Hey guys! Welcome to an intro to perspective tutorial. I've seen some
really complicated tutorials out there, so I wanted to try to make it as easy as
possible to learn. After watching this, hopefully you'll have a better
understanding how to go about studying perspective. So what is perspective
simply put, it's just the point of view in which we are seeing a scene or object.
So before we start with the fancy stuff, we're going to go over some basic terms
that will be used throughout this video. The first thing in a perspective scene
we need to decide on is where the horizon line is located. What is the
horizon line? From this definition by Brigham Young University that I googled,
the horizon line refers to a physical / visual boundary where skies separate
from land or water. It is the actual height of the viewers eyes when looking
at an object interior scene or exterior scene. Basically whenever I say horizon
line, you just interpret it as the eye level that you're viewing the scene. The
other term that's used a lot will be vanishing point. A vanishing point is a
point on the horizon where the perspective lines are drawn from. Just
pay attention that when you draw the line, they're coming from the same point.
So if you're drawing like this like this that's not okay- it should be very exact.
and make sure the lines are also thin because if they're this big it's a
little harder to be precise with them. You can see a grid start to form and
this is where we can draw objects on. Boxes are commonly used in perspective
tutorials because it's easy to show how they recede back in space. When an object
is straight in front of us on the perspective grid we say it goes back in
one point perspective. Notice the corners all touch the perspective lines that are
coming from the vanishing point. The verticals and horizontals on the box are
straight, and the sides of the box recede back to the vanishing point. Here are
some other examples of boxes that are also in one point perspective.
And now imagine turning this box slightly to the side. The box is now in two-point
perspective. Two-point perspective has two vanishing points, vanishing point one
and vanishing point two. This box like the previous one was created by tracing
the lines back to the vanishing points. Like in one point perspective, the
verticals of the object are straight. However, the sides of the object recede
back in space now we'll add another object to the scene and this is called a
skewed object. It's also in two-point perspective but it's turned at a
slightly different angle than the blue object so it has two different vanishing
points,vp 3 and vp 4. Having objects with different vanishing points in the same
image creates a dynamic and more interesting composition. Remember, the
vanishing points are all in the same horizon line. And then three point
perspective is when we are viewing the object from a down shot or an up shot. In
order to draw this there must be a third vanishing point above or below the
horizon. 3 point perspective can be used to heighten the tension in an image or
just to show more information because we're seeing more of an object
or scene at once. I generally just stick to using one point or two point
perspective in my own personal work. And those are the basic terms that you will
need to know to understand the rest of the lesson. If these terms are new and
unfamiliar to you this would be a good time to pause the video and go back over
the vocabulary that I just mentioned. And bring out a piece of paper or a new
Photoshop document and practice drawing the boxes in different perspectives. Next,
I thought it would be good to go over perspective in photography. This image
is great because the perspective is 1 point and it's very clear where that
vanishing point is. You can tell because all the edges of the frame are pointing
to it. The vanishing point is right here and we can figure that out by drawing
perspective lines back to the vanishing point. Vanishing points sit on the
horizon line always. And we know this is 1 point perspective because the edges of
the frame that are facing us are horizontal, so that means that the
objects of the image, the frames, are only vanishing towards one point, therefore
one point perspective. This image is a great example of two
point perspective. Tracing the edges of the carpet, you can figure out that the
first vanishing point is over here. So this means that the horizon line is here
because the vanishing point must always be on the horizon line. Therefore after
you trace the points from these desks, you can find that the other vanishing point
is over here this is vanishing point number two. One important thing to note
is that the vanishing points are located outside of the frame of the image. If the
vanishing points are too close to each other, the objects in the image get very
distorted and it distracts from the focal point of the image. If that went by
too fast for you, and you want to go over the PSD's, I included those and other
photos you can practice on in my Gumroad, and you can find the link in the
description. So number two, we're going to look at how I've used perspective in
some of my work. In this image I drew Hermione holding her cat. Here are the layout
roughs that I did in order to choose which composition to draw Hermione in.
Each composition uses perspective differently and in doing so casts a
different emotion on the scene. (A) is head-on so we are able to see the
emotions on both the cat and Hermione's face and it's slightly below the horizon
line, so we see Hermione's full body on the couch. In (B) it's still in one point
perspective but the couch is placed at the horizon line so we only see the
profile of Hermione's body. (C) is in two point perspective so we see the side of
the couch and Hermione is slightly turned away from us. We only see the
cat's face from her back 3/4 view. (D) is in three-point perspective. The couch
appears larger at the top and appears smaller at the bottom, as do Hermione and
the cat. So I didn't choose (C) because the emotional moment between Hermione and
the cat is actually farthest away from us on the edge of the couch. So the cat's
expression would be less clear because the cat would be facing away from us.
