Transcripts
1. About the Class: Hello and welcome to this class on the study of
light & shadow, and perspective in-action. This class is the second
in a series on How to Use Urban Sketching as a Tool to Form a
Creative Practice. In this class, we
will be putting the theory of perspective
into practice, to draw anything that you
want from observation. And then we'll see how
to study and use the concepts of light & shadow to bring our
subject to life. This class is
focused more on putting these concepts into practice rather than the technical
aspects of the concept itself. My aim for this class is for
you to be able to practice your observation skills
and to be able to draw anything that you
want with confidence. So come join me in this class for a hands-on approach to understanding light and shadow
and to see prospective in-action.
2. Overview of What to Expect: In this class, we will be studying one-point perspective and
two-point perspective. And we'll be using this
object to study. This is a Sumi ink bottle. With a sort of a cuboid body, but it doesn't have sharp edges, It has like a face in the place of the edge. And
it has a circular cap. So this object is complex enough
to challenge you a little, but it is easy enough for
us to be able to tackle it. Now, we'll studying both
the perspectives- One-point perspective and
Two-point perspective, in three different scenarios. One is when the object
is placed at eye level, Second is when the object
is placed below eye level, And the third is when the object
is placed above eye level. In all these three instances, there'll be two key concepts
that I will be referring to. One is the horizon
line and second is, like I said, eye level. Horizon line is nothing but just an imaginary
line that we've created to understand
the concept of perspective more easily. And it is just a
reference point. Eye level like
the name suggests, is where your eye is
placed at any given point. Now, when the object is
placed in front of me, and if I want this to be
my reference point, i.e. the horizon line, then the eye level and the horizon line is
at the same level. But when the object is below
eye level and the horizon, so the eye level is lying
below the horizon line. I have to move my
eye downward to be able to observe the
object properly. And when the object we say is
placed above eye level, that's when it is above our reference point,
i.e. the horizon line. And I have to move my
eye upward to be able to observe the object properly. So this is what we'll be
covering in this class, and I hope to see you there.
3. Class Project: I have designed
this class to be in real time so that
you can join me, and we can together explore the concepts of light & shadow and
perspective in-action. I encourage you to join me and draw along with me as we
go through these lessons, without focusing too much on how your drawing is
turning out to be. Because remember, you
can always come back to these lessons and pause
and re-watch them. At the end of the day to really understand
these principles, you have to put your pen
or your brush to paper. Now for the class project, I want you to pick
any object around your house and draw it both in one-point perspective and
two-point perspective; placing it at, below,
and above eye level. And after that, I want you to
study the light & shadow areas of the object
and then sketch it out or paint it
out, however you like, as I have demonstrated in
the videos for this class. Then click a picture of the
studies that you've made and upload it in the class
project section below. I can't wait to hear
the aha moments you've had in exploring these
concepts with this new lens.
