Transcripts
1. Welcome to perspective drawing: Hello, and welcome to this
course and perspective. If you want to draw
realistic spaces, environments, or objects, perspective is an essential
skill to understand. In this course, you will learn how the
horizon line works, how vanishing points are used, and how to construct drawings in 1.2 point and three
point perspective. We will go step by step, starting with simple
explanations, then applying them through
exercises and demonstrations. By the end of this course, you will be able to
create a clear sense of depth and structure and even
in more complex scenes.
2. Understanding the horizon line in perspective: In this video, we are going to understand what is
the horizon line and how you locate it on your drawing and why
it is so important. It is a basic concept, but it is essential to build
a coherent drawing and to be able later on to place your vanishing points
with your drawing. Sometimes it can be a little hard to find the horizon line. There are some cases where
it is very difficult, and later in the course, I will share with
you some techniques to be able to find
the horizon line, even if you actually
don't really see. So we will see that later. But right now, let's start with the basics and
define what it is, what is the horizon line. Let's begin our work
on the horizon line. If we had to define
the horizon line, we could say that
this is that it is an imaginary line that corresponds to the
observer's high level. Often, the horizon
line represents the separation between
the sky and the ground. But in perspective, it is primarily a reference point that influences how we perceive
objects around us. This concept is
extremely important. We'll talk more
about this later. So let's start with this image. If we were to ask
ourselves where the horizon line is
in this landscape, we could easily identify it by noting where the sea
and the sky meet. In this case, the horizon
line will be located at the level where the sea
and the sky separate, and we can clearly see it on the image with this green line separating these two elements. What determines the horizon line is the observer's eye level. In fact, if there is one key point to remember
about the horizon line, is that it corresponds to the horizontal line that
passes through our eyes. When drawing in perspective, the horizon line is truly a fundamental element that
we will need constantly. To locate it, we can use a
small character like this one. By imagine a small
character within the scene, we can see that the horizon line aligns with their eye level, making it relatively easy
to determine its position. An interesting point to note, and we will come back
to this later is that no matter where this
character is in the image, wherever standing, sitting,
or even in motion, the horizon line will always remain aligned
with their gaze. This means that if we lower
ourselves or rise higher, the horizon line
shifts accordingly, affecting how we
perceive objects and the overall perspective
of the drawing. And we will explore this concept in greater detail later on. Now, looking at this new
image with its train tracks, where do you think the
Horizon line is located? I'll give you a few
moments to think about it, and then we'll go
over it together. If we follow the train
tracks with our eyes, we notice that they seem to converge at a point
in the distance. This is precisely where the
horizon line is located. This point is called
the vanishing point, and we will explore
it further later on. Now, let's imagine
our small character placed in the scene once again. Their eyes will be aligned
with this horizon line. The key to understand
here is that this character cannot see
beyond the horizon line. The train tracks most likely
continue past this point. The training is obviously not going to stop in the
middle of the forest. However, visually the horizon
line acts as a limit. It is the point which
we can no longer see the ground unless we
change our viewpoint. On point on the
other hand, sorry, we can still see the
mountains and trees in the background because they are positioned higher than
the horizon line. However, everything located at the level of the
tracks gradually disappears in perspective as it moves further away
from the foreground. Alright, now I invite you
to take a few seconds, once again, to look for the horizon line in this new image. Here again, we can identify the horizon line at
the end of the road. It appears to fade
into the distance, but in reality, it continues. It is simply our eyes that can no longer perceive it
beyond this point. If we imagine a character in this scene once again and align the horizon line
with their eyes with his eyes, two
possibilities arise. Either they are a
gigantic figure, an ger, for example, or more likely the image was taken from a higher
vantage point, such as from a helicopter. We can also notice that all the elements of the
landscape are viewed from above. If the observer had been
standing directly on the road, the horizon line would have
been positioned differently. Now I invite you to try
a small experiment. Look straight ahead,
whether through a window from a balcony or in your garden and mentally identify where the
horizon is located. Then repeat the same exercise. But this time, while sitting
down, and then again, while standing up, observe how the horizon rises all over
depending on your position. And what you will conclude
from this simple experiment, as you will see for yourself, is that the horizon line always depends on the
observer's position. It plays a crucial role in
perspective because it helps determine the orientation of the vanishing lines with
the vanishing lines, sorry, which we'll learn to
draw later in this course. And so we can see this
with these five figures, each placed at a
different height. The horizon line for each of them corresponds to
their eye level. As a result, each one has
a different horizon line. This means that if
we were to place the same object in front
of each person, a house, a skyscraper, or
any other object, each of them will perceive
it from a different point of view and would not
see it in the same way. Now we are going to
demonstrate this with a simple object and
show how merely viewing it from a different
perspective with a different horizon line changes the way we perceive
the different objects. So here is a view
of my garden table, but with three different
horizon lines. On the left, the horizon line or the eye level
is extremely low. I had to sit on the
ground to take the photo. In the second one,
the horizon line is approximately at the
height of the table, and in the first, the horizon
line is above the table. In general, when the
horizon line is low, as in the photo on the left, the table may appear a bit more massive and imposing
with legs that might seem slightly elongated and exaggerated sense of height. This is the kind of
effect we might see when looking at a
skyscraper, for example, which appear a huge next to us because the horizon line is
low relative to the building. I mean when we are looking at the skyscraper from the ground. Then when the horizon line
is at the table height, it creates a somewhat
neutral view. The proportions are balanced and realistic without
significant distortion. It provides a more
natural perspective. Although here, we
struggle to see the tabletop and the underside of the table is not visible. Finally, when the
horizon line is higher, the table may appear slightly shorter and more compressed, even though in this case, the shot is not much higher
than the table itself. This effect becomes more
pronounced in aerial views, such as when looking at
a house from the sky. And therefore, choosing the
right horizon line height helps guide the
viewer's eye enhance certain impressions
and strengthen the impact of a drawing by emphasizing specific elements
or downplaying others. Good. And we can better illustrate this with
these three photos, and we can see that the
horizon line on each one of them is relatively low in
relation to all these elements. For example, the car is well
above this line of horizon, and it's clear that the photo
was taken at ground level, making the car look pretty big. Similarly, the skyscraper
appears very huge, emphasized by the
very low horizon line in comparison with
the skyscraper. And the same effect can be seen this view of
Las Vegas where the replica of the EfelTwer and the hotel in the
background look imposing. In each of these images, the low position of
the horizon line enhances the sense of grandeur, making the object appear
even more imposing and almost making us feel
tiny in comparison to them. In these two other photos, one showing the colosseum and
the other random building, the horizon line
is significantly less low in relation
to the elements. We can see that in both cases, the photo was not
taken at ground level, which diminishes the sense of
grandeur of the buildings. They appear less imposing compared to the
surrounding elements. The fact that the horizon
line is positioned roughly in the middle of the image reduces
the feeling of gigantism. Objects seems more proportionate and integrated into
their environment, unlike a low horizon line, which exaggerates their
height and visual impact. And now here are photos with a high horizon line where the elements are
positioned below it. In this case, the sense of being overwhelmed by the
objects disappears. Earlier, the car seemed
enormous compared to us, as did the skyscrapers. Here, we see them from
a different angle. While we know they
are skyscrapers and therefore very
tall buildings, the feeling of being overpowered by their size is much
less pronounced. So this gives us an overview of the three different
horizon lines position and their visual effects. Now at times with these photos, you may have tried to
identify the horizon lines, and it might have
seemed more complicated with these elements.
