Principles of Perspective Drawing

1. Introduction: Hello my friends. Welcome to the principles of perspective Design Course. Perspective is an artistic technique in drawing and painting to induce depth and space on paper. In fact, it is possible to draw a three-dimensional image on flat two-dimensional paper with the perspective technique. In perspective painting, the closer. 2. Introduction of tools and perspective: Hello to all of you, my dear friends and welcome to one of my new sketching courses. Well, in this course we are going to work on perspective together. First of all, I should know demeaning and the conception of a perspective and how we can create it, and what do we need in order to do that? Well, for creating a perspective, you only need a normal pencil and a ruler and an eraser. We don't need any other special tools. We can also have your entity eraser side of it. And obviously normal eraser would work too. So you don't need any specific tools. But what is perspective in fact? Well, we are volume and then we are giving dimensioning two objects or people with a vanishing point with the help of a horizontal line. That would be a perspective. So what is the horizontal line? Or on the beach? There is a line that is separating the sky and see if obviously have seen that, that is called a horizontal line. Why is it called that? Because when you stay on the beach and look at that line, that line is actually on the same level of both of your eyes and it's completely straight and you are actually the person who is looking at it would be our viewer point. Okay? So when you are using your horizontal line with the vanishing point or vanishing lines for creating volume or dimension for the objects are people. That would be perspective. So I have a horizontal line and this is me or you who is looking on this horizontal line. Now, let's consider a cube over here, maybe a tissue box. If I put the tissue box exactly in front of my eyes, what would I see? I would only see one surface of this cube. I would not see the top part of it or the lower part of it. The bottom part of it can be seen either. I only see this. And at the same time that you're creating this, you can also try it with an actual tissue box. Now, if I bring it to the right, I mean, I will keep my tissue box on my horizontal line, but I'll drag it more to the right. What would I see this time? Well, I'll see the first surface, obviously, the first side. And then from these two corners, I will go to my viewers point or my vanishing point. And also from these other two points, I'll go to the same point. And now this time I can see two sides or two surface of my cube or my tissue box. Alright. Now, if I bring this tissue box to the left, what would happen? Well, again, from the corners of my rectangle, I would move on to my viewer point or my vanishing point with two lines. And then again, I would only see two sides of the cube, two surfaces actually. Ok. Now what would happen if I bring this tissue box on this lower area over here, not to derive, not to the left. Only below my viewing point. The viewing point is actually your eyes, my friends. Now, where would I see again? From the corners, I would connect some lines to my viewing point. And all of the corners should be connected to the viewers point. And now, how am I going to say it? Just like that? I would basically see the top part of my tissue box. So this would be my cube. Let me get it completely for you. I would see these surfaces. And these sides. Okay, My dear friends, it might be a little hard for you to create perspective at the beginning. But when you get a handle of it, it would be really easy for you. It might look some kind of geometric shapes for you, but it might seem like geometry. But it would be so fun when you get a hand of this. I would see the front part of it and tell part of it and modify bring it down and to the right. What would I say this time? And my dear friends, if it is hard for you to create these tangles with only your hands, you should definitely do them with your ruler. Again, from all the corners. I will connect lines to the viewers point. Alright? Then again, that would be the last corner. Then this time, create all surfaces possible that can be seen. When I get the corner here, it will be connected to this area, and this would be my rectangle Q. And this time, I would see these three surfaces of it. And as you can see, in this way, you can give actual volume and dimension to the things that you want to create. Let me shade the parts that are visible for you. The top bar, the left side, and the front side. All these services. So yeah. All of them can be C. Okay. Yeah. I have another cube on the left side this time. So how am I going to bring it into perspective this time? Again, just like the times that we've done it before, it would be completely the same from all corners of my rectangle, I'll create lines going to my viewers point, and then I'll connect these lines together. I come down, I have a point here and wherever I can connect it to the other line, that will be the end of my glass cube. Then I'll make it complete. Then I shaved departs or surfaces that you can see. I see the right side, the top side, the top surface, and the front side. These are the ones which are visible for me. Alright. Now let's create some cubes on top. Imagine that I've brought this tissue box above my two eyes. I mean, if I raise it higher than my eyes, how can I say it again? Just like before, I will connect all the corners to my viewers point. I will create a surface here. I will connect these lines together. And then I connect these two parts again together. This time. This would be my rectangular cube here. I can see the front part of my cue and the bottom side of my cube, the bottom surface. Alright. Now we're going to work on a cube which is above our eyes. But it's placed on the right. So I would come to the reorder point. Also here. Then again, I'll make it look like this. When I've created some points over here, I'll bring it to this pi, to this side. Actually the connection point of these two lines would be the end of my cube. Okay? Now I see three surfaces and three sides. On the left, on the bottom, and in the front. Can clearly see them. And less cube would be the left cube, which is above my eyes again. And again, I go back to the viewers point like that. And then I come down just like this. Here we go. This would be my rectangle cube. The procedure is the same for all the cubes that we've created here. Just you should be careful that, you know, the surfaces that you'd see should be compatible to their positions. For this, I see the right side, the bottom side, and the front side show rid only a horizontal line and one viewing point. I've taught you that how you can create objects in nine positions and nine different sites. Now, the point here is that to make these into chairs, how would I be able to do that? Okay, My dear friends, imagine that I am going to create those cubes and I'm going to transfer them basically into chairs. So I want to create some legs for my chair. I would do the same thing for my legs. I will actually connect the bottom of my legs to my viewers points so I would know how much I should continue them down. First of all, here, I'll create a horizontal line. Then again from here, I'll bring it to my mirrors point. And this part on the bottom of my cube, which would be the back leg, would come up to here. So these are the four legs for my chair. Then I would have the back of my chair, which I would create like that. Now, if it wants to go into my viewers point, it should come down and actually it should come up and face these lines, connect these lines. This would be the back of my chair, which I can continue. And again, I can match it with my viewers point of view. So this would be the chair. See. You can actually create all objects and also some peoples and everything in perspective. Well, the next cube I'm going to transfer and turn into a chair, is this one on the top-left? First of all, I'm going to create legs for it. 3. Continue the basics of perspective and paper perspective: Okay, I will place the legs like this. Then I will create the lines coming from the viewers point until I hit the legs. I'll create all four legs. And these are the ones that you are looking at them from below. I mean, they are above your head and above your eyes. This time, you cannot see the sitting area of our chair here because we can now see the top surface of our chair. We can only see the back part. Also not that complete. We can see only a part of it. So I'll bring it up. Then. I'll create, actually I create my veers lines just to make sure of its position. This would be the back of my seat. Of these horizontal lines should go and match to your viewers point. If you only consider this rule, you can work on perspective so easily. So that's it. These two were actually the hardest positions. The rest of them would be easier for you. I would also create this one for you. So there would be three of them. And as I told you, we do not have any vertical lines in our perspectives. I'll have back of the seat here exactly like drawRectangle that we've created at first. And also the legs would be created without going into perspective. Because it's exactly below our eyes. See. This is actually the seed from a front view. Okay? Up to here you've learned something from perspective and little thing from perspective. But the perspective world is a lot more bigger than this. We're going to continue. Okay, moving on. In here. I'm actually going to teach you another way how you can create a perspective. Now what happens if our shape is not a cube? Imagine that I want to create a piece of paper, but I want to create it in perspective. Imagine that I have a piece of paper or wrinkled and in shaped like this. How am I going to put it in perspective? First of all, I'm going to create a viewer's point and it can be anywhere, doesn't matter. I put it here. Okay. Then