Perspective Drawing: Creating Illustrations with Dimension

1. Anatomy of Perspective: - Welcome to part one of drawing perspective in this video will quickly cover the basic - terminology I will be using from this point forward when describing building various - aspects of your scene that you want to draw. - Unlike the canvas or paper you're drawing on, - the picture plane is the actual window we're looking through to see your scene. - When drawing scenery. - It's usually a good idea to draw on an insect cropped area, - because sometimes you may need to make marks or indications of objects outside of the - picture plane in order to understand their scale and spatial relationships to each other. - It also allows for some play and readjusting the crop and aspect ratio of your scene. - After all, - if all you do is draw on full sheets of nine by 12 inch paper, - all of your drawings will have the same size and shape. - Instead, - make a choice. - Choosing a vertical or horizontal oriented picture wide or square shaped aspect ratio. - These were all decisions that help support the feel of the scene. - You'll be drawing the most basic and arguably important compositional element of your - drawing. - The Horizon line is what it sounds like. - It represents the most distant part of your scene, - where all details emerged to a single point. - It separates the sky and the ground above from below. - Don't mistake the horizon line for the physical horizon itself, - however. - Every scene with perspective will always have a horizon line. - But not every scene with perspective will have a horizon. - For instance, - a scene that takes place in space will still exhibit detail that merges to a horizon line, - even though there's no horizon to see. - Some scenes may even have more than one horizon line, - but don't worry. - We'll talk about that in a later video. - The Horizon lines placement in your picture playing determines which way we're looking at - relative to it. - If you look more up, - the rise in line gets lower in your vision and you see more sky. - If you tell your head from side to side it till it's too sometimes, - the scene won't even have a horizon line in the picture plane. - This is a technique that can really help push the sense of scale in your scene. - Depending on where the Horizon line is above or below the picture plane, - we would be seeing nothing but sky or ground. - As the name implies, - the vanishing point is the spot where most details in your seen aim to merge. - Two. - Not all vanishing points will exist on the horizon line, - but in most cases, - one or two will, - for the most basic perspective setups. - As we move forward through the lessons, - the name 1.2 point and three point perspective are referring to the number of primary - vanishing points there are in your scene or thought. - Journals, - by their definition, - are lines that radiate outward from the perpendicular of another point and drawing - perspective or thought. - Channels don't have to exist at 90 degree angles from one another, - but they do radiate outward from a vanishing point. - Orthogonal czar guidelines that help you draw objects, - which properly received back to the vanishing point there oriented to typically, - an orthogonal will radiate outward from the vanishing point to help form the edges of an - object to be erased later. - Once the object is complete, - each vanishing point can have its own set of orthogonal is to help form the different sides - of three dimensional objects or thought journals also don't have to be drawn. - You can measure in orthogonal simply by overlaying a guide such as a ruler and making only - the line you need, - just as long as it recedes back to the vanishing point. - That's pretty much wraps up the basic terminology of perspective. - Now that you've been properly introduced, - why don't we set things up in the next video to put these basic ideas into practice? 2. One-Point Perspective: - There are three major types of perspective that relate to the number of primary vanishing - points in your seen. - This video is all about the first type. - One point perspective just says there are three dimensions in space the vertical, - the horizontal and depth. - There could be three vanishing points to create orthe ogles for each visible side of the - object. - Now, - this isn't to say that one point perspective creates one dimensional images. - All perspective is three dimensional. - However, - without a vanishing point to recede to, - that particular dimension remains parallel. - Since one point, - perspective has only one vanishing point. - Two of the three dimensions and you're seeing will remain straight and parallel to each - other. - The third dimension will recede to the vanishing point to create a sense of three D depth - and distance. - In one point perspective, - the primary vanishing point should always exist somewhere on your scenes horizon line. - Due to the nature of one point perspective, - the vanishing point should be somewhere within the confines of your picture plane. - Since one point, - perspective only deals with the recession of depth, - and you're seeing with parallel vertical and horizontal lines, - the farther your vanishing point gets from the center of your picture plane, - the more distorted the perspective will appear from reality. - This distortion is rectified by the introduction of more vanishing points, - which will be explained in the next couple of videos. - For now, - the best results will come from keeping the vanishing point within your picture plane. - As stated in a previous video, - the horizon line of your scene is important to consider as it determines much about the - look and feel of your final image. - Its position can help make or break different senses of scale and importance of details. - In your seen, - a low horizon line implies a point of view that is looking up or is placed close to the - ground. - For example, - a point of view that is close to the ground better illustrates scale of distant objects - such as tall buildings or mountains. - A high horizon line shows mostly ground and is implying looking down or having some amount - of height for a better vantage point over the senior illustrating, - for example, - looking down at the street from the window of a tall building, - the horizon line place more toward the center of the picture plane implies a more normal, - forward looking point of view and often works best at around standard I height from the - ground to establish a relatable sense of place in your scene. - Something that may take some time to wrap your head around is learning how to draw details - in depth as they received back toward the vanishing point. - Foreshortening is the phenomena of longer horizontal objects appearing shorter and - compressed as we view them from a more front on perspective. - The human arm is commonly used as an example for four shortening viewed from the side, - we clearly see the