That's completely normal. Sometimes the horizon line
is not easy to pinpoint. This can also happen in interior scenes drawn in
one point perspective, for example, where the horizon
is not visible at all. In such cases, identifying
it can be challenging. However, later in this complete
course and perspective, we will explore techniques
to easily determine the horizon line even when
it's not directly visible. Another key point
is the placement of objects in relation
to the horizon line. When looking at their
position and size, we notice that the
closer an object is to the horizon line, the smaller it appears. Take this photo of train
tracks, for example, we can see that as
the tracks extend into the distance and
approach the horizon line, they seem to get
narrower and smaller. However, in reality, all train
tracks are the same width. Otherwise, the train wouldn't
be able to run properly, but in perspective,
these optical illusions make them appear to shrink. The same goes for the
trees in this photo. Even though they are all
roughly the same size, the closer they get to the horizon line at
the end of the tracks, the smaller they seem. The same observation can be
made with the second photo, particularly when
looking at the road. The closer it gets
to the horizon line, the more it appears
to narrow and shrink, even though we all know
that its three lanes remain exactly the same
width from start to finish. This effect is also noticeable
on the road markings. The dash lines
become smaller and smaller as they move
toward the horizon line, and the same applies
to the trees, even though they are all of the same species and
roughly the same height, they seem to shrink
as they recede into the distance and approach
the horizon line. If we take a look
at this drawing, we can see that both cubes have a front face that is the same,
measuring 3 centimeters. However, in perspective, they are not actually the same size. The cube on the
right is much closer to the horizon line than
the one on the left, which means that in reality, it would appear much larger. To draw this second
cube so that it has the same dimensions as
the one on the left, while appearing farther away and therefore smaller on the page and closer to the horizon line, I will use vanishing lines. These are the gray pencil
lines you can see here. They help me construct
the cube with accurate proportions
in perspective, and this is what we will be exploring in the next
part of the course, starting with one
point perspective, then moving on to two point
and three point perspective. By using my vanishing lines, I can draw a cube that has the same dimensions as
the one on the left. It won't be perfectly drawn
since I didn't use a ruler, but this is just to
illustrate the concept. So the cube that will be
the same size as the one on the left would have these
proportions on my paper. This means that both are
indeed the same size. And this concludes our
work on the horizon line. I know this is a
lot of information, but I felt it was important to explain these
concepts in detail. I hope everything
was clear before we move on to perspective
drawing techniques, whether we've 12 or three
vanishing points and even five. Feel free to rewatch
the video if needed to fully grasp
these key concepts, which I believe
are essential for building a strong foundation
in our perspective course. And this wraps up this
video on the Horizon line. Now, what I will
ask you to do is something very simple
and very quick to do, but it's something you
have to do every day. In your everyday life, whenever you are
walking in the street or walking in the forest in the countryside
or even at home, try to identify where the horizon line would
be in the scene. And this way, it will
become much more easier for you on
your drawing to place the horizon line
correctly or identify it more easily when you are actually drawing a
perspective scene. And doing this very often will help you to be more
comfortable with the horizon line concept
and be quicker with your drawing when you are wanting to draw
the horizon line.
3. How to draw one-point perspective1: The following videos,
we are going to explore the three main
types of perspective, one point perspective,
two point perspective, and three point perspective. So at first, we will analyze
different images with these three kinds of
perspective to really try to understand how it works, what are the vanishing
lines, the vanishing points, and everything and
all the elements that are about this free
type of perspective. We'll try to really simplify it so you can understand
how it works. Then we'll do some
short exercises very simple with the
drawing of boxes. Before really drawing
some landscape where perspective with building, house, roads, et cetera, we first need to do this work with the boxes
to really understand how perspective works because at first perspective
can seem complex, difficult when you hear
the words vanishing line, vanishing points,
rizon line, et cetera. There are many kind
of new things, but it's actually quite simple, but you need to
understand how it works. And the drawing that
we will do with the boxes will really
help you to make that simpler for
you and to really understand the logic
of perspective. So these exercises, although they might seem
pretty easy at first, very simple, let's say, really fundamental
for you to understand how perspective works and
to put that into practice. So grab your pencil and watch these videos and
analyze this together. Here is the image we will use to study One
Point Perspective. This is the same
image we previously analyzed when we first
worked on the Horizon line. This time, we will focus
on one point perspective. Before moving forward, let's first revisit the Horizon line we identified in the
previous section of the course dedicated
to this topic. On the horizon line, there is what we call
a vanishing point. This point is where all
the vanishing lines in the image converge. Let's take a moment to simply define what a vanishing line is. It is an imaginary line that guides the eye toward
the vanishing point, creating the illusion
of depth and distance. For example, in this image, the vanishing point
is located where the train tracks seem to
disappear at the horizon. And this is precisely
where the lines marking the edges of
the track are directed. They lean toward this point. But these lines are
not the only ones converging toward
the vanishing point. Many other elements follow
the same principle. For example, below
the horizon line, we can observe the parts of the tracks that extend outward, as well as the small
wooden slippers which also lead toward
the vanishing point. Similarly, the gravel path
running alongside the tracks follow the same dynamic and appears to disappear
toward that point. Can also notice that the height of the bushes on the side, which is roughly the
same throughout, seems to shrink and converge toward the vanishing
point as well. If we were to look at this gravel path
directly from the front, it would appear as a
straight uniform path. But in this perspective, as
it recedes into the distance, it narrows and disappears
at the horizon, precisely at our
vanishing point. Far, we have observed the vanishing lines
below the horizon line, but they are not
limited to this area. There are also vanishing
lines above it. In this example, the effect
is a bit less noticeable, but we can still identify some vanishing lines
above the horizon line. For instance, the tree tops, mostly pines of relatively
similar height, also follow these
vanishing lines that extend above horizon line. These vanishing lines are
essential when drawing. They guide us through our
perspective drawing to ensure realistic representation
of depth and proportion. They create the
illusion of depth by directing objects toward
the vanishing point, maintain consistent
proportions with objects appearing smaller
as they move further away, and help align elements such as building roads and
furniture correctly. They also allow for
greater precision by properly structuring the shapes and volumes within our scene. Now let's look at a second example of
one point perspective. Good. Here is the topic ahead of us. The second one,
which we had already touched upon when studying
the horizon line. As we have seen,
the horizon line is located where the
road appears to end. Well, at the end of this road, we also find the
vanishing point. All our perspective lines converge toward
this single point. You can see martin red
on the photograph. The first vanishing
lines that can be easily identified are
those of the road, we can see that as the road
extends into the distance, moving towards the horizon
line and the vanishing point, it becomes more and more narrow until it
disappears from view. However, these are not the only perspective
lines in the scene. There are many
vers. For example, the dash lines on the road also converge towards
the vanishing point. Similarly, along the
edges of the highway, we can see edges and bushes following the same direction
toward the vanishing point. Additionally, the base
of the tree lining the road also align with the vanishing lines towards
the vanishing point. And finally, we could also include the foliage
of the trees. Although they are irregular, the trees generally
have a similar height, which allows us to
incorporate them into this perspective line
towards the vanishing point. As we mentioned, the trees have a relatively similar foliage. As a result, they all have
approximately the same height. One crucial point to note
is that all elements positioned between
two perspective lines maintain the same size. This is a fundamental rule that will be very useful for drawing. By observing the purple arrows, we can see that from
start to finish, all elements enclosed between these yellow lines
are the same size. The foliage remains entirely
consistent in height. We can also notice
the same phenomenon on the other side
with the blue arrows. The tree trunks
positioned between these two perspective lines
are also identical in size. Therefore, all
elements positioned between two perspective lines
or two vanishing lines, that's the same thing
retain the same dimensions. This rule is crucial to understand and apply in
perspective drawing. Now let's move on
to practice and train ourselves in one
point perspective. Now, let's see how to work
with one point perspective. So here I have my horizon
line, as you can see, and I am going to place
a vanishing point on it towards which all my perspective
lines will converge. I will place it in the center, since very often the framing, the composition is done with a central vanishing
point when drawing. But of course, it can be
placed to the side as well. Now we'll see how to draw boxes
in one point perspective. This is something we'll do
very often because in the end, everything can be
built from boxes, a chair, car,
building, et cetera. So boxes will be
really useful and already learning to master this well should help us a lot. So I will start by drawing a box with a free
centimeter side. Like this, that's enough. And in one point perspective, we see one face that
is facing forward. Then all the other lines will converge toward the
vanishing point. So for that, I draw
my vanishing lines. These lines start from each
corner of that front face. So here I draw this free. Then there is one at the bottom that I won't
draw it right away, since the faces that
would come from the bottom vanishing line aren't visible, but
we'll see that later. Next, I draw this line