I come from the outer part possible of these shapes, of these twists and turns. And I match it to my viewers point again. From the outer parts of these turns and twists, I go and connect some lines to my viewers point. I'll do the same all over here. Then again from all the outer parts. I'll do the same. Okay? Now what I'm gonna do this time, I want to create a thickness for my paper. Imaginative hits two centimeters. I will bring it down to here, and I will create the same shape over here. Then again, I'll come up to centimeters, up to here. And I apply this same exact shape in this area. This will actually create a dimension for my paper. Okay? This is actually two centimeters over here. Again, I will create the same shape over here. And the last one would be here. I will consider two centimeters. We'd go here. And from here, I will connect it to this point. Okay? Now it's time for me to erase all the extra lines from my work. Just like that. Alright. Now we actually have a twist, sudden turn piece of paper came down, came in, and so on. Okay. Now we might even create another one. I want to create this type of paper or a piece of paper, again in perspective just to make you practice on it. Again, I put my viewers point. This time, I put it on this side. Then again from the outer parts of each turn, we'll go into perspective and I'll connect some lines to my viewers point. Alright. Now, I would consider the thickness of my paper or this much, this much of actually this length that I've considered here would be the three centimeters. So I would also consider this area three centimeters. And then I'll do the same exact thing on this. Then I'll erase all the extra lines from my work. Alright. Yet again, I have another turned and twisted paper. And we could have created with the help of perspective. Just like that. We're gonna do it one more time. My dear friends, you should be really actually working on it because creating these types of papers will actually make your mind more conflicted with perspective. And as much as you make your mind being engaged with your practice on perspective, you can do it better and better. This kind of perspective is one of the best types in order for you to practice harder shapes and more complex shapes here. Okay. So yet again, from all the outer parts of our outer turns, the outer parts, sorry, the outermost parts of our turns. We will connect lies to our viewers point. And you do not have to actually create some of this slide curves. You just have to work on the big curves. The big turns and twists. This time I will consider four centimeters for it. I mean, I'm actually working on it but my eye because I worked on it too much that my hand is actually working like a ruler. So I wouldn't know how much is four centimeters. But when you are doing good, when you want to practice it, especially in the beginning, you should definitely do it with the ruler. Because if you get these measurements wrong even a little bit, your perspective can really go wrong and it would not be a very good shape. Okay? And you see when you have this curve, you should do it exactly the same way on the lower area. Don't do it the opposite way. Be careful. For example, here I made a mistake. I made it opposite, but I've corrected it. It should go up and down again, exactly the same shape that I can see in front. It should have all these ups and downs on both sides. Hello? Again. From here. I will get four centimeters out. And I don't the same exact same thing over here. And from here again, I'll get four centimeters. And this would be the end of this shape. Exactly. I'll go like the opera shape to front chip eggs basically for here. Alright. Now how can we get to four centimeters over here? We will get an, almost an imaginary line toward the viewers point. We'll get four centimeters. And from here we will, I'm sorry, I forgot this area. I'll come down four centimeters up to here. I'll create the same shape, which has actually gone behind it and we can not see it anymore. That's the beauty of it. Then from here again, like this upper area, I got four centimeters down and I've created the exact same shape over here. See how easy was that? Now I'm going to erase all these extra lines from my work. So I would have a clean outcome. And you can see how it actually is going to turn out. C. Again, this is a turn into a separate piece of paper that V could have been able to create with the help of perspective. 4. One-point perspective: drawing the street: Hello my dear friends. Welcome to another episode of my perspective, of course, well, in this episode, I'm going to teach you how you can create a city with a one-point perspective. It's really easy. First of all, I'll be creating my viewer point or my vanishing point. And my paper. Then I'll create a line as my horizontal line. Obviously. Then these two lines which I'm creating coming down are deadlines for the sides of the street. See, the first building that I'm going to create would be here. Exactly in this place. I come here, I come up, I'll create the first side of the rectangle cube. Then I connect it to my viewers point, to my v point. I'm going to call it that from now on. And then on the corner, I will also get it connected to the V point. This is the first building. I wanted to create. The second building taller than this one. I'll come a little bit higher, obviously. I'll connect it to my viewpoint. And then I come down. And the front side of it would go actually like this straight line. It doesn't actually unrelated to my viewpoint. It's not related to my viewpoint because it's in the front. And then I connect this corner to the viewpoint in order to create the roof. I wanted to create the next one shorter. I'll connect it from here to my viewpoint. I'll come down. Alright, and then I bring it in. You see how easily like that you could have created three houses right next to each other. And you can just keep it going. I mean, you can continue the same way. For example, here I want to have a tall apartment here. Doesn't matter. Wherever you are going to create damages have to connect some of your corners to your viewpoint. Therefore, you can create your building with a dimension and do not forget to erase the extra lines of yours because they might get a bit confused when they actually be a lot. And again, I'm going to consider a taller building here. I'll connect it to my viewpoint. That will be extra. So I erased it. And then I come down, you see these measurements depend totally on you. It's totally your choice because this is your city you can create with any measurement that you like. And it's the same on this side as well. Obviously, I'll create this front side which is always visible for us. And then again from this corners, I'm going to go to my viewers point, to my viewpoint. I'm, again, I'm insisting and I'm emphasizing on the point that I'm creating it only by my hand because I've done it a lot more times, but you are going to practice it. You should definitely create all these vanishing lines which are going toward your viewpoints with a ruler. Now I can also create some distance between my buildings. I don't have to create them right next to each other. So I will create the roof connecting these two corners to my viewpoint. Again, I emphasize if you're going to create these lines from the coroner's to the viewpoint. You'd have to create them with your ruler in order to get them correctly. Okay. Then I would also have to say these lines that you create from the coroner's toward the viewpoint, it should be very, very lightly. I'm creating them a little bit darker in order for you to see it. I mean, I want it to be visible for you in the video. You can see it clearly, but when you are doing for your own, you don't have to make them too dark, you just have to actually create them too lightly. So when your work is finished, you can easily erase them and they would leave no trace. This time. This building did, I've created the top of it is actually on the same level on our horizontal line. Therefore, the roof of it is not visible. So we will only have two signs of it. Again, from here, I'll connect these two parts together. Okay? Yet again, I'll erase all the extra lines so it would be clear for you. Okay, That's it. We could actually create beautiful buildings for a city. Now if I want to create some windows for this billings, what am I going to do? I'm I going to just create them. Know, obviously I'm not going to do it. Again. I would have to create some lines from the viewpoint to the buildings. And all these horizontal lines should go to the viewpoint. You see. Based on this line that has come from my viewpoint, I can create a door. Here, I can create windows. See so easily. You just have to follow the lines and make sure that they're in the right position. You might actually have this question that why would we need perspective in our work? When you are working on 3D sketches or when you're studying architecture, it's very important for you to work in perspective and to learn perspective. Or even if you are going to be a very professional sketcher in the future, you would have to learn how to work in perspective. You can even bring a human face in perspective. It would be really, really useful for you. Again, I say, basically it's the way that you can give volumes to your shapes and make them 3D. Which is very important when you want to create advanced and professional sketching. It's not hard at all. It's very, very easy. You just have to be a little bit careful and pay attention to that. Now, if you want to create some lines inside of your streets as the separating lanes actually are not going to just create them. From here. You will create lines going to the bottom of the street. And then just like that, you see, I'm connecting these two lines together. And then as we move further, these lines would look smaller and shorter. Then I would erase the lines in between them here I have some straight lines in my street. I would also have to grade a son for you over here, just for fun. You see so easily you can create beautiful cities with a simple one-point perspective. You just have to be creative and pay attention. 