Transcripts
1. Intro: My friends. Hi everybody. This is Andres on Mari. It is time to study linear perspective. Would I offer you now, is to take part in a marathon divided into several practical tasks. It will help us learn two types of linear perspective. The first one is the four-point perspective. In this type of drawing, the depth inside the picture is created by foreshortening from four points. The foreshortening points are on the left and right. Above and below. We shall draw a street and the space inside their picture will be very large-scale. We shall draw tall buildings like skyscrapers and study how they look shorter the farther away they move into the sky hour towards the Earth, depending on whether we look up on them from the ground or have a bird's-eye view of them. We shall do two drawings of the sword. The second type is the architectural perspective. In the architectural perspective, the artist only shows the foreshortening that happens along the horizon line, paying no attention to the downward or upward foreshortening. Those are two ways to create the illusion of volume on a two-dimensional sheet of paper. We shall try both the first and the second one and we'll look at how they are different. In the first case, we shall be drawing skyscrapers. In the second, a couple of streets in a small town, probably Venice. We shall be creative. By the way, the experience you get, the knowledge of these construction modules will be very useful when you do something more creative, like painting a landscape or doing a full tone drawing your works from now on, we'll have the advantage of a correct construction as a foundation. It will not be difficult. I am sure it will be really easy. We shall virtually do a summary drawing using colored pencils. I mean, this will be really symbol individually, very easy to understand. Take a few colored pencils or felt-tip pens and a sheet of paper, better, a few sheets. Let us begin. Let us study perspective to understand it better.
2. The Perspective Exc #1: Let us continue studying perspective. We shall try to put into practice the knowledge we have acquired so far was please take a pencil and draw a simple straight line. Placed the paper horizontally and draw a line all the way through the sheet somewhere near the bottom when you see chess. So it was OK. And obviously East though there. But he made enough next, draw a perpendicular, more or less in the center and connect the upper end with two imagined points on the edges of the paper. So the edge of the paper is over here, roughly. You might have probably guessed these are going to be the vanishing points. Now we shall presume that the horizon line merges with the ground level. It isn't the widgets that we shall draw keeping that in mind. So we are looking at some kind of structure. Warehouses become gradually narrower the higher you get. Well, the horizon line merges with the road, the pavement, and the ground level. Now look, I am marking two lengths and draw lines upwards so that they come closer to each other. And IVR OK, touchtone, Newman, Olga, social rights. Monday. Was Dionaea and shape the building, say a skyscraper or just a multi-story building right in the center. This is the corner of the building and these are the walls then ship up. Next tried to develop this shape. You might section the length of videos, OK, slowest connect again and draw an adjacent building. Thank you. Moment assumption number so that the vanishing line goes towards a hypothetical converging point high above the paper. Was so close up. You can do something similar here on a different level than I was like, yeah. I am outlining another building. This one is a little lower. And lower was. Now, look, let us return to the previous height. Let us extend the line upwards, mark a crossing point, and project the line towards the vanishing point. Here. Obviously, we project the line to the vanishing point on the right. We have formed the edge. Here. We need to define the width of the building. So we mark a dimension and draw an upward line down. You can take a pencil and shade the side to separate the planes and create the volume system by delete. Um, you, you can do the same here. Let us now draw a line even higher than the line of the central skyscrapers group that high. Look how dramatically the shape is falling to the right and left. Now, please finish the edge and go down and till you cross the bottom. Next, you mark any length on the left and go down to the corner of the building. Will marshal and Norma. It's going up far, far away. You can shade this planes too. You know what led us shade parallel planes. What I laid in a podcast series. If we have shaded the right side, we shall shade all the parallel planes here to see you. Used which we get as half of the skyscraper. Nationally. It was sunken shadow. Here to of course, the volume we have created helps to fully read the picture. You can do cross hatching to just remember hatching as a shading method always leaves the papers showing through a MOOC so don't blood it all out, don't smudge OR blur it. Now you can improvise it up anemia, for instance, divide this edge more or less down the middle and draw a perpendicular that will be in the same relationship with the other ones. I've seen mastered in the mid 19th, which go find a point and make a projection to the left. Stop and go down again, even if it's a small area. Here, you connect it to the point on the right and shaded straight away as this plane is parallel to the planes in the shadow. Gradually you build up a whole urban district. Keep on improvising. But remember there are only two vanishing points that define the angle of the rooftops. Same thing here. Create this epic structure. Maybe you can make it more complex. But at this stage, when don't ask too much of you who've come. Let's keep this drawing simple. Good luck.