along the vanishing line, which represents the depth. So I determine the depth I want, and then I draw using that perspective line,
that vanishing line. And here, too, I can draw this face and close it
by using the vanishing line. An interesting and
important aspect, all my horizontal
lines that you see, these ones are parallel, just like the vertical lines are parallel in one
point perspective. When working with
one vanishing point, that's how it works. Then if I want to, I can draw the faces that aren't visible. So here we would
have this line and this other vertical line which
I can draw as a dash line. And then I would have this fourth and final
perspective line vanishing line, which will close my
cube, close my box. Now, let's suppose I want to draw the same cube
but farther away. Well, I'm going to use my
perspective line like this, and thanks to these
perspective lines, I will be able to
draw the same cube, but it will appear farther away and therefore closer
to the horizon line. So I will draw this cube using my vanishing lines or perspective lines,
that's the same thing. It will be drawn
smaller, but in reality, both of these elements
would be the same size, since we can see there are contained between the
same perspective lines. Another important
element to keep in mind, depending on the effect
you are aiming for is that objects below
the horizon line will be seen from above. Why those above the horizon
line will be seen from below. For example, with these two
cubes I have just drawn, we can see the top face. We can see their
tops because they are located below
the horizon line. Now if I were to draw a new
box above the horizon line, I wouldn't see its top face, but I would see its bottom face because it will be
seen from below. So I am drawing these vanishing lines
once again like this, but I don't need to draw this fourth perspective
line since it goes behind. You'll see that with practice, you'll get used to recognizing which perspective
lines need to be drawn and which don't
in the beginning, it can be reassuring
to draw them all. And so we end up with this box where we can
see the bottom face. Also, note that for this box, the vertical lines are
parallel to each other and the horizontal lines
are parallel to each other, just like it was the same
case with the over cubes. Sometimes if my cube or
the box or element I am drawing is placed directly
facing the vanishing point, I can happen that we only
see one face in perspective. That is, we'll see
its front face and we'll also see the top face, but the side faces
won't be visible. So here, I can now draw the perspective line that helped me draw the
top face like this. But as for the side faces, if I were to draw
the perspective line starting from the corners, the perspective line
will go inside the cube, so it wouldn't be
on the outside, and we wouldn't see it. Like you see, from
this cube on the left, the perspective line was
going on the outside while right here with
this cube with this box, the perspective
line goes inside. So if I draw all the
perspective lines, we will end up with these
dashed lines here and faces that we can actually see and that we have to imagine. Now I am going to continue the exercise by
drawing other boxes in different vertical
position either above or below the horizon
line or also horizontal. Of course, I encourage you
to redo these as well, and to draw dozens
and dozens of them to really master this one point
perspective technique. The goal is to fully
understand how it works, so it becomes second nature. A quick note about what we saw earlier with these two
cues of the same size. You might be wondering, wait, you made those
cues the same size because they follow the same
vanishing lines, right? But what if you wanted to
draw a cube the same size, but in a different
spot of this paper? Would that be
possible? Well, yes, it would absolutely be. There are scaling techniques that allow you to
reproduce that same cube anywhere else on the page while keeping the exact same size, and we'll take a closer
look at that later on in another part of this full and complete
course about perspective. Now, let's create a very simple one point perspective
drawing together. I start by drawing my horizon line at this
point on the page. Then in the center, I place the vanishing point. And from there, I'm
going to imagine a road. This is something we often
see in one point perspective. So I draw the edges with
my graphite pencil. When I draw my vanishing lines, I try to keep them
light so I can erase them easily later on. I am now going over the
lines of my drawing in blue. In this case, the
lines of the road also correspond to
the vanishing line. So I go over the
entire structure. From the bottom of the page, I can draw the road markings. I had the dash lines
like we often see here. And the closer they get
to the horizon line, the thinner and
smaller they become. And that's also what
I am trying to do. Later in the course,
we'll look at a technique that
allows us to represent repeating elements while keeping them exactly the same with
the multiplication technique. Next to the road, I
can draw a building. So I will start by creating a box just like we have
been doing so far. I draw the front face, and I'm using a ruler, but if I wanted the lines
to be perfectly straight, I would use a set square. Now that this is
done, I can draw the vanishing lines that will
give volume to my building. I connect the three points that will allow me to draw the depth. The four vanishing
line won't be useful since it goes through the
face I have already drawn. Now, using my vanishing lines, I can draw the depth
of the building. So that's what I'm
doing right here. And then I have a
horizontal line right here that is
parallel to the others. And we will also have a
vertical line just right here that is also parallel to the two others vertical line. And then my box is complete. It's a very simple building, and I can now add
a few elements to its front face like a door
and two windows, for example. Now, let's suppose
I want to have the same two windows as
the ones I just placed, but on the side of my building, the side showing depth. So I make small marks like this, which will help me determine
the height of the window. Then from those two points, I can draw lines toward the
vanishing point like this. And that way, I know the windows has to fit between these
two vanishing lines. So I can go ahead
and draw them now. The height of the
window is marked with a vertical line parallel
to the old vertical lines, just like we saw earlier, and the width of the window is drawn using the
vanishing lines. And then I can place
the second one. Now, let's suppose
I want to have a window on the roof of my
building. I mean, why not? A window that will let
the light in from above. And here I draw this
horizontal line first, and then to show the
depth of the window, I once again use my
vanishing lines. Okay. So I close the window, now I can draw a
horizontal line. And finally, when it comes to
small lines like this one, the last one, we can also just imagine the
vanishing lines. You don't always have to use
the ruler every single time, especially for the smaller part. Now I want to draw a building that is located
behind the first one. It might be taller and longer. So since it is
behind but taller, I can draw its front face
because we can see it given that it rises above
the first building. At least we can see part of it. The rest will be hidden
by the first building. Next, I want this building to be aligned with the
first one I drew. So I use the same
vanishing line. Then from the top
of my building, I close it and I can draw
the over vanishing lines. This one goes from the top of his face that I
have closed off, and these vanishing lines will help me define the
depth of this building. So here, I have
this vertical line showing the height
of the building. Thanks to this vertical line, we can now see the full
height of the structure, since on that side, it's no longer hidden by
the first building we drew. Now, now that I have got
this second building, and if I want to,
I can draw a row of windows here. So
that's what I do. And if I also want to place the windows on the other
side in the same position, I can do the same thing again
using this vanishing line. Now, let's suppose
we have a row of street lamps in front of our buildings running
along the road. So that's what I'm
going to do next. And I start by drawing
the first street lamp. So now that my street
lamp is drawn, I can go ahead and draw
two vanishing lines, one starting from the bottom of the lamp and another
from the top. This way, I will
be able to place multiple street lamps all along the road between these
two vanishing lines. And thanks to that, I know that all my street lamps
would be the same size. Now, why not add
another building next to these two once
that's even taller? So I can start by
drawing its front face. Again, I can draw
the entire front because it's partially blocked
by the other building. For the depth, I once
again use vanishing lines, and I'll go over
the depth I want to give to this building
in blue like this. So we are still following
the same rules. It's true that
perspective drawing can feel very
mechanical over body, but that's exactly what helps everything come
together correctly. As for the height on
the side of the depth, once again, I stop at the
height of the visible part, but ideally, it will go up to about here roughly in this direction toward
the vanishing point. However, since the
building in front is blocking it, I
can draw that part. And then I can add a bit of
detail to my building like the kind of architecture you might see in big
cities, for example. Now I am going to draw a house right next
to everything else. It's a pretty big house, almost as tall as my buildings. I didn't really pay much attention to the
scale this time. Normally, it should
have been smaller, but I figure it will
be easier to see what I'm doing if I worked
on something larger. I could have drawn
a simple box for the house first and then
added the roof on top, but I thought it would be better to move a bit faster and go ahead and draw the house
directly with its roof. So here I drew the main part of the house along with the
triangular shape of the roof. Then I connect all elements
toward the vanishing point. Now I am going to
close off the house. So here there's
this vertical line for the side wall
which I draw here, and I close it off on this side. And then the roof line will be parallel to the line I drew earlier for the
otherside of the roof. We'll go into more detail later in the course
about how to draw slanted elements like roofs and how to get the
correct angle. But as you can see, we now have a house that looks
pretty believable. And on the side, I
also added a door, of course, using the
vanishing lights to guide me. Now, let's suppose I had final elements to
complete the drawing, like, for example, some
trees lining the road. I start by drawing one, and then I draw the
vanishing lines. So I can draw a
vanishing line from the base of the tree and
unover from the top. If we really wanted to know the exact height of the trunk, we could even draw a
third vanishing line coming from the
top of the trunk. But for now, I can draw
trees that gradually get smaller as they move
toward the vanishing point. And if I want to, I can also extend the vanishing
light forward and add trees that are larger
and closer to us and therefore farther
from the horizon line. And to conclude
that I can also had some mountains in
the background.