5. One-point perspective: drawing the tower: Hello again and welcome back to another one of my episodes of perspective course. In this episode, with the help of perspective, I'm going to teach you how you can create a tower or a skyscraper. In perspective, whatever we want to create in it, and we want to create it in a three-dimensional way. We should create it in simple geometrical shapes. First, I have a tower, which looks like a rectangle Q, as in geometrical shapes. First, I will create my viewers point. And then from that, I'm going to create two or three lines. As you can see. Now I want to create, it's cute. I would be starting from here. Just like that. I'll create another one for the corner of this cube. Connect this line to this corner as well. From here. I'm going to create a parallel line to this one. And also this line should be parallel to this one. Just like this. I'll actually get this top square for the top of my tower. Then from here again, I'll come down, from here, down again. And then parallel to this, I'll create another line moving here. This is the top of our tower up to now. Now what if I want to create some details to this tower? Imagine that over here my tower is coming toward outside L itself. So I'll come out of it. Lll. I'll go, I move a little bit above. And then also from here, I'll bring it out again. See again parallel to its above line. I'll come to this way and also from this side. And then from here, from this middle area, I'll come down. Actually, I'll go to my viewers point. And now what should I do? Again, parallel to this line. Also from here, I will create two other lines going toward my viewers point and create two small lines parallel to the sidelines. And then I can connect all these points together. All these points and the lines. Just as easy as that. I am actually creating details on the tower. Let me erase the extra lines so you would actually get to see the actual tower. Because this part is seen on the top and this part is in below, should come up a little. Again. This part should go higher because I want to show that these parts are not at the same level. And then I'll erase this lower line. So I can emphasize that it's actually looking like a rook as well. And it can also be useful for people who are working in architecture. And this part of designing and drawing would be very useful to them. Now, this is the top of our tower. And over here, I want to create maybe another detail. Just remember that whatever you are going to do, you should bring all of your points and lines in your perspective. Inside of the top of my tower, I'll create another square or cube, a cube. And then I will create these parts with round edges. See, instead of going sharp eye and creating a complete cube, I'm going to go around on some corners and make it look like this. Also I create, I can create another cube over here. And at the end, I will create anything, something which is on top of my tower. Alright. Again, as I said before, you can add as many details as you want for your tower. I can even make some designs for it. I mean, I can create some decorations. Okay. And you can create whatever goes and crosses your mind as long as it looks cohesive to your tower, of course. We don't wanna go too wide. Okay. I would also want to create three lines over here in order to add more design and more decorations to it to make it prettier and obvious, the more different. My dears, this line should be raised. Okay, then from here I can create three more lines. Just as easy as that. I've decorated my tower and made some designs on it. Now, let me bring down this, these lines. I will take them down toward my viewers point. I'll do the same from here. Okay? Now, in this area, I want to have a clock. So I'll create a circle over here as the shape of my clock. The watch tower, maybe. Then another one over here. I want to have clocks, maybe even on four sides of it, but we can only see two sites of them. But just be careful. Because this goes into perspective. It doesn't look like a complete circle. It's actually a little bit toward an oval as well. Then I'll erase it. And then even then I want to create the hands of the clock. I would have to bring one line from the center of my clock down toward my viewers point. So my lines with Lucas trait in the perspective. Then I'll create the rest of the numbers as you can see. And then I can even create my clocks hands. It gets really easy actually. Okay. Now, here I want to create a shape like this for my tower. And again, my dear friend, it goes into perspective. And also from here, just like that, it goes into another perspective. First, I'll be adding this line and then I'll create something like that over here. Now. Be creating another space and other shape over here, coming out a little outside of my cube. And then I bring it down toward my viewers point. And obviously I'll do the same from this side as well. I want my tower to be symmetrical. What I'm going to do from here I'll come to this part and from here, I'd be moving this way. Okay? Now, again, I can see these two parts going toward my viewers point, parallel to above, actually parallel to it's above the line. Dad. I can also have some English writings over here or any specific designs that you want to make. Okay. Here we go. That's it. Let me erase this completely there. So you can easily understand how these parts are going to work. Until it looks part of our tower, we just going to continue like this. Mean you should bring all of your designs, all of your shapes, all of your decorations into perspective. And then you can create that part by part. Whatever we want to create. It doesn't matter if it's even a circle, its clock hands. It's any design that you want to create, you should bring it into perspective. Drag lines from that design, from data point to your viewers point. And then you can have everything you want, every designs on decorations on your tower. And all of them would look great and realistic and three-dimensional because they would all go into perspective. I might also want to create, for example, doors over here. It doesn't matter. Whatever, it should go into perspective. That's it. This is a tower in perspective. 6. Perspective with a distant observer point: Hello and welcome to another one of our perspective courses. Well, in this episode, I want to tell you how you can create a construction like this. You can do it very simply. For the beginning of that first, I would have to create this as a simple geometrical shape, which in this case looks like a cube. It would look like a cube, which has a viewer's point in a far, far away. Well, first, I'll create my cube. Then I can create the rest of the work. Well, the viewers point is from far, far away. Therefore, I can only create two vanishing lines which are coming from the viewers point to my construction. So actually these two lines are my guidelines to know where my viewers point would probably be. First of all, I will create this cube. And from both these lines, I would come down. I will actually bring these two lines down. And then again, from here I go back. And also from the top, I'm creating simply I'm creating a queue in perspective. Then again, I bring this, these points, these areas toward my vanishing point or my viewers point, basically. Then I'll connect these two parts together. So this is basically my cube. And this is a general shape for my construction here. Now, I want to have it's opening and its door. And if you pay attention, It's actually exactly in the middle of my work. This is the medulla, my work. And from here I would come up. And also from this side. Then again on the top. Then I want to connect these two parts together. I would have to connect the lines with a line going toward the viewpoint or the viewpoint more simply. So here we go. This is the center of my work and a medulla of my door. So if I want to create it round, I will go down like this. Because as you can see on the top of the door, we have an arc, which I've created like that. Now, if I want to have the ending part of why, actually, I mean, on the other side of my cube, what would I do? This is the other side of my cube. Yeah, so I will continue it this way. And parallel to that, I'll create this until it hits the line. This would be the other side of the door of the arc, basically. That will be round over here. Then let me just erase these extra lines so your work would be cleaner and you'll just understand it better. So just like that, I've got a general shape for this construction. You can easily do that in some historical places. Even your city hall, wherever you have any buildings are constructions with a different design or even with a simple one. You can just take your sketchbook there and start doing it in perspective from your point of view. Okay. I've created the general shape now. I want to create its details and designs. All the parts that I have to create is the same. I mean, the process is the same wherever I want to create anything extra, I would have to create it in my perspective. So it means that I would have to drag lines toward my viewpoint. And then I can come back and complete the shapes. So now I'm just creating whatever I can see in my picture. You see when we drag this up, it should be parallel to this. Most of our lines, basically, all of our lines except the rail lines. Even the wrong way, sorry, to all of our lines should be parallel to another line above them, below there or next to them. So I would want to have something like that over here as well. First of all, create this just like that. Move up. And then I'll complete this area. Okay? Also from here, I would have to go and connect these two parts together. You see how easily we just several lines and the help of perspective. We could create