Perspective Drawing For Beginners - Two-Point Perspective Compositions

1. Trailer: In this lesson on two point perspective, we're going to take a look at what we can do to not only make our compositions look more dynamic, but also gain greater control over how we size and place objects in a scene. Throughout this lesson, we'll cover topics like camera movements, how to create repetition, and also how to deal with both even and odd placements, all the while creating our very own two point perspective scene. At the end of it, there will be an assignment for you to complete. If you've learned the basics of two point perspective and want to take the next step forward, then this is the class for you, so let's get going. 2. Basic Differences Between One and Two Point: Okay, let's just do an overview of the basic differences 1-2 point perspective before we begin. In one point perspective, all objects in now seen will converge to a single point along the horizon line called the vanishing point. Our objects will always have one plane running parallel with the imaginary picture plane with the objects movements limited to up down left and right positions. In one point perspective, all horizontals are truly horizontal, and all verticals are truly vertical. In two point perspective, our object will diminish to two vanishing points along the horizon line. The moment an object rotates, even the slightest amount will shift it from being a one point to 82 point perspective. We no longer have true horizontals, but we do retain true verticals. So that's the basic difference that we need to understand first. Now, this lesson is going to build upon the previous introduction to two point perspective, where we covered these basics in far more detail. What this lesson is going to do is introduce to us new concepts that will allow us to create far more dynamic and interesting compositions. We'll learn not only to be more in control of positioning things, but also in our measuring as well. Now, if you haven't watched the previous class, you'll still be able to follow along with this one because we will be recapping what we learned there as we go along. But if you want the fest experience with the subject matter, it's recommended you also watch that class as well. But there will still be a lot to learn here. So let's start with setting things up for our perspective drawing. 3. Demo Part 1: Initial Set Up: So we always start with our horizon line in perspective drawing. This also doubles as our viewers eye line in one and two point perspective. They do separate in three point perspective, but we'll cover that at a later date. So I've just marked that down like so. Now, we need to put in our center or vision line, so I'll grab the ruler. And this is going to run perpendicular to our horizon line, so I'll just straighten this up like so. And just somewhere roughly in the middle here, just put in a nice straight line up and down just like so, and we'll mark it as such as our center vision line. It's always good practice just to mark things as you go along in perspective drawing, just helps make things a little bit clearer. So we've got that down below we've got our station point. And we'll just reiterate again, what this is, the station point is a two dimensional representation of where our viewer is standing relative to the picture plane. So if our viewer is standing 15 feet away from the picture plane, this is the equivalent distance just in two dimensional form. And this is also useful because it allows us to create accurate depth and rotation in our images. So we've got these two lines intersecting here now if we imagine ourselves as the viewer, this cross section follows us around the entirety of our life. So wherever we turn ahead, that cross section follows us. Now, we need to establish what's called our c of vision, and we'll need a protractor here to help us out because what we're trying to do in this setup is to try to simulate an image that is as close as we can get to how we as humans view the world. So what we need to do is mark out an area here out to our horizon line from our station point of 60 degrees because that's approximately the width that we see the world in. So just like so, all the way up to our horizon line. And just to help make this area a little more obvious, we'll go up here and grab a compass and encircle the area just like so. And I'll mark that down, so it connects all the way around like that and put this down as the cone of vision, which as mentioned is 60 degrees total from our station point, or you could also say that it's 30 degrees either side of our center of vision line. So I'll just jot that down here as well. So 60 degrees there or 30 degrees either side, whichever it works best for you. Now, this isn't an exact measurement, but it's as close as we get to the approximation of human vision. Now, we're not actually limited to this width for our station point. We can change it to really anything we want. It's going to produce different results in the same way that Using different camera lenses on a camera is going to give us a different depth of field to our image. So we've got full control over illustrations in the same way that we can control our camera settings. Now, the reason we want to mark this area down is because inside this circle, things are going to look as we would expect them to. But outside this area, we're going to get distortion taking place. We can't actually see this distortion because that con of vision follows us around like that axis, but we can get an idea of what things would look like outside this area. So, for instance, drawing a box inside our con vision would make the box look pretty normal. That same box being placed outside in this distorted area. We'll suddenly start to stretch and warp in its shape. Now, we don't have to stay inside the con of vision for illustrations and paintings. If we really want to get dynamic with our work, we can very much start to draw outside of it, but we do want to be mindful of where it is. Consider this cono vision area a little bit of a safety barrier that we can then crop off to whatever canvas size that we want. So just be mindful of that when you're drawing. So this is our initial setup. Done. Let's move on to the next part. 4. Thinking Like a Camera Man: One of the things that we want to be aware of with perspective drawing is that we're essentially replicating what a camera can do. And so if we're replicating a camera it means we have full control over how it's positioned. Essentially, we really want to think of ourselves as being our own cameraman when setting up our compositions. We've established we have a cross access in the middle of our sight that happens as a result of our eye line and our center vision line