Intro Quiz: Embedding drawing fundamentals: Perspective

Video: Embedding drawing fundamentals: Perspective

﻿Good morning and welcome to Art with Miss Corral. In this, our very last lesson, of the Embedding Drawing Fundamentals block, we're going to look at perspective. So what are you going to learn this lesson. Perspective appreciation the most important, and then we're going to cover just a bit of the basics of One Point-Two Point perspective as a recap, because I am assuming perhaps that you have covered perspective, in year, you know at school year seven, year eight or year nine and you're year older students, but also the creative application of perspective. That is what I want to get across to you. That perspective doesn't just have to be for Architecture. It doesn't have to be for Interior Design or Technical Drawing. It can be a very powerful creative tool to draw from imagination and people like graphic novelists. They use perspective an awful lot, check these images out. But first of all, what equipment will you need? Now you have already had a lesson with me about the pencil, sub-question, What do you think would be a good pencil for perspective? Number one, a very sharp pencil and number two, a hard pencil. That is a H, not a B. You want a thin outline. Plain paper is the best, try to avoid the smudging and a drawing ruler set. So a long ruler and these which I learned the other day, they are called square walnuts. And she positioned them like this. You can create parallel lines that way or that way up and down. Now I'm not going to be using rulers this lesson. I'm going to be using digital art. And I'm not even going to demonstrate because there is a block on digital art already. But what you're going to see is that step by step of me drawing. You don't see my hands, which is a bit of magic, but you see how I'm basically developing drawings from the very beginning, the same structure with cubes, into many different creative landscapes, still lives and other quirky applications. Stay tuned in. And by the way, if you are feeling a little bit iffy about drawing from imagination, either set your cell phone so they should have still life. Like I always say, we'll have some photographs ready. Although I have to say, photography can be a little bit difficult sometimes to interpret when you are learning perspective. Just be confident, take my word from it and just do the exercises as I show you. So, first of all, pause the video, gather materials, of course you are not going to be doing this with your tablets or drawing Apps. I don't think you'll be using ruler and pen, but just follow the same structure of the lessons. I will be waiting here by the way. Right. So first of all, let's start with the very, very beginnings of looking back and understanding perspective. Now, what is perspective? Linear perspective, which is again, drawing is all about cheating by the way. You have began becoming really big liars. It was invented by renascence artists and in the renascence you have people like Leonardo Da Vinci which everybody seems to know about. And they were great inventors, a little bit like they're Victorians but earlier on. And they found the way of drawing the world and a technique to make the world look in drawings as the human eye perceived it, because there was a link with science and maths in the renascence. So basically they asked answered the question, of how can I replicate what I see the environment, the world, on a flat 2D surface. And that is a principle and the fundamentals of the perspective, as we already know them. So there are some key terms that are interesting to go over. And for me having learnt perspective, doing my finance degree in Seville, Spain, some of these terms I had to learn when I came to this country. One of them is Foreshortening. And that is when the objects appear smaller in the distance, probably in primary school, you've drawn the typical road that joins you one point And then you got all the little trees growing and then getting smaller, smaller, smaller; that is foreshortening. And if you look at the world around you, you are aware of that. The line of horizon, now that coincides with your view. So when you're standing say on a beach and you look at the sea, when the sea meets the sky, that's your line of horizon, and the line of horizon, very much is dependent on your point of view. So if you look up the line of horizon changes still, when you look down and so on and so forth, your height, et cetera, et cetera. The vanishing points is there's one point at the line of horizon, what all the lines will converge. And that's another key word I haven't added it there that is converging is where the lines are joined together. That is like me using my hands on that converging towards the big guy of the camera that I'm looking at. And then that projection of Orthogonal lines, which are the guides that help us to create a structure. The way I think about it is like, imagine Fairy software and those weird funny guides that create meshes, and that is... I'm sure many of you may have looked at 3D Animation, that is projection Orthogonal lines. And that's what we're going to look at. So in our Art Appreciation, I'm going to run through this very, very quickly. Otherwise we won't get to the most important part. This is an example of a renascence painting by Massasoit and you can see how they really follow the rules of one point- two perspective. That was a very first one. And obviously the real world doesn't exactly look like that because not all your objects anyway are facing at you straight away. It would be like placing a box or something right in front of your eyes. If you have it at an angle, the one point perspective already doesn't work. Okay so that's worth minding. Just imagine yourself positioning against the road, right in the middle and seen it join in between your eyes. That is one point perspective, and it can go to one side, but it's just all of the orthogonal lines join into one and only vanishing point. So like you see there, they horizon line would be there. All of these are Orthogonal lines and basically every single structure that the artist draws follows that process. And you can just get your ruler and I'm sure you've done it anyway. And draw things like boxes. 