some designs and some details for our construction. Sorry, I got out of the line over here. It's better to be parallel to this one and on the same level to this one. Okay. And then for here, it would look like this. Sorry, My dear friends. This area look like this, but I'd have to make it more organized. I'll have to erase these extra lines. Then. I can make it like this. Okay. I'm just creating all these lines with my hand. But when you want to do it, basically you should use rulers, especially if you are doing it for the first time or it's the beginning of your work and you're a beginner. So all of your lines would be completely thorough and they would be exact. So your work would look as good as this one. I mean, if you're a beginner, you would have to create a straight line is where do your ruler. Again. Well, we had here will actually happen over here as well. It would go this way. This would be the bottom of our construction and I will create it with the help of my perspective. Here it is. Now, I'm going to work on some these upper parts per areas. I would have to have a shape like this as separation like this because in here we have another detail and another design on my construction. I'll bring it into perspective after I've created a small line like this on the corner, on the edge. And again also on the other side, it goes into perspective as well. And then I will make it part by part. Actually, I will separate it and divided into several parts to look like bricks or maybe a stone hedges. I would also get a little bit out of the way. I'll bring it a little bit out of my whole construction. So it would look more 3D. It would look better. Also on this side, it would come out of my car. Come out of my cube a little, I'm sorry. And then from here, parallel to that, it goes up. Because on this side, again, it should go into its own perspective. Again, I emphasize please, please do it. Precisely with a ruler if you're going to practice on it. So all of them would be on the same level here. Okay? I can even create some columns over here. And I don't want it to be too complex. And I don't want you to be confused. I wanted to be in a simple way that all of you can create it and all of you would be able to create it. So I create a line for the top of my column. I continue it up to this side so I can know where this column on this side should be. Again, I'm saying that I'll create it very simple. So you can do it the same way. And you won't be confused because basically it's a complex construction if you look at the picture, but we are creating it more simple. And over here, I'm going to create a beautiful design for the top of the arc and for above the door. Alright. Each one of these lines goes into perspective. So be careful if I'm just creating them all at once by now. It's because I want to save some time for you and show you more. But when you want to do it, make sure that each line would go into perspective before you finalize it. Then I get my B6 pencil and I will create some shadings and some designs over here for you with a darker color. Just as you can see. Alright. Now I'm going to create several lines inside of the arc like that. You see, I'm just creating the lines like this. And then I pay attention that as I move up, the direction of my lines should change because it's an arc and it's shaped around and curved area. Yet again, I will also have to create several more lines vertically like that. Again, curved lines, they would be from the inner parts. We should have more darkness. And as they come forward, it would be lighter. Again. I would not make it too complex for you or too busy for you. So you would understand it better and you can create it simpler to be easier for you to create. Again, It's gone into perspective and over here, we will also have a tablet. I mean, over here I can have a tablet with some writing on it and would also make a framework for it. Again, with my lines going into perspective. Remember that in all steps of your work. Then I'll come out, bring them out actually. And I'll shape this area just like that. Do you see a beautiful doorway to fill an arc and a beautiful everything and construction overall. 7. Continued perspective with distant observer point: Okay. I'm going to divide this area just like that. So I can get a view like this. As you can see, all my lines are parallel. And then like that, again, I'll create these vertical lines parallel together. It can happen in this part as well, but I don't want to create it. Again in here. It would go like this. Here we go. Now, I'll be erasing all of these extra lines here. Okay? As you can see, it would go like this. So I'd be erasing all of these extra lines. So my work would actually look better and cleaner. Here we go. Then I'll be applying several lines in order to create some design and shape on this area. And then you, based on your taste, you can work on here. That's optional. Actually. Here we go. And in here, whatever we want to do, we will have to do it parallel to this area above it. Whatever shape we're going to create. We would have to do it parallel to the above, to the top areas. You know. For example, here I'll create a shape like this. It cannot be seen from this side. As you can see. Here, I will put a small window. It's almost like a window. It's actually hollow. Then I will divide this area into three parts. And as you can see, all of them are getting into perspective and I'll be creating all of them with the help of lines going back to my viewpoint. But because I'm just, I just want to save time for you and I actually go to handle of this. I'm just creating them faster without doing them one by one, without connecting them one by one. But when you want to do it, you make sure that you connect them to your viewpoint one-by-one, or anything that you want to add. You can do. I hope you've enjoyed. 8. Drawing a train with one point perspective: Hello To love my dearest friends. Welcome to another one of our sketching course episodes. Well, this time I'm going to tell you how you can create something like a train or some way with the help of a one-point perspective. Obviously as usual, I need a viewpoint. And then again, I'll create a straight line. In order to confirm the placement of my perspective. This is basically my railway line. So this is my railway line. Okay. Now, with some distance, just like that, it would be the other side of my railway. Well, I've actually erase my viewpoint because I want the ending of the array well to be to a point that is not really determined here. Now, this ray way, I'm going to create a rectangle cube. For example. This would be different part of our software or train. So I'll create it just like that. Then I move it toward my v point. Okay? Now we are going to create the train itself. If I want to create a train well, this front part of the train, I'm sorry, outweigh. It can also be trained, but now I've decided to create a subway. Then I bring down, It's actually windshield like that. It would be the front part of the software. If you've paid attention, it will come out of the cabin a little bit further. And then I will have a shape like this over here. The upper part would be the windshield. And I would also have this lower part. And then over here it will connect to the railway. Alright. Now, different part of my subway would go back a little and then I'll connect it to this other line over here. And it would go up a little bit, almost up. And then again from here, it goes to the V point. Just like that has usual as we always did in the perspective, everything should go through dew-point. Pay attention to that and be careful about it. Then these parts are for the wheels. Actually there would be this outweighs wheels. So I would apply them on my railway. And they are actually moving on the railway. Now I'm just going to go over my main lines once more. So you would completely understand which lines are main for us and which lines are not, and you can erase them. So we're only keeping the main allies in order to keep the general shape of our Salt way and then you can erase the rest of them. This would be the front part of our soft way. I'll have a darkness over here, which I've shaded in here. This might be the door of the first cabin and also a small window like that could be placed parallel to this lower line of my cube. I will divide this area. So I can have a windshield basically up over here because I needed for the front part of my salt way. You see, it's almost look like how we've created those pieces of paper in perspective, if you can remember, I've created this Wind, show a windshield, this window, exactly as I did. Those pieces of papers in different shapes. Okay. After creating this, I will actually erase the extra lines so you can see it better and it would be more clear for you. So here we go. These were the windshields, the windows in front of the soft way. These bars, there could be some vents, some air conditioning, some fans, whatever. I don't actually know. I'm just creating some details over here. And they can be some. I would want to create the rest of my subway because the rest is as important as the front part. We have some kind of these shapes on this outweigh on the top of it that it actually provides its power. And from here, it goes on, it moves on. Alright? For example, again, over here, I will divide this area. And then yet again from here, it comes down straight and it will connect over here. So this is our first cabin. Then a little bit further. That will be our second cabin. See, just like that. Again, over here, I would have the placement of the wheels, which I will darken over here. Then with another amount of distance, I would have the other placement of the wheels of the cabin would definitely have some windows. So I'll bring it into perspective. And I placed the Windows based on the perspective. And as it goes further, day would be smaller obviously. Are over here. We can have, for example, an exit door that again, just