arm's length and curves. - However, - when viewed from straight on, - the arm appears shorter. - Since those curves have begun overlapping in perspective, - the same happens with all objects from tree branches, - two cars, - two buildings. - It's important to understand how foreshortening works in the senior constructing. - For example, - it's easy to overestimate how far back a building will recede into the distance, - and it will end up looking too long and distorted. - As a result, - there's no easy way to figure out the four shortening of a scene, - but know that the effect becomes more pronounced. - The farther back into the distance you draw. - If you're standing right next to a long building, - it will appear very elongated as it should, - since you're standing right next to it. - However, - if you place that same building a mile down the road in front of you, - all of its length will no longer be apparent. - It will appear very flat. - If you have a row of squares all the same size placed the same distance apart, - all lined up to recede to the vanishing point, - you'll find that their length becomes progressively narrower. - The farther away you get uses to your advantage and drawing scenery, - especially buildings far away ones can be drawn much simpler and flatter than one's closer - up, - saving you time and effort. - One point perspective is the easiest form of perspective to draw, - but that doesn't mean it's only used by beginners. - It's a stylistic and compositional tool that could be extremely effective when combined - with the right scene. - Even professional artists commonly drawn one point perspective if it lends to a particular - look they were going for one point. - Perspective is very clean and orderly, - since all depth receives back to one point, - it can create a strong center of focus within your image. - It's very common in one point perspective. - Artworks to find the center of focus located at somewhere around the vanishing point. - If not, - the scene will commonly be much shallower in depth by either having another object blocked - the vanishing point or use fog or lighting effects to shift your focus away to somewhere - else in the image. - Well, - that about wraps up our video for one point perspective. - Move onto the next video to learn all about what happens when we add a second vanishing - point to the mix. - As usual, - there's a full written transcript of everything I've said in this video down below when the - additional resource is section. 3. Two-Point Perspective: - we now know that one point perspective is used mostly for straight on looking points of - view. - If you want to turn the camera to be non perpendicular to the rest of the scene, - however, - you need to introduce a new vanishing point to prevent awkward distortion of objects. - This is what two point perspective is all about. - As previously mentioned, - each vanishing point in your seen relates to one of three dimensions that makes up the - visible sides of the objects you're drawing. - Since one point, - perspective has only one vanishing point to recede the depth dimension of objects. - Adding another vanishing point will cause another of the two remaining dimensions to recede - as well, - leaving only one dimension left with straight parallel lines. - Typically, - the vertical lines of all of your objects will be the dimension left parallel, - just like before. - The second vanishing point in two point perspective will always be placed on the horizon - line. - However, - the distance between these two vanishing points is key to drawing proper looking - perspective. - As you can see, - when the vanishing points air placed too close together, - there's very little room between them for objects to be drawn at a decent scale without - appearing distorted. - When the vanishing points are placed much farther apart, - objects will appear more flat with limited recession of depth. - So what's going on here? - How do you find the proper distance between these two vanishing points? - The answer is a little complicated, - but I think we can work it out. - This is all related to something called field of View. - Anything that can see or record images with a lens has a particular field of view that - allows it to Seymour or less of the environment surrounding it. - If you've ever used a camera with a zoom lens zooming and effectively changes its field of - view from wide to narrow, - the narrower a field of view gets the farther apart. - The vanishing points get in a scene, - a wider field of view. - The closer together they get Human eyesight has an approximate field of view of 135 degrees - from side to side. - This is important to remember, - since you've experienced that fueled of you throughout your entire life. - It's a good reference point to use as we go forward. - First, - we have to take a moment to understand the following the Horizon Line is not actually a - straight line. - It's a circle. - It only looks like a line instead of a circle in your drawing, - because the view of your scene is placed exactly in the center of it. - As we turn in place, - we continue to see more of the horizon line around us. - This is why the Horizon Line never received into the distance. - It only surrounds us. - Next, - we have to consider how the two finishing points in your seen relate to this horizon line - circles surrounding your viewpoint. - Did you know that there are actually at least four vanishing points on the horizon line at - any given one time? - If we look at the horizon line from above and turned it into a compass, - each vanishing point will be located at north, - east, - west and south. - Since you're standing at the center of this compass, - you'll encounter a vanishing point for every 90 degrees that you turn in place. - And since you have a limited field of view of 135 degrees, - you can Onley ever see a maximum of two vanishing points at any one time. - The fact that the vanishing points are all 90 degrees from each other. - It's a very important detail. - This means that no matter where you place the two vanishing points within your scene, - they will always exist at 90 degrees apart from each other on the horizon line, - no matter how close together or far apart you put them. - What the proximity of these two points will affect, - however, - is the field of view of your scene. - Remember how I said that when vanishing points are closer together, - the field of view was wider, - and when they're farther apart, - the view narrows. - Now you know why the vanishing points air locked in their physical distance from each other - . - So based on that knowledge, - we could infer the fuel of you on the scene based on how close, - together or far apart the points appear. - But what about their actual positions inside or outside of the picture plane? - Well, - there's one last major aspect to cover something called the vertical center line. - This is a helpful tool for planning two point