3D text is my favourite now. Now, who hasn't heard of Leonardo Da Vinci And the Last Supper? well, this one is exactly the same if you follow the lines, they meet right in the middle. A natural fact that serves, we start to point the most important part of the conversation, which is Jesus, here, in the centre of the table and the lines of the tables and any shapes of plates, which would have been ellipsis, have been created by joining to that vanishing point in the centre of the Line of horizon, further off field, you can see the landscape being suggested, even the windows will join that. Okay. One thing to do is search for these images on the internet. And if you have got some drawing up or even a fumble you can draw with your finger. It's quite fun to just open it and draw the lines over them. So then you see how it works. Now, types of perspective. I've already let you in with a One Point that was a very first, and this is an example, of how things get smaller as they get further away and they converge that's the keyword again, on to one single vanishing point. So here we see the two ladies and the people behind it. They're not little dwarfs, they're just further at the back. All right. And this is a sketch by Van Gogh, which I said before is one of my favourite artists and now Van Gogh was self taught as you probably most of you know. And you can see here how he's really following by the book, the rule of the converging lines and the trees receding into the distance. The other thing that is very important, both in architectural drawing, in landscape and therefore in perspective, and don't underestimate is the human thicker, because that is going to give you that sense of proportion. Okay. So it's very interesting to draw the little figures, gradually getting smaller, because big game you're going to get that sense of, what was the keyword? Foreshortening. So, you are not little children, so I will not condescend you again. Now there are cool things that you can do like with respective, this are examples of photography. And if you want to, this author one of those free copyright websites, that I found when I was doing the digital art tutorials. and you can see how all the lines converge to this similar point. And one thing that is very addictive. I'm sure you've done it. I've done it over and over is chequered floors. Of course, if you want to further investigate the knowledge of this subject, there's a lot of tutorials and really good websites out on the internet. Okay. Now I'm going to focus more on perspective in art. So this again is Van Gogh. And if you were to draw, you'll find that all the lines will join somewhere around there. and that is usually with a bit of taken leave, that is the rule that has followed to try to create a slightly. What happens when you do it. It gives you a slightly exaggerated perspective. There's an element of distortion. And back to my drawing, a tutorial of the income, the painting, I just love to show you the similarities and the beginning of a drawing and then the painting. Okay. Another two examples. And again, perspective, doesn't just have to be for the very, very traditional renascence or architectural drawing like this. I mean, some of you will love this, but some of you just looking at that kind of drawing will bring the fear of life into you. This is another much more gentle and if you like sort of the earth approach to perspective again by Van Gogh and drawn in ink. And it's just simply that awareness of things being made smaller because they converge towards the vanishing point. And that would be the last line of core lines. Right, now perspective once you know the basics, because it is a lie, you can create imaginary worlds. And here we got two examples. You got Georgia de Chirico, which is an Italian artist that belong to the metaphysical. And we got Salvador Dali, Spanish surrealist artist. The one with the big moustache and the lobsters, if you don't know about him, and if you haven't been to Barcelona, you have to check him out. And what we have got, is this very long landscapes. This imaginary surfaces with a line of horizon sets up a long distance. And the the empty spaces. The buildings with the arches and everything converges back to that central point. It gives an illusion of naivety, but it can be very effective. And what is very nice is that you got two different examples. One with a strong emphasis on outlines, and the other one, which is much more painterly and soft because also with the architectural, at the beginning, the images were very much like this. And it came renaissance Da Vinci and said, hang on a second. When I look the distance things don't look so clear because naturally there's atmosphere. And that is when Leonardo Da Vinci and even Turner, they started really bringing in the light effects and they dump atmospheres that make the backgrounds when they are foreshortened and they're going to the bar into the distance, they fade and they're diffuse. So that's another technique that you can try. There's a bit of soft focus there to make and give the impression that things are going further and further. Now, this is my first example, and I did all of these in the airport using Adobe sketch. Where you got a little section with a ruler and I started by using the ruler. And then I just went freehand. The beauty of working with an iPad, is