like Windows, I've brought it into perspective and then I've created it. Or for example, here, we might have another shave another door. I mean, I'm not really expert on the details of assault way or a train, but just consider that they might have a doors or windows like that. This line should not exist here. So again, I'd be erasing all these extra lines from my work. So first of all, you won't be confused and you can see it better. And then second of all, my outgo would look actually cleaner and better. I don't want a messy outcome that doesn't look good at all. So I'd have to erase all of them. Just like that. Here we go. And you know that how is the shape of a railway, as you can see, it's divided into several parts. I'm creating these lines in order to show the shape of the railway, even underneath the wheels. Because the shape out, I think it should be shown even from underneath our subway. These parts, she'd be like hyphens and it shouldn't be one straight line. And it would look like that. Very easy. You just have to bring everything into perspective and create your shape, your general sketch part by part. We can also have another line like this. I can actually continue this line toward my v point. In order to create some designs on my salt way. Again, it can have another one and another line in the middle. In comes down from here. Or for example here, I can create several electrical columns. These are actually the power generators for our salt ways. These will actually generate and support the power for our celt way from above it. And as I told you before, they are connected to these lines that I've already created on the top of the salt way. The end of our work is not actually going to be complete because it goes further away and it's not going to be created from a point moron. It's just the fact that you know how you can create the dimension of it and how you can create all sides of it and details and general shapes of it. We're not going to create it very specifically here in so much details. I was just going to tell you how you can create assault way a train or even a bus or anything that is shaped like this in perspective, very simply. So now you know how to create this general shape easily and even some details. So whatever else you are going to add to your salt way, it's your choice. You can add as many details as you want, as long as you put them in perspective. I would also shake beneath my salt way. Basically I'm shading the railway and also a little bit over here. So I can show that this part is below our salt way and it's actually a little bit curved in. That's it. That's the shading. Alright. So that's it. Over here. We would have several more hyphens mean there shouldn't be straight lines. And some are shadings over here. That's it. You can also go over all the cabins, wants more and shaped them better. Add any details if you want. Okay. Here we go. Up until now it's enough for me and for you. And you could easily create a salt way in want. In a one-point perspective. 9. Introduction to two-point perspective: Hello everyone and welcome to another one of episodes of our perspective course. This episode is very new for you. Why am I telling you this? Because in this episode, I'm going to tell you how you can create two points perspective. In our previous tutorials, I taught you how you can create anything in a one-point perspective. But this time we're going to create everything in 2 perspective. It means that our shape is going to be seen in 3D shape from both point of views. Actually. As I told you this time, we would have two points right in front of each other on a straight line. These would be our v points. Now our perspective. Then I'd be creating a straight line here. And then from both top and bottom, I will connect it to both points. You see? I'll connect the top and bottom of my line to both dots and points. Well, if I have two points in my perspective and both of them are placed on my horizontal align. My shape would look like this. If I connect these lines altogether, this would be the shape of my cube. In two-point perspective. On the horizontal line, I can only see two sides of my shape. I only have right and left, not a notch below that and knows about that. But if I want to create this shape above my horizontal line, I just connect its top and its bottom to my both points. And then I'll create these lines right exactly above. Now I want to have this lower side of it. I mean, I want to have the bottom side of this cube. So I would have to connect the top and the bottom of these sight lines to their opposite points. So if I have a line on the right side, I'll connect you to the point which is on the left, and vice versa. This is their matching point and this would be the dimension and this side, dad, they wanted. This time you can see two sides and one at the bottom, which would make it three overall. I can also create it as a shape of a hollow box. Saying, this is the situation which our shape is above our horizontal line and above are two v points. I want to place it on the bottom. This time, I want to create it below the horizontal line. Then again, I'll do exactly the same, creating a line and connecting the top and bottom of it to the v points. Again, I emphasize on the fact that you should definitely do what I'm doing with a ruler. Then again, I'll connect the bottom and the top of these lines to my other viewpoint on the opposite side. To see this line got wrong, I erase it and it should go toward my viewpoint. And also here I've got another line connecting point of those lines. Now this would be the dimension of my box which is below horizontal line and also below my two v points. It would just look like this. Again. We have these sides to look at. I've seen inside of my bikes like that. And when it goes below, I've seen inside of it like this. This is visible for me. So now you've learned how you can create shapes with two points in your perspective. Now, what should I do if I wanted to create several cubes? You say in two-point perspective. First thing that I should do is to create two viewpoints and a horizontal line between them. Now I'm going to start creating them. For example, I want one of my cubes to be over here. I just chose a lighter pencil. One of my cue to be here. I bring them to my v points, both of them. Then from these parts. Again, I'm going to connect these parts to my viewpoints because I also want to have the top surface. And this is actually a cube over here. Now, I want to have another cube over here. Imagine that again, I would have to create all these vanishing lines to have my Q, C, whatever I want to create, I would just have to connect it to both of my viewpoints. So I will have my shape. This time I want to have a bigger one over here. Goes again all the way back to the v points. And over here, I can not see anymore sides and surfaces because it's placed on the horizontal line. Okay? Now I want to have a rectangle over here. So again, from the top and from the bottom of any line, any vertical line that I create, I would have to go to my v points. And just that way, this would be my rectangle cube are imagined that I want to create a very small one over here. It doesn't matter that where you want to create it, just to remember as much as you get closer to your horizontal line from below or from above, you can see the top surfaces and the bottom surfaces less. You see. Even creating several cubes. With the help of two-point perspective is basically very, very easy. You have just created several cubes. Two-point perspective very easily. The only thing that you have to do is to connect your tops and bottoms of the lines to your viewing points. Over here, for example, I would also have the bottom surface of my cube. Then again, I move more higher and I'll create another cube over here. Then again, I'll just do the same. This is my small cube on the top. Now I want to have another cube over here. You see all the procedures are the same. I'm just doing the exact same, exact same thing for all the cubes that I'm creating. Just the fact that they're in different positions, but the process of creating them is all the same. This is the bottom surface of my cube that I should actually erase the cube which has gone behind it. If I've erased this one, that would be in front. So basically this cube has came in front of the cube that I've already created. And just like that with this same process, you can create lots and lots of cubes. As many as you want in your work. See just that easily. If you practice this so much and a lot. While your mind will actually get to an understanding. And then spontaneously, your mind will order you were to go and your hand will just move easily when you want to create a two-point perspective. So remember to practice a lot. Now. Do you remember dad with one-point perspective, we've created a city, road and some buildings and stuff. Now we want to have the exact same thing with our two-point perspective. I mean, we weren't going to have a part of a city which includes some buildings and stuff. Okay? Imagine that I have the two points. I have the horizontal line. And then this would be my first building over here. Created this tall over here. As I said before, I'll connect them to my v points. This would be the sidewalk. Then I'll connect it to my viewpoint. And I'm just going to shade this area a bit more so I can basically show its 3D shape. I want to emphasize on it basically. Now, let's create your building from the tub. I would also connected to both of the v points. Then consider my buildings width. This would be my building which is a bit tall. And it's actually placed on the corner of the street. Now I want to create another one right next to it. I will going to actually, I'm going to create some distance between the two hour flight buildings. I want to have my second building over here. And this one would be a bit taller. So it's obvious that from this side it should go to this viewpoint. It will