intersecting. Now, normally, when we start learning two point perspective, we naturally gravitate towards drawing structures within these guidelines, and for good reason because it's an easy starting point. But this point of view is not always conducive of dynamic and interesting imagery. So what do we do about this? Well, we simply rotate our cameras position, and we do this by establishing our initial construction outside the center line of vision. By placing this initial landmark to the left of our center of vision, it means we've rotated our camera slightly to the right. And we can prove this with ourselves. If we close one eye and hold a pencil up to our open eye and turn our head slightly to the right, we'll see that the pencil shifts towards the left. So this one little change in positioning has made things look a lot more interesting. And if we combine this with both the vertical and horizontal movements that we've already learned, we get even more dynamic compositions. Now, it's not just placing things off center that can make things look more interesting. We can use the area outside of our cone of vision to help create some more dynamic imagery. As mentioned, the con of vision is a little bit like a safety barrier for making things look natural to our eyes, but we can step outside that area. For instance, if we're doing some comic books and we've got some superheroes fighting the big bad guy, setting things outside the code of vision can really make the action look a lot more dynamic and energetic. We do have to be careful a little bit here with how far we go, but we can still create some really dynamic compositions using this distorted area. Another tool at our disposal is simply framing things. If we're not 100% sure how our scene can look, we can simply test out a couple of cropping options to see which works best for our composition. So when setting up our scene, we want to think a little bit more like a cameraman. 5. Demo Part 2: 90 Degree Vanishing Points: So we've reduced the opacity of our initial setup, and this is the area that we've got framed that we're going to frame our image in. There's not going to be too much distortion taking place here. We're well inside the d of vision for most of this. So I wanted to establish now our two vanishing points, and this first choice is going to be a random place along our horizon line. But because we want those genuine 90 degree corners in our image here, not just guesswork, we need to put our second vanishing point in a specific position. So by virtue of us putting this vanishing point here, we automatically know where vanishing point number two has to be, and it has to be 90 degrees, exactly 90 degrees from our station point. So we're going all the way down from here for our first vanishing point now. If we align our ruler, exactly at 90 degrees from the station point. This is going to give us precisely where vanishing point number two is going to be, or vanishing point right, and we'll label them as vanishing point left and vanishing point right respectively. So we are 100% committed to this right vanishing point the moment we go through our station point at 90 degrees, because what we're doing here is we're translating this flat square area up into three dimensional space, and that's going to give us those genuine 90 degree corners in our image. 6. Off Page Vanishing Points: No doubt, one of the questions that comes to mind with perspective drawing is, what do we do when the vanishing points are well off our page? Well, there's a couple of things we can do to work around this. The most obvious thing that we can do is simply add width to our canvas, either by sticking together a couple of pieces of scrap paper if we're working with pencils and rulers or increasing the file size dimensions if we're working digitally. This isn't always a practical solution and sometimes just ends up being a bit more trouble than it's worth. An easiest solution is to simply create a reference guide for ourselves within the Canvas dimensions that will point to a vanishing point far off into the distance. It's a pretty straightforward thing to do. So here we have our horizon line and our center vision line, all of which has been cut off by our border. Our goal is to place a vanishing point way off into the distance outside this border. So how do we do this exactly? Well, first, we need to subdivide our center of vision line into equal units from its bottom edge all the way up to the horizon line. We preferably want to use an even number of units here. We can use odd numbers, but it just takes a little bit more worth to figure out, so even numbers are always your best bet. Once our center vision line is divided, we want to establish a single diminishment line at its base to the direction we want our vanishing point to be. This can be any angle that we want. We just need to establish something that points towards a distant vanishing point. This will create a new landmark for us on the vertical edge of our canvas. From here, we want to do the exact same thing that we did with our center of vision line and divide it into equal units. The end result will be this new reference line in our center of vision line, both having the same number of units that are proportional to each other. All we have to do then is join these respective measurements up with each other, and that's going to create guidelines that will meet up at our distant vanishing point. If we want to get more refined with these guidelines, we can subdivide these units even more, or if we're confident enough with ourselves, we can just eyeball things and make extra marks if required. If we want to take things above the horizon line, we simply need to extend these same proportional units above it and measure things from there. If we want a second vanishing point off the page, we simply have to duplicate exactly what we did on the opposite side. Now, how far or near the vanishing points are going to be to the Canvas border is entirely up to you. You just have to ensure that your vertical references are all split proportionally into the same number of units. So for instance, if your center of vision line is split into six units, your vertical reference edges also need to be split up into six units proportionally. This might be a convenient solution to our canvas problem, but it still has a lot of drawbacks. Mostly that there is still a little bit of guesswork as to just how exact we are being. So, in most cases, the best solution for dealing with vanishing points often to the distance is to simply do smaller thumbnail sketches first. And once we rough out the distances and positioning of things, blow that up to a much larger scale. 