3D 7. Stage 7 - Final Detail: I'm just going to pick the black cup straight from the pigment. And it's black on the top row here. So then very gently go cross. Trying to keep my brush down. To me. That line is incredibly smooth, ER, done the bottom to top. So hard to talk can do that one, but very pleased with how that's come out. So the roof, this done, I'm gonna get black on the top. Then the first row. Underneath. There we go. So that just makes it look way more interesting. And I just noticed as well, does that shadow on the roof on the left. So let's add that one. I did it brown and a bit of black, which I think is fine for the roof because it's a very uninteresting roof. Sure. My parents don't want to hear that about that. Beloved house. Rules are a bit boring. Other Draw that in is too much paint on this brush. Sure if he can hear, but it's raining outside. And oh my God, I absolutely love it when it's raining outside and I'm inside painting. Okay. Perfect. So that's our main Detail done, I guess. And now I just wanted to re-look at these two panels and think about the light source of light is coming from this direction, which means that should be the lightest. So even this, this, this, and this will, these four should be a little bit darker. So just going to mix a little bit of paint and make sure it's got purple in. And then make sure it's nice and wet as well. Just gonna go over it so it looks a bit dark as I pop it on, but it was spread. Spread it out and then it will get thinner. Again. Remember it will dry a little lighter as well. Then it do the same on this side. Shadows, which is fine, there's no harm not being darker. There we go. Give it and I'm just going to add a little bit more yellow for his brakes here because they are different color and it's also nice. It's nice to have different colors on your painting. Makes it look a bit more interesting, doesn't it? Fabulous. Now, what's standing out to me at this point is the white. So that never pure white, but we can leave the left side a little bit wiser. The right side, we do want to just knock the Y off. So I'm going to make a gray. And then I just wanted to paint over it. So it's still, you know, we would still read this as white, but it's just not as wide as the window closest to the light source. If that makes sense. Anything that's closer to the light source will be the brightest. Everything else will be darker and darker. So yeah, that's fine. And then I'll just under the door blue coming off. Then the same for these windows. And then it will be a little bit lighter next. So this side will be lights or if it's not, feel free to do another layer on your dark ones, sorry, no new light ones. That doesn't make any sense. You might just do. Make this one a bit darker than these windows on the right because the in shadow too, so you can get that window on the top. Then this strip here. Then I'll get this strip the dark a bit there just to show those Shadows. Just the roof I think needs a bit of work. So let's make blackish brown. Hope that in. I'm just going to let my brush run out of pigment. Can add to touch a Water. That's going to get a bit of a gradient, but maybe I can add a little bit more pigment here. Yeah, good. I just want to add a little bit of shadow underneath here as a way too much juice there. Then the ground. So Final Bit, it's just a little bit shadows. I'm actually going to make a greeny brown. Just go like grass even though obviously there'll be a path that, but all they wanted to do, just get a bit of an edge. You see that green really lifts up those colours. And I'm just going to add a bit of water. I might just leave that. I want to try. Just bring that out that let me push that in the quota. That blend that. Don't ever write that. That's going to annoy me forever. Now that little edge. There we go. My friends have Final thing to do is to peel off your masking tape and have a look. This is a really beautiful exercise and it really teaches you about focus, about shadows, but perspective, and also drawing something that you really love. I hope you enjoyed that. Do leave me any feedback or show me what you've done because I would love to see. And congratulations, well done on your two-point perspective building. Let's peel off the masking tape now, do you have to be careful it doesn't rip. So I want to be very gentle. You see, I'm pulling it. This angle is just a little bit that if no reps, they say that I didn't know the artwork is going to read, but just do it slowly, really, really slowly. And just adding the masking tape actually creates a nice little border as well, which I think is a great touch for any artwork. Went to quit. That's why. Right? And the final thing to do is just your little signature right in the corner.