that you can zoom in and zoom out or any drawing up what you have, that you can touch and pinch the screen. And therefore, I mean, it's really hard to get straight lines. If you have to follow a long distance, but when the drawing and the image is small, you've got very quick sketch and you have to just measure those dots. And then the image will start happening. Then I accompanied it by... Cause I think it's in my subconscious somehow. And the image of a famous LA's Larry against self taught, quite naive but very humble and interesting paintings. And here it is, this is my first drawing. It is a quick sketch, is nothing fancy. I do like to teach you a lot of quick little things to get your skills really fresh. And then because it's only one hour lessons, then you can spend more time if you enjoy doing this and further advancing your learning and your knowledge. of what we have got here is there's a line of horizon There is a vanishing point. There's little figures that are going to be receding into distance. Although it doesn't happen here By the Way, there's a trick. And you can see just roughly your orthogonal lines, all joining to that vanishing point. And elemental shading, and the suggestion of a landscape, okay. Let's have a little look unplayed. So horizon line, vanishing point perspective. And I started with just a basic cube. It just flows really, really, really quickly. So first of all, by adding those lines, you get a sense of distance. And then I started building some shadows, Okay, again this was done freehand, which you can see here that the ladder or the lines of the different steps are joining to the vanishing point that is in the centre of the composition. That's where you can see how I'm going to build a new structure, which is just like a clothing hanging line. And even the clothes are drying there, have got an element of perspective applied to them. And this is now where I'm going into learning world and then a bit of texture into figures. And here again, that line is following to the vanishing point. So Just use the line of horizon and imaginary landscape. A bit more shading. And there's a little bit more trickery by --and just move myself out of here for a second. So you can see me I'm just going to move myself to this corner. And there again, I'm creating an illusion of objects, receding and projecting as orthogonal lines into the vanishing point and the line of horizon, I'm trying to make an effort to say all of the key words, final detail. And that pretty much is a very quick squint--sketch. Using one point of perspective and an awareness of the horizon. So pause the video, try to do your perspective drawing. We'll start where we finished, and we'll will continue. Now this is the second part of the exercise and I'm using imaginary Trojans. Again, I'm taking inspiration from Michael Craig Martin, where there's an element of very basic two point perspective. I just put it there because I wanted a nice little still live. And I'm going to show you how I did this. Now starting with line of Horizon again it's exactly the same beginning as before, this at all vanity points. Knock one of the lines to create the box shape and the overlapping structure. Exactly the same as the landscape. Then instead of adding the roof, I added my guides and I decided to draw a flower pot. Okay. So now it's not very creative, but Hey, hell. And then I thought, well, it's a box. Let's try to make it more fancy. Yeah. And here you can just see a little attempt to do an ellipse with the illusion of perspective, shading the flowers. And then I decided to add a book or just increasing the thickness and creating another structure. Let's see where that takes us. Now once I was happy with the initial structure, and let me just move myself. I'm doing a little moving my heads today here, this corner. once I have the ex structure kind of what I wanted it, I took off the guides. Now at this point, you can get your rubber and rub things out. But just make sure that you leave the, some keys as to where the vanishing points are. All right? Cause otherwise you'll forget about them. And then I'm into shading and then into detail. And here I tried to fit in a teapot, inside the square to move away from the very geometrical, boxy qualities. And even here, I attempted an element of a label and that is going to the vanishing point. That would have been here somewhere, the same for the projected shadow. So all of this, any everything that I do is converging to those vanishing points' new structure, which is also going to the distance, and we've reached the end of the lesson. It's been a whistle stop tour to one point - two point perspective. Try to do these exercises. You can post the video any time. You can play it back and see what happens. You can copy my demonstrations. You can do them on an iPad or an App, Have fun. Have lots of fun, because it is an incredible skill to have. Even better If, well, I could get more paper, put it to the sides of my drawing and keep on building, Enhance and expand your world. It's like Minecraft or like... So if you've finished, it's time to take the end of the lesson quiz, to see what stuck from today's learning. Thank you very much for joining me in this drawing block. I hope you've enjoyed it. And I hope some of these skills will stay with you for a long, long time. Goodbye.

Exit Quiz: Embedding drawing fundamentals: Perspective

Completed: Embedding drawing fundamentals: Perspective

In today's lesson we will look at perspective-drawing fundamentals and image appreciation of perspective in art and you will work on one & two point quick perspective exercises to develop imaginary (or real) landscape & still life drawings.

Art

Embedding drawing fundamentals: Perspective

Introductory Quiz

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