- Lesson details
Many artists are intimidated by the complexity of linear perspective. In this video series, instructor Sheldon Borenstein shows you a friendly and simple approach to perspective. In this final lesson in the series, Sheldon will focus on auxiliary perspective, which is vital for drawing anything at an incline or oblique angle. You will learn: how to create a grid of your drawing, find your false and true horizon lines, where to place your vanishing points, and how to determine lighting. Sheldon will then apply these concepts to a drawing of an outdoor stairway on toned paper, using a brush pen, marker, and pastel pencil.
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instructor Sheldon Borenstein shows you a friendly and simple approach to perspective.
In this final lesson in the series, Sheldon will focus on auxiliary perspective, which
is vital for drawing anything at an incline or oblique angle.
You will learn how to create a grid of your drawing, find your false and true horizon
lines, where to place your vanishing points, and how to determine lighting. Sheldon will
then apply these concepts to a drawing of an outdoor stairway on toned paper using a
brush pen, marker, and pastel pencil.
and boring and kind of dry until you get to the auxiliaries because then you get to get
high. Auxiliaries are high. After you get high then you go low. You see, so auxiliaries
can be high and they can be low. You’re going to learn them all right now, and we’re
going to be doing auxiliary vanishing points. Okay? So you’re ready? Buckle your seatbelt
because it’s time to get it out, dudes. Let’s go.
Auxiliary vanishing points. Rock and roll.
Alright, so we’ve covered a lot on the fundamentals of the perspective, so probably the most fun
of them all is the auxiliary vanishing point. It sounds daunting. Oh my God, auxiliary vanishing
point. It’s really not that hard. So let me show you what auxiliary vanishing point is.
We’ll draw over here. The tools I’m going to use are really sophisticated. These
are China markers. These are not markers that are purchased from offshore. If you go to
Kansas and turn left you’ll get to China. If you leave L.A. you’re going to end up
in China. So these are China markers, and they’re really fun to draw with. I love
them. I’ve been a lot of my figure drawing with them. I’m just going to draw with these.
Auxiliary vanishing point. So let’s say we have our horizon line here. So you want
to take a look at the other videos. Go to the video one, two, three. Now remember, this
is the continuation of this series on, yes, ladies and gentleman, perspective sucks.
Not everybody likes perspective. Can we get it straight? We don’t all like perspective.
We don’t all like math. We don’t all like these mechanical things. Perspective doesn’t
have to be mechanical. It could be fun. It could be organic. It could be like, you know,
like yeah. So we want to make sure that we understand that this is perspective for the
common man and the common woman. So here is your, this is going to be going out to your
vanishing points. This is your 30-60-90-120 dash 2.5 minus 12 that is to the 3rd power.
Okay, so one is short and one is long. There you go.
This is our horizon line. I’m going to put a box here.
So this is my corner. This line
is going to go all the way here, real long. Go long. This line here is going to be shorter.
So what’s healthy perspective? Short and long. Alright, that works. There you go. Here’s
my corner and there is my corner. Okay?
Now, all you do is you take this vanishing point and this vanishing point, and you draw
a line straight up into nowhereland. It’s going off the page right now. See? We’re
off the page. This is going all the way up into the sky, man. Dude, this is like high,
you know. So it’s going really high. How high? Dude, high. How high is high? I don’t
know. Let’s talk about it. If a bear makes a sound in the woods and you don’t hear
it, did it happen? I don’t know. Let’s talk about it.
So what you’re going to do then is you’re going to put a vanishing point on this line,
and that’s your auxiliary vanishing point. So let’s say I want to put a lid, a lid
on the box, and so I’m going to put a dot there. I will connect these lines. See?
And then this line here comes back this way, and there’s the lid. That’s an auxiliary vanishing
point. It’s really not that hard. It sounds complicated because it’s using that really
difficult world to pronounce, auxiliary. Let’s say we have one way up here off the page.