3. The Perspective Exc #2: That there is an OK. My friends, we continue studying prospective. Let us now change the angle of view and draw skyscrapers that converge downwards that somebody didn't love it. I mean, we shall be looking at them as if having a bird's eye view flying over the rooftops, watching them diminish as they go farther into the distance and down towards the streets and the people walking through them. But if I draw the horizon line, you place the paper horizontally as before. Now, you draw a straight line in the upper part of the sheet. But he moved linear IV and you mark points on the edges of the sheet. Now quite low as you see, I stepped down markup point and draw a line downwards. It New York, Moscow. And he knew and use it may not be as long as that you may not have enough place. If I form the side edges and Connect the point to the points on the edges of the sheet. And we're not going to matter. I mark any dimensions I want the name is I think the rooftop doesn't have to be square, so it will leave it as it is. He say, I connect the points as they foreshortening perspective until they cross. Just pick you up. So kind of Shania. But pretty soon Shania. Then I draw lines downwards so that they converge somewhere beyond the paper. Talks the way you socialise, clear those up and you'll be out away. This is going to be the first skyscraper and we will use it as a basis for everything else. Lunch was. Then look here, close by, I mark a length and connected to the left point until the lines cross to say. And I make a downward projection as before, so that the lines converge down. There. Is no mass there yet. So the buildings are parallel to each other, like that. You know, keep it a rough freehand drawing. All the lines should come closer to each other Gradually. They should NOT cross or go back to wider position. Check them all, count them. Maybe a 100 years. And now look what I am doing. I am making one of the skyscrapers a more complex form. I go across and extend this to the converging point until the lines cross. Cheered his purchase. Now I project two lines through the converging points like this. And I connect with the right point. What we get as a skyscraper that looks like a chair. I draw lines in the downward direction. Two, we have got here a usable rooftop, a penthouse with a big balcony or a hela pad. The Lucknow push up. The way it is. Let us do something similar to this buildings. I go across again, this time through this point, we train our brain to see things for shorten in perspective. So crushing. We go across in this direction, E and drug downward lines again. He's now we have two of these chairs, skyscrapers. Now look even lower under closer edge. If you have place enough, I hope you do. I draw the converging lines again and extend the lines as much as I want to. Give me. What do I do with these points? I connect with this one far on the right, here and here. He's kinda, when I draw lines, I tried to keep in mind those I have already drawn until they cross here. And I start a line from the point to make a big balcony that connects the two parts, the two buildings of my skyscraper corn components. We isolate the VHS Qian Gua quadruple somewhere. And I draw downward lines again. This structure, I think, is complicated enough for the first time. The way to become Let us now, before we go too far, divide the planes from each other. And that is, we shall draw planes that are in the shadow and those that are in the light us. This time let the left sides B and the shadow. I shade everything that is in the shadow. You can shade in perspective. It is very good to lay strokes in the same direction the plane has. In this case, this is the direction. It gradually dissolves in a constant downward movement. We do the same here. Look, this horizontal plane has almost become vertical. And this is quite a puzzle for our brain to turn it like this, because the brain always tries to imagine everything in a frontal view. But this is the essence of the exercise to train to make a three-dimensional picture out of a two-dimensional one. Now, we have two unfinished planes and weekend on. This one should be shaded. Of course. Now our eyes scan the picture easier and we can shade either horizontal or vertical planes, but not as dark. I'm going to let us do it this way. Well, lay only one stroke out of two of the vertical plane, keeping them in perspective. You Same here. So we have two quite modern shopping malls with a very strong perspective. Which machine it gives you a nose, kidney, somebody, I, that's most likely they would look exactly like this if we were flying in a helicopter and watching them from above to even use a slew of poetry. If you manage to do this correctly, you can work on this exercise more drawing two or three buildings behind them that he's Dunya, anemia. Good luck, but be careful not to overwork yourself. I know it's difficult the first time.