come down from here. Just like that. Now what about this side of it? It goes to this v point. As you can see, you can not see half of the building because it's behind the one which is more in front. Now. The rest of the buildings are going to be created the exact same way. Just a matter of their measurements. Either they are tall, they are more wide, or anything else? On here? I would have some apartments from here, good toward this side. And then here would have it finished. So this is another building. I want to maybe even create a smaller building. Looking just like that. Just to remember that now I have too many lines in my work, but as soon as you erase your extra lines, it would look a lot better and it would actually be very attractive for you. Then again, another building would just go like that. Okay? You see, just as easy as that, we've created beautiful city and its buildings, apartments, towers, shops, houses, whatever. Now, even if you want to create the doors and windows, we would have to do the exact same thing. I mean, remember when we were working on the one-point perspective, even if you wanted to create some details and designs, we would go and drag them into perspective. It's no difference over here. If I wanted to create some doors or windows, I would have to take them into perspective. This time. They would be in a 2.1. Okay? Imagine that I want to have a window over here. So I'll consider this slot and I take some lines out of it from the top and the bottom of it toward my viewpoint. Now, I can easily to have two simple windows over here. Again, I want to create several more on a different area. I just repeat this process. 10. Drawing several buildings and a villa with a two-point perspective: Alright, so as you can see, I've created these windows over here onto different floors. How am I going to create the door? Obviously, again, I'll create a line from my viewpoint and then that would determine the height and the measurements for my door. Well, this would be the general shape of my work, but for example, I want to create a sign over here behind this building. How am I going to do that? Well, I'll create a line over here. And because it's on the side which has been created by this point, so I would have to drag these lines toward that point. And it can also have any writing on it. That will be the sign which is on this side of the building. You should create your vanishing lines very lightly. I'm just creating them darker so you would be able to see them better and more clear. But when you want to create it, you would have to do them lighter and as much light as you create them. As much lighter as you create them. Basically, your work would be coming out cleaner. Your outcome would be better looking and obviously neater without any extra lines or any trace of the lines. I would also want to create several lines over here, and these would be some tall windows for this building. It depends on your own taste because you can create very different details on each one of the buildings. For example, I would have another sign on the top of my building just like that. It's basically a billboard. And easily, or I can also create the dimension for this billboard as well. I just match it to this viewpoint and I'll get to dimension the volume that I want from it. Well, as I said before, you can work on each one of these buildings separately, creating any details on them that you want in very different shapes. I mean, that also depends on you. And you only. For example, I would want to create a circular window here. I wanted to create another sign on this building that also can have some writings in it. We can also place a big door. Just remember that anything, exactly anything that you want to create, you should bring them into perspective by connecting it to the both of your points based on this side that they're placed it. Okay? So whatever you want to create should be placed in perspective, going toward your viewpoints with vanishing lines that you'd erase later. Alright. So you've also learned how to create a city, buildings and stuff like that. We'd two-point perspectives. You would see how you can easily create them in a very beautiful way. And your outcome would look so attractive. I'll promise you as much as I like it. I want to work on each one of these buildings creating windows, doors because I actually enjoy this work. It's so easy, so simple, and yet it so great looking. So you can also add anything you want. You can add trees or other stuff. Alright. Now, with the help of this two-point perspective, to viewpoint perspective, I want to create building for you. Well, creating this construction, this building can be very, very creative for you. I mean, you can just create any construction or any billing out of your mind. And it will be only by your imagination and your creativity. You don't have to do it exactly as I do for you. I just want to give you a model, a sample. Therefore, you can see how it's done. And then you can actually execute these things on your own imagination and on your own creativity. So you would have lots of different shapes, designs, and sketches, which are. Yours and yours only. Alright, so this is my primary cube that I've created over here. For example, I want to have another cube right below it. What am I going to do? Well, as I told you before in previous tutorials, I'll create a cube over here. I'll play some lines in here, dragging them out. And you see, first, I've created a line from this viewpoint. I drag it out. And I pass through this corner and I come down. Also from here, I will create another vanishing line from my viewpoint. I'll go through this corner and I'll come out. Okay, here we go. Just, you should save these steps that I'm using here in your mind. Then again, from this viewpoint and this one, I'll create two lines until they hit each other. And here I have another point, which is the connecting point of these two lines. When I want to create a cube on top of another, I will use this technique. First. I'm not going to create the bigger q. As you could see, I just could make by lines go pass and through the corners of my first cube. And then I could create **** cube, which is under it. This way, I've just created two cubes on top of each other. Now, as I did here, I've created another cube below that on there, the first cube, I would want to create another one above this cubed. So I'll create one line, again connecting the viewpoint to one of the corners of my cube. And then the other one which come over here. Got it. You see, it's look like an X. It moves like an X, exactly as we did for the lower part. We will do it for this upper area. Then I will just move it up. And I'll play some line like this. This line should go, actually, I should move higher bit more. This vanishing line. Then again from here, I would also go up. As you can see, just the same way I put another cube under my first cube, I'm going to create another one above it on top of it. This line would be the end of my work. It can be ending part of the work. I can also continue my vanishing line from my viewpoint, from both sides, again until they hate each other. So I can get the bottom surface of my cube, which would be this. So this is basically a three floored building. We have a building here which has three floors. And I've got it with the two-point perspective for you. Now. Before moving any further, I would like to erase all the extra lines here. I don't want any extra lines on my work because when I start moving onto next steps, there might get a bit too complicated. So remember to erase all these extra lines, leaving no trace behind because as I told you before, you should create them very lightly. And that's why. Alright. Now my way is almost clear. Okay? Now what happens if I want to create some curved area over here? I want to show that this area has been curved in or pushed in. First of all, I wanted to create this curve as the shape of a cube. So I'll take my pencil. And because this surface is related to this viewpoint, from this viewpoint, I'd be starting to create my vanishing lines and creating this square I want here that needs to be carved in C. I've got my square here. Now, if I want to give dimension to it and I want to show that it's been carved in from these corners. I would go to the other viewpoint and then I can create these lines for it. I'll erase this line. This way. You can easily see the dimension event in my work. You can see that this area has been carved in. This area, doesn't get any light. So it would be darker and this part would be a bit lighter, still dark. You can also show the curved parts with your shadings. Let me just make it more clear. Okay. I wanted to create a shape as a, as a sorry, a rectangle on it. And from both sides, I would move on to my viewpoint. I'll come down as much as I can, as much as I want, basically also here. And I want to just drag it a bit more higher. I wanted to continue it. First. I'm going to complete the bottom part of it. And I will connect these points, these corners to my v points. Just like that. I could have created a shape like this over here. A beautiful tall rectangle cube. And it actually is a part of my buildings decoration in front of it. I'd also erase this area because it's got some extra lines just like that. And then I would also like to continue this upper area. I don't want to leave it untouched. And I drag it onto my other viewpoint. For example, I'll end it over here. And it should obviously has another side to, it can be just empty. So I will have to create it like that over here. This was the top of my building. Now we want to create actually a door for it, a front door for my building. First of all, create a line and I'll connect it to my viewpoint. And then I want to get to dimension of it. I drag it to the opposite viewpoint as well. When you're connecting your shapes to your viewpoints, you should pay attention that which side they are related to. That's also important. I'm just going to shade this area in order to make a simple contrast between the parts of my work so they won't be confused with each other. Just like that. This area doesn't get any light, so it would be completely dark and this would be inside of the door to create a window over here in this area. So again, I'll create a line like that and I drag it and connect it to my viewpoint and L shape my window. 