Thanks so much for the critique Trent! It's really flattering that you took the time to provide me with this feedback :). I knew some things were feeling off but couldn't quite put my finger on it, so this is so incredibly helpful! It makes me all the more excited to continue learning drawing. I've since backed up a bit and am going back to work on understanding perspective more (especially things like Cone of Vision and understanding things like center VP and diagonal center VP). It's really fun how many things you can draw even when working on basic things like perspective and 3d forms! And inspiration is around us everywhere. I never thought this would be me, but I'm starting to do things like take pictures of water coolers, business signs, lamps, toy packaging, etc. Soooo many things to have fun trying to draw! :D. Thanks again for your videos and your Gumroad content. It has been so inspirational and useful for me.
Jason, if I am not mistaken you used 3P perspective. The vertical lines go to some kind of distant VP up above the canvas (especially visible in the fence). The strange feeling that I get when looking at this work comes from that. The thing is that you are looking at the house from the top so to use 3VP you would have to place it below the bottom edge of the paper. Correct me if I am mistaken, I am a drawing noobie, Cheers
Hey Jason! Loved your drawing, brotha! One other thing that Trent missed is that you want your vanishing points to be on the same horizon line, and it looks like your left vanishing point is just a smidge lower than your right vanishing point. But then again, maybe the house is on a slight hill, plus some of the best artists in history are famous because they broke the rules, so who's to say what's right or wrong, right? Anyway, rad drawing!
Personally, I love your piece here. I interpreted the tree as similar to many I see in nature (a side with sun is full and lush whereas the other side is more of a half canopy or patchy). And the line work, to me, is a matter of opinion - I rather like the boldness, and it would be amazing painted over.
Also keeping both points within the page will always result in "fisheye" effect :) Most of the time that won't contribute to the "immersion" in the scene.
I have NEVER gotten this before...I have taken college classes and tried my hardest, but I have hated it because no matter how much they explained it I couldn't take the theory and put it on paper...This whole thing has been a weird A-HA! moment for me. Thank you for doing these types of videos, Glad to be a new Subscriber! :)
but this helps me a lot, omg i've been struggling so much to understand 2 point pespective since it's commonly used in architecture (i already understand the 1st and 3rd)
Thanx for the advice. u sound like mordecai from "regular show" btw lol! *EDIT* Thanx for the 37 likes! That's the most I've ever gotten on any social media platform lol!
If you wan to find the middle of a rectangle in perspective (like a wall) you can draw two diagonal lines from left op to right bottom and from left bottom to right top. At the crossing draw a straight verttical line to find the middle of the wall.
To find the center of a wall, draw an X between opposing corners. This can similarly be used to determine the distance between equally spaced objects receding into the distance by using the center point of the surface to make a vertical line and make another X to find the next center and so on, dividing the surface into progressively smaller sections as it recedes.
The thing perspective lines don't tell you is how wide things should be - things like doors and windows. If you want to get this right, you need to work out what angle you are looking at the building from, then use the COS of that angle to scale from the known vertical size to the wanted horizontal size. I'm assuming that directly facing you is zero degrees.
Also in the first picture the vanishing points are too close to each others. That makes it look like a really wide FoV image taken very close to the building. It would look more natural if the vanishing points were further apart, so that it would look like a more normal FoV picture taken from a reasonable distance.
i watched all the tutorials related to assistant tool and understand every concept of it... i just can't able to draw in vanishing line because when i try to draw, it automaticaly draw perpendicular line regarding what is selected in parallel rulers
Not sure if you covered it or not but they don't seem to be following the 60% rule either. You mark a 60% of the paper (a square in the middle of the paper) and keep your drawling within that. That prevents the stretching of the structures.
The question is I so want to become a bg artist, storyboard artist etc but I dont know where to start on my own. Can you please give me some ideas like where to start , which things to learn and how to progress. Like I know I need to learn perspective closely but I am not clear about other things that how anatomy characters and other stuff play a role and how could I use these things. I basically study in an art school but they dont teach any important stuff so I am on my own. Suggest me any course or books or whatever.