4. One-Point Perspective, At Eye-level: Before we dive in, let me briefly explain some
key concepts or terms which are often used when we're having a conversation
about perspective. First is the horizon line. Horizon line is an
imaginary line, which like I said earlier, is simply a reference point. When you look directly
in front of you, that is where the
horizon line lies. So basically wherever you are, at ground, on a
mountain or under sea, look right in front of you, and that is where the
horizon line will be. That is your reference point. Now, the second concept
that I want to briefly discuss is the eye level. Eye level is simply
where your eye is placed in relation
to the horizon line. When you are looking
right in front of you, your eye level is at
the horizon line. When you're diagonally
looking down, your eye level is below
the horizon line. And when you're
diagonally looking up, your eye level is above
the horizon line. The reason why we look
at these concepts when drawing is because
the relationship between these concepts helps us in
identifying the size, angles, and dimensions
of an object, to make it look structurally realistic. Now, I want you to
remember that you do not need to know the
technical details of these concepts, that is more relevant for
architectural studies. I want to make you
look at perspective only as a tool for
aiding observation. And remind you that when drawing from life, or in other words when urban sketching,
you just have to focus on and trust what
your eyes are seeing. Observation is the key to drawing well,
followed by practice. Now, here I am drawing on
sheets of paper instead of sketchbook because this is the second time I'm
actually filming this class. And I wanted to use the
other side of the papers I earlier drew on to not be wasteful. It was quiet tragic actually, my memory card
just got wiped out, but tech issues are
beyond anyone's control really. So I practiced letting go, treated that filming session as a practice session before
the actual filming, you see perspective
is everything. Okay, so in the first three segments we will be looking at
one-point perspective. One-point perspective
comes into play when the object is lying
on the horizon line. In other words, when the object is placed right in
front of us. Let's start with
the instance when the eye level is at
the horizon line, that is when the
object is placed right in front of us. In this scenario only one face of the
object is visible to us, other sides of it are
not in our line of sight. Here, the object appears
quite flat to us. So how I like to approach
a subject like this is to start
by sketching out a portion of the subject
that I will use as the anchor point, and build the subject around
this anchor point. In this instance, I'm choosing the anchor point to be the
middle section of the bottle. Its label part. Now, when you observe, you will notice that
you can divide the body of the ink bottle
into three parts. We have already drawn
the label part of it. Then there are parts
below and above it. I would like to introduce you to another tool here that you
can add to your arsenal, which is great to
estimate the size of an object and its relative
proportion to its environment. That is pencil sighting technique. As the name suggests, you use the pencil
you're drawing with as a measuring tool to estimate the relative size of the
different portions of the object, while holding your hand straight
in front of you. Now using the pencil
sighting technique, what I gauge is that the label
part of the ink bottle is roughly the same height as
the part right above it, and the cap of the ink bottle.
And the body of the ink bottle below the label portion
seems to be 1/2 its height. So that helps me decide the relative proportions of the different parts
of the ink bottle. Now, when I come to the cap, I notice that the
length of the cap is kind of broader than the
centre portion of the label, spilling up to just
the beginning of the label on the flat
edges of the bottle. One neat little trick here, I like to kind of curve the corners while
drawing any object. It makes the object
flow more naturally, than having hard/ sharp corners. Lastly, we will roughly
mark-out the area where the shadow of our
subject is being cast. And if you ask me, this
is the game changer really. It is the shadows that bring
any subject to life. Once we're done sketching
the bones of our subject, I like to go back to
add the details that drew me to choosing that
subject in the first place. So I won't go in with
adding all the details, my purpose here is
to simply capture the object in a way that
it is identifiable. But, I will add
selective details. I really liked the Zig
lettering on the label of the ink bottle and the vertical
grooves in its cap. So I'll add that and then stop. Resist the temptation
to add every detail. I don't need every detail. I personally don't like
making very detailed drawings because that is something that
I turn to photography for. But when drawing, I like to draw a slightly more
simplified version of the subject. But if details
is something you enjoy, then you can definitely spend
some time on this step. Once we have got the
subject locked down, we will then move to marking out the shadow areas in the subject. And the colour of the
paper will naturally act as light areas
within the subject. Now, when using pencil or pen, we can do this by shading
the shadow areas. How we will do this is by
simply making strokes. If you go over a portion
with strokes one time, it will give you a light value. And the more number
of times you go over that portion using
the same stroke, the darker your value will get. So this is how you make the shadow lighter or darker, and create gradations within the shadow, by essentially coming in
with the strokes in layers. Remember that the
shadow will be darkest just around the object, kind of at the intersection
of the object and its shadow. Now, I want to go over the outline of the
object to really define the lines and bring out
the shape of the object, which was one of the first
things that attracted me to attempt to draw this
object in the first place. See how I'm going over the left most portion of the object, the strokes I made there earlier,
because the shadow will be the darkest on the parts of the object farthest away
from the light source. And my light source here is the light coming in from
the window on my right. In the cast shadow portion, I like to introduce a
different stroke just to distinguish the marks inside the object and its cast shadow. So I'm using cross-hatching,
that is simply changing the direction of my strokes in respect of my previous strokes. Okay that's it. That is our object in
one-point perspective, placed at eye level.