Also the side of the couch isn't important to the story, so I didn't want
to draw it in the picture. In (D) the couch become so dynamic because of the
three-point perspective it feels like it's another character in the scene and
I really just wanted it to be a kind of relaxed mood. So more often than
not, sometimes choosing the simpler perspective is a better way to go.
So really for me it was between (A) and (B). I think either composition could have
worked, but personally I really like fashion so I wanted to draw and figure
out Hermione's outfit, which we could only see from the profile in (B). So for me
that's why I went with (A) as the final composition. Sometimes the easiest
solution and the best solution is just to go with what you like to draw. It's
easy to tell in a piece of art when you aren't having fun drawing it. So before
we talk about how I refined the composition, I just want to explain a
quick tip about how to quickly set up a two point perspective grid in Photoshop.
Sometimes drawing out an entire grid and making the vanishing points far away
enough from the composition so that they create a believable space is really
tedious and takes a long time. So what you can do instead is draw out several
lines parallel to each other using the line tool. These will be the perspective
lines for one vanishing point. Then use transform, which is CTRL+T and then CTRL+CLICK
the points and adjust them so that one side of the lines diminish and go
back towards a vanishing point. Here, in this particular situation I wanted the
horizon line to be around her face area so I made sure that the line closest to
her face area was completely horizontal. So if you're completely satisfied where
the perspective lines are CTRL+J to duplicate the layer and then edit>
transform>flip horizontal to create a mirror image of the line. For me, I just
made this a shortcut: CTRL+F. Now just doing CTRL+U to change the hue
saturation of the new layer and this new layer are the perspective lines leading
to the second vanishing point. The second set of lines will also be on the same
horizon line but we can move it left or right in order to adjust where we want
the second vanishing point to be. Hopefully this helps you if you need to
get a perspective down quickly for a sketch. Now let's take a look at how I set
up the perspective for the final composition with Hermione. I chose to put
the vanishing point in the center of the image so our eyes would be drawn to her.
Always keep the focal point in mind when you're placing your vanishing point. One of the
the books in the image is skewed and that means that there are other
vanishing points on the horizon line that I used in order to create a more
interesting composition. This book has two vanishing points one, over here and one
on this side of the image. But while the couch is in one point perspective, some
of the book are in two point perspective and this makes the composition more
dynamic. Another example of perspective in my portfolio is this interior layout of a
palace. It was really important to me to have a piece that could convey I knew
perspective because that was the type of job that I was applying for. In this
image, I traced two edges of the set back to vanishing point one, and then I traced
the other two edges of the set back to vanishing point two. I double-checked the
placement of the second vanishing point by extending the horizon line because
remember, both vanishing points must be on the same horizon line. Now using the
second vanishing point as a starting point, I created additional perspective
lines. And you can see how I use the second vanishing point to figure out how
everything went back into space in that direction- like the rug across the floor,
the couch, the chairs, and the tiling on the floor. And this is a little preview
of further in the lesson, but I used a perspective rule called the X rule to
figure out how the columns receded in space using diagonal lines through the
midpoints. This layout is in three-point perspective and you can tell because the
vertical lines in the image slant towards a vanishing point at the bottom
to find this vanishing point, what you can do is draw straight lines using the
line tool next to each other. I drew around four, six lines. Then,
using CTRL+T , click the two bottom edges of the transform box and bring them
closer together. And skew the lines until they line up with the vertical elements
in your image. For instance I did this with the columns in this image. One tip that I
learned online so you don't have to extend the canvas really far to see the
third vanishing point is to use rulers- that's CTRL+R to bring them up, and
dragging from those rulers guidelines that mark where the vanishing point is.
You will need a vertical guideline and a horizontal guideline to get the
coordinates of the vanishing point. And then to double-check that the vanishing
point is in the right place, using the line tool on a separate layer
extend the perspective lines to the third vanishing point and see if they line up.
And I guess above all, don't forget to have fun while you're making these layouts.
For instance, you can see I included a screen door, little elements of the sea,
and dragon sculptures throughout the piece. So there are ways you can make the
layout come alive and have fun while you're doing this. And when you have fun
doing a layout it definitely shows in the final piece. I included some other
images I've done in the past in the Gumroad files so you can trace them over
to learn more or you can choose any other artists online and use their work
to trace over. Tracing is a great way to learn so don't be afraid to do it. Here
are some other perspective tips and tricks. For some of the rules I just made
up names so they'd be easier to remember. This one is the tops and bottoms rule.