4. How to draw two-point perspective: Now we are going to study two point perspective
using this image. Unlike one point perspective, here we have two
vanishing points both placed on the horizon line. In one point perspective, the vanishing point
is usually centered. In two point
perspective, however, the two points are generally located at the far
ends of the horizon. This system allows us to draw
objects seen at an angle. For example, this house
isn't seen from the front. It is slightly turned. Earlier, when we look at the photos in one
point perspective, such as a road or
the train tracks, we were facing the
scene directly. And those are
typical examples of frontal perspective,
one point perspective. And now let's analyze this new image and see how
two point perspective works. We can start by placing
the horizon line, which will be roughly here. That corresponds to the
viewer's eye level. Say someone is standing by the lake and looking
at the house, we can imagine their eyes
are at about this high. As mentioned earlier,
the two vanishing points are located at the ends
of the horizon line. From these points, we can draw vanishing lines to help
construct the house. For example, the
yellow lines showed us how to draw the bottom
edges of the house. The windows on the right side also follow this vanishing line. On the left, I can use one vanishing line for the
first window and could draw another one for the second
one that is a little higher. And I could draw
another vanishing lines for the bottom of
these two windows. We could add more lines, but these are
enough, for example. However, the roof follows a different slope and it
wouldn't be able I wouldn't be able to work on it using vanishing lines that go from
these vanishing points. I would have to draw a
vertical vanishing line, but we'll see that
later in the part of the course about slopes
and how to create roofs, et cetera, and how to do that. In two point perspective, all the elements placed between two vanishing lines keep
the same actual size, just like in one
point perspective. However, the closer the elements get to a vanishing point, the smaller they appear. That's the case
here, for example, with the wall of the house. With the purple arrows, we can see what I
want to point out. It looks like the
wall gets smaller as it gets closer to
the horizon line, but in reality, this wall is
the same all the way along, and it's the same
with the windows. It seems like they get
smaller and smaller as they get closer to the horizon line and thus to the vanishing point, but in reality, all these
windows are the same size. Lastly, as we can see
with the blue lines, in two point perspective, only the vertical
lines remain parallel. There are no true
horizontal lines anymore, as we had with the train tracks
in one point perspective, for example, all the
former horizontal lines now converge toward
a vanishing point, so they appear slanted. Only the vertical lines stay perfectly straight and
parallel to one another. Now let's move on
to practice and see how to work with
two point perspective. We'll train using two whizzing boxes just like we did with one point perspective
before doing a small demonstration and
a simple subject together. Of course, I encourage you to do everything I do at the
same time in order to fully absorb
everything colored in the lesson and make
it second nature, something that becomes
truly obvious to you. Now let's see how to work
with two point perspective. I have already drawn my
horizon line on the page, as you can see. I am placing my two vanishing
points at the end of the horizon line because if I place them too close together, as I showed you just right
now, with the marker, it creates a phenomenon
called distortion, and the faces of the object won't be represented correctly. So now I have my two
vanishing points in place. As we saw during the
earlier analysis, when working in two
point perspective, we are viewing our cube
or box at an angle. It is turned and no
longer facing us directly like it was with
one point perspective. So whenever we see a
face turn like this, we will automatically work
in two point perspective. Sometimes the vanishing points are extremely far apart
even off the page. That could have
been the case with the photo we saw earlier. The vanishing point
were quite distant. In those situations, there's a special
technique we will learn later in the course to help
us adapt. So let's begin. To start, I am drawing a vertical line because
as we have seen, in two point perspective, vertical lines stay straight. This vertical line will
define the height of my box. From the top and the
bottom of this line, I can draw two vanishing lines, and I will connect
these two points to my first vanishing
point on the left, just like this using
light lines each time because this line in
the end will be erased. Now that I have drawn the
vanishing lines on both sides, I can have the other
vertical lines of my box. So I will have one on this
side and one on the other. And just like in one
point perspective, to draw these vertical lines, I place them between the vanishing lines
I've already drawn. And these three vertical lines are parallel to each other. Now to draw the
bottom of my face, since my cube is above
the horizon line, I can see the underside of it. We might be tempted
to simply connect the points like this as I'm
showing you with the pencil. But no, once again, we need to use the
vanishing points. So I connect this
corner of the box to one vanishing point and the other corner to the
other vanishing point. And that way, I can
close off the bottom of my box by following the vanishing lines
until they intersect. And this gives us a
properly proportioned box in two point perspective. Now, let's draw a second box, but this time, place
below the horizon line. If it is below the horizon line, that means we can
see the top of it. I have drawn this vertical line, then I connect its end points
to the vanishing points, likely as always, so that the vanishing lines can
be easily erased later. Then I go over the lines I need to define the
outline of my box. And now all that left that is left is to close it
with the top face, which is visible from above. You might wonder which vanishing point I should connect
this corner to. I'm not going to connect it to the left vanishing
point because I already have a line
going in that direction. So I connect it to the
right one instead. Hence that's the same here. Since I already have a line going to the right
vanishing point, it makes no sense to draw
another one in that direction. So I will connect it toward the over vanishing point,
the one on the left. And at the intersection
of these two lines, the phase will be complete. Then I can go over the
final lines like this. At first, this
perspective technique can seem a bit strange, and you might wonder
where to connect this vanishing point each time, how to proceed, which
way the phase should go. I can seem a bit confusing. That's why I really
encourage you to practice drawing dozens and dozens
of boxes like this. At least, it will soon
feel very familiar, and you will do it instinctively
without even needing to think won't have to ask yourself if there's
a diagonal line, wherever the
vertical line should be straight or not
or wherever you are seeing the bottom or top face when it is
above the horizon line, it is true that
at the beginning, you might ask these
kinds of questions, which is why practicing over and over again
will help you feel really comfortable
with it because I understand it can be
confusing at first. Now, let's move on
to something else. Let's say I want to draw a box of the same height
as this first one. Well, I can again use
my vanishing lines. I know that if I
draw vertical lines, between these two
vanishing lines, it will mean the height is the same as the
one I drew earlier. So now I have this phase drawn between these
vanishing lines. All that is left is to connect it toward
the vanishing point. The depth of my box will
also be identical to the one I drew earlier because it is between the same
vanishing lines. Now, I know that where these
lines intersect intersect, sorry, marks the end of my box. And from there, I can
draw a vertical line and finally close off
my box just like this. In a moment, I will show you more examples that you can
reproduce on your own paper. Feel free to post
the video so you can redraw the same
boxes I just did. The principle is the same. Now, let's see what
else we can do. For example, we can try
stacking or overlapping boxes, placing them one
behind the other. So here I had the first
box in the foreground. From there, I can draw some vanishing lines let's imagine that the box
behind is taller. But since we already
have one box in front, we won't be able to see certain parts of the
one behind because the earlier this
horizontal box we drew is blocking the
view from the front. So next to it, I can draw another vertical line
to show that the box would be a bit taller if the
front one weren't hiding it. Then I can connect it
to the vanishing point. We can imagine that the
full box would look a little bit like this with these dashed lines
that I can add. But it's not fully visible. And finally, I close
off the top of this box by connecting it
to the vanishing point, since it is below
the horizon line, meaning we are seeing its top. We can also try
drawing more boxes placed right next to the
ones we have already drawn. For example, since one is