4. Architectural Perspective Exc #1 Lite: My friends, let us now do an easier version of this exercise to figure it all out. Better. Linearity is the horizon line and the vanishing point. You draw a symmetrical street that becomes gradually narrower, the boundaries of the street. The edge of the street is where the wall of the building touches the pavement, even as these loci untrue, it's on us door. To keep it all simple, let us construct the building right away. And I draw a vertical line from a random point here, here, anywhere. And I project, let me choose the height I projected to the vanishing point. Next, I draw a second line. And just like when we were drawing a cube, we now have the horizontal covering. This is going to be the sidewall of that. But it house number one, mind that the sides of the house also gradually become narrower. I mean, the bottom line going up and the top bending down a little to meet each other at the horizon line gets under the new Buddhism, which in this case, the top-line inclines in a more dramatic way because it is higher. I have now formed a house and I can even add the roof. The roof edge overhangs the face of the wall. By the way, if extended, it would also gravitate to the vanishing point. We can even draw this beautiful side view of the roof here, using which we can hardly see the edge. This is roughly the position of the tiles. The first house, we had a window. This is the edge of the sheet of paper. I will now draw the door of the house. Look, I mark the height of the doorway with the vanishing line holder. And I place two vertical lines on the vanishing line beneath. Then use nuclei. Thinking this is how we draw door in perspective. Notice that the door is really narrow because we see it from the side. It is as narrow as a pencil, very thin, do not dry it wide enough to make a garage door. The same way we project vanishing lines to locate the narrow windows of the first and the second floor. That all. I draw the vanishing lines and vertical lines across them. I draw two windows. In the grid of the perspective, we can clearly see two windows. If I wanted to find the windows of the closest wall, I knew it would extend the lines until they reach the corner. Remember the way we did it in universal perspective, bend the lines and draw windows here. This one is quite a modern house. Why? Because the windows turned out quite beg. You know what? If you want to create an old house, draws small windows anymore? My ninja course Que Shi Min shock not him. The smaller the windows, the older the house looks, opened all be Leach orders. Windows became bigger with time. And now finally, we have very big floor to ceiling windows. And in the past, they used to be smaller. So I think you may of course, can be pretty medicine. Now, if I want to bring the door here, I will turn and move it. If it is though. We have got one more entrance. Okay. Let us now construct another house across the street and say, yeah, I cross the street, fined a few points here, draw vertical lines. But anyway, let's deal with that. I will make this house smaller, not to, but just one floor. I connect the height with the vanishing point. For the Civil War suddenly. Nepal, please remember this is a random dimension. This one is smaller because if we projected this height, it would be up here with the logos, which we'll finish. This house has just one floor. And as I did with the cube, I send the line to a hypothetical vanishing point. Far beyond that sheet of paper. I draw a door on the ground floor about this size. Once again, I determined the height with vanishing lines and then draw downward vertical lines. News. That is how I create the door. To make the windows, I use the vanishing point again. Near Michelle. Oh, I told you it was going to be a one story house, so I will make it one big almost floor to ceiling window. We have already got a transom light here. I will shade them for more clarity. Now, look, I can shape the roof in the same way. I can even choose a different angle this time to make the roof high enough for an attic. Socle. Alright, so you like that. I project the line to the vanishing point. To copy the Windows. I project the lines to the edge of the wall and move them. But better have the windows arranged in the same way. And yeah, I mean, you draw, you do not cut out a window randomly. So if they are on this level here, then I transfer them there. That is all. A window is said to be the trickiest architectural element because it changes the overall look of the house. When the project of a house us finalized, it is difficult to cut out a window because it will change the house a lot. It must be done nicely, taking into account the distance from the edge of the wall to the window, as well as the distance between the windows. Now we have got a simple and clear plan. The linear perspective is focused in the center of the paper, and the whole composition is arranged around it, the edge of the paper. Now, what happens if we bend the road? So I take a different color to show you how it is going to happen. Right here beyond the nearest houses, the road bends any changes the vanishing point when it's up. Hold it up and let us say it bends around the corner. And that is going to be 0.1 vanishing 0.1, and this is 0.2. Now look, the boundaries of the street go towards the horizon line, towards the new vanishing point. I can see the edge of the street here, but not here behind the house. And I can only guess how it is going to look the same with the roof. It is going to incline towards this point. This is what we would see if the house was long enough to continue farther into the picture. But the houses usually end and I draw the corner. Who will have the second house, the end of the house. I draw the roof too. By construction. I cannot see the rooftop. And I construct the windows in a similar way using point to, I first draw the vanishing lines, then I draw vertical lines across. And this is how I make up the windows here. The house might have a door to another, so that is all we have got another vanishing point. Now. The road, I mark the road to notice me up, cool. It turns and disappears behind the corner. This is really simple. If you do it in an orderly way, you draw the vanishing points. You do not attempt to drawing the house AdWord once from your head as it were. Because our brain has this habit, it tries to turn and objects to have their frontal view. We need to abide by the vanishing points. We can bend the road on an internet as often as we want. It will curve and lose itself in the distance. Let us do that in a separate exercise. First, we shall draw a road with a few turns up. Then we shall put houses on the curves.