7. Demo Part 3 - Measuring Lines: We're going to create something that's a little bit off centered. Our camera is essentially turning to the right here, and this is going to be our vertical measurement line or our true height line, as you could also call it. This is going to be the corner of a room that we're going to create. What we want to do now is to establish some some units of measurement, and I'm just going to use half a centimeter increments here. You can use whatever increments that you want. We've got four units of measurement down here. This is going to be our ground plane. This is going to help us establish not only the measurements for the rest of our room, but also the measurement for the camera's height as well. I just want to extend these same units of measurement above the horizon line as well. It's always good to go just a little bit further than what you actually need. Your measurements, just like that there. So this is our ground plane, and so I'm going to declare these units as being equal to 1 ft in measurement. So if we go back to our ground line and count down by four, well, if our horizon line and our eye level are the same thing, it means that our camera is being positioned four feet from the ground. Now using feet, but you could use meters, yards, millimeters, whatever you want, really, it's a completely arbitrary decision that's up to you. So we also need though a horizontal measurement line that that's equal to our vertical. So just lightly putting in a line there and again, using half centimeter increments all the way across there, and just going a bit further than probably what we need to again, and all the way on the right as well. So it's super important that whatever we measure vertically, we have to replicate that horizontally as well, all the way across there. Again, if we are declaring that our vertical measurements are 1 ft in height, that means that these measurements here are also going to be 1 ft as well. This is our initial setup for our measurements, but at present, things are still in a two dimensional space. We need to swing this stuff out into a two point perspective. Let's look at doing that next. 8. Demo Part 4 - Measuring Points: Okay, so we need to start establishing our environment? We're creating a room. So I'll just go from our first vanishing point over to our corner landmark and line it up and draw it over and criss cross things over on the left hand side as well. Our goal here is to take that horizontal measurement line and to translate it onto these planes. So we'll take a little bit of work, but it will be worth it. Now, how do we translate the units along our measurement line onto these new planes in perspective. Well, we have to go through the station point. If we take the measurement between our station point and our right vanishing point, which in this case is 18.8. And what we're doing here is that we're taking this two dimensional measurement, and we're swinging it up into a three D measurement. So we're going from our right vanishing point, taking the exact same measurement that it is from the station point and swinging it up to the horizon line, and that's going to give us our measuring point right, which is the equivalent distance to our vanishing point right to the station point. So we're swinging that up from a two dimensional viewpoint into a three dimensional viewpoint. And we want to do the exact same thing on the other side as well. So we're taking our left vanishing point, getting the distance there to the station point, which in this case is 19, which is an easy number to remember. And again, taking that exact same measurement from our vanishing point along the horizon line, and I'll just zoom in there to make it easier to see, marking that down, and we'll mark that as measuring point left, which is the exact same distance as vanishing point left is to the station point, we've just taken it from a two dimensional perspective into a three dimensional perspective. So we're going to take these horizontal units and through our measuring point right, we're going to strike them through until they hit the respective planes. If we line that up, just like so, and we want to be careful here. So each time that we move across from our measuring point right, We are shifting over those units onto this plane. Just one at a time and take it slowly here. As you can start to see, They're gradually getting further and further apart from each other, which means they are intersecting precisely with that right plane, which is exactly what we want. So we've shifted those units along the two dimensional horizontal measuring line onto our three d environment. And that's going along the right plane, which, of course, is going all the way back to vanishing point right. So we want to do the exact same thing on the other side off to our left measuring point. And again, just taking it slowly, shifting these units one at a time across. You can draw guides all the way back to the measuring points if you want or you could just let the ruler do most of the work. There's less clean up afterwards, and just gradually go one at a time across, making sure we don't miss any as well. Very easy to do sometimes. As we declared earlier, those initial measurement lines are 1 ft increments, which means that we are now shifting those 1 ft increments into three D space. We only have to worry about the horizontal measurement line here. The vertical one we keep as is because in one and two point perspective, verticals are always true verticals. Anything off that, and we're in three point perspective, which is a lesson for another day. So just finishing this off here. Now, how accurate you want to be with all this stuff, it's entirely up to you don't necessarily have to go to this level of precision for your art. If you want to ye all things, by all means, do it here, but what is important is knowing that the option here exists for you to be able to do this level of accuracy in your drawings if you so wish. So that's our measurement line shifted into perspective. Let's now start to draw some things up. 9. Advanced Measuring: Okay. In our last perspective class, we learned how we can use the measuring line to be able to draw a grid for ourselves. If you haven't watched that demonstration, go and check that out for more detail because it is important to learn. Now grids are great because it makes our lives a little bit easier when it comes to constructing our scenes. If we need our environment to have exact measurements or need objects to be in a specific place or size, we simply refer to our grid and mark things accordingly. Grids are definitely something worth practicing, especially if you're just starting out with perspective drawing. So don't skip out on practicing grids. But no doubt, we want to eventually get to the stage where we're able to do things a little more informally