already there on the left, that means we won't see the
depth on that side anymore. So we don't see the
depth of this box. We only see its front face. Well, I mean, we only see
its face on the right. And the same goes for this one. I can draw another
one, but we won't see its face on the
left because there is the first one
we initially drew. And finally, why
not draw another, much larger box
above the others? I can sketch it like
this and place it right in the middle of
all the other boxes. So now I have this
large box drawn. As you can see, it
is the small box on the left that is
currently in front of it. But if I want to make it so that the large box appears
in front instead, I am going to erase part of the lines from the
small box on the left, and then I will draw
the full outline of my larger box like this. And now we can see that
the entire face of this we can see the entire
face of this new larger box, and it is clearly
the one in front. And the smaller one
I drew earlier is now pushed slightly
into the background. So before moving on to a more
complete practical project, I strongly encourage you to practice drawing a lot
of boxes like this, placing them side by side, some overlapping in front
or behind to really develop a solid understanding
of two point perspective. We are now going to work on a very simple two point
perspective landscape. As you can see, I have
drawn my horizon line, and we are ready to start. We are going to keep
it really simple, just on basic buildings
along the street. No rooftops with complex
slopes over angles. We'll stick to very
straightforward forms. So I place my vanishing points
at the edges of the page, and let's get started. So I can draw a
vertical line that represents the height
of my building. I place it roughly
on the horizon line. Then from it, I will draw my vanishing lines heading
toward the vanishing point. When you draw the
vanishing lines, remember to draw these
vanishing lines very lightly so that your pencil nods won't be visible later on. My horizon line is drawn
in green here to make sure to make it more
visible for you, but it's a line that should
eventually disappear. So make sure to draw it
very lightly with a pencil. So now I have almost drawn
one face at my building. The vertical lines
are straight and the horizontal lines are connected to the
vanishing point. My building is now complete. Oh. Now, let's say I want
to have a floor to it. I position myself at this spot and draw a line
toward the vanishing point, but I stop it at the
edge of the building. With practice, you
will see that there's no need to overload your
drawing with vanishing lines. Just drawing lightly toward the vanishing point and stopping
where needed is enough. And with experience, you might even you might not even need to use a ruler to
connect everything. You will be able to do it naturally just by
visualizing it. And so I'm going to shade a
little bit this element in blue in the building and we'll
move on to something new. But this building, I can't see the underside because it
is below the horizon line. And I can see the
top of the roof ever since part of it is
above the horizon line. Now, let's say I want to add some details to my
building like windows, and I want those
windows to be align. So I can start by drawing one here and then a
second one over here, and they will both follow
the same vanishing line. Next, I draw a vertical line to define the height
of my window. The line that defines the
bottom edge of the window, the horizontal line
will simply follow the vanishing line that
I am about to draw. Here, the vanishing light
is almost straight with only a slight angle since we are close to the horizon line. If I had drawn a window
farther down in this area, the angle would have
been much steeper. So now I have drawn the
bottom part of the window, and I can extend the line to
draw the next one like this. And finally, I can do the same thing on the
overside of the building. So I draw a vanishing
line toward the opposite vanishing
point since I am now working on the
overface of my building. Then I can shade the windows
a little, and that's it. Later in the course,
we will learn how to replicate the elements at
exactly the same size. But for now, we will just focus on drawing
windows like this. Then I can draw a
door, for instance, at the entrance of
my building with a vertical line being straight
and the horizontal line, the width of my door being connected to
the vanishing point. And I can draw a series of horizontal line like this
to decorate my door. And all these lines go, of course, toward
the vanishing point. Then if I want, I can also add a decorative element with
this vertical stripe. That's just to
illustrate once again, that it's a vertical element, meaning it is a straight
line that doesn't go toward the vanishing point when we are working in two
point perspective. Now, why not draw
another building that is taller and located
just behind this one? So I can draw its
height like this, and one face will go toward the vanishing point over here, and the height will be
closed off around this area. So I can go much lower than that because it is hidden by the first building
in front of it. Then on the other side, I draw the depth
of the building, the overface using the
over vanishing point. I want the building I want the different
buildings to be aligned. So I will draw a
vertical line that's at the same height as the front building on
my vanishing line. And now I can had a
bit of decoration, some kind of New York
style decoration on the skyscrapers
with darker details that we can place
here and there. Also, keep in mind that we are still at the very
beginning of the course. There are lots of
concepts to take in. So when I shade
with my pencil in this perspective lesson
and the next ones, I am not really
focusing on light and shadows or on dark
versus light values. I am just adding a bit of tone or texture to give some
style to the drawing, but we are not going to
explore shading just yet. That would be too much
to focus on at once. Now I will had some
vertical lines to create window frames
across the wall. These vertical lines are
straight, of course, why horizontal ones used
for the window panes will, of course, go toward
the vanishing point. Alright, we have now finished
the second building. Now I'm going to
draw another one, which will be smaller
than the first. I still want it to be line, so I place it on the same vanishing line for
the bottom part. And since it is smaller, I make sure its
height stops here. So now we have a
shorter building. Its overface isn't visible because it is hidden
behind this building. If that front building weren't
there, we would see it. In the same way. If I have made this smaller
building taller, we probably would see
part of the overface, but since it is shorter
than the previous one, we don't so next, I could arrage last glass window like this with multiple panes. So I draw vertical lines and then horizontal vanishing lines to define the shape of
the window like this. Okay. Now let's imagine
another building, but this time, much taller. That means we will be able
to see both of its face, even though the left face will be partially hidden by
the building we just drew. Part of its height will stop right where the
small building ends. So for this one, I can
clearly see the right face, but the left face is a bit
blocked by the previous one. You will notice that I am using a ruler to draw all
the vanishing lines, even the very small ones. But after a while,
like I am doing now, you can start to imagine those vanishing lines without needing to draw them each time, especially for very short
lines like these ones where precision isn't as critical as when you are drawing
longer vanishing lines. We could keep drawing
more buildings, but I think this already
illustrates things well enough. Now, why not draw the road
alongside these buildings? So here we can imagine a
small sidewalk like this one going toward the vanishing point and running along the
side of the buildings. So there we go. The thickness of the sidewalk is clearly marked, and I can connect it to the other vanishing point on
the opposite side like this. Then I had a few vertical lines to give it a bit of height. Now I can draw another fick
line to mark the street. Just like the
sidewalk, I connect it on both sides toward
the vanishing point. As for the street itself, we can imagine the dash lines running down the
center like this, getting smaller and
smaller as they approach the horizon line
and the vanishing point. Just like in one
point perspective, we could use a
multiplication method to make all the
dashes the same size, but we will cover this multiplication multiplication
technique later on. Now I can also draw a tree, and this tree is in
front of the buildings. It is closer than the
buildings and the road, so it would partially block above if we were
shading properly. So now I have this tree, and if I want to draw
a whole row of them, I can use vanishing lines again. So I will draw one from
the base of the tree, another from the top, and a third one from the
top of the trunk. That way, I can keep the
trunks roughly the same size. This lets me draw a series
of tree along the road, and that will wrap up this
little demonstration. We have actually covered
quite a bit here. It's a great practical
exercise that I really encourage you to try if you want to master two
point perspective. So thank you for
watching and see you next time with
another tutorial.