5. One-Point Perspective, Below Eye-level: Now, within the second segment
of one-point perspective, we will study the instance when the eye level is below
the horizon line. That is, when the object is placed diagonally downwards
and in front of us. In this scenario, not
only one front of the object, but additionally the top face of it
is visible to us. Here the top face of the
object appears to converge toward the
vanishing point. Imagine yourself
holding the top of the object and pinching it
upward to make a triangle. That's how it will seem like. We will again start
with putting down the anchoring point, around which we will build our subject. In this instance, I
will sketch out the cap of the ink bottle as my
anchor reference. You will notice that the curves in this object will
appear a little like the curve of a smile,
upward facing. Now again, I am using
the principles of pencil sighting technique. I don't feel the need to literally use it here, but what I am essentially
doing is visually observing the relative proportions of the different parts
of the ink bottle. And what I'm noticing is
that the height of the cap of the ink bottle,
the portion above the level
of the bottle, and the label portion of the bottle, are roughly
the same height. And the portion below
the label of the ink bottle seems to be 1/4th the height of the other parts. It seems the ink bottle cap is
more round here, so I'm going to
quickly fix that. So coming back to what
I said earlier, about the curves of the object
being downward facing. That is because the object is in one-point perspective and below eye
level. In this scenario, all the curves of the object are downward facing. So I'm also going to add the
top of the right and left faces of the object, which themselves are not visible to me
from this angle. But I can see a portion of
their top faces from here. Okay, so I'm happy with how the bones
of the sketch are looking. So now, I'll quickly mark out
the shadow cast by it. And for adding details and marking out the light & shadow
areas of our subject, I will be using
Pigma Micron pens. I really want to demonstrate to you through these
lessons how you can use the supplies starting
from Kit-I (Start-up Kit) to Kit-III (Level-up Kit). I will be using 0.5mm thickness to draw the
portions of our object which will be darkest,
owing to the fact that the portion is farthest
away from the light source. Also, depending on which portions I want to
be dark or light, I will apply more or less pressure to manipulate the line weight. Now to get thinner or lighter lines, I will switch to the 0.3mm pen. Switching to the 0.1mm nib now, to get a third
line variation. Now again, I hope you're
getting the You're beginning to
get the flow now of things So we will now add the details
that we like about the object. Again, a reminder that
the cast shadow is going to be the darkest
closest to the object. So I'm making small strokes, in layers,
and really close to each other, to make it darker. I am going to be using
three different nibs to get different thickness of the lines and a nice
gradation, It gives me three different values of the shadow
from light to dark. Therefore, adding more
depth to the illustration, as opposed to using
just a single value. Again, even within the object, I am going to build
the shadow area in layers, making use of the
different nibs I have. Now, you definitely you can definitely do
this with a single nib By changing the pressure you're using to draw the lines, the gap between the lines, the number of layers you create, and the size of
the lines you make to get different values of
lightness and darkness. It is only because I have these three pens, that
I'm demonstrating to you how you can go about sketching using
your technical pens. But if you have a single pen, you can definitely use just
that one pen to create different values and create mastery
in using that pen. Okay there you have it. That's
our object in one-point perspective, placed below eye level.