and not have to contend with a page full of criss crossing lines. But how do we keep things informal whilst also keeping things measured? What can we do about that exactly? Well, luckily, we can do this. We simply bypass the grid by using our measuring line to create our landmarks. In our previous two point perspective class, we briefly touched on creating a box with a specific size using only the measurement lines. We want to expand that now to create objects of not only a specific size, but also place them in a specific position within our three d environment. So after we've shifted our measuring line into perspective, let's say we want to have a square plane measuring 1 ft by 1 ft, that's positioned two feet out from the right wall and three feet out from the left wall. Instead of creating a grid, we want to work with both the measuring line and the vanishing points. So if we're moving our plane two feet in this direction, we first want to count one, two spaces across like this and mark it like so. Then if we're pushing it out three feet from the other wall, we want to do the exact same, so one, two, three, in this direction and mark that down as such. From there, we want to go to our vanishing points and we can eyeball things a little bit here, and criss cross these landmarks together, and that's going to give us the corner marker for our square plane. Now, we have to remember that this is going to be the back corner to our plane. To create the actual square plane itself, we have to go back to our measuring lines. And if we're doing a 1 ft by 1 ft square, we simply mark 1 ft across from each side, just like this. And then once again, move over to our vanishing points and criss cross things over. And just like that, we have the ground plane exactly where we want it to. So without any grids, we've got the exact location that we want. And of course, if we wanted to, we can build a box from here. So let's just say, for instance, that we want this box to be three foot in height, So we'll go back to our vertical measurement line here, count one, two, three up. Align our vanishing point up to that marker, strike it through. And so what we're doing is we're moving this height measurement over to where our box is. That's our vertical landmark for our boxes height that we've moved. Now we need to bring it forward towards the camera, so we'll align it up to our left vanishing point now. Strike that all the way through, and I'll just draw it lightly. Don't have to draw too dark. Then we just go to the front corner of our plane, draw vertical straight up from that, and that's going to give us all the info that we need to now complete our box, and we can just put in the additional planes here to finish it off. So we're able to put exact landmarks down, that still allows to create accuracy, all the while not having to put our full grid in the scene. Now, it is important to remember that this isn't necessarily a short cut, but rather a slightly more advanced way of building a scene out accurately. So it is recommended that once you get into the habit of building grids out, give this a shot yourself. 10. Demo Part 5 - Room Construction: This is a little thumbnail sketch of the room I plan to put together here, so it may look exactly like this so. Somewhat like this, we'll figure it out along the way. The first thing I want to put into this scene, and this is our corner landmark, of course. That's the corner of our room. We'll put a door in first and we'll make it three feet out from the corner. And so I need to establish how tall this door is going to be. We'll just put a line up here for the moment. And I think we'll say that the door is approximately about 6.5 feet high. We'll just eyeball things here and split the difference between these two landmarks. We don't always have to use them exactly. Just strike that all the way through like this, and that's going to get us 6.5 feet for our doors. Height. It's probably about average for a door size. We'll say it's about three feet across as well. That's a nice easy number to put down there, and we'll just put a bit of a framing around the door as well and align that up to our last vanishing point and there is the position and size of our door. We'll move on to something else, and we'll just write this down actually 6.5 by three. That's the size of our door. We'll put a bed in. That was one of the objects in the sketch, we may as well add that in. Now, the size, we'll make it a pretty big size bed, I say. We'll make it'll say six foot across here because it's a fairly large room we've got here. It's probably a master bedroom. You'd want a master size bed. We'll say that six feet by six feet actually a nice big square bed. I'll just go from our right vanishing point first and we're going to get the overall plane for the bed, and we'll build the rest of it up from there. So just aligning that, six feet across that way, six feet across this way, and then we'll criss cross that over just like that, all the way back there. That's the corner landmark for our bed. We're going to encompass the frame of the bed as well with these measurements, and then we'll just refine it as we go along. That's essentially the silhouette of our bed there really if you think about it, we need to now build the height and just looking at my own bed as a reference. I think it's about a foot and a half. We'll say that this bed, along with its frame is about 1.5 feet high. So just measure it up like that, and this will go across the back wall like so, and that gets us the height of both the bed and the mattress. And just up like that and measure across to our other vanishing point here and get the height of the corner closest towards us as well. So we'll just slowly build this up as we go along. Now, as mentioned earlier, how accurate you want to be with all your measurements, it's going to be entirely up to you. There will be instances where you may want to get this precise with all of your objects in the environment. But there will be other times as well. We just want to have a bit of fun really, not be bogged down by having to count things out because that does slow things down considerably. But some of us who become artists really do actually love this more mathematical and constructional of doing things. So that's our bed. That's going to encompass as mentioned the frame as well. So let's figure out now roughly where the divide between the mattress and the frame is going to be. I'm just going to eyeball this. And I'll say that the mattress is going to take up probably about two thirds of this size, and I'll put a little bit of space down the bottom here because we want the legs of the bed to show as well. So we've got space there at the bottom, where we can put some legs there for the frame, and