perspective. - Basically, - what it is is a marker for the location of the center of the viewpoint. - In almost all cases, - it should exist at the exact center of the picture plane, - just as it always does for your own vision or for uncrossed photos. - It can be moved off center, - but this is effectively the same as cropping your picture plane inward. - So the approach of utilizing the vertical center line is the same. - Regardless, - as we move forward, - the vertical center line can help you properly place vanishing points. - Since we know the vanishing points air, - always 90 degrees from each other, - all we have to do is create a single right angle that intersects the horizon line at two - points where it's corner pivots on the vertical center line. - Let's say we want to draw a scene that is more like one point perspective, - with just a hint of two point death. - One vanishing point will be somewhere near the center of the picture plane. - But how far away should the second point B? - Well, - this is where that right angle comes in. - One side of the angle should pass through the first vanishing point to the vertical center - line. - The second side will intersect with the horizon line. - This intersection is exactly where the second vanishing point will exist. - Note that you have control over how large this right angle is. - A smaller right angle will yield to vanishing points that are much closer together. - A wide angle view, - while a larger right angle will yield far apart, - vanishing points a more zoomed in view. - A good rule of thumb here is that if the entire right angle is located within, - the picture plane you're seeing will contain highly distorted perspective from being too - wide angle typically scaling the right angle so it's corner pivot is located outside of the - picture. - Plane is a surefire way to create normal fields of view that will look good and be easy to - draw. - Notice that as a vanishing point gets closer and closer to the vertical center line, - the other vanishing point gets farther and farther away to either side. - This is normal. - Remember that these vanishing points are like the directions on a compass as one vanishing - point hits the vertical center line, - let's say north. - The other vanishing points are perfectly to your side at East and West. - You can't draw your right angle to intersect with the horizon line, - since North is dead ahead. - This is why one point perspective only has one point. - The other points at East and West are parallel to your scene and cannot project death. - I really hope this makes sense and can help you out. - If you are still confused by how some of this works, - please feel free to ask any questions in the Q and a section of this class. - Don't be surprised if you find yourself drawing with two point perspective more often. - It's very practical to use in just about any level view seen. - Most photos you see most likely can be redrawn with two point perspective just fine. - It's not until we start to look up or down that an extra vanishing point is required. - But since we look forward most of the time, - that third vanishing point tends to be a little unnecessary, - so we could represent most of our daily lives as two point perspective two point - perspective scenes tend to be very different compositionally from one point perspective. - In most cases, - the center of focus will not be where the vanishing points are. - Two point perspective relies more on the scale and placement of important elements within - the scene. - To really have a center of focus stand out two point perspective can also be rotated for - vertically oriented scenes where the Horizon Line is going from top to bottom instead of - side to side. - In such cases, - the horizontal line that make up the objects will be parallel this time instead of the - vertical ones. - When used. - This way, - two point perspective can be used for a looking up point of view, - but only when we're completely perpendicular to the rest of the scene. - Well, - that about does it for two point perspective. - If you have any further questions, - you can feel free to ask them in the Q and a section of the class, - I'll be happy to answer anything you have there, - and that said, - I'll see you in the next video. 4. Three-Point Perspective: - So what happens to two point perspective when you want to Adam or up or down tilt of the - camera, - the remaining parallel dimension will need to recede somewhere, - and this is when the introduction of 1/3 vanishing point comes into play. - In three point perspective, - no lines of your scene will be drawn parallel anymore, - and the explanation of what to do was really quite simple. - All details from each visible side of an object will recede toward a vanishing point done - deal. - Except you're probably wondering what's up with that third vanishing point. - It doesn't seem to follow the rules of the other two well, - but I suppose it does require some explanation. - As you can see in three point perspective, - the third Vanishing Point is never placed on the horizon line. - Along with the other two. - It will be placed to either far above the horizon line when your point of view is tilted up - or far below when it's tilted down and almost never located within the picture plane. - In most circumstances, - the third vanishing point will exist evenly between the two points on the horizon line. - Remember that compass I showed you in the last video. - How the vanishing points we see in two point perspective are like the coordinates for north - , - west, - east and south. - If we were to look at this compass from an angle, - you'll find that the third vanishing points located either directly above or directly below - your head in the center. - If we look straight forward, - the third vanishing point is exactly 90 degrees to the top of our head and forms. - Parallel orthogonal is, - as a result, - causing the scene to revert back to two point perspective. - If we look up or down, - however, - that third vanishing point it's no longer perpendicular to the top of our head, - and we can begin to see its influence on the scene. - Looking up or down even slightly will cause vertical recession of depth to some degree. - The farther you look, - the closer the third vanishing point gets to the picture plane and thus creates steeper - recession of death. - And yes, - if you look up or down far enough so that the third vanishing point reaches the center of - your picture plane, - you got it. - The scene reverts all the way back to one point perspective, - again, - shifting the third vanishing point to the right or left can have a drastic effect on your - scene but could be a desirable one. - Shifting the point changes were the straight up, - down orthogonal lies in your seen refocusing the area where all other details in your seen - received toward doing this can really change the feel of your image causing distortion that - could