5. How to draw three-point perspective: Alright, now let's see the
three point perspective. It is used to represent
an object seen from above or below when looking
up or looking down. Unlike two point perspective, where vertical lines
stay parallel, here, the vertical lines also converge toward the
third vanishing point, either above or below
the horizon line. We can use it when we want to emphasize the dramatic
extreme point of view. For example, like a
skyscraper right here seen from the ground or
also seen from the sky. Viewer is very close or
very far from the object. We can also use the
free point perspective. Right here, the viewer is
very close to the skyscraper. And so now let's dive in and see how free point perspective works before working on that
with our paper and pencils. So here is our image for
free point perspective. This time we are not going
to start by looking for the horizon line
because sometimes it can be hard to identify. I mentioned this earlier in that part of the course
about the horizon line. It can sometimes be
really tricky to locate. So we can find it differently, notably by identifying the vanishing lines
and vanishing points. That's what we are going to do here with this three
point perspective. If we look closely,
we can see that the vertical lines all
converge toward a point above. In this case, since we are
looking up at the skyscraper, the vanishing point
is located above. So we notice that the
building vertical lines all head toward this
vertical vanishing point. We can see that
all the buildings line those defining its shape, converge towards this
vanishing point. The vertical window lines all follow the same
direction as well. And by drawing all
these vanishing lines, we can represent each window architectural
detail precisely, which help us build the
structure accurately. Now, if we look at
the horizontal line, they also converge toward
the vanishing point. These two lines on
the side meet at the vanishing point that is located far below
the photograph. This means the vanishing point is beneath the page because the person viewing the building is much lower and looking up. This tells us that their
horizon line is much lower. And we can identify the
second vanishing point by using these two vanishing lines that intersect at that spot. And since the horizon line is an horizontal line that passed through the
second vanishing point, now I know where it is
located and I can draw it. And finally, by drawing more vanishing lines that come from the oversight
of the building, I can identify the third
vanishing point for my subject. This way, I now have all three vanishing points needed to construct my building. And by using these
vanishing lines and these free vanishing points, I can draw all the lines needed for my construction
of this building. This allows me to
draw the windows, all the horizontal
and vertical lines of the building using these
free vanishing points. Now, let's have a look at the other type of
free vanishing point. Perspective. So this is our second image this
time viewed from above. That means we are looking at the scene from a
higher point of view. Again, we use the
same approach to find the horizon line and
the vanishing points. All the vertical lines
now converts toward the vanishing point
that is located below. And here, we can clearly see that this vanishing
point is very low because we have quite
an extreme viewpoint with all these buildings
seen from above. So all the vertical lines lead down to this
vanishing point. Now, the horizontal lines will also converge toward
another vanishing point, this time located to the side. This point will allow me to
determine the position of my horizon line in
the same manner that what we did before with the
other free point perspective. And so I know that
my horizon line is this horizontal line and straight line that passes
through this vanishing point. There, I can find my
second vanishing point. I know that the lines going in the opposite direction will intersect at another location
on the horizon line, which helped me identify
the second vanishing point. And all the horizontal
lines of the building, whether it's the outlines, the windows or even the road, if we can see it, converge towards these two
vanishing points. As for the vertical lines, they all meet at the
vanishing point below, as you can see on this picture. To finish, I zoomed
in to better observe all these vanishing lines that align with the building's
vertical lines. This free point perspective
method is extremely useful for representing complex urban scenes
like this one. It helps us maintain well proportioned
buildings and ensures a believable perspective with
visually coherent elements. Now, let's put this
into practice and see how to work with
three point perspective, whether looking down from above
or looking up from below. Now let's see how this works
in three point perspective. And we're going
to start out with some simple boxes,
as you can see. So my vertical lines now they are headed toward
my vanishing point. So there are no longer any straight vertical line as it was in two
point perspective. But instead, our vertical lines
would be directed towards the vanishing point where the vanishing point is
upside or downside. Next, for my horizontal line, like in two point perspective, I draw them toward the vanishing points
that are on the side. And so I draw these
two vanishing lines, and then I can determine
the width that I want for my building thanks
to this vanishing line. And I draw another these other vertical lines
using my vanishing points. Again, I don't draw any single vertical
lines that are straight and without
the vanishing points. All of them are directed toward
this up vanishing point. And so I can close my
building just like that. Well, my box, actually. Since the box is under
the horizon line, we don't see the face
that is at the bottom, but we could imagine it
being just like that. So let's see another
example with smaller boxes, and we will see it lower its face at the
bottom this time. And so I draw another
vertical line going towards the
vanishing point, and it's the same thing for the other two faces for the two faces
that are on the side. And so I can draw easily this face that is
at the bottom using the vanishing points just like in the same
manner that what we did with the two
point perspective. So I have this face that
is seen from below. Now my vanishing point is going to be located
towards the bottom, so let's see how to proceed. And basically, you will see that it is exactly
the same thing, except that instead of having vertical lines going toward the vanishing point at the top, this time they go toward the vanishing point
that is at the bottom. As for my horizontal lines,
it's the same thing. I connect them to my vanishing points located on the side, and all my vertical
lines will be connected toward this vanishing
point at the bottom. So it all comes
together on its own, and it's in a very simple way. Once we have finished this
example with this simple box, we will look at
two concrete cases for drawing and free
point perspective, whether it's viewed from
above or from below. Let's now look at
the concrete case by drawing a low angle
view with a building. For example, skyscraper will be quite tall and
seen from below. So I have my horizon line, which is a bit low,
and that will help emphasize the sense of
height in my building. And I can start by drawing the vertical line that defines
the height of my building. Of course, I connect this vertical line toward
my vanishing point. For the width and
depth of my building, I once again use
vanishing points. This time, lateral vanishing
points, as you can see here. And now to finish and
close of the building, I will use the perspective
lines I have drawn, and I will have a new
line going toward the vanishing point at the top to determine the depth
of the building. And I will do the
same on the overside. And this way, I will have
a building that looks quite tall as I would
see it from the street. Now, let's suppose I want to draw a window
on this building. Once again, I will use the
vanishing point to draw it. The height of the
window is drawn using the vertical
vanishing point while the width is calculated using the horizontal
vanishing point. That gives me a window
that is completely correct and proportionate
in free point perspective. So Then I can go ahead and draw other
windows on the side. If I want these two windows to be aligned with each other, I use the same horizontal vanishing line to
draw both of them. Next, I draw a vertical line each time going toward
my vanishing point to make sure the windows appear straight and correctly
positioned in perspective. That is going toward the
vertical vanishing point. Now I can do the
same thing below, and to make sure the windows
are aligned vertically, I use the same vertical
vanishing line this time. That way, the windows will be properly aligned one
beneath the other. Now, let's say I want to have a tower on top
of this building. That's not a problem at all. I simply draw a perspective line going toward my vertical
vanishing point. And the same goes for
the central line while the side lines go toward
my side vanishing point. And to close it off, it
is the same process. I draw those various
perspective lines. Right here, well,
my alignment point, my alignment point wasn't
perfectly straight, but now I end up with an
extra floor, as you can see. And if I want to have a sort of pointed tower on
top, for example, I can absolutely
do the same thing, building it up until
I am satisfied. And as you can see, three
point perspective isn't necessarily more complicated
than two point perspective. We will use it for cases like this where the viewpoint
is a bit more extreme. Each time you just have to
remember horizontal lines, use a horizontal
vanishing point. For vertical line, use a vanishing point
either up or down. And here, if I want to add decorative
elements to my tower, they are vertical
lines that I draw going toward my vertical
vanishing point. Then we can imagine,
for instance, another building
attached to this one. So I can use the same
vertical vanishing line to make sure it is
right up against it, and I stop it at the same horizontal vanishing
line at the bottom as the previous ones so that the different buildings are
aligned on the same street. Then I can close
off my building by connecting it to the
other vanishing point. However, my building
won't be very wide, so I stop it at the edge of
the tower we built earlier. And if I want to create
a door on this building, once again, I do it using
my vanishing points. And there you go, that wraps up the simple example for