now we want to do the exact same thing for the other side, so all the way over to our right vanishing point line it up to where we've marked our mattress line and where we've marked the line for the frames legs. So things coming together nicely now, so we can just start to add a few details. So we'll round things off a bit. It's always good to start with square shapes and boxes and sharp corners first and then soften things off. So here's our blanket over the top like that. So we want to put a bedhad in here as well, and it will expand the same width as the bed. So we don't have to do too much more measuring in this instance. And again, I'm just going to eyeball this a little bit. That's probably about about just under 2.5 feet from the ground plane and just straighten things up like this vertically like that. There's going to be a little bit of a top plane here as well. We have to remember when we're constructing things that there are always planes present. And sometimes those planes are going to be very, very thin. So as things get closer to the horizon line, they can press together a lot more. But they're always present there, so we want to be mindful of that. That's our bed now door done. Now, a good thing to do as you're drawing or at least I like to do it this way. I like to clean things up as I go along because occasionally with perspective drawing, you get so many lines coming across the page that it becomes difficult sometimes to see what's coming on. Although I'm using a pretty dark pencil here just for the sake of demonstration, but normally you'd want to use something that's a lot lighter than this. If you're working practically, you'd want to use say a H two pencil that's very sharp, or if you're working digitally, working on a really low opacity pencil or low opacity layer. So I've got our bed and our door done. So what else can we put in here? Well, we might put a rug in, I think, as well, we'll put a nice big rug under the bed. And I think I might put it about two feet out from the wall. So let's see what size can we make the rug? Well? Let's make it a little bit bigger than the bed, but we want the length to be roughly the same. So I'll say it's about a six foot rug. So about the same size is the bed, but two feet out from the wall, which means that if it's six foot, we want it to come out right here. That's eight feet out minus two equals six, so we've got six feet in total there, straight across like that, and we'll make it a little bit wider than the bed. I'll say it's eight feet in total, eight feet wide. That means one extra foot either side of the bed. Once again, going to our landmarks, our units of measurement. All the way across here, so that's 1 ft that way. Straight across another foot right over here, Striight across like that, and that's going to give us the size of our bed. We'll put a little bit of a decorative feature just on the side there to make it look a little more interesting. We've got our door in, we've got our bed done. Just clean things up a little bit. We've got our rug in. So this is a pretty good start. Let's move on to the next section. 11. Doubling & Even Spacing: So doubling is exactly what it sounds like. We are simply creating a duplicate of something, a plane, an object, anything we want, really. There's a couple of ways to do this, but we're going to use a method that's probably the most widely taught. To help make this process clearer, I'm also going to throw up a two dimensional graphic just to help things out. So I've got both top and bottom lines running parallel to our vanishing point. And so what I need to do first is just to draw in a random plane size just like that. We next need to find the center point of this plane, and we'll do that by using the criss cross method. So going from one diagonal corner to another. And then from this center point, which is the exact center of our box, we want to draw another parallel line diminishing all the way back to our vanishing point. Now we want to place a mark down at this intersection between our center line and the edge of this plane. This x that we've got now is going to become important later on, so we'll come back to that. So how do we create another plane of equal width? Well, if we draw a diagonal line from the top left of our first square, straight through the center landmark and strike it down to the bottom. We'll get the starting point for our next plane. All we have to do then is just draw a vertical line up from this mark. And all of a sudden, we've got ourselves a brand new plane of the exact same width as our first. We can see this in the two D graphic as well. We've got the exact same distance, the exact same size rather between both of them here. Just like that, we've got our second plane. If we want to continue this on, we can do another one. Let's do a third plane again. Again, this time again from the top left corner from plane number two. Straight through that center landmark down onto the ground plane, and then just draw up from that, and that's our third plane of equal size. And if we want to do more planes as well, we can just keep going on with this sequence. So top corner, center landmark, bottom plane. This is great for establishing anything that we need that's equally repetitive. So tall buildings, electrical poles, street lights, fence posts, rather, anything like that. So that's all in great if we want things right next to each other. But what if we want a little bit of space in between? What if we want to create some gaps between our planes? There's a couple of ways to do this, but we'll do a method that makes use of our setup that we've already got here. First, going back to that x that we created in our first box, where we want to establish some space between here, we're going to create a gap here. So I'll just draw it in a random vertical line to indicate the area where I want the gap to be just up like that. So you want to imagine this as maybe being the street between two city blocks, for instance, if that helps. Now we've got that in place, but how do we duplicate this gap across the other planes? Well, this intersection between this new vertical and our top right diagonal, that's going to give us the landmark we need for our other gap. So what we want to do is that we want to draw a diminishment guide from this new intersection all the way back to our vanishing point? And once that is done, move over to plane number two. And draw another diagonal from this time its top right corner, Criss cross that over. Again, where this new diagonal line and this diminishment line intersects is the landmark for our second gap. So another vertical straight through there and just to finish it off. And of course, we can do it for our third one as well. So top right intersection there, and there we've got another vertical for another gap. Previously, we were adding equal amounts of space to form new planes. Now we're subtracting equal amounts of space between our planes. So a little bit of work involved, but it gives us a relatively easy way to create city blocks, windows, kitchen cupboards, anything that needs any type of repetition or equal space in between. 