either be a little awkward or really dramatic experiment to see for yourself. - Most three point perspective artworks you'll find largely have a point of view that just - looks forward with a hint of a tilt up or down. - This slight vertical recession gives a little more visual characteristic to the image - rather than defaulting to parallel verticals with two point, - it takes a little more work. - But the end result could be striking and make the environment feel just that little bit - more realistic. - It can become a pain to map such shallow, - orthe ogles of the vanishing points when they're so far away. - So you may want to practice guessing the third set of or Thorgan ALS, - which can really save time in trouble. - Just as long as they fan out in a consistent manner. - You should be good to go for more dynamic and dramatic points of view, - though mapping out the vanishing point and it's orthogonal is is definitely a good idea. - Dynamic angles like this is really what three point is best used for, - since the effect that can create is so pronounced. - Just remember not to go overboard with crazy angles all the time in your artworks. - What may seem like a more impressive option can become gimmicky if it dominates her - portfolio. - So now that we've gone over basic terminology 1.2 point and three point perspective, - that concludes the first half of this skill share class. - But we're far from done here in the next unit were going to be going over things like - atmosphere, - color and scale, - and how their implementation can really push your perspective even further. - In the meantime, - I recommend going and practicing on what you've learned so far. - A major part of learning, - especially in art, - is doing feel free to share any practice drugs you've done in your project and, - as always, - feel free to ask any questions and I will be happy to get to them. - I'll see you in part three 5. Atmospheric Perspective: - a sense of depth in a scene can still be achieved even without the use of vanishing points - in North ogles. - Ah, - landscape without any. - Obviously geometrically shaped man made objects still has perspective, - but how do you show it? - This is where atmospheric perspective comes in due to the fact that our planet has a - gaseous atmosphere. - Light is absorbed into the air the farther it travels through it, - just as the sky is blue due to shorter wavelength light scattering in the upper atmosphere - . - The same is true for Hayes, - the further we look out to the horizon. - The farther away an object is the more blue in tone and less contrast it will appear. - Our brains interpret this haziness as a mark for distance, - even if the more distant object is larger than the one closer up. - Use this to great effect in your outdoor scenes to help realistically push depth even - further. - Remember that the color of Hayes also changes with the time of day based on the position of - the sun. - During the afternoon, - haze can be more white to blue, - while in the evening it can turn anywhere from orange, - red and even purple If you're not doing a colored picture, - let's say just a drawing with lines. - You can still indicate the presence of haze by making much thinner, - light lines for distant objects and use thicker, - heavier lines for close objects to help push the difference. - Colors can be used to push depth in a scene if it's utilized properly. - Ah, - classic example is bright red versus blue. - Red is a very commanding color and at full value appears brighter than blue. - Red comes forward while blue recedes. - When these two colors are over laid, - it almost appears as though the red swatches floating above the blue one. - The same can be said for the value of a color as well. - When a brighter color is put next to a darker one, - the brighter one will always appear closer in our minds. - This doesn't mean that you should make your illustrations with high contrast light and dark - red and blue colors. - It's just something to keep in mind. - Remember that sunlight tends to be warm, - while shadows tend to be cooler in hue. - If you're coloring a scene, - you can use these color principles to create noticeable divisions of space in your seen - lending to a better sense of perspective. - It goes without saying that the farther away an object gets, - the smaller gets, - too. - But remember to use scale to your advantage, - place objects in your seen that the viewer can relate to in order to get a sense of where - they're standing or how big everything is in relation, - use your foreground in middle ground to good effect. - Play with the scale relationships of larger, - distant objects versus smaller, - closer up ones. - It can lead to interesting compositions and concepts to draw from. - Well, - that's all you really need to know about atmospheric perspective. - Coming in the next couple of videos, - I'm going to be changing the format a little bit. - I'll be doing a bunch of videos that are unscripted demos where I provide some commentary - over the top, - just touching on a lot more of the specific topics relating to doing particular things in - perspective. - There will be several of these videos coming out over time, - so be sure to be on the lookout for any announcements that I make for any new ones that - I've uploaded 6. Everything is a Box (Demo): - so the entire point of this video eyes really just to demo the drawing of a scene from the - starting point, - which is really just a bunch of boxes to a more finished rough state. - And you know, - this is really the way that you should start off just about any picture, - which is a lot of basic shapes like boxes, - cylinders, - spheres and cones, - which are the most basic shapes that you can build anything out of. - And, - you know, - no matter how complex the object is, - you start off with these basic shapes. - So I'm starting this scene off. - You can see I restarted because I didn't like what I was doing there to begin with. - So I I'm now doing this. - I was thinking of doing something like a some sort of tunnel, - some sort of tunnel entrance to maybe an underground base or something. - So just by drawing a lot of frankly boxes, - this is just a big box, - and it's drawing the inside of it and adding details by Champ Ring edges and just ah, - you know, - adding lines. - On top of this geometry that I'm building, - you'll notice that I'm jumping pretty rapidly around this drawing. - I'm not just staying in one spot, - and this is something that you really need to work on if you want to ever actually finish. - Ah, - drawing. - It's probably one of the most common problems that I see a lot of beginners do when they're - drawing backgrounds is that they get really fixated on drawing one particular part of the - environment and completely forgetting about everything else. - And that can be daunting. - You know, - if you're drawing especially like a city scape or something, - you're sitting there just grinding