Whoa, dude, where’d you go? Oh, I’m up here. You can’t see me. That’s one thing
about perspective for the common man that you have to understand. You’re going to
have to guesstimate some of it. It’s not that absolutely perfect. It can be if you
get into a lot of those famous like Albrecht Durer, you know, Escher. Those guys were like
mathematicians. I married my wife because she was good at math. Okay, one or two other
reasons, but she was really good at math. And our first date she said that she knew
her times tables, and I fell in love. I said, “Really?” And she said, “Yeah.” I
said, “Do you want to get married.” So she does all the math in the house. I don’t.
So now we’re going to go here way up off of the page. Could it possibly be true? Could
it possibly be true? Imagine a world where the drawing is done off the page. Oh my God.
You’ve reached the estimation zone. Oh no, not the estimation zone. Yes, the estimation
zone. You will have to estimate some of your drawing, and that’s what is going to make
the drawing look prettier, that it isn’t absolutely perfect, okay? So that’s your
auxiliary vanishing point. And that’s all it is. It’s just on that vanishing point
going up straight up. Everybody got it? You get it? How about you? Alright, everybody
in Kansas who gets it, raise your hand. Alright, everybody in New York who gets it, raise your
hand. Alright, everybody in L.A. who gets it—okay, nobody in L.A. gets it because
they’re from L.A. Oh no, look, somebody got it. Look at you. Wow, that’s pretty
amazing. And everybody in L.A. who gets it raise their hand. There you go. That’s your
Now, here’s where it gets really funner. Let’s pretend. Now for this we’re going
to need to do an experiment. Kids, tell your parents they’re going to have a little cleanup
involved in this. But what you’re going to have to do is go online and go to
So I want you to get all the dirt from the
swimming pool and have it delivered to your neighborhood. There’s going to be a lot
of dump trucks full of dirt. Here’s your neighborhood. Okay? This is your street.
Get it? That’s your street. On the street are your houses. These are all your houses.
This is the anybody street in anywhere around the world. Even some of you people that are not
from L.A., New York, or Kansas, kind of like those other places around the world. You all
have these streets with buildings on them. Now, what we’re going to do is we’re going
to take that dirt. This line right here, all of these lines are going to vanishing point,
right? Well, yeah. Hello! This is the street. It’s going to a vanishing point. How do
we know that? Go back to video #1. Everything goes to a vanishing point. It’s kind of
trippy, man. There are certain things in life you can’t really understand, and you just
have to kind of go with it. Like for instance, you get a phone call all morning. No phone
calls. And then all of a sudden you get a really important business phone call and your
wife or your significant other calls at that moment, like the exact moment that that other
person calls that you’ve been waiting for, this business call. And your spouse or your
significant calls you. How? I don’t know. Fine. That’s perspective.
So perspective is just what it is, man. If this is something big here. It’s going to
get smaller as it goes away, that’s all. This is small. This is big. That’s perspective.
Call it a day. Let’s go have lunch. So these lines are going to go to a vanishing point,
and this is the vanishing point. How do we know it’s a vanishing point? Alright, who’s
going to answer? Right, you got it. Okay, they got it. Somebody in Kansas got it. We
know it’s the vanishing point because everything vanishes to that point. Dude, you are so smart.
You can, like, go to college. So there you go. So that’s small and this is big. So
this is a flat street with buildings. They’re going to go to their vanishing point. You
got it? So why do we need the dirt? We’re going to take the dirt, and we’re going
to put it in the street like that. We’re going to get those graders, you know, those
are those things that really screw you up on the freeway. They just keep moving the
dirt back and forth, you know? You go out your window and you go, hey dude? Why are
you moving the dirt all the around the place like that? They go someone’s gotta do it.
Oh okay, well, that’s logical. So now the dirt is going up like this. So this line is
going here. You guys catching this so far? This right here, that’s your true horizon.
That’s the real horizon. This up here is your false horizon. It goes to a different
horizon line. Cool, right? It’s so cool. So now what you’ll find is that when you
have your buildings the buildings are going to be dealing with this horizon. But anything
you put on this bunch of dirt is going to go this horizon, and that’s called a false
horizon. So all these cars and people are going to be at this level here going this
way. But your building is still going to adhere to this. Alright, so let me draw it for you.
It’s not as complicated as it seems.
So let’s see, here’s—let’s do this. Here is my horizon.
And then we’re going to draw this line, just a T. This is going to go this way.