3rd one: Gotta disagree with the roof having to be the center of building. Asymetric roof designs do exists (Saltbox roof for example), so unless the artist was going for a symetric roof, no mistake there. Personally I do like some asymetry thrown into drawings (if done intentionally), they can add a litte bit more character (for the lack of a better word) than a perfectly symetric design.
While that is true, I think a good rule of thumb is to not do something abnormal and call it a style simply because doing things in a realistic way isn’t something that you’ve developed yet. It’s better to learn the rules then slowly learn how to break them then to try and break the rules because following them is too hard.
at 6:00 minutes so to create a "Perfect" create in this example you want us to use Both Banishing Points. hmm... okay i think i get it but can't really type out. since i can't explain very well probably means i don't understand it fully which is ok. but lets make my head Spin a little bit. in a Nutshell - you want us as and Artist to pick Vanishing Points and make Sure Lines Are Attach to that Vanishing Point in a Example: Lets say you have Doors in the Same Directions but With Diffrent Sizes. well To do that you will need 1 Vanishing Point and Tilt it to a Direction - (Upwards for the Example). you want 2 Doors So First Decalre The Spot (make a Wall). (aka Draw a Straight Line going from that Vanishing Point to the end of the Canvas for this Example :P). now make Another Line Thats Higher (or Lower) than the Other Vanishing Point - This will Declare the Countours of The Wall ---- okay now Simply Attach the Walls to each Corner OR you could be a little bit Adventurist and Add Another Vanishing Point Above the walls and Attach all Walls to that Vanishing Point (But since im too noob i will take the Safe Route and Simply Attach the Lines to the Walls like in this Drawing of the video XD). incase you are Feeling Adventurist: First Declare the 90 Degree Line aka the End of the Wall - Draw a Straight from the wall to the end of the Canvas (Better to make the Vanishing Point end top other wise the wall will look upside down). now Draw a Vanishing point at the Height of the Clouds (aka Pick a Random Spot that withing that 90 Angle that's Will Define the Sky Level). now attach the walls to that Vanishing Point Which i will call Sky Vanishing Point. now you have some Wonky looking walls :P --- okay back to Adding the 2 Doors. Lets Start with the Countours of the Doors First Declare the Height of the Windows from the Floor. now Connect that to the Vanishing Point of the Walls (not the Sky not yet anyways :P) now Draclare the Height of the Window Draw and Connect that to the Vanishing Point. now if you are Done you can Connect the Rest. but if you Feeling Adventurist You guess it we have to connect those 2 to the Vanishing Point of the Sky. i have no Idea if im Correct or wrong im just Imagine it inside my head. hopefully it looks Good on paper LUL if it does Yay if it doesn't hmmm guess that means i didn't understand it fully yet.
Hey! I am a beginnner in digital art and in my mind ideas for paintings are exploding but I have one issue i hang on every single time I draw: I am always able to do a pretty sketch but after that I kind of struggle and I am starting feeling sad about how it turns out. I started to do little workouts with different textures and gemoetries a couple of weeks ago, but I feel like nothing has changed so far. Does someone have any ideas how to improve this? Ît would be really helpful :D Sorry for my bad English skills I am just a 16 year old European ^^
First image, shouldn't the box go to a shifted vanishing point? If it went to the same vanishing point, on the right, wouldn't it make the box become too trapezoidal? I'm trying to remember my illustration classes from nearly 20years ago.
Never mind. Yeah, it should have gone to the same vanishing point. So that begs a question. When would you ever use a shifted vanishing point or a 3rd/4th vanishing point? I remember using those frequently in school.
Depends on what perspective you are going for. You can draw from a birds eye view to make the house look smaller and get a better overview. Or use a frog perspective to make the building look bigger or more epic.
Hi Trent! I need your opinion on an issue I have. I was planning on taking a whole year now that I am 20 to work on my technique and to have stuff for my portfolio. My plan was to do it from home using online tutorials and gumroads but people around me advise me to go to college and graduate, they say that studying from home is a waste of time and that companies look for people with a degree. What is your advise? Also if I was to go to college, what career or bachelor should I choose if I want to become a concept artist? Thanks!