5. Architectural Perspective Exc #1: Hi everyone, my friend, let us do an exercise to figure out architectural perspective. Napoleonic. As you remember, architectural perspective as the one that does not have foreshortening to the right and left, only up and down. Then you'll take your pencils and draw the horizon line. And I mark a vanishing point in the center. Let us now construct a little urban landscape. Shots, cowpeas. And I'd assume, let us draw a street and construct houses. Yes. I send two lines to the vanishing point and name it 0.1, which was holder in Chicago idea. But it's stuff. Just imagine these lines are the boundaries of a road, a street, or maybe a channel. If this is a Venetian landscape history, the Whitmanian soundscape paintings often have their basis formed by a symmetrical perspective with just one street curving and disappearing in the distance. Died bocce yet so the street in the houses alone hold the whole landscape. I just wanted you to what now? Look, this is going to be a road that gradually becomes narrower. But if we begin by outlining the road method that Olga imagine that at some point the road, say, if you divide it like this with a horizontal line, the road turns. The Union. That'll go a little conditional approval note there, schlep buddies, so it keeps straight, then it terms. Because what happens with the vanishing point? It is going to move. I will use a different color. It is going to move somewhere over here on the horizon line. And you get a turn on the road. It might turn again sometime later showed us that it is going to end just about here. Oh, yes. Let us mark it 0.2. That's important to me. Cook with them my meal. And then the road will go to 0.3 like that, which will limit the duck. Let us draw another turn. The road stops following 0.3 and goes to a 0.4. There's national data like that. So the road curves and I will trace the boundaries so you can see them well. Both soil, midi. I'm going to need to know this is one turn and this is another allele shown us. Just pick you up. The perspective is controlled by 0.3 and then the road turns once again and follows 0.4. This is the way the road curves, moving along and disappearing in the distance. But yet budded logo. Now, please do the same, mark all the four points. Please do draw the converging lines. And when you finish, start drawing the houses where the road turns out, we'll get this deal HER with Nike or who just go login Minneapolis were I to the Dhamma. You mark the corners of the buildings with perpendicular lines. Dynein. Yet that we did, this is going to be building number one. Yes. I even put a sign on the wall, house number one. To form the roof. I also need to project it to the vanishing point on the horizon line. Versatile dogma, Yes, I choose a random height for the house. Let us say I want the house to be that high potential. So you though, and I want the house across the street to be the same height variable, Sunday, integrative Postman. Now look, I connect 0.1 with this hypothetical border line where I want the roof to begin. So the house number one is that high. The road turns and follows 0.2. And obviously this is where we begin drawing a new buildings. We always little bit market committee, so let me take a different color and draw a new building that follows the turn in the distance. This is where building number two begins. As a dude, what is going to happen on this side? We are going to see the roof sham when in fact we are not going to see the roof following point to what became organisms. Because to see that we need to turn around the corner. We can see the plane of the house here, but not here. Let us now finish the house. This is the second building. I will call it house number two. The house turns. This is the second corner of the house. We draw a perpendicular line until it crosses this one, so we cannot see this plane of the house. The next point is number three in blue color, which lets us know the road turns again. This time I cannot see the third building as it is blocked from our view by the corner. As. And this is the visible part I extend the line. Here is another house. It is limited by the next turn of the road. I draw a perpendicular line as D. So this is obviously the invisible part of the house, the one behind the corner. We turn again. We now project the invisible parts to 0.4 in the building continues behind the corner. The roof of the first house. The edges over hanging like this. This is the second house. The edge overhanging. We cannot see the dark. Okay, now the third, the blue one, and the green one and the distance of the houses converge, but we cannot see them do that. Okay. Now inside these buildings weekend US perspective at drawing here, but keep the separate colors. So for instance, we can have a door ID. Draw window is a couple of rows. I didn't go for a calm. One window, o cannot Another. Please notice that I unite the windows with vertical and horizontal lines to make sure they are in the same row in perspective and also at the same height. But normally doing Bacteria and Archaea dock. Ok, now the pink wine, I will give it its own features. I will draw a door as well. Let us shade them to so that we can also add windows. They will turn at some point. And my main thing, if