6. One-Point Perspective, Above Eye-level: Coming on to the third segment
of one-point perspective, we will study the instance when the eye level is above
the horizon line, i.e., when the
object is placed diagonally upwards and
in front of us. In this scenario,
the front face of the object and the bottom face of the object is visible to us. I had to get really creative with how do I
demonstrate this to you, so I really hope this makes
things clear for you. Now, you know the drill, first step is to start
with an anchoring point. I am choosing the label at the front face of the
objects for the same. Now, let's extend that label, but at a slight angle, to really bring out the
fact that those are the flat edges of the object leading the eye towards the rest of the
object that we cannot see. Now, they won't be at
much of an angle. The obvious dramatic angle really comes into play in
two-point perspective. Here we're just trying to
dramatize the illustration. Here again, step two is to observe the relative
proportions. And I notice that the label
and the portion of the bottle below the label are approximately the same
height, while the portion above the label is 1/4th
of that height. And the cap of the ink bottle is about 3/4th
of our anchor point, which is the label. And the bottom portion
of the ink bottle is about the same
height as that of the entire front face of the ink bottle.
So we'll go from there. Now, here the curves of the object appear a little like the curves of a frown,
so downward facing. Now again, something
to keep in mind in one-point perspective when the
object is above eye level, the curves will be downward facing. You can see here that the bottom
face of the object appears to converge toward the vanishing point
on the horizon line. The horizontal edge
of the bottom of the ink bottle closer to us will be wider, and the edge farther
from us will be narrower. So that is again something
to keep in mind, that the closer a line is to us the broader it will
be, and the farther it is from us the narrower it will be. And like I said earlier, hard edges don't translate
well when drawing objects. So let's get the point where
the two lines are meeting a little curved
and not so pointy. Curving those points, no sharp points. Now, let's use a brush pen
to finalize our sketch, in now step 3 I suppose.
So how I will approach drawing lines when using brush pen is to use the tip of the brush
to draw the light lines, and use part of or whole of the body of the brush
or the belly of the brush to draw the more weighted lines, which will be the lines farthest away from
the light source. So I'm holding the brush almost perpendicular to
the paper to get those fine lines and have
better control of my lines. Keeping the area right below
the cap of the bottle a little thick because again,
that's a heavy shadow area. The really wonderful thing
about brush pens is the natural line variations
that it is capable of giving. It adds a lot of character to the drawing and
makes it look very dynamic. Now on what I suppose
will be step 4, we will be adding
the details that we like about the subject. And thereafter in step five, we will be demarcating the light & shadow areas, by adding the shadows. There will be no cast shadow
in this instance though, because, I mean, the object
is practically floating in air. So there definitely is a shadow
being cast somewhere, but it is not in my immediate view for
me to actually draw it. I will dab off the
excess ink from my brush pen and use quick strokes to almost get a dry brush effect, to mark
out the shallow areas. So I'm using the entire
length of the brush or the belly of the brush,
and with a very light hand I'm making quick strokes. You don't want to
overdo this because a brush pen does put some
limitations in terms of shading. So you should know the
right time to stop. You can go in with
a water brush to create a gradation
if you want to. Use the ink and lighten it
using water, to add more tones. So I'm going to stop just
there. And that's it. That's our subject in
one-point perspective, placed above eye level.
7. Two-Point Perspective, At Eye-level: Now in the next three segments, we will be looking
at two-point perspective. Two-point perspective comes
into play when two of the objects' vanishing points are lying on the horizon line. In other words, when an edge
of the object is facing us and two faces of the
object are lying on the horizon line
and are visible to us. These two faces seem to be converging towards the
two vanishing points, making the edge of the
object pop toward us. Imagine yourself
holding the corners of the two side faces
of the object and pinching it in opposite
directions to make a triangle. That's how it will appear. In the first instance, we will be studying the object
in two-point perspective, when the object is placed
right in front of us, i.e. when the eye level
is at the horizon line. In this scenario,
the front edge of the object is visible to us,
along with the two faces adjoining this edge. So I'm starting with drawing
the label part of the flat edge of the
object as my anchor point. Now here when I
extend the label, you will notice that they seem to be converging
at the ends. And if you draw the two
vanishing points on either side, then we will get the exact
angle of that convergence. So you see, even without
knowing about perspective, it is something that I can
conclude through observation. But knowing about perspective eliminates the need to spend
too much time observing. There are certain things you can know and work with
because you know that perspective dictates
those principles. For instance, when a kid
notices gravity in play, they don't know what gravity is. But after noticing
10, 15 or 30 objects inadvertently fall
to the ground, they pick up on the pattern. Now, if they did
broadly understand the concept of gravity
to begin with, then they wouldn't have needed
to live through the fall of those ten objects to
actually get the hang of it. Now, let's draw the portion of
the bottle above the label, which is roughly the same
height as the label portion. You will notice that I have considerably
elongated the object. That is because I want that
dramatic look to my work. So you see, while you should know
the rules of perspective, you have the liberty
to break them, to stylize your work
to your liking. We as artists have the creative freedom to not
make something as it appears, but make it as
we want it to appear. How cool is that?