You can see over here the horizon line, and the objects are all in one
point perspective coming from the same vanishing point to make this rule
easier to get across. So the rule is, with objects above the horizon line the
bottoms of the objects are visible. For the items below the horizon line, the
tops of the objects are visible. This seems like a really simple rule, but
you'd be surprised how many people get this rule wrong when they're just
starting out. Another rule that's really helpful is the cylinder rule. This is the
horizon line. You can tell that as you get further up in the horizon line, the
curves on the cylinder get rounder. But when you're at the horizon line, it's a
straight line. And when you go below the horizon line, they get curvier in the
opposite direction and this rule makes it a lot easier to draw through
objects. And you can see, drawing through the circle... In case you don't believe me, here is a
picture of Campbell's soup. You can see in the middle the line is flat and then
see as we get further away from the horizon line, the lines get curvier. This
becomes very obvious when you look at the text.
Notice how the cylinder rule also applies to people. The person, like the
cylinder is an object, and some people think of the human body as a
combination of cylinders and boxes. So in this case, you'll notice that the person
is standing in a position where their waist is below the horizon line. Like the
cylinder, the waist of the person also curves slightly downward. You'll notice
that their chest curves upward like the lines on the cylinder. And you'll notice
since the arms can move in any direction, they can either be coming forward, which
is indicated by this curvature line of a cylinder coming forward at us. Or they
can be going backward. This is a kind of a complicated
lesson that's more for a human anatomy class, but the cylinder rule helps us to
understand the human body. Also notice how the tops and bottom role is also
coming into play. Because the person's feet are below the horizon line, you can
see the top of his feet. Likewise the person's head is above the
horizon line, so we won't be seeing the top of the head. Next up we have the
X-rule. The X rule helps you find the center of a rectangle whether it's flat or in
perspective. Let's say I need to draw a cabinet and need to know where to draw
the knob. First you need to draw the bounding box around the drawer. You draw
an X from the two corners. Where the lines meet or where the center of the X
is is where the knob should be built. You can see that the base of the knob is
right here, and it extrudes out for the whole knob. And this next rule is really useful. This
is a tutorial for drawing things equidistant (= equal distance) from each other. This
involves using the rule we just talked about, the X rule, because we'll use it to
find the midpoint of the poles. Let's say that these poles are 20 feet from each other,
and they're going back in perspective.
Where will the third pole go if it needs to be another 20 feet from the second pole?
What you need to do is find the midpoint of the first pole. And how
you do that is you do CTRL+T and it shows you where the midpoint is. Create
a line from the vanishing point through the midpoint and you'll notice the
perspective line from the vanishing point touches the tops of the poles and
it also touches the bottom of the poles. Therefore it will also pass through the
midpoint of the poles as well. So what you do is draw a line from the top of
the first pole to the midpoint of the second pole. And there is the base for
your third telephone pole. And that's also how you find the fourth telephone
pole, and the fifth telephone pole, and so on and so on. Notice as the poles go back
in space I'm making the line width thinner to show how the poles would get
narrower as they went back in space. I've done some drawovers for people who've sent
me work. Hopefully these drawovers can help you figure out how to improve your
perspective work. This is my friend Loko Lui. He's a great character artist and he
wanted to improve his skills in perspective so he sent me a draw over
of one of Feng Zhu's works. Feng Zhu is an artist who runs Feng Zhu Academy and you should check
him out if you're interested in his work. You can see here that Loko drew
the horizon line and he has perspective lines going to two vanishing points. You
can tell the lines don't converge on the horizon line, so that means the vanishing
points are not on the horizon line- which is something that I corrected in the
drawover that I did. I suggested that he find the vanishing point one by
following the bridge back in space, and you will know that you're on the right track
because you can see some of the lines from the rocks lining up. And also I was
just pointing out by finding the vanishing points, we can figure out where
the bridge ends even if it's cropped out of the composition. Feng probably figured
it all out first and then cropped the composition after. Oh, and then I just
wanted to tell him that I found vanishing point 3 by drawing the lines
from the rocks on the bottom two corners. Those are the ones that are most
affected by the perspective so it's easier starting with them. Here's
another piece of Feng's that Loko drew over. It was really great how he found
the two vanishing points and identified that there was a third vanishing point
on top. I wanted to point out to him in the drawover that the horizon line
should not be broken and you have to be very careful when placing the
first vanishing point on the horizon line. Also, I wanted to point out what a
Dutch angle was, and you can read more about my explanation in the Gumroad
tutorial. And I'm really proud to share Loko's final round of drawovers that he