I go to note like that, we have space enough to make for a senior though, the blue house has its own windows and doors. Doors turned out quite big as they reach the horizon line. Big entry and the windows. This is what a correct architectural construction looks like. The vanishing points control everything. Now shading. The last one, the green Hamelin, The more I give it a door in two rows of Windows. This is the drawing you need to do to figure out how it should be drawn? The yellow house will have a yellow door. I do not quite likely to whatever it should be drawn as though it's better a street should be constructing what? Because the street can only be constructed. You can add any melody me other visit, Tower on the roof and for instance, it will follow point to machine, you would say a clock tower as these two and this line will follow a point far beyond the edge of the paper. Remains the same as the roof edges. You might want to place a pyramid on top. If there were a lot, but you can already imagine the way the circle would imply. Here. It would distort in this direction in here like this. That came over as m. So if there were a window, it's top and bottom would follow 0.2. And these would follow an invisible point beyond the paper is I didn't move new medium with which goes up and this is just about it. Try doing this simple drawing with his electrically. Good luck.
6. Architectural Perspective. Venice: My friends, let us do architectural perspective one more time. We need to master it and make sure it is based on real life, real-world. I will draw an architectural landscape. Please draw with me. I will comment and help you on the way. But this time let us work in a more spontaneous and free way. Yeah, I will draw it. Let us call it a Venetian landscape of Venetian street with bridges, balconies, and so on. You can create your own picture based on mine. Okay, we begin, of course, with the horizon line. Upon which to linear. Let us remember that a horizon line stands for the angle of view. Stuck with discussion. Its height as your eye level. If it is high, you watch a Venetian street from above. So unschooled itself noticeably, given if it is low, then you watch it from a boat and the houses are high above you. And I was like, yeah, that's somebody who, however, we keep architectural perspective. I mean, we do not show foreshortening up and down it. Okay. This is the bed of the canal down which we float more or less symmetrical sides and a vanishing point in the center. Vanishing point number wise, there is a curve in the canal. We go past the corner of the house and I want to draw it right away. You probably noticed that I only use vertical format in all architectural perspective exercises because it is the best way to show the foreshortening of the roofs and learn that a horizontal line in perspective can be inclined almost to become vertical. If this time the vanishing lines will be hardly visible. If I draw the roof of the house and define the position of the house opposite the first one. I outlined the top on a different level. And as before, I followed the vanishing line up. So I draw the cornices right away. Here in here. They go to the vanishing point to the projecting edges dark and we cannot see the lit upper part. Notice that this short line is inclined to Mr. wheat. And if I extend it, if I make it longer, it will go down a bit. Following the vanishing line was nice. Steady minutes, communion goodies on the first two buildings. Let us draw a balcony of the first house right away. Watch me do this. I extend a line from 0.1 and use it to mark the boundaries of the balcony. And I use the inclined line of the roof to tilt the side slightly. And the edge will also be controlled by the vanishing point. Right? I have the balcony. Now. If I extended these lines, they would also go to the horizon line on the left. I draw the perpendicular lines for the outer corners. So the edge follows the vanishing line to purchase holder. And I outline a little balcony. This is where it is attached to the wall and the line is also slightly inclined. Here is a balcony so far looking like a projecting little box. Equation will pinch. To find the entrance, I mark two points on the back line in drop perpendicular lines like that. And it is the first line in the second http. Now, as before, I connect the top ends with 0.1. to define the tilt of the lintel. Draw the entrance here. They'll shoot. If the door is open, we can see the thickness of the wall, which comes holder. So I define it by the vanishing lines disappearing beyond the edge of the paper. This, in this, again, I draw the thickness of the wall. That is sodium. Let us draw a door downstairs. In fact, you can go down from the balcony to arrange the elements of the building as an architect would do. Same as before. We use 0.1. to draw a door. Maybe it wasn't. A gondola might stop here. So in order to have a place to land, if I may say so, I draw a couple of steps in front of the entrance. Look, I draw two lines, but this time they are slightly raised to meet at the horizon with the lines going to the left. This one should be just a bit steeper. I outlined a plane, tie the boundary to 0.1 and drop perpendicular lines to form the steps I need. So I draw the steps in the same way