11. Completion of drawing the villa: Alright. Now, you see, again, I should emphasize that when you are going to create any of this, you should use a ruler, especially if you're a beginner. But when you practice it over and over again, it would be really easy for you and you can just do it by your hand without a ruler. That's what I'm doing right here for now. And I've also created dimension for my window. And these parts aren't dark price. I shaded in order to emphasize on the depth of the window. Alright, I want to have a stairway or here first. So all I would have to make this area more cleared out. I have to create a depth over here. I will create two lines going to my viewpoint. Then from here, I'll go to the opposite viewpoint. And I will make this area hollow and carved in. Then, just like that, I'll come down that for example, here we can have our stairs are stairway. Again. From here. I connected the stair to my viewpoint and I will continue that up to here. So this would be basically the stairway cancer. That's like it. These two lines have actually cross each other and hit each other over here, which I've created a point. And this area would be considered as the stairs. So now that I'm going over these lines while more time making my main lines darker. So you can clearly see the building that we've designed altogether. So I'd be erasing all the extra lines as well. After making my main lines bolder. I would also erase these extra lines on the top of my building. As you can see, it's a very beautiful, luxurious villa. Even I might say. It goes, It's got everything that you might need. Here. We would have our stairway. The stairs would be placed here. I would also like to create a depth on this area, making it more attractive. Again, from here, I'd be placing lines on both sides. Then I'd be connecting them together from here and move on to the opposite viewpoint. And connecting this line together. Here, again, I would create a depth. It's only the technique of playing with the lines and the spots, the points, and the angles. I hope that you've enjoyed this course because I love this course. I mean, I love this subject of perspective on never wanted to end because it's so fun, it's so enjoyable. And at the same time, with the simplest techniques you can create the most beautiful things in 3D. Also shade this area a bit more just to make a contrast and make it look more interesting. Also, I would shade over here. On this side. Here we go. Alright. These parts should be shaded. It's not that they should be, but I just want to shape them in order to express and emphasize on the volumes at wave created. Alright. And now we're at the end of creating this beautiful luxurious villa. And you can do it with your imagination, with your creativity. 12. Drawing letters with perspective: Hello everyone and welcome to another one of my tutorials. Well, in this episode, I'm going to tell you how you can create different shapes. For example, the alphabet in perspective, and how you can make them 3D. We two-point perspective. You can actually give them volume and dimension. Okay? First of all, I'm going to create a horizontal line. And then on both ends of it, I'd be placing my two v points to determine the alphabet that I want to create. For example, imagine this time I'm going to sketch the letter a. If it's going to be over here, it will be like this. It would actually look like a line. So I'll bring it down. And also from this side, I bring it down to with a straight line. As you can see, the lower part of my a will be divided into two parts. So I bring it down. I come toward inside a little, and then I will bring this area up in order to make these two parts divided. And also it should be parallel to the line right next to it. I'll take them to my viewpoint and I'll connect these two parts together. Now I want to get the hole which is on the upper part of the a. Again, I bring it into my viewpoint and I'll bring everything in perspective as usual. Then I'll be connecting these together. You see, this is our capital a, but as you can see, it's only one side of it. If I want to get a dimension from this side of it, I would have to take them to this viewpoint. On the right side. This would be the dimension and the surface of my a letter. And as you can see, now, I have a 3D, a ladder. See how easily we could have create the alphabet in a three-dimensional way. When you get these dimensions in perspective, there is no place for a mistake. When you are going to create dimensions, you might be mistaken, but if you create your dimensions with perspective, there would be no room for errors. And you make sure that your work is perfect. Without any mistakes. I'll give you a very, very great volume and dimension. I can also shade this area to create a contrast and show that, okay, we have another surface over here. So here is our 3D letter. Okay? So I will shade these areas in order to emphasize on the volume of my letter. Okay, imagined that I want to create the B letter in perspective, but this time I want to bring my B letter in one-point perspective. Well, first of all, for the one-point perspective, I will consider a cube at first. And I'll create a rectangle cube. And I will connect it to my one-point perspective. Now that I've got my cube, I can get my letter from inside of it. I can transform it into the letter, basically this way. So here we go. So I'm going to create my letter B inside of this cube. First, I'll create the front part of it. These are the bumps on the bee. And you can actually do it with any font that you would like it to be. Any font that you like it, you know, it can be different. Okay, then I'll create inside of my B letter just like that. Here we go. Okay. Now, how can I bring it into perspective? You see, I just take it toward my viewpoint from here. Then I will erase the extra lines of the cube. So I can have a clear sight with this. And I even want to round these areas. I want to make the corners round. Soldier necessity that because it's in a perspective, it should have sharp edges or corners. Now, it can have very beautiful rounded edges and rounded corners. So I would just have to edit it a little, erase the extra lines from my rectangular cube. Here we go. So I'd be making my work more organized. And taking these back. As you can see very easily, you can create 3D letters, alphabets, or any shapes that you want in either 1 or two points perspectives. And I would also shade this surface of my work in order to show another dimension of the whole shape. Just shading it lightly. Now too much, I want to overdo anything. It would look as beautiful and as simple as this. So they've learned it, I hope you've enjoyed it and it would have been useful for you, my dear friends. You can create anything that you can think of. Weird perspective. So practice a lot. 13. Perspective without observer point: Hello my dear friends, Welcome to another one of my tutorials of perspective. This time we want to create something like this with the help of perspective. But how are we going to do that? I mean, how are we going to be able to do that? Well, first, we should create our primary sketch as simple shapes. For example, I can imagine this area as a rectangular cube. Same time, we do not want to work with viewpoint because it's been looking at very closely. We would want to create this with the help of parallel lines. So what am I going to do? First of all, I'll be creating my rectangle cube. As I told you. In order to create more complex shapes, you have to create their primary sketch in a simpler way. And as I told you, because we are looking at this thing from a very close up, we're not actually doing it with a viewpoint or a viewer's point. So I'm creating a rectangle cubed. This would be the lower part, and it goes up parallel to this line. I'll create another one. Order to create my wall. And on this side, this upper line should be parallel to the one below it. Okay? Now we would be starting to sketch this area first and make some designs on it. It has been divided like this over here. And remember when you're doing it, you should constantly look at your model picture. And whatever line that you create on one side, you should have the same thing on the other side. And I'm actually creating it with a normal pencil because later I'd be adding this shadings with sketching pencils. So this would be the first part of my work that we don't want to work on these parts right now. This much I'll count toward inside. And from here, again, I would have to create another cube. C I get out of by previous one, gets out of a previous cube. Over here. I make some round edges and round corners because I want it to be curved. Then again, over here, another cube would be created. And I'm just doing them as much as I can see in my picture. It will come down like that. Okay. Then I would have to move toward inside again to create this lower area, the area below these cubes. Again, another straight line and it will come down. Okay? Right now we're just doing the original sketch, basically the primary sketch. And then the rest of our designs would show themselves when we are going to work on some more details or some are shadings. Here we go. In here, connect these parts together, continue these lines. And it would have a shape like this easily. Then over here. We can also have this shape that we can see in our picture. It's not a cube anymore. It's a curved shape here, twisted and curved and turned. And based on the perspective that we have here, this should be done exactly as we did for the pieces of