away on one building, - trying to add as many details as you can on to it. - And then you realize I still have to draw like, - 30 more buildings to the cityscape. - It took me this long to draw one. - How how am I ever gonna finish all the rest of these? - And then the answer that is really just it's because you've put too much attention into one - building. - You have to jump around. - You have to build the scene up with the simple forms first, - and once you get them down, - then you can move forward with adding details. - So you'll notice by this point now that I have the drawing up Teoh sort of a better - understanding of what it is that I'm going to do. - I started adding more details, - like to the ceiling of the tunnel and to the right side wall here. - I've just begun drawing this pipe that's wrapping around the top of the tunnel here just - because if you ever look at the underside of a bridge or something, - there's always, - like tons of pipes running along them. - So it was just sort of like a nice extra detail, - you know, - just trying to add more architectural elements to the inside of the tunnel because it's - very rare that you have tunnels that are just completely smooth, - walled all the way down. - They usually have beams, - some sort of veins pains, - whatever is in there, - there's just a whole bunch of them cross beams. - You name it same thing, - adding details to the door here. - It's like a big heavy blast door, - so, - you know, - it looks it looks pretty pretty heavy. - Duty like this is sort of ah, - secure sort of security area. - I'm going to show that by adding this sign up above here, - which again is just simply a box just tacked on to the top of the tunnel, - going ahead and adding those vertical sort of pain like beams to the left side wall. - The tunnel here, - you know, - keeping it very simple. - I'm not getting too crazy detailed with this. - I'm trying to get my idea down pat and making sure that it's working before I go forward - with tightening up details and, - you know, - making sure everything is working out perfectly. - I figure up top, - they would have something like spotlights, - you know, - usually at night time you want to make sure that the entrance area is very well lit. - So if you remember what I showed from the drilling Ellipses and circles video, - a couple of videos back the searchlights are really just cylinders with a couple of extra - details tacked on and then stuck to a pole drawing Two of them here stuck on these polls so - they could be aimed. - A little bit of environmental detail always goes a long way. - You know, - there's ah lot of geometric shape here s o, - you know, - trying to balance that out with some organic shapes, - like like leaves plants have some jutting out from the side over there in between the in - between the ventilation exhaust. - Because, - you know, - I figure this tunnel is probably built into the side of a mountain or really, - just like a cliffside. - Really? - So it's It's probably surrounded by plants of some sort right now in the foreground, - I'm adding some panels, - the kind of panels that you see to like, - you know, - block people just so like warn people to like, - you know, - stay out, - keep away. - So these are just kind of connected together in front here it off to the side, - like sort of closer up in front of the camera a little do not enter signs on them. - It's always nice to have something a little bit closer up to the camera, - Um, - especially if everything is in the middle and background. - Um, - having just at least one thing in the foreground usually helps just with the sense of space - a little bit more, - just adding some really crude rock face up there and, - like, - sort of a smoke guard tower on top of it, - these rock faces air really just sort of random like lines that air sort of generally in - the shape of rocks, - and by this point, - that's really about it. - That's the finished piece in terms of getting it up to, - sort of like a rough sketch, - you know, - especially by this point, - with a sketch like this, - Um, - you definitely know whether or not it's something that you want to continue with, - like for me with this picture. - This to be something I would actually really like to continue working on. - And, - ah, - if anything, - I'm probably gonna turn this into my own project for the class for you guys to follow along - with for your own project. - I highly recommend trying to do something similar to this. - Even if you're working on paper, - you still start off with your basic shape. - Start off with very light lines. - Don't make heavy, - heavy handed lines. - Start off just on a very light. - Erase things that you don't need any more if you're working digitally. - One of the questions I get asked very often is How do I make such straight lines like this - so quickly? - And the answer to that really is well, - it's a trick in photo shop. - We all know that when you hold shift in Photoshop, - it constrains the line so that if you go from right to left or up or down, - the line remains perfectly straight. - Writer left up or down. - That's what shift constraints mean. - But if you hold shift, - there's a technique called shift clicking. - While holding shift, - take your pen or your mouse or whatever you're you're using and click once in one spot with - the brush tool and then click again somewhere else. - Or tap your pen somewhere else. - Still, - while holding shift and a line will automatically be made between the two points that you - clicked on. - And that's what I basically do for all these straight lines. - Two very quick and effective way of drawing scenes like this. - So I definitely would love to see any of these kinds of sketches that you do or whatever - seen it is that you want to be drawing. - Just remember not to get so caught up on a lot of the little where details keep it loose - and flowing. - Jump around and try to get about as much done as you can within 1 to 2 hours. - This drawing that you see here only took about 30 minutes. - Eso this video was sped up. - So all that said, - I would definitely love to see what you have, - and I'll see you in the next couple of videos. - I hope this was helpful. 