free point perspective. And it's an example I definitely encourage you
to try out for yourself. So here is our example to work
on free point perspective, this time with a vanishing
point located downward. As you can see, my horizon
line is quite high since typically
when representing an urban scene from above, the horizon line
is placed high up. And that's what we are
going to draw a city scene somewhat like what we saw
during the top down analysis. So what I'm going to do is start by drawing
my first building. And since we are working with three point perspective here, all my vertical
lines will converge toward the vanishing point
located at the bottom. So I draw this vertical line
toward the vanishing point, and then I can draw the horizontal
vanishing lines leading to vanishing points on
the sides just like this. Then to work on the depth of my building, it's very simple. I choose the depth I want, which will define the
width of my building, and then I draw this
new vertical line toward the vanishing point. All the vertical
lines I draw for this building will go toward the vanishing point
located below. To close off the roof, since it is visible because
it is under the horizon line, I just have to connect towards the vanishing
point just like we did with the other
perspective drawings. Now, let's say I want
to draw a large window. Is vertical lines will go toward the vanishing
point at the bottom, while the horizontal
lines will be connected to the side
vanishing point. And for a window on the
overside of the building, it will be exactly
the same thing. For this first window, I drew the vanishing
lines toward the right point
because my window was on the right side
of the building. Now I'm going to
draw another window, and it will be the same thing. But this time, I will draw
this horizontal line toward the left point toward the left vanishing point since my window will be on the
left side of this building. Let's continue with another
building, and this time, I want to create a
building that is taller than the one I just
drew and positioned behind it. So what I do is draw a
vertical line, once again, directed toward my
vanishing point, of course, and this vertical line is
above my first building. Then I draw this horizontal line toward the vanishing
point and I can close off the building with another line going toward
the bottom vanishing point. At the top, I also close it off. Here you can notice that I use
the same vanishing line on the lower part to make
sure my buildings are aligned and end
up in the same spot. Now, all I have to do is finish
closing off my building. I'm also going to
decorate it with a few vertical
lines like the ones you often see on buildings
in large cities. So all these vertical
lines I'm going to draw will be directed toward
the vanishing point at the bottom to make sure that the rules of free
point perspective are properly followed and my
buildings look correct. Your I want to create another
building that is smaller, but still align with the others. I can't use the height of
the building as J drew, and for its depth, I use a new vanishing line going toward the vanishing
point on the left. I am not using the
same vanishing line, the same horizontal
vanishing line as for the others because I
want this one to be smaller. That's pretty logic. Then
to work on its depth, I use the over vanishing
line as you can see here. And now it all comes
together easily. I just repeat the same
method again and again for each new building to give them a believable appearance and
proper three dimensionality. So actually, with free
point perspective, just like with the overtipes, once you understood
how it works, you will mostly repeat the
same process over and over. It's really just about repeating the creation of various
boxes which you can then transform and
customize by adding elements like windows,
doors, or decoration. But when it comes to building the basic structure
of all buildings, we always follow
the same principle. So here, for example, you can see that I am
able to add a door, and for this door, I do it in the same way. Now I want to create a
very tall tower that is center and really stands out
from the other building. So I can start again from a vertical line on the
first building I made. And this way, you can
see that the tower really pops out compared
to the other building. You can also see that it is placed behind the
first building. And once again, I'm using the bottom vanishing point
to properly draw its height. For now, I am not
going to close off the roof because I want to have a large block on top of it, like you sometimes see
on certain buildings, kind of storage area or
electrical unit where all the meters and that kind
of equipment are located. So it's very simple. I draw my vertical line toward the vanishing
point at the bottom. Of course, and the
horizontal lines go toward the vanishing
points on the side. So basically, it's like drawing a mini building on top of the large building
we already created. In this way, I can close it off, and I will also be able to finish closing the main
building afterward. Except this time, instead of
having a completed rooftop, it will stop at the level
of this block since the block is placed in front of the roof area at the back. All right. Now, let's
suppose I want to have a large glass windows like this on my building.
It's very simple. I draw them toward the
vanishing point on the side. And if I want the
window to extend onto the overface
of the building, I align it with the intersection
on the vertical line, and then I connect it toward the over vanishing
point just like this. I can do the same thing in other areas of the
building as well. So here we go. I have drawn it on this side
and on the other side. I also need to keep in mind that there's a
building in front, so I stop my line
where the building is. In this spot, we can't
clearly see where the windows intersect or cuts
through the vertical lines. So I can draw some
imaginary guidelines, extend them as if we
could see through, and then simply
erase the parts I don't need to keep just a
small section of the window. Now, let's say I want to
create a building that's even taller than all the others and extends above
the horizon line. That is absolutely possible. So here I draw a vertical line toward the vanishing point
located at the bottom. However, this time since the building goes above
the horizon line, that means we won't see it stop, so there is no need to draw it. But aside from that, everything
else will be the same. I will connect the
vertical lines to the vanishing
point at the bottom, and the horizontal lines will go toward the vanishing
points on the side. And the same goes if I
want to draw windows, my vertical lines go to
the bottom vanishing point and the horizontal line go
to the side vanishing point. And now we could keep going
like this indefinitely, but the goal here is to include as many elements as
possible in this video. So we could imagine a road passing in front
of our buildings. So I connect it toward the
vanishing points like this, and we can observe that the closer it gets to
the horizon line, the smaller the road appears. And here I clearly have a road that passes in front
of my building since the vanishing line
is connected to the same vanishing lines
used for the buildings. I can continue now and start drawing more buildings
along the road, but this time on the
other side of the road. And the process will
be exactly the same. But here, the further
we move to the left, the more we step outside
the cone of vision, and our buildings might start
to look a bit distorted. And that's something
that happens with more extreme perspective
like this one. The method here on this
oversight remains the same. At first, I made
a line that was a bit too wide for my building, so I erase it, and I want it to be narrower. And so I adjusted that. And now I continue connecting the different corners
of my building to the various vanishing
points to close it off just like we did for
the previous buildings. I'm going to create a recess in the roof, like
a sort of hole, and I will start
by drawing a kind of rectangle from
a top down view, and this will represent
the shape of the recess. To determine its depth, I ask myself, which face would I see from
this point of view? And from this viewpoint, I would see the face
that's furthest back, as well as the one
on the left side since my building is
positioned on the left. So I drew these
vertical lines starting from the corner on
the further left. And from that, I can draw these two vanishing lines that helped me to
create the death. And so now let's
continue and draw some more buildings that will
be located behind this one. And so we can continue and have more buildings
to complete the city. Here I'm going to draw this one, and then I will
draw another one. And you can see that
you will see that it's also possible to
start with the roof. Up until now, it's
true that I have been starting with the height
because I find it the simplest, but you can absolutely start
with the roof instead. And that will conclude
this tutorial. I really hope it was helpful
to you and above all, that you have drawn this
imaginary city yourself. Don't hesitate to
reproduce it for practice. It's really useful
to reproduce it. So I will see you very
soon for a new tutorial, and thank you very
much for watching. So so that's it for these videos on the free
type of perspective. So I really hope that you
understood how they work, these free ties and that
you put into practice with this exercise
I share with you. Beyond the exercises that
we've done together, there's something else I
really encourage you to do, like I said, with the
Horizon line before, what I really
encourage you to do is to observe the
world around you and your surroundings
to see what type of perspective you are seeing because perspective
is everywhere. When you are working and walking on the street,
when you are at home, at work, or at or in class
if you are still a student. Just take these few seconds. It doesn't take long, but try to identify what type
of perspective is it? Is it 1.2 point
or in rare cases, three point perspective
that you are seeing? Where would be the vanishing
point of this scene? What are the vanishing
line that I can identify? For example, the windows
of this building, the road I am seeing in front of and doing this every day in your everyday life
won't take long, like I said, but it will really help you to even
better understand how perspective works and make
all of these things that I taught to you in this video
even more natural for you. So that's really something
I encourage you to do.