So give yourself the permission to draw
something in your own voice. Now coming on to the portion of the bottle below the label, it is about the
height of the label, but I'm going to make it
1/4th that height. Again, just to add that drama. I draw with a light hand, so I apologize if the
drawing is not super clear. But I encourage you too to
draw with a light hand. It makes it easier for you to erase and correct things and go over with the medium of
your choice without worrying about hard
pencil lines underneath. While drawing our cap,
I am making it slightly curved just to make it appear as though the
centre is peaking at us, as the rest of it flows
to the sides and back. Finally, I'll
roughly mark out the area of the cast shadow. Okay, so we will be using
a limited palette of three primary watercolours, and a water brush to
finalize this sketch, i.e. the supplies
from the Step-up Kit [Kit-II]. I will be using this large
tip Pentel water brush. So let's wet our paints so
that they're easy to use. And we'll be primarily
using two colours, Hansa yellow medium
and ultramarine blue. We'll start with
mixing a thin wash of yellow, to paint the
lighter portions. So a little paint
with more water. Do remember that
watercolours dry lighter. So I'm just roughly
marking, I'm going to mark out the portions of the object where light is hitting,
with this yellow. And I'm making my mix dark enough knowing that it is going
to dry lighter. Then we'll make a watery wash
of our blue, to roughly mark out the areas of the
object where the shadow is there. And after removing the
excess water from my brush, so that it
does not create blooms, I will go back and
let the yellow and blue merge and mix on paper. For the cast shadow, we will make a thick and dark
mix of the yellow and blue. And I don't really mind that
shadow colour running back into the bottle and kind of mixing its own
colour on the paper, it makes the drawing
look more interesting. Okay so we're done
with the first layer. We will let this dry
and then come back to add details. Okay now that the first
layer has dried, let me show you
how adding details with pen on a watercolour
wash looks like. So I'm going to use my
pen in this same way that I did in the
previous section. That is to vary the line
weight and add dimension, I'm going to use the three
different pens depending on if the area is closer to the light source or farther
from the light source, I will use a pen of
a lighter line weight or heavier line weight. So I'm going to let you watch
me do it again, in real time, while you enjoy the background
music instead of me talking. Now honestly, we can leave
it as is at this point. Or if you have the time, then
you can also go back to add a second layer to it. If I hadn't added the ink details, then there would have been a
need to do a second layer. But with the ink details, it's just a matter of choice. So I'll create the
second layer using a few different
mixtures of green. And the mixtures in the
second layer are going to be thicker than the
mixtures of the first layer. I'll be using the lightest
green on the right, the mid-value
green in the middle, and the darkest green on the left. To show the transition from light to shadow
areas of the object. And I'll be adding these
different greens in the cast shadow too to make the shadow
appear more interesting. Again, a reminder that
the cast shadow will be darkest at the
intersection of the object and the shadow itself. There you have it. That's our object in two-point perspective,
placed at eye level.