sent me. He improved so much from the first email exchange we had, and I can
tell now that he's actively looking for the vanishing point in the pictures and
can identify where they are, and he can also tell where the horizon line is. I'm just
really proud of what he did in a couple of days, so.. great job Loko! And then
another friend, Carlos, sent me works to draw over via email. Carlos is a really
fantastic character animator, so he emailed me these really original
stylized layouts that he created. And I just wanted to show him how he could
improve a couple of things perspective-wise with the layouts. For instance, the
structure in this image has, actually, two different horizon lines that the
perspective lines are pointing back to. We just want to fix this so that
they have the same horizon line. So in the drawover I just corrected where the
horizon line should be, and made sure that the stairs go back in space towards
the right vanishing point. Also, making sure that the underside of the archway
was visible because it's above the horizon line. Over here, I just enlarged
the size of the laundry hanging to emphasize how the objects get larger in
space as they're closer to us. And then I drew over the rock faces
to show that they could also show us some perspective. Overall just a really
awesome idea and layout. This was another great image. It was the interior shot
with the Statue of Liberty. There are a couple of points that I wanted to
address but overall I thought it was full of a lot of imagination and great
ideas. You'll notice that the circles on the torch that Lady Liberty is holding
aren't exactly circular. They get kind of sharp around the edges. It helps to use
ellipse tool to help you draw through the shape. And also remember because they're
going above the horizon line, the ovals must get wider the further they go up.
I'm basically just using the ellipse tool and then going to edit>stroke which
outlines my selection. On the scaffolding on the right, the vertical lines
need to go back in space. That means that as they get closer to the center of the
image, they need to get closer and closer together. Here they're drawn kind of
evenly so it breaks the perspective grid. Then on the bottom left, you'll see that
there are a bunch of boxes stacked in front of each other. They're drawn where the
width of the boxes is even lengths as it goes back into space. Not only does this
also break the illusion of perspective, but the even spacing is not a good
design choice. So a common design thing is to have large, small, and medium shapes
so to make sure that the shapes are broken up in an interesting way. So
hopefully that helps. And this is the final layout that Carlos sent me. It's my
favorite out of all the three because it has the most personality in it. You can
tell he had a lot of fun while he was making it. All the wonkiness and the
great shape design of the object, it works really well for me. I even
loved how he included the process thumbnails so we can see how he made the piece. That's
the kind of stuff that you want to include in a visual development
portfolio. I just wanted to point out one perspective thing. It's really minimal
though because the image is great. You'll notice the cabinet that's holding the
drawer is facing towards us. Since the scene is in one point perspective, the
cabinet should be facing away from us. I know the scene is very abstract and
wonky but even wonky scenes adhere to a perspective grid because if
it's an animation the characters need to be able to move around in the space. So
just shifting the cabinet the other way should work. And then I just wanted to
point out something great that Carlos did in his design. The tablecloth-I love
how the outer edges go back to the perspective point, but the inside
checkers of the tablecloth, they all kind of do their own wonky thing. And for me
that works really well because as long as the outline of the object goes back
into space, to a certain extent you have a bit of freedom to play around
with the interior shapes of the object. So just great
design choice on that and keep an eye out for Carlos's graduation film! It
looks great and I can't wait till he releases it. And I just want to emphasize
that practice makes perfect. Perspective isn't going to come
immediately, but if you keep studying it will get better and better and you'll be
able to tell when things you draw are off and you don't need to draw grids all the
time- but just you know for the first maybe 50 or 30 layout drawings they'll
help you understand what you're doing wrong, and you'll be able to fix your
mistakes yourself. Which is great because sometimes it's hard to find people to
look over your work. Not only can you sketch in Photoshop, but you can also do
perspective drawings in the car or in the office when you have a chance. So
when I was learning perspective I would just take out my sketchbook and study when I
had some free time. And over here, I was- I was just like, honestly, I was at a
meeting at work and I was just sketching in the background. You know, just
practicing it again and again is really good. So I just wanted to recommend
another drawing tutorial by a guy who knows perspective so much better than me.
Thomas Romain is a painter and a drawer. He kind of does everything. He works in
Japan, as in Japanese animation studios, and he wrote a
really great 21 image + tutorial about perspective and you
should totally check it out. If you just google "Thomas Romain perspective tutorial"
it should be in the first couple of links. I hope you enjoy this
tutorial and I hope it encourages you to the practice perspective. Check out my
art on Instagram (@kelseyeng32)and subscribe to my youtube channel to see more videos!
Thanks for watching! :)
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