12. Demo Part 6 - Ceiling and Walls: So I just realized that I forgot to put a ceiling in. Our bedroom is not going to be much good to us. If we don't put a roof over the top of it, otherwise, it's going to be exposed to the element. So I'll say in this instance that ten feet is probably a good size for a ceiling. So just jot that down here. And we'll just use the vertical measurement line to count all the way up to ten right there. There's our landmark there, and we'll just draw that in. What we really find if we're used to drawing with a lot more expression is that perspective will slow us down. So we have to be mindful of that and be a little bit patient with ourselves, especially if we really want to get good at more architectural things or maybe if we want to do work in sci fi films or something like that, where we get to design cool cars and vehicles and all sorts of cool technology like that. There's going to be a little bit of a slow down here than what we're used to. But if we stick with it, we're going to find that it's going to be super beneficial in the long run. At the end of the day, we want the perspective to work for us, not the other way around. So just keep at it and you'll get there in the end. So what I'm going to do now is that I'm going to put some wall paneling on this back wall, which I added in the concept sketch. So I'm going to use the doubling method that we learned earlier on to put that down. I'll probably be about four or five panels at the back here. So these are all going to be the exact same width. So like we saw in the lecture, we want to first establish where our first panel is going to be, and I'm going to intersect it a little bit with the door here. We don't want it going right up against the door, it will make it look too boring and too much of a tangent there. So we'll criss cross things over, like we saw in the lesson, so corner to corner, just like that, and to the other corner here. Just like that. So that's going to get us the exact center that we want, and then I line that up our vanishing point, strike that all the way across, and just do it very lightly. And from there, we can now start to build the rest of our back panels going from that diagonal top to the center landmark straight through there. We'll line that up like so, and that's going to get us our first panel, and we can repeat that several times until the wall is filled with those equally sized panels. So it's a great little shortcut for us to be able to do this. We could do it with the units of measurement that we've got on the ground there, but this is just a nice little shortcut that's going to get us the exact same result. We always want to take the path of least resistance with perspective drawing. If we can avoid drawing in all guides and other diminishment lines and things makes our life a heck of a lot easier, and just means less clean up afterward as well. Another one going through there, straight up there and that might do with here. There might have room for one more, but it looks good enough now. That's our paneling on the back. We might just put a little bit of spacing in between as well. We're not going to worry about getting exact spacing. So just eyeballing things, which we're free to do. That's ultimately the stage that we want to get to, so a little bit more spacing here at the bottom there. And that's going to be our wall paneling there. So I've got an awful lot of space here on the left hand side of the bed. And in the concept sketch, I've got a little night stand or a little table or set of drawers, whatever you want to refer to it as. So I'll put that in next, and we're still inside the of vision here, but we're just very much on the border of it, so the night stand might start to look a little bit warped, but that should be okay. And I'll say it's about two foot by 1 ft, two feet wide. Now you might very well be saying to yourself, here, well, it's all well and good doing all this measurement and whatnot, but is it ever actually going to come in handy? If I'm not actually doing any architectural work where we do need precise measurements. Surely, as an artist, then I don't really need to go to this level. Well, it's not so much about having to use these type of mathematical settings, but it's knowing that they exist is the important thing here. If we know to set up two point perspective, if we know about our vanishing points and our station points and center vision and all that stuff, all of a sudden, we become a more valuable artist. We can work with a film director and capture exactly his cool sci fi epic story that he's got in his head into a frame, draw exactly how the camera would see it. If we can draw in the exact focal length and framing and all of that, then we are one step ahead of everyone else. So as you can see, I increase the size of the night stand a little bit. It was just a little bit a little bit too small, and that's just finishing it off now. So what I want to do is add a couple of drawers in here, and the easiest thing to do with that is just do criss cross from one diagonal over to the other to get the center point once again and align it up to a left vanishing point and that's going to give us our drawers. Just like that, a little bit of a gap there as well. So again, eyeballing things, and of course, we need the handles as well. So may as well put that in there too, just making sure that that's aligned as well. So if we are working free hand, we do still want to be mindful of where our center points are and where our vanishing points are going. So let's stop it here and move on to the next part. 13. Uneven Divisions & Irregular Spacing: Dividing things in two is relatively straightforward. All we have to do is criss cross our diagonals over, which gives us the center point for which we can then divide our object in half. And we can continuously do this until the cows come home. So any division of two is relatively easy. What about odd numbers, however? Well, we could do some complicated subdividing if we want to make our lives more difficult, or we could take the easy option, so let's try that one first. L et's say that we have a wall that we want to divide into five columns. How do we create that? Well, first, we start with dividing the height of our wall into five equal units, and then create a diminishment guide all the way back to our vanishing points. From here, if we draw a