8. Two-Point Perspective, Below Eye-level: Now we will start with
the instance when the eye level is below the horizon line in
two-point perspective, i.e. when the
object is placed diagonally downwards
and in front of us. In this scenario, we can view the top face of the object,
in addition to the edge at the intersection
of the two faces on the front of the object,
and those faces itself. Again, we will start with
drawing an anchoring point. And I'm leaning toward
the cap of the ink bottle in this instance. I am making the
cap slightly curved like a smile because the object
is below eye level. Now, let's draw the edge
of the bottle facing us, and its two adjoining faces. While observing, I notice that
the height of the cap, the portion above the label, and the label portion of the bottle are approximately
the same height. But the portion below the label is about 1/4th
that height. And that is because there's
limited visibility of that portion from this angle. We can see a portion
of the top of the faces which
themselves are not visible, on the right and left. You will notice that
here the top face of the object
appears to converge, forming a diamond of sorts. In addition to the front two faces converging towards the two vanishing points on its either side, lying on
the horizon line. Lastly, let's just roughly
mark the shadow of the object. So I want to introduce you to a classic combination of colours here, which is quite
ideal for studying light & shadow and for
doing tonal studies. The famous ultramarine
blue and burnt sienna. I'm going to prepare
separate mixes of each, and a mix combining the two. Here as you can see, I'm using
the supplies from Kit-III, which was the Level-up Kit. I am mixing a diluted wash of burnt sienna,
containing a hint of that ultramarine and
burnt sienna mix, to paint the areas of the bottle
where the light is hitting. I don't want the paint to dry before I go in with the
ultramarine because I want those two to
mix smoothly on paper without
creating a hard edge. So I'm going back in with the burnt sienna to
keep the paint wet. Now, to make the shadow
portions within the object, I am using a watered down ultramarine with a hint
of the burnt sienna mix. And we'll be finishing off
the first layer by painting the
cast shadow using the dark grey mix of
ultramarine and burnt sienna. Now, this is the messy middle
stage of the painting. I know it doesn't
look like much, but let this layer
dry and we will come back to it and add a second
layer to bring this to life. Okay so now, let's add some
darker layers to add details and really bring
out the shadows. I'm going to mix a thick, dark mix of the ultramarine
and burnt sienna, almost black. Then I'll be using my brush like a
pencil to draw the details and highlight the contours
of the bottle. So I'm using just the
tip of the brush and making sure that the paint is thick and not watery, to get those final
lines and details. And I'll use the same mix to paint my cast shadow also, after finishing up with these details. Really making sure that that shadow is nice
and highlighted and creates a good contrast
against the object itself. I'm going be using a slightly
watered-down version of this black-ish paint mix to paint the darkest shadow
portions within the bottle. I'm just adding some paint
on the right side of the painting so that I don't get very hard edges at the point where
the paint dries. Okay I think I should stop now. This is one of those times that I am really over-working
the painting. Okay so, that's our object in
two-point perspective, placed below eye level.
9. Two-Point Perspective, Above Eye-level: Coming on to the
final segment of two-point perspective and this class, we will study the instance when the eye level is above
the horizon line. That is when
the object is placed diagonally upwards
and in front of us. In this scenario, the
front edge of the object, the bottom face of the object, and the two faces at
front are visible to us. So we start with an anchor point, and I'll go with the label at the front edge of the object. Now, extending that label
at a slight angle. Because remember this is two-point perspective and
the two faces adjoining the edge at front are converging away from it, towards the
two vanishing points on the horizon line. Now, when we observe the relative proportions
of the object, we see that the label,
and the portion of the bottle below the label, are approximately the same height. We will draw the bottom at the end because it can
be a little challenging. Okay, so the portion above
the label is 1/4th the height of the label, and the cap of the ink
bottle is about 3/4 the height. I've to keep pulling my sheet up to ensure that
the angles are same because while filming and
while sketching at an angle, which I have a habit of, sometimes
the proportions can go a little off. So I'm just checking in with that. Now moving on to the bottom, we know theoretically that the
bottom face of this cuboid-esque ink bottle will converge to form a sort
of a diamond shape. So the edges at the bottom of
the bottle here will be angled into a cone of sorts, like
right here in the middle. I am going to go back to
the cap of the ink bottle Just to make sure that
the curves are right here, That the curves are downward, like the curve of a frown. Okay now at the bottom, like I said, since we know theoretically
this is a cuboid-ish shape so the bottom will form
a diamond. So we're just going to simply complete
this diamond shape when drawing the bottom
face of the ink bottle. Feel free to spend some time here
both observing, and drawing. It can be a little tricky, only until you get a hang of it. Okay, I'm just going to add one detail
in the bottom face that really defines
and demarcates this face of the object. This ink bottle has flat faces, at
the places of it where there should be edges, if you
think of it as a cuboid. So that makes it a little
bit more complex than usual. Okay now, we can go in
with our paint. Let's again use the ultramarine and burnt sienna combination. But this time we'll be
using the different shades of grey their mixes can make. So I'll use a burnt sienna heavy, brownish-grey, to
paint the light areas. And ultramarine heavy, bluish-grey,
to paint the shadow areas, and a good balanced
neutral which is almost a black, to
paint the details. Now that I am looking
at my drawing, I think I want to
make the cap a little longer. Making decisions...