This is our true horizon right there.
Then you can draw your grid. And here you have your buildings. This took me a long
time to figure out, and that’s why I came up with the dirt analogy. Okay, so know what’s
going to happen is your parents are going to have to remove the dirt because you’re
a kid. You don’t clean up after yourself. You’ve got about 12 tons of dirt out in
the driveway. Hey, mom, you can clean up the dirt now. Parents are going to love you for
that because it’s probably going to cost them thousands of dollars to get rid of the
dirt. Hey, it’s art school. Okay, so now we’re going to go this way, and we go like
that, and we go this way. Boom.
There you go. That’s our building. See, perspective
is hard, and not all of us are really good at it. So what I did is I assigned some of
my students to teach me. So Glenn Pauline—I’m going to drop some names real fast—Joshua,
my Josh, Josh Jun who’s over at Ringling right now and brilliant. Allen Long and Jake
Fabian. These are my teachers. That’s one thing I want you to understand is that I don’t
care how you get the information. I don’t care how I get it. What I did is I assigned—not
one of these kids is over 23 years old. And they taught me, and I’m having a great time.
Also, I gave myself a year to re-learn. I learned from one of the great artists in the
industry, and I don’t have permission to mention his name, so I won’t. But what he
do is he would spend, you know, every six months or four or five months, he would take
a subject, and this is crucial. I want to make sure you guys understand that because
when you study with me you learn the industry. What he would do is he would re-learn it.
He’d forget everything he knew and start over again. That’s what I did with these
kids, and boy did they teach me. So these are names you want to remember because they’re
going to be famous. Okay, this road is going to stop here. So we’re in San Francisco,
and for anybody in the world who doesn’t know, San Francisco has a lot of hills. So
you go up and down and up and down, so we’re going to stop this road here. But I’m going
to put another auxiliary vanishing point right there. I’m going to draw this line like
that. Then I could go this way. Now look. The hill goes up. See? So I’m driving. I’m
going… I have to stop here at the stop sign. I’m not going to get a ticket. Then the
light turns green. Now I’m going up this hill. But these buildings are all staying
to the same true horizon, and the red one is going to the false horizon. What you need
to know about the false horizon is anything that you put on there, so if I have a car,
the car is now going like this. And that’s it.
You’re going to use this a lot because the world is not flat. It’s got ups and downs.
Let’s say I have another one, and I put another horizon up here, another vanishing
point. I go from this point up. Wow, that’s going to be way up there. See there’s another
one. See maybe there are some more buildings. Okay, does that make sense? You’ll really
find these in books. Most of your perspective is pretty mechanical. All the perspective
books are the same. The only difference is does it make sense to you. So go to the bookstore.
Take a look at all the books. Some of them are for painters. It’ll say perspective
for the painter. Some of them are very quantitative, more of the mathematical approach. For me,
I need it more organic because I draw naked people, so I need good perspective on naked people.
Okay, so there we go. So see how that works. We’re driving and we stop, and that’s
your auxiliary. Let’s see if can go down now. Let’s see if we go here. Let’s see.
I always get confused. I have to really think it through. Here is my horizon line. We’re
going here, and we’re going like this. Here is my true horizon. So that right there is
your true horizon. Let’s call it the normal vanishing point. Now I’m driving this way,
but I put a vanishing point down there below the horizon. Now look, oh my God, I’m going
down. So right now in your head you’re going, you’re going down. What? You’re going
down, sucker. You’re going down. See? So now I’m driving and now I’m going down
the hill. Then I can continue to drive towards that vanishing point. So this is a hill. Let’s
say I’m going to go up. Oh no, can you do that? Well, that’s find out. I’ll put
one up here and go like this. And now look. Now it’s going to go up again. Whoa. That’s
going way up. That’s a bridge.
Let’s go here. We’re going up, and then we can turn it and go that way. So this is a hilly road.
See and then here is your telephone poles, which will be going, let’s see, and
then these are going down, so this will go this go this way. The telephone poles will go down.
Then we’re going to go straight so that goes to our true horizon. And then
we’re going to go up again. Then we’re going to turn this way. We were going up so
we’re going to go this way. Boom, boom, boom, kind of like on a bridge. We’ll stop
here, and then we’ll go this way. There are your ones going like that. This could
be a fence too going like this.