as I did when I was drawing the balcony. And I extended as far as the doorway. Though I can see the thickness of the wall, but I cannot see the top. I could see over here because it is below the horizon line now, leaning Buddhism. I have now got two elements divided by a large space. I will draw a window. It is going to cross the horizon line is going through the window area. And I draw a window here. You can extend the lines yourselves. Here I can see the window sill just a bit. With this side line will almost be parallel to the horizon line. And I go up the balcony. You can develop it by adding consoles to support it. But for Q, I am drawing one after the other, making sure they are on the same vanishing line. These two points. I draw the width and connect them with the balcony plate. You see d nu. We sit like this for instance. And I go up here to show the thickness. These parts will also be dark. I am going to show it like this because they have the same thickness. Here are two consoles. These forms are quite simple and they obeyed the vanishing point. Up here. You can go up and construct a window, say, around one. Which look, I extend the vanishing lines again to draw a square in perspective. Remember the distortion? I inscribe the circle inclined like this. This looks like a little garret window. We now get quite an art nouveau style building. On this. Let us do something similar on the right. Well, no particular starting with the windows open. Two of them on the top floor. The closer is the window, the wider it becomes. I add the thickness. You might want to divide them in two and draw arched windows with stucco above Venetian way. You can drop projecting windows cells. When drawing the window sills, keep in mind both the central vanishing point in the one beyond the paper on the horizon line. There could be a transom light here. So I dried at once with a little tilt. I concentrate on the vanishing point is I do this. I can divide the window down the middle. In our case, this half will be moved a little to the right, concealed a little. What else? Y here we could draw the entrance to the house. As I heard in Venice, no one lives on the ground floor as it is very often flooded. You can construct the step on your own bottle. You might add another one. Two steps, the thickness of the wall. Just a doors in Venice can often have an awning above. I draw where the awning is attached and where it ends contributes more or less the same thickness. A canvas on a Lucas. And I can draw the supports. Right here. The lines merge, as you understand, there is another one behind me. Here is place enough for a small window. Look, I find the center to the thickness of the wall. Like that. There might be a plaque with the name of the street. It would look like this if we extended the lines. Ok, let us now try to curb the street. I take another colour so you could see it better. Meal. And I turn a little, say, I find a vanishing point here, which does hold the vanishing point. Number two. I imagine House's standing close to each other and I project the line here. And we can see it here too. Because I can, I draw a line across to define the edges of the houses of those I do the same on the roof level I'm going to show here in here. And I draw vertical lines here and here. I draw the top, the edge of the roof as a joke. And here, just a reminder, the line goes to the horizon, so it is a little less inclined than above the bottom. Another house. I quickly draw the Windows. This one is going to look more like a Palazzo. In the same style is everything else. So the upper windows are going to be higher as their lighting a banquet hall. Those below are going to be smaller. Pay attention to the way the windows become narrower as they go farther into the distance. The window closer to us is wider than the farther ones. I formed the width. And it may so happen that we almost cannot see the casing inside. It is make sure you do not inclined the vertical lines. It might be tempting to add perspective upwards. We agreed not to do that though. Otherwise you must do it everywhere. All elements included. The windows below. We can draw a little door as well. And a window seat next to the door, which could look the bottom is also going to point to there is a window sill, a step like this, roughly. What happens here, we can see almost nothing of the doorway open up. The windows are going to be thin, not wider than pencils. We can see three windows here. Video Claire. And we must fit three of them here. Because the houses are opposite each other. So I draw a very narrow door. Look how narrow it is. You can hardly see it. And I do the same. Oh, stop. My friends, be careful. Wrong vanishing point. You should project the door right here. I am standing a little to the side. So the vanishing point is over here. We projected to point to as well as the bottom line. Like that. Now the windows. Let us make another balcony here. I will outline it, make it project quite far forward. Within your mind that the lines go down a bit, but not too much. Let's look here. You go up to draw the width of the balcony correctly and attach it to the wall. As you finish, find the center and draw a vertical line to make a narrow, almost invisible door. Going include the V. We can have