diagonal line corner to corner within our wall, we'll find that each of these intersections between the diagonal and each diminishment guide will create the precise vertical landmark that we need to create equal spacing. We need only draw our verticals through these landmarks to finish the division off and just like that, we've got our five columns, each equal in its width. And the beauty of this method is that it can apply to whatever number of divisions that we want, odd or even. So if we need six, 13, 47 columns, however many we want, we can put it all down here. Now, we've taken a look at even spaces between objects, but what about uneven spaces? What if we've got a row of skyscrapers that are oddly spaced or pieces of wall art at various distances from each other? Well, we can work that out too. This does take an additional step or two to put together, but it is worth the extra effort. So let's try this out now. The first thing we need to do is actually do a front two D view of our uneven spaces. In this instance, we've got a front view of a house with a door and two windows, and there's an uneven space between them all. Next, we need a scrap of paper or a separate layer if we are working digitally. And what we're going to do with this scrap of paper or layer is we're going to mark down the widths of both the door and the windows, as well as the overall width of the entire two D graphic. So this is our house's width here. These are our doors width, and our windows width. Our goal is to transfer these measurements onto our perspective box here. We only need to transfer the width. The height can be really whatever we choose it to be. So how do we make this transfer? Well, if our scrap of paper is the same height as the nearrest box corner, then we simply rotate it to its side and translate the measurements over. Most likely, however, our scrap of paper layer will probably be a little bit bigger than this. We need to somehow get the same measurements across. How do we do this? Well, first, we need to draw out a parallel line from the top of this near corner. Then with our scrap line to the bottom corner of our box, we want to rotate it until its opposite end meets up with this top parallel line. From here, we want to run parallel lines from these markings across to our vertical corner. This first marking that I'm transferring across now, this is the exact same width as Window number two that we see here on our two D graphic, and we want to do the same for our other measurements. Another set of parallel lines across here for our second window, just like that. And then one more for our door. So I've got all these framed measurements going across, and just like that, we have the spacing for our doors and our windows running vertically. Now, you're probably saying to yourself, well, these are width measurements, but they're running on a vertical planar. So how do we flip these over? Well, we once again go back to our good old diagonal friends. So once again, we go from the top corner of our box, all the way to its bottom corner. And then we take these measurements back, these new measurements here, all the way back to our vanishing point, just like we did in the earlier video. So striking each of these all the way back. And you might be one step ahead of me here. Once again, we've got a whole lot of intersections that are happening as a result. And just like before, we want to run verticals through each of these. One at a time. So nice and vertical all the way across, and this will result in a whole lot of unequal columns, which is exactly what we want. Now, this looks a bit confusing as to where our windows and doors go. Well, we simply have to refer back to our original two D graphic. So if this area here is empty in this two D space, then it means that the first column in our three D space also has to be empty. If this second area is where Window number two is, then this second column has to be where we place that window. So I'll draw that in here, so that's Window number two going into that second column. This third section is another area of empty space, which means column number four has to be where Window number one goes, and so on and so forth, and I'll finish it off by adding in the door in its appropriate place. So you just want to refer back to the graphics. Essentially, we've sliced the whole graphic up and now we're sticking it all together again, in a perspective form. So a little bit of work involved, and you'll probably have to practice it up a lot more to get the hang of it, but it's an extra effort that is well worth doing. 14. Demo Part 7 - Window Divisions: All right. I just realize that my ten foot ceiling is only nine feet high. This is why it's a good idea to double check measurements before committing to anything. So we'll just continue on regardless, and we're going to put a window in now, so let there be light, and we'll make it two foot down from the ceiling. Just measure that down one, two, strike it across there, that's going to be the top of our window there. We'll make it about three feet in from the corner. Just like that, we'll measure it up there, that should ensure that the door doesn't accidentally hit the window. Always good when we can avoid that. Measure that straight up from there, just like so. It's going to give us the first corner landmark. We'll say that the window is about five feet by five feet internal. A nice square window, I think in this instance. We'll measure that across there, grab our ruler, measure up from there. That's our second vertical. So now we need to count five feet down from here, so, one, two, three, four, five, there we go. Straight across, that's going to give us the size a full size for our window. So again, we are two feet from the ceiling. We are now two feet from the ground, five feet in total by five feet, and that's going to give us our window. Now, what we're going to do is we're going to split this into three. So we're going to use the same method that we saw in the lecture. Diagonal across corner to corner, and from there, we're just going to eyeball where the divisions are. We need two divisions in this instance to give us three columns. Straight across there, straight across there as well. That's going to give us the landmarks we need, the intersection between those diagonals and those diminishing lines. That's going to give us the structure that we want to be able to start designing our windows with. A perfect division of three columns, each of which is the same size, which is exactly what we want. As mentioned in the lecture, this can be any size that we want as well. So any number that we want rather. So three, six, nine, 57, what do we want? I'll just put a bit of framing around the window. Now, just to design it up a little bit. When