Notice how I’m scribbling. A lot of people—this is a really good time to talk about this.
When you’re in grammar school because I teach a lot of little kids, and the first
thing that happens is they’re told don’t scribble scrabble, and don’t trace anything.
Tracing is bad and scribble scrabbling is bad. They’ll even say that to the parents.
They’ll say, well, your child’s development appears to be stilted because they’re not
coloring in the lines. I’m going, oh my God, you’ve just destroyed another kid.
They’re not coloring in the lines. We think they’re going to grow up to be an axe murderer.
Oh no! And the key is that you’re going to find, and I’m going to do a lot of demos
for you, that the scribble is the key. That’s what we want. We want those scribbles to get
the story down. So this will be a layout.
Alright, so your vanishing points can go down, and they can go up based on the auxiliaries.
There we go.
Make sure you get it all worked out with your scribbles, then do your finished
drawing. Okay, you guys? Don’t drive yourself crazy.
Okay, so we’ve got that. Let’s move over here and take a look at auxiliary vanishing points and how they’re used
for lighting. Let’s draw a box. Let’s draw our horizon line, station point, which we
covered. Come out here. Short and long. This will be your cone of vision here, you know,
how you’re looking. Remember, everything you draw needs to be—if you go 30% and 30%
you need to be within that area here to stay in focus. Alright, you know, for the common
person don’t worry about it. Just know that you want to keep these lines going this way
nice and short, these lines going this way nice and long. And your detail needs to be
within 30 this way and that way, so it’s like a 60% cone is where you want to have
most of your detail to stay in focus. Okay, so short/long,
and keep everything in the middle of that.
Now watch, if I take this line here and draw it up.
Okay, so now let’s have some fun.
Let’s put a light source way up here. We’re going to draw that line. Again, this is a
line right off your vanishing point. We’re going to go this way past these lines.
Okay, when this hits the ground and goes back there is your shadow. So when this light source,
this light ray hits this point from your auxiliary, so we have that line. It’s here.
This will be about the same.
Here’s your shadow.
Okay, there you go. I have to tell you, I was doing a project.
I used to work in advertising. It wasn’t my job. It was a huge corporation,
and they didn’t know this. The art director had no clue. The shadow was in the wrong spot.
It was amazing. I was having kittens walking around. And finally I went it and I said I
can’t take this anymore. Let me show you this. I told the supervisor, you know, you
can’t insult an art director. Even if they’re wrong they’re right. But I mean here I am
walking around, this art teacher, and what happened is they didn’t have—they messed
up in so many different directions. I would have had that job done so fast. They worked
on it for two days. It would never be right because they didn’t have the shadow right.
So now we’re going to go from here. And it was a huge corporation. So now we’re
estimating it’s off the screen. So let’s say it’s way out there. It’s way up here
somewhere so just draw these lines coming down. If it’s down here then you’re going
to have a long shadow. It’s early in the morning or late in the evening. If it’s
up high then you’re getting to noon. If it’s straight up now it’s, you know, it’s
called high noon straight up and down so you’re not going to have any shadows at all, very
little. Then it comes over here. Your shadows are now going to go this way, and they’ll
get longer this way. So kind of fun the way things happen like that.
And you can just learn it from your watch. You know, it’s like, dude, there’s like
12 and this is one 1, 2, 3, 4, 5, 6. So now we’re halfway, and this is like 6:00, and
then we’re coming around here all the way around. So when we go from here it’s like,
you know, the shadows around here. They’re going to start, and they’re going to be
short. No shadows here because we’re in the nighttime. Then these shadows start getting
longer and longer and longer. Then right here we’re at high noon so we don’t have shadows.
Then we come back around and then they shift to the other side. So this little thing right
here, this thing is called a watch. It tells us exactly what to do. Now, if this was a
digital watch then no, it’s going to work. I guess it could, but you want to look at
those lines. We also use that in the film industry. So like the character walked in
at like 2 p.m. so you’ll say, oh okay, the character walked in here. See? At this point.
Alright, so here we go. So now