three windows above. Once again, through the vanishing point. And I draw the lines of the windows, one window, another one. I fill the space between lines right away. And the third one, I add three little windows here. The street turn's next turn, I find another vanishing point. Number three, I will not draw other houses is scrupulously because they're far away and it is unlikely we can see all the details with them. Deal with doing it. Look, I draw a smaller house. And so I started on the level of the first floor, not from the top. Here I turned to 0.3, which I defined where it ends right away. Duty theoretically, it happens behind the corner of this house. But we cannot see what happens there. There is another building to here. I draw a roof and quickly add a door. There might be a step to the vanishing line of the steps is going up steeper because the house has turned and naturally, the second edge of the steps will turn more to dot already but open. But let us also move a couple of windows here. If you were painting, painting a landscape, this house would be blurred as it is so far away and you get them. You would only see the outline. So I don't draw the windows in all the detail. Moreover, it is next to impossible to do so with chalk monthly. Now look what I do next. I draw a bridge between these two houses that disappears behind a corner. What you see here, I have marked the construction lines for the house that go to 0.3. This is where it ends. I extend the line until it crosses this vanishing line. If I draw two equal vertical lines and connect them where we can see the connection. Now, look, I construct a classical Venetian bridge with a semicircular arch below the moisture. I cannot see it here. I can only see it's farther apart. It has the characteristic white, beautiful stucco outline. Ok. Let us show it. The bridge is quite far in the background. Region. Plenty. If we can see the street than the width of the bridge here is also visible. I measure the width of the bridge behind the corner and construct the second semi-circle. This part is going to be in the shadow of a boat can sail under it. Maybe up there near the horizon line, we might see the plane of the bridge right here. Or even draw the railing. There might be a gap here, then a bit further, there will be another house. If you get as far as that, you might want to dry it. So as you can see this bit to this house, number four is parallel to number three. Here you can put down little windows and a roof without the construction lines. Absolutely doing human mind that we can see the rooftop of the third house as it has turned more towards us. So I construct it using 0.3. We might see the tiles here. Profiled metal if it were Saint Petersburg. I do not mean to say it is bad. The roofs in St. Petersburg have their charms. Metal roofs. I add another roof. We have now created the street. Can we develop this picture a little more? This is Venice. So let us draw a boat. If the boat is close to the second house, the red one, I will try to direct it along the bed of the canal, will do stuff like that. And I project lines from 0.2. I find the envelope that the boat will fit in a rectangle in perspective. Speak to you. Two diagonals helped to find the center. To project a line through the center until it crosses both ends. But draw vertical lines here and here. He put it and I make sure the vertical lines are in perspective. This is the one top and this is the other. Now I outlined the boat. Two sides of the hall. Watch me draw this one like that. And I connect the bottom where the boat touches the water. Cosine, a Venetian boat, a gondola has a double bottom line. If you draw this bed, it will look more like a Venetian boat. Sounds cool. You can draw a couple of details inside the boat. The place to sit, this seat has to be in perspective, too. Extended lines reached the invisible vanishing point. No, we will not draw the gondola here now, we'll do it later when we study human anatomy and body structure. We have almost finished this Venetian landscape, which is the only thing left is the water. It will make the gondola float and create reflection that also relies on the vanishing lines. But what are we to try creating your own street? You might want to add more details, are decorated more. Draw the clock tower that he's tweaking Bush nature. So there will be a good luck with your artist. My friends, I want you to have a look at this landscape that was painted using a similar construction in the muscle. And this is a half-finished oil painting. But you can see the perspective well. But I look at these two parallel buildings. They have the same vanishing point, including the roof and so on, on the horizon line. Next, the building turns and forms another vanishing point. This one is so high the roof is off the picture, but all the windows followed the vanishing lines going to the center. Both the boat and the bridge are constructed by the same rules, same method. There's any Muslim, Muslim. If you practice oil painting, you can use this or shade it with pencil. All of this is useful and necessary as well as fun and interesting. Or you might draw a real perspective in your sketchbook. That is, all right, good luck. Create your own streets.
Andrey Samarin, Academic Drawing