7. Successive Objects, Unique VP's, Circles & Cylinders: - so to draw objects successively, - that is to draw the same object over and over at set repeated distances. - We're gonna basically start by drawing some orthogonal. - So here's some here and then we take the first of our objects in this case, - a pole, - and we're going to put the first instance here, - and that's at its full height. - And we put the last instance at the back way back there, - and we simply create a line from the bottom of one to the top of the last one. - And we do the same from the bottom of the furthest one to the top of the closest one. - Where these two lines intersect is the exact middle between these two. - So we just simply draw another one there and we'll do this over and over will go from the - top to the bottom, - who basically subdivide these spaces by crisscrossing these lines from the tops and bottoms - of each new object that we add. - And every time that we do this, - we are introducing another instance of this object in perspective, - and each one is perfectly mathematically the same distance from each other. - Given the perspective of the scene And so here we have some telephone poles, - but some wires on there and this subdividing trick, - this crisscrossing line trick really works for a lot of other things. - You can find the midpoint of any shapes by just simply drawing a line from one corner to - the other and where the lines criss cross in the center is the exact midpoint of that - object. - So use this technique when you need to draw things anything ranging from a power line. - Poles support beams, - even the lines in a concrete sidewalk. - So there you have it, - a little bit of geometry and action. - So here's an interesting concept. - When you're drilling a scene in perspective, - you may find that you fall into this trap where everything you're drawing is all in the - same angle. - Everything is either parallel or perpendicular to each other, - so you can give objects their own unique vanishing points. - As you can see right here, - I'm about to add these two matching points. - There's one right there and right there change the color it as you can see him better, - and these are completely independent, - temporary vanishing points that are gonna be used for just this one box that I'm gonna add - . - And so this box is rotated in comparison to the other one. - But it's still in proper perspective, - given this scene. - So there it is, - sitting there, - not perpendicular nor parallel to the other box. - So let's add one more. - Just as long as I'm keeping these two vanishing points at the same distance as the other - sets, - this box will be floating up here in the air, - looking proper, - just as it would if it were actually floating. - They're just like that. - So you could definitely use this in your scenes to help create a little bit of visual - variation with the inherent monotony that can come with rigid perspective drawing. - So here's a fun trick for drawing circles in perspective. - You might think that circles air just round, - and that's that. - But they actually have areas that stick out more than others. - If you put a square around a circle, - you'll find that the square touches the circle at four specific points. - When you divide the circle up by these points, - you can clearly see that as I tilt the circle here in perspective, - you'll find the parts of the circle that stick out the farthest are not the straight up and - down poles at the top and bottom. - Instead, - the circle appears to be somewhat rotated off access. - This basically occurs because those four points around the edge have moved in relation to - each other, - so they're no longer the same distance anymore. - So, - knowing that you could just put a square around a circle, - it means that drawing a circle in perspective is really just as easy as drawing a square in - perspective. - So once you draw a square at an angle, - just divide it in half by height and width, - so you end up with this two by two grid on the surface of it. - This two by two grid helps you visualize how steep or shallow the curve has to be in that - area. - So just as long as you make sure that the circle you're trying to fit within this square - touches each of those mid points in the grid, - you should be able to come up with a pretty decent circle in perspective. - Doing this takes a lot of the guesswork out of doing it just pure freehand, - and it may take more than a couple tries to get it right the first time for sort of less - angled circles, - ones that you're looking a bit more forward on with. - Believe or not, - these ones can be a little bit tougher to draw than ones that extreme angles. - So my advice is, - if you're having trouble with those, - draw just half of a circle at once. - It's just much easier to do that. - Follow through hand motion for just half of the circle rather than worrying about going all - the way around at once and trying toe line back up where you were. - As for drawing a cylinder in perspective, - it's really pretty much Azizi is just drawing a long box just normally in perspective and - then dividing each end of the box in half with that two by two grid, - just like you're doing with the circles than drawing a circle in each square and then - connecting those two circles together by their two most farthest points. - Just erase the leftover bits and there you go. - You have a cylinder. - So I hope this trick helps you out with anything that you might be planning for your scene - , - and we'll see you again in one of these other tip videos 8. Tangents, POV Scale, Grounding People: - tangents are what happens when two objects share the same line or side with each other. - They can really destroy the sense of perspective in your scene or the sense of depth. - As you can see here, - I've just drawn to boxes side by side, - but they are sharing very obviously the same line across their top face. - And this shared line really ruins the sense of depth between these two. - It messes with our understanding on where these two objects are in relation to each other. - And if they share more than just that one tangent, - let's say if I added detail like this, - running across both of them, - well, - now it just looks like both of them are fused together. - You would have no idea that this larger, - taller boxes actually sitting in front of the other one. - It's a really good idea to fix tangents as they happen in your drawings. - So all that I have to do to fix this tangent is just draw this box a little bit taller, - and now our full understanding of the space and relationship between these two boxes is - restored. - We know exactly how far apart they are. - We know where they're oriented toward each other. - In three D space, - there is no confusion. - And just to further demonstrate my point, - I'm just going to draw offense here and along with it, - I'm going to create sort of, - ah, - hanging wires. - We're gonna create a curve here and stroke it. - So here is a hanging wire and is, - as you can see, - it is just touching the top of this fence. - The problem with this is that we don't know where this wire is in relation to the fence. - It looks like it's just sitting on top like it's just bowing down. - Just grazed the top of the fence when in fact, - in reality, - this wire is a far ways behind the fence, - and we have no way of telling that. - So to show that we just dropped the wire down and erase out where the fences in front of it - . - And now we perfectly understand that this fence is in front of this wire. - There are no questions to that. - So unless you're doing optical illusions, - it's a really good idea to take care of any tangents