PERSPECTIVE MADE EASY BY Ernest R. Norling - AUDIOBOOK ESPAÑOL COMPLETO ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vawGnXjlZWk.html&lc=UgzyXs5HyBn3KAjPoc14AaABAg
Don't forget the biggest mistake: Not utilizing 3D software to quickly block out 3D perspective without any of this. You don't need to be a 3d pro throw together some quick perspective as reference for a drawing.
Literally not being able to do this makes me wanna punch myself in the face. I’m in an art high school and all my teacher makes us do is draw ourselves. Like she went over perspective once and never did it again. It really infuriates me Bc it takes me very long to do and it doesn’t even look good in the end.
This is one of the most informational perspective videos I've watched, really helpful to see you use real life examples. Thank you very much. Cheers from Wisconsin.
I'm pretty good at these from art and drafting but even I forget how to calculate distance between objects as they go toward vanish point (like rail road ties) and you should cover how to do an ellipse on these situations. I forget how to do that as well now. Where you like make a cross and aches
To find the center of a wall, draw an X between opposing corners. This can similarly be used to determine the distance between equally spaced objects receding into the distance (like railroad ties) by using the center point of the surface to make a vertical line and make another X to find the next center and so on, dividing the surface into progressively smaller sections as it recedes.
Raven Blackheart this is a great tip. So in theory could I draw an X to find a center of the wall. Then split the wall in half then draw two more X in the halves and keep splitting the wall like that until I have an accurate grid that I can work on.
I agree with a lot of what you said, but In the first piece you say the doors should be the same type, and in most cases I would agree, except with what looks like a house that could’ve been in the background of Aladdin. The deferences gives the house character something rare for square box to possess, so yes the doors look a little too different from each other, (not that you said they should) but making them symbolic twins would just remove the building’s charm. But everything else I agree with.😊 On the second piece: I think the thick lines around the second piece makes it very unique- if something should be fixed that isn’t one of them, but if the artist had used thicker lines towards the viewer and thinner lines towards the vanishing points it would have been nice too,-the RU-vidr Draw with Jazza uses this technique and it works like a charm. And the last one; I totally agree- but I do Love how organic the house looks, the forest is invading civilization and I wouldn’t do anything to stop it. 😁 Over all; awesome video, I like that you helped others finding ways to improve their art. You might’ve just gotten a new subscriber. 😉
Good video. I've got a lot to pick up on in terms of understanding perspective since this was an area that I neglected (carelessly, to be honest). I never really knew these techniques before, but now I can see the enormous benefits that they yield. I think it's extremely essential at this point in time considering I dropped out of my comic/concept art course in university as a means to to pursue an architecture degree instead. Any other areas of design besides perspective that I should look out for? I'm trying to have a balance between architecture and comic book design because this might be a future career that I secure my skills towards if my initial path fails (architecture).
Hi Trent! Finding the exact centre of a wall (or plane in perspective) is quite easy. Draw a diagonal line on your wall from the top left to the bottom right and then a diagonal line from the top right to the bottom left. You should now have a wall with two diagonal lines that form a cross. The centre of that cross signifies where the centre of that wall is. If you draw a vertical line up from the centre of that cross you can easily find where the centre of your roof should be. Hope this helps.
Thoroughly enjoyed watching this and despite seeing where some of the artists here may have gone a little astray, their work was still a joy to see. My own perspective skills will be thankful. Thanks. I am going to introduce this to my son.
I think you missed out on a big part of what was wrong with the perspective of the image @9:08. The two vanishing points aren't on the same horizon line. One point is much higher than the other. I think that's what makes it wonky, more than the lines not linking up on the point. Although it doesn't help either. Also a big help for finding the centre of a plane is drawing an X between the corners of the plane. You seem to leave it up to intuition(@11:43), but but people who starts learning perspective wouldn't be able to do that. You say that the width of the halves should be the same but that's not really true since one half is more shortened by perspective.
Thank you! I think those are some really important points. As I watched the video I was wondering the same things. A little tip (for 1-point perspective) I would like to add for anyone reading this, is if you want (for example) a box that's on the ground turned at an angle: choose a new vanishing point along the horizon and use that to construct the object. For 2-point perspective that would be more complicated. Edit: Y'know what? Even for 1-point persective based drawings there's more to it than that, but maybe it's fun to figure it out for yourself (also because I don't have the time right now to type it all out :P).