6. Perspective practice: how to identify perspective types: This video, we are going
to do a few exercises together to better practice
and better understand one, two, and three
point perspective. So I'm going to share with you a few examples that are a
little bit more complex, and the aim with
this video is in a short time or you can
put the video on pause if you need to think a little
bit more on short time to try to locate
the horizon line, the vanishing points,
and, of course, to determine if it
is 1.2 point or three point perspective
with each of the examples that I will
be sharing with you. So try to locate
the horizon line, determine the type
of perspective, and where would be
the vanishing points, and what kind of vanishing lines would you see in this image. And these examples that
I will be sharing with you will also be
an excellent way to understand how you could find the horizon line sometimes
when it's not so obvious. Because there are
some landscape, some scenes where it
is pretty obvious. For example, with
the first example I share with you on the
horizon line video, the photograph of the sea, it was very easy to locate the horizon line
with the separation of the sea and the sky. But in some scenes
in some photos that you are seeing,
it's more complex. And I will share with you a
few tips to understand how to find the horizon line in cases like this where
it's more complex. So let's get started, and let's practice
with these exercises. Let's get started with
this training session on the different
types of perspective. So I'm going to show you
several images, and each time, your task will be to identify what type of perspective
you're looking at. Is it 1.2 point or three
point perspective? Try to spot where the
horizon line would be, where the vanishing
points would be located. Are they close to the
image or quite far apart? Do the lines seem to converge within the frame
or outside of it. So for each image, you'll have a ten second
countdown to observe and think, so take your time and look
for clues within the picture. So let's begin with
this first image, and here comes the
ten second timer. Good. For this first image, we can guess this is a
two point perspective because the building is angled. We can see both of its sides
and it's tiled like this, which already suggests that
we are not in one point view. And we also know it's not
a three point perspective because the vertical lines
remain perfectly straight. They don't converge toward
the third vanishing point. And by using, for example, a line going along the roof
and no along the window, we can find the first
vanishing point. And from that point, we
can draw the horizon line, which now you see in green, a straight and horizontal line extending from that
vanishing point. Good. And then I can draw another vanishing
lines like these ones, which help me find where the second vanishing
point would be. And as you can see, it is
quite far off the image. So if we wanted to draw
this scene accurately, we'd even need to use a
very large sheet of paper to fit the entire building
or use another method, the Brewer's method, which we'll explore later in the course. Good. And finally, as I
mentioned a bit earlier, you can clearly see
that the vertical lines of this building are
perfectly straight. You can spot these verticals
in several places. They stay straight
and don't tilt. Now, let's move on to the next subject with
this barn and once again, take a moment to identify the
type of perspective it is, where the vanishing
might be, and so on. Good. So for this barn, you might at first think it is a
two point perspective, and that would make
sense the building is angled in a way that
resembles the setup. But actually, what
we are looking here is free point perspective. And the reason why is
because even though we see the building tilted like
in two point perspective, the key difference is that the vertical lines
are not straight. If you look closely, you can
see that all the verticals converge toward a
single vanishing point located above the image. That is the sign we are in free point perspective with the third vanishing
point placed up high. That's also what creates this
strong sense of grandeur the Barnes field
towering because the photo is taken from
a low angle looking up, and the low viewpoint enhances the dramatic effect and confirms that we are dealing with
free point perspective. Next, we can find the
right side vanishing point by using some of the
visible vanishing lines. For example, we can follow
the line along the ground and also the line that
runs along the window, and these two lines guide us toward where the right vanishing
point would be located. You horizon line quite
easily by drawing a straight horizontal line starting from the
vanishing point. And that's actually one of the key benefits of this method. When it's hard to spot the horizon line
directly in an image, you can simply find one
vanishing point and from there, draw a horizontal line.
And there you go. That is a horizon line. And from there, I can now find the last vanishing
point by drawing some vanishing lines
going off to the left. And as expected, they all converge on the same point
on the horizon line, allowing me to find the second and final vanishing point
on this horizon line. Now, let's move on to a
new subject this time, the interior of a House. In this scene, we're looking
at a one point perspective. You can clearly see
that multiple elements converge toward a
central vanishing point, the table, the
bookshelf, the floor, and even some elements
of the window. And that central vanishing point allows me to define
the horizon line. Even though we are in one
point perspective here, we can still draw a
horizontal line through that point and that
becomes horizon line. It is true that in an
interior scene like this, it can sometimes be a bit tricky to find the horizon
line at first glance. But once we have identified
all those vanishing lines, it becomes much easier to locate the horizon line
within the composition. Since we are in one
point perspective, you can see that all
the horizontal lines in our scene are straight. You can see them highlighted in u which means they are all
parallel to each other. I haven't marked
it on the image, but you can also observe that all the vertical elements are
perfectly upright, as well. The legs of the table,
the legs of the chair, the curtains, they're
all vertical. The window facing
us is straight, and so is the height
of the bookshelf. Everything lines up properly
in one point perspective. Now, let's move on
to a new subject or final one for this exercise
this time a street scene. Good. In this scene, the
horizon line is easier to define because beyond
what we see on the road, there is nothing visible in the distance, no
further background. So it's right at this point
where the road seems to end that we can place the
horizon line in this image. But if you had trouble
spotting it, once again, you could imagine all
the vanishing lines and see that they would
converge toward a single point. And from there, you
could then draw a horizontal line just
like we've done before, and that would give
you the horizon line. Here we can see multiple vanishing lines
along the window, the sidewalk, and even
the upper window. We could have had it more
from the road as well. They all converge toward a
single vanishing points, which tells us that we are once again in one
point perspective. And what makes this image
interesting, though, is that the vanishing
point isn't centered as it often is in one point
perspective scenes. Here it is placed
off to the side, which creates a visually
different effect compared to more
typical composition. So that's something you might want to explore in your drawing. Try placing the vanishing points off center from time to time. It can really
change the mood and make your perspective
more dynamic. And finally, here we can see some other interesting elements
of one point perspective. The vertical lines are
perfectly straight. You can see that the windows, the door, the string lamp, and even the building in the background are
straight and vertical. And so you can clearly see it with this blue
line indicating it. So that wraps up this exercise. It is a great activity to really improve your
understanding of perspective and
to make sure that these concepts are
well integrated. I use this specific image here, but you can do the same kind of observation anytime
in your daily life. Whenever you're walking down
the street, for example, try to observe the buildings, look at the scene around
you and ask yourself, where would the horizon line be? What type of
perspective is this? What vanishing lines
can I identify? And doing this regularly will help you get
better at perspective, not just through drawing, but
also through observation. So thanks a lot for
watching this video and see you again
for the next one.
Tristan, Teacher and Artist