that happen earlier on before they - become cemented into your scene in the one point perspective video. - Remember how I showed how changing the position of the Horizon Line changes? - Whether you're looking in a more up or down angle? - Well, - there's something else to this as well, - and has to do with how far below objects drop beneath the horizon line. - This can really change the feel of how high the point of view is off of the ground. - So, - for instance, - in this first example, - if you were to imagine these boxes as being buildings, - it feels very much like the camera is placed a couple of stories up above this. - If you would imagine a street running in between these buildings in the second example, - I'm drawing the buildings, - penetrating not quite as far beneath the horizon line. - It feels a little bit more normal to us. - If we were to imagine these boxes as being buildings, - it feels a little bit more like average human eye height. - In this last example, - the buildings are hardly passing beneath the horizon line at all, - and this makes the point of view feel as though it's placed almost directly onto the ground - . - So between these three examples, - you can see how simply changing how far below the objects penetrate beneath the horizon - line alters our perception of how high off the ground the point of view is, - even though throughout all three examples, - all of the boxes are the same size and scale. - We have a very different feel as to how big they are or how big we are in comparison to - them. - Think about this when designing your scenes. - If you were to imagine these buildings as not being buildings, - but let's just say cardboard boxes inside of a closet. - This changes your perception even more of what the size of the viewer might be. - While this class is not about anatomy, - figure drawing or character design, - I do want to touch on how to place people into scenes in perspective. - Humans are all pretty proportional to each other, - even those of different heights. - If the horizon line is passing through a person at the waist, - then it will always pass through at the waste, - no matter how far away that person is, - provided that the point of view remains the same height, - the same goes for pretty much any part of the body. - If the horizon line is passing through the head. - Then it will always passed through everyone's head. - If it passes through the ankles, - then always through the ankles, - no matter how far away or close up any of those people are. - If someone is taller or shorter, - you pretty much just add or subtract a little bit of height to the person using the horizon - line as a midpoint. - As for making sure that characters air properly standing on the ground, - it helps a lot to draw a square on the ground at the place where they will be standing and - then subdivide that square with an X. - So here's a crude character that I'm just doodling to show what I mean. - If the characters feet are passing below this square, - then I know that this person is not properly grounded to this spot. - The X provides context for the perspective on the ground, - which allows you to more easily draw the fee at the correct angle. - You can also do this same trick. - Let's say if a character is leaning against the wall, - I can simply put this square over here by the wall and put a next through that. - And if I draw to guidelines From the corners of the square up of the wall, - I now have a clear indication as to how far back this character should be leaning so that - they're not passing through the wall. - So here is the character who was standing in this scene originally before I removed her for - these demonstration purposes. - You can see that if I move her above or below the square that I just place beneath her feet - . - She doesn't look properly grounded anymore in this scene. - So the square really, - really helps. - As for finding the proper scale of a character within your scene, - there's not exactly a very straightforward way of figuring this out. - But there is one way that does work for most types of scenes, - and that is that if you know the scale of an object in your seen already, - you can figure out the scale of another person. - It's really important that you try to keep all of the scale of objects within your seen - consistent to their real life counterparts. - You don't want, - for instance, - a bunch of cars at wildly different sizes as they recede into the distance. - If they're all different sizes trying to figure out the scale of a human. - To be the proper size in relation to those cars is going to be really tough. - So in this artwork here, - I know that there's a door at the shop over on the side and I drew these two little black - lines on the ground to show where the door is. - And I know that this character has to be within a certain scale of this door. - So, - given that she scaled properly to the door, - we can now use or Thorgan ALS from the Vanishing point to map her height to basically any - position within this scene, - and she'll be properly grounded in everything. - So that's all for this video in the next one, - we're going to be taking a look at how much level of detail you should be putting into your - drawings based on the drawing size and probably what size they'll be seen. - At that way, - you're not wasting a lot of time on details that ultimately don't matter. - So you there 9. Level of Detail: - in this video, - I'm going to be talking about level of detail in your environments. - A really good piece of suggestion, - if you ever want to finish more complex scenes, - is to learn where to put details without going too overboard to the point that you're just - never going to get anything done. - So this is one of my artworks. - I did this picture a couple of years ago, - and there's one particular part of it that I've gotten some questions from people before, - and that's the area that's behind the chain link fences. - Some people have asked me whether or not that cityscape is a photo, - or if I actually hand painted it and to address that question, - it is actually hand painted. - But it's a lot simpler than you might think it is. - If I were to remove the chain link fence textures from in front of it, - and if I zoom in here, - you'll see just how crudely painted this cityscape in the background is, - and this seriously took me very little time to do. - You'll notice that when you see it from far away, - it looks very complete. - It looks like there's absolutely no doubt in your mind that that is a cityscape in the - background. - But there are two elements to this part of the scene that lead to me having to do almost no - serious work to it. - Number one is that the chain link fence in front of this obscures most of the broad - featureless details, - and your brain tries to fill in the rest as to what's behind the chain link fence. - The second part of it is theatrics. - Feerick's perspective at play