@@elsuperfish You're right about it possibly beeing a dutch angle but I also dont think thats what was intended. Because as you say the uppwards angle should then also be tilted (perpendicular). So yeah, i think we're seeing the same issue but have different "perspective" on the intent. The horizon line is not drawn so it's hard to say for sure.
how to determine 'the correct' space between vanishing points in 2PP? Is it completely up to us as long as its aesthetically good looking (BY INTUITION)? or there're some rules?
Great question. It's something that I do automatically, but I know that theres a simple way to explain it. Basically I imagine every surface has a checkerboard pattern on it. I make sure that the "squares" reduce width by about 80% as they get closer to the vanishing point. I'll do a followup on this topic in a video soon to make it more clear.
Here's a quick note if you want to get technical. 2 point perspective is a rough analogue of how camera lenses work (I say rough because camera lenses distort on both axes, not just the horizontal one, and there's more of a curve to that, but the principle is the same). So in those terms, the further away the points are from each other, the longer your lens (you get a flatter more landscape appropriate perspective), and the closer they are together the more distortion you get. How you choose to set it up, is up to you, but there are distortions that are more appropriate for different subject matter if you're doing Illustration. If you're shooting for concept art, your primary goal should be legibility, so Trents rule of thumb there is great for that (probably equates to about a 50mm lens?). Either way, if you'd like to really understand the inner workings of it, I would advise looking at different camera length photographs on google and tracing over some of the distortions (use ones with a lot of architecture to make your life easier), then compare those.
What I've been taught was to make sure one of the vanishing points should be outside of the drawing (can be both). Also remember that in reality we have much more vanishing points, so if you are making some bigger piece, make sure to include some of them. Also if you want to show some big monument, make sure it has vanishing point at the top, so the top of the building will be smaller from our perspective, and bend side walls/lines a little. That gives awesome effect:)
From drafting class back in the 90s - you can find the mid point by drawing the diagonals and seeing where they cross. Here are some basic steps: 1. Establish a vanishing point, draw a wall (two vertical lines and two lines that project towards your vanishing point. You now have a perspective rectangle. 2. Sketch two diagonal lines from the opposite corners of your wall. (you now have a wall with a big X across it) 3. The vertical that goes through the middle of the X is the midway point of the wall (splitting it into two equally sized perspective walls) 4. The vanishing line from halfway down the near wall will go through the middle of the X (this gives you the four quadrants of the wall) You can continue this process cutting the wall into smaller and smaller halves. You can also use a similar technique to divide into thirds with one diagonal and measuring the closest wall and cutting it into thirds. Draw vanishing lines and a diagonal to find the divisions. Pick up an old drafting book for lots of these kinds of tricks. There are even great tricks for drawing perspective circles.
If you pick a point in your scene, and then draw lines from that point to each vanishing point, those lines would be exactly 90 degrees apart in 3D space, so the distance between the vanishing points determines the field of view (often abbreviated FOV in first-person shooters or similar). Closer vanishing points means wider FOV.
What' your thoughts on doodles/rough sketches not having perspective? For my main drawings I use them but for fast stuff I kinda just wing it, and of course looks terrible but they really just thumbnails or icons for a grander vision. ( I guess you'll say something on the lines of try to slowly incorporate ?)
I've heard this idea from Ethan van Sciver in one of his video that with 2 point perspective that those vanishing points should be viewed as being connected by string, or string theory as he called it. Meaning that if you ( for example) move one of the perspective points closer to the center of the screen the other point should have opposite reaction ( being farther from the center), and to avoid having both vanishing points at the edges of the page, cause it would make the perspective look weird. meaning that one of those if not both should be imagined off page. I might have missunderstood something since English isnt my first language, but what are your thougths on this Trent?
Amazing job to the artists! And amazing job from the teacher! You noticed things I would have otherwise missed, like using perspective on even the smallest of objects, the little details like that really pull a piece together, I can see that now, so thank you Artists and Thank You For Teaching
I wish there was a good android app that focused primarily on perspective drawing. I think I found one within a drawing app but there were difficulties in using it making it time consuming.