paper. There is no difference because the shape is the same. We have created pieces of paper, so I'm going to do the same over here for this part of my wall. Okay. And also from here, I would go down and again with churned and curved lines. Okay, a line over here, another one. From here. Here we go. Then we will actually make our work a bit more cleaner. In this area, I have a shape like this. And sometimes you might not even be sure what it is, but you can just create it as the way as you're saying it. This is actually corner of a wall. I'm going to get a B6 pencil with a very sharp tip. Then I can start applying the shades. Mean just sharpen my pencil. Then I can apply the shadings. You see. The lower parts of your work should be darker and the parts which are on top and in front would be lighter. So this area would be darker and I'm just shading it. But as you can see, I also don't shade it too dark. I'm just trying to keep a contrast shavings lighter and darker. I have, for example, a very, very light shade over here on this side of my work. Okay, then I would be having a very, very light shade for this area. Okay. Just like that. Then for over here, again, I will have a curved area which has been carved in basically. Then I'll erase this part below it. I'm actually making it cleaner. And then from here, I would have it like this. Now that you are applying the shades, you can actually understand and dimension and the volume of your shape. You see the parts that I'm shading darker are actually placed below them. And they are actually under these stones. And the upper parts which have lighter shadings are the ones which are on top or in the front. I just tried to keep the same process for all parts of my work as much as I can see them. So I'd be darkening them like that until I get to this upper area over here. And now we can also consider it block by block. That's just it. Here we go. It looks like this very beautiful and very similar to our original design and our original photo. I be applying some more designed and organized lines in our work. Then over here, I want to create these curved shapes. Then I'll be adding some shading soon them. And as you can see, I'm actually completing the designs of my work from both sides. As I told you in the beginning, whatever you do on one side, which probably do the same thing on the other side because it's a corner of a wall and mostly both sides of the wall are the same. Then the darkness over here would go up and it would be actually fading upward as they go. Update would be faded. Then I would have several lines based on the directions. I mean, I'm actually shading in a way in a direction that I can. Also emphasize on the fact that this is basically a curved area. Either it's prominent or it's going inside, which in this case it is prominent. So again, this would be the lighter area of my work. This part should be left light and then from the lower area, I'd be starting to shading. See just like that very easily. And then on this very corner, on the edge, we would have a lot more darkness. Then I moved toward this side, toward the right side of my work. Again, I will apply a darkness and because it's the lower part of my work, it's under the stones. It will definitely get less light and it should be darker compared to the part which receives more light. When we apply darker shadings over here, it will show us that this is the lower part or under of our work or our object. As you can see, as I move up, I failed my shadings and make them going a little bit lighter in order to keep the contrast and keep the harmony and cohesiveness of our whole shading process. These very details can be very helpful for you. When you're working on something like this. Be really easy. Okay. Now, I got here. Well, I will darken this area almost completely. Okay. Then I'll move on. I'll shade this area as well. Then the lower part of it. And yet again, the lower part of this area. They all should be darker. My dear friends, be really careful about this side of your work. That all of your lines and even all of your shadings should be parallel. So if you felt like that in some place, your lines or your shadings have got out of that parallel position. You should definitely take your eraser and edited immediately because it's very important to the whole and general shape of your work. Then you can also shade these areas curved like this. Again. 14. Completion of perspective without observer point: Okay. So as you can see, I'm just continuing the same process. Shading darker for the lower parts and shading lighter for the parts which are in front of you or the ones which are receiving more light. As you can see, the process and the procedure is the same for the whole shape, but I'm just going to do it for you. So you can see now I get to this area which is a bit more shaped and it's curved, so I'm going to shade it a little different. Then when I'm creating this term over here, I will create duress of my turns with the same shape and parallel to the first one. Again, I say, it's like our first episodes that we were talking about how you can create papers in perspective. So I create the first turn. Then for the rest of them, I'd be creating them parallel to them and with the same shape. And I do it for both the top of my turns and the bottom of them. The top part and the bottom part. Then I'll shade below it as well, sorry. K. And we would also have to shade this area inside of our work, inside of this shape, which has a beautiful curve. Alright. I will darken this area completely and beautifully. And then because this is actually the inner part of my work, it should be darker comparing to the parts which are more outer. Because when they are outer, they receive more light and they are also permanent as well. But these parts are carved in and they would be darker. From here. I would also go down with a curve and with a beautiful turn. And parallel to that, I'll create the same shape on the other end of this one. Then I will go over the lines that I've already created, shading them, blending them more with my whole work. I'll shade these in our areas. As much as I think is necessary. You can shade it or you can even use hatches that depends on you, that how you want to shade your work. For example, in these parts where you have some kind of construction like that, I prefer to use hatches and shade that way. I think it just looks better, but again, at the end of the day it's your call. So go on your own taste. And then I would also have to shade this area on the side. Here we go. I still want to show some blocks here. They could be stone or they could be breaks. More likely a stone. And then on the lines that are separating my blogs, I can use more darkness. And I can also use my pencil to apply some more strong darkness and actually emphasize on some parts, making them much more darker. For example, over here, it should be darker. So I'm going to Ron, It's shadings once more. In order to create this construction, this piece of wall or whatever you want to create, you just have to first start with a very simple primaries sketch. Then you should be careful to bring everything in perspective here that you don't have a viewpoint, you should be careful to create your lines parallel to each other with a compatible distance. Then you can develop it, adding details until you get to the shading and get to here. And you can also use your eraser on some parts to fade the shadings of that area in order to blend them more. And then again, I'm going to sharpen my pencil because I want to add more darkness over here in these areas. And maybe even I'll bring some shadow all around my work. Imagine that here we can have a shadow of our walls. So just trying to bring them out a little, don't overdo it by. You can just do it a little on some parts. That will be cool. For example, in these areas, I think they would look cool just like that. Okay, so that our work, which shows itself completely. Here we go. And we would also need a darkness over here, because as I told you, we have a part on the top of our area over here. So I will apply the same type of shading over here. Just remember that it's better if you're creating a shape like this or a picture like this. You would keep the same kind of shading for parts, for different parts of your sketch. Sorry. Going out of my hand there in the middle. Because I think that would be just cooler. It makes your work look more cohesive. If you use the same kind of this shading. There are some more lines in order to make our work a bit Ross say, a bit more different. And then with a very, very low hand pressure, I will create these lines all over. Why work? In order to make my work an actual sketch? Again, I will apply does stronger darkness wherever I think I need them in my work. So I'll make my work as attractive as I can. Here we go. Now that we've used our dark pencils and we've used it in our sketches. We should use our eraser or our dough eraser on some parts in order to create some light on our work. Because we need this contrast if you want our work to look attractive and advanced. So I will cut the tip of my editor eraser in order to make the tip of its sharp. And then I start applying some strong lights into my work. This way, create more contrast. I will have my shading, so I will have my lights. It would look more realistic and more beautiful and more advanced. For example, some vertical won, some horizontal lines. This will actually bring your work into another level. That's what we want here. And it goes like that. Here we go. Wherever you think you need them or wherever you can match it with your picture. Create your shadings and your lights in order to have a complete and beautiful outcome, which is what we are having right here, right now for you. I'll shade it outward. Here we go. Then I'm using also my finger in order to fade these shadings and make them more beautiful. So as simple as you can see, we are finished with this sketch as well.