here there is heavy haze, - and these elements are very low contrast. - So I don't really have to worry about a lot of the more minute details, - because at this distance, - even with the naked eye, - you wouldn't really see them very much anyway. - And this really is exactly how implied detail works. - Yes, - what you're looking at right now is a painting and not a line drawing. - But this general idea carries over to anything that you're going to do. - If this background were drawn with lines rather than blocks of color, - I would have done this exactly as sketchy and featureless as it was if it were painted. - If you're curious by the way as to how this was painted. - If you look closely, - you'll see that there's a general sort of noisy texture that's underneath all of the broad - brush strokes. - And that fills in a lot of the detail that you would generally see in a cityscape. - Things like smaller buildings, - smaller features, - lamps, - trees, - you name it, - anything that would be strewn about. - Then I just take a slightly broad square brush. - And with light and dark colors, - I just paint vertical lines to indicate these larger, - smoother faced buildings. - And then when I zoom out again and turned back on the chain link fence, - you'll see it's quite a convincing optical illusion in this other artwork that I did also a - couple of years ago. - I'm going to zoom into this bottom corner over here onto these distant buildings and just - show you that the actual line drawing on these is handled very simplistic as well. - The closer I get here, - let's see. - You can see at this distance I'm not entirely concerning myself with keeping the lines - extremely perfect. - There are some very simple details here, - but I'm not going overboard with them. - The stairwells on the side of this building are not entirely consistent in their Florida - floor height. - The windows are just tiny squares, - even things like the distant trees coming out from the left side of the building. - It's just sort of like a squiggly line that I fill in with color later, - and it's it's really down to the fact that these air small objects in the overall scene - when you see the entire picture from afar. - None of these details read as crudely as they do here, - and this saves so much time. - I'm not going to draw a building like these distant ones here. - As detailed as I am more close up ones and down below, - you'll see that I've dunmore of this extremely simplistic building cityscape, - painting just implying detail rather than showing riel detail. - Because once again from afar, - it reads fine. - And you're You are never going to see these artworks up this close anyway, - not even in print form and going back and speaking about atmospheric perspective. - Let's take a look at the actual levels of detail in this scene, - which you remember from a couple of videos back. - So if I remove the haze layer here and zoom in on this distant land mass. - With the structures on top, - you'll see that the entire mass itself is simply one solid color, - with only some very, - very base level lighting applied to it and an extremely simple texture. - Which, - as far as I know this probably took me about a minute to do, - since it's so distant and so obscured by the atmospheric perspective, - most of the details, - if I had painted them in any way, - would have faded to obscurity. - Compare that to the parts of the seen up, - close, - like down on the ground here, - and you'll see that I spent much more time putting in details in the texture of the ground - because we would definitely see those even at standard Web resolution. - And lastly, - just to show some line drawings for level of detail here. - This particular drawing is a pretty complete panel from a comic I did back in 2009. - You'll see that as the objects received more and more into the distance, - I put less and less detail in them, - and the reason for this is because you don't want your seen to be chock full of detail all - the way back. - As far As you can see, - that can actually harm the way your picture looks because it will appear too busy. - There will be too much going on a large part of knowing how much detail to put and where - will not only help you finish the picture faster, - but create a better looking picture by the end, - reserving more detail for the areas that matter more will lead viewers to look at those - areas and respond to them or immediately when coming up with ideas, - either for your own work or if you're creating work for concept purposes for a project. - Or, - let's say, - if you were to ever work in a professional studio a lot of the time, - getting your ideas down as quickly as possible is the best course of action. - This means sacrificing quality for speed. - But if the only people who are ever going to see these drawings are maybe you someone else - , - if you want feedback or maybe just on art director, - then really rough sketches like this are really all that is required to begin getting - feedback to know where you should probably go next, - or in the worst case, - if the idea is rejected entirely. - At least you didn't spend a lot of time on it. - So no big deal in this rough sketch called Cartographers Kitchen. - The basic idea here was that I wanted to convey some sort of explorer or pioneer who - doesn't exactly have a lot of space to work with, - to draw up his maps and for exploring the nearby area. - So he set up his little studio inside of his kitchen. - Here. - I wasn't concerning myself too much on what the actual look of a lot of the objects in this - room should be like. - I simply had an idea in my head that there would be something like a drafting table, - a light box table, - probably a much larger map on the wall that he's using for some sort of point of reference - . - And, - of course, - is this is a kitchen. - So there would be, - you know, - typical kitchen stuff, - like the fridge and counters and cabinets. - But then there's the pantry in the corner, - which I thought would be funny if he turned it into some sort of server room for - communications back to where he came from. - A sketch like this took me no more than about 20 to 25 minutes, - and this is a pretty good amount of time to flesh out an idea like this when you're - starting out, - it will obviously take longer, - since you're not used to simply creating random elements and details through muscle memory - . - But if you keep at it eventually, - you'll be able to hammer out work like this in no time at all. - And that's about all I have for this particular video. - I hope this little bit of insight helps you on the creation of your sketches for your - project, - as well as potentially your prospective future as an artist. - At the start of Unit four, - we're going to be taking a look at how to find various inspiration around the Internet and - proper use for reference material. - Have fun on your project guys, - and I'll see you later.