Real time video guys Okay, I think I'm going to just quickly
erase it, and make the cap a little bit broader. Yes, I'm happy with that. So now, let's lay down
our first wash of paint. The areas of the object closest to the light source, I am painting with
a brownish-grey, so a warm tone grey. And now, the portion of the object farthest away from
the light source, I am painting using a
bluish-grey mix, so a cool tone grey. I'll let the two paint mixes, mix on paper, and blend into each
other kind of organically. So we will leave this at
this and come back to add details once this layer dries. Okay so now that the first
layer has dried, we can come back to the details using our thick, dark, almost
black mix of paint. Again, I'll be using
my paint brush as a pen, to draw the contours of the ink bottle and to
sketch out the details. Now, the diamond that is formed by
the bottom face is much more, after adding the details.
And that really brings your eye Attention to the
fact that this is an object in two-point
perspective, above eye level, floating in the air. Which is kind of cool. And finally, I'll use a thicker consistency of the same mixture to add the darkest shadows, once I'm done adding these details. So let's prepare that thicker mix of black, using our burnt sienna and ultramarine. Burnt sienna and ultramarine
are really popular for doing light & shadow studies or to do
tonal studies because they give such a wide range of greys. That's what they are
popular for, for giving us like these
beautiful shades of grey in different tones- warm
to cool, and a very neutral tone. One neat trick that
I've learned from my teacher (Artist Sweta Kaushik), is
to make the shadows look more natural, you connect the shadows. So rather than
having the different shadow areas be disjointed
in these different portions, find a way to connect
them, like have a point of connection
or an area of connection, to make the shadow flow
more naturally. Again coming in, to add that
shadow right below the cap. I'm blending the edges of the place that I
added the paint because I do not want hard edges, but if
that is the look you are going for then you don't really need to do this. I'm just using a
really watered down version of that same
paint mix to do the same. That's it. That is our object in
two-point perspective, placed above eye level. I am going to add pictures of all these six studies (as attachment) in the class project section
below, for you to see more clearly and get a
better understanding of how these studies look
like after the paint dries.
10. Final Thoughts: Okay, so I know that was quite a lot of
information to take in, but I hope I managed to
simplify it for you. To give you a quick recap, We studied one-point
perspective and two-point perspective in
three different scenarios: One, when the object is
placed at eye level, one when the object is
placed below eye level, and one when the object is
placed above eye level. And then we moved on to
studying the light & shadow play in those
different scenarios. Now for the class project, you have to pick any
object from around you, and draw it in one-point
and two-point perspective; Placing it at eye level, below eye level, and
above eye level. And then mark out the light & shadow
areas of the object. That's all for this class. But for the next
class in this series, we will move from an to an entire environment
And we will be studying it in
one-point perspective, two-point perspective,
and aerial perspective. Thank you for joining
me for this class. And I can't wait to see in the next one.
Shimona Ghosh, @artinject_