we get to this stage, where we've got all these landmarks in place and these gritted areas, it means we've got the foundations in place to really start designing. So I'm not going to do anything too fancy here, going to keep it pretty well cornered. Make the split here a little uneven, just to add a bit of interest to the windows, and just doing a little bit of guesswork for the framing here as well. If we are guessing for something like this, this type of framing or poles or anything like that, anything that's diminishing often to the distance, we have to remember that things are going to start to compress together further they get away from the viewer. So the more something goes towards the vanishing point, the more compressed, things are going to become. Just going to finish off the paneling on the other side of the wall, and I'm going to take a little bit of a shortcut here instead of doing the ing and doubling thing, if I measure a straight line across from our first panel here to the opposite side, we're going to get roughly where the start of this new panel should be. I'm just going to move it over a little bit though because it looks like it might form a tangent. And we do want to be aware of that sometimes if things are going to create tangents, where there are lines that are intersecting each other that really shouldn't be, sometimes a good idea just to nudge things over a little bit. So we can cheat a little bit with our perspective if it ends up making the image look a lot better. This might do us here for our uneven divisions. Let's finish it off with some irregular spacing. 15. Demo Part 8 - Uneven Wall Art: All right, hopefully, no more ceiling issues in our last part. So we're going to put some wall art in into roughly this area above the bed. So the first thing that we need to do is just to establish where our wall art is going to be because it's going to be irregularly spaced. And the height can really be whatever we want it to and make adjustments accordingly because when we shift over our uneven spaced objects or our irregular spacing, we're really only concerning ourselves with the width of what we're translating over. So a little bit of an odd concept at first, but the more you get used to it, the more you practice it up, the easier it becomes so. Again, we need that parallel line first across the top of the area that we're transferring our measurements onto, just like that. I'll grab the measurement that I've already figured out beforehand. We're going to have space here for three pieces of wall art and rotating this. It's roughly aligned, that's good enough for this purpose, and just measuring these units across as such. Again, you just need a scrap of paper for something like this if you're working practically. In a new layer if you're working in the digital environment. Now it might seem like a bit of a tedious thing to do for irregular spacing because well, we can just arbitrarily choose areas that we want. Value to this is that it's going to actually add more believability, especially if we are working from things from imagination. So if we're a fantasy artist and we want to do that cool epic castle, and we want it to look right. Well, we'd want to map things out first in that two dimensional plan, get the face of that castle looking right, get those distances between the windows and the drawbridge and all the turrets, get that right and then translate it over using this method. And that's just going to add a lot more believability to our piece. There's one thing that we find when we start learning perspective is that we're not particularly good at judging distances until we start to practice it up a lot more. And this is just another useful practice tool for helping us develop a better understanding of how things be looking, how they should be overlapping, how far things should be spaced apart from each other. So, it's a little bit more work doing out irregular spacing like this, but in the end, it's going to be worth it because it's going to result in a much better outcome. So I've got my spacing here and just putting in the first image, the first picture frame, whatever you want to call it, and the second one over here. As mentioned, the height for these can be anything we want. I'll make this one a little bit smaller and I'll push it down a little further as well. So we're only really concerned with the width of things. We've taken that little scrap of measurements, rotated it, and transferred it onto our two point perspective plane here. Like that, we've got our image is done for our back wall, our wall art there and could be anything here, a couple of portraits, maybe here, and a nice landscape, mountainous landscape in the distance, something like that. Okay, it's still looking a little bit empty here, let's just do a couple of pieces of furnishing. And I think the first thing we might do is we might put a plant over in that corner. That's a good place for a plant, and we'll make it quite a large plant as well. So maybe about three or four foot high. Something that needs a lot of water. It's going to get a lot of sunlight too with that big old window there as well. So just rounding that off there, get that cylinder shape in for our pot and just draw our plant up here, all these big leaves just poking out like that. Nice, a little bit of furnishing just to decorate the room. And that will do nicely. We might finish this rug off as well. We put a little bit of a pattern on one side there, but we left it blank on the other side. So let's just run a little bit of a pattern all the way through just like that just eyeballing this as well. That looks about right and on the other side too. Now, we've got a little bit of space here as well where the night stand is, and a night stand isn't particularly good for we don't have a light source, I suppose. So let's put in a small little lamp feature just to finish it off. Actually, we'll first do the door because we don't have a door handle, so we'll need to add that in as well. So we'll put the door handle in and then we'll finish off with the lighting fixture. Now, just going to estimate where the cross axis is here. And just imagine actually that my pencil is being pulled in to the directions where the vanishing points are. A good little bit of practice you can do is to imagine that your pencil has got two pieces of string tied to it, each of which is going to the left and right vanishing point and you're constantly being pulled in either direction. It sounds like a strange thing to imagine as you're drawing, but it really helps to keep your pencil in lined with the directions of the vanishing points. That's our scene done here, I think, just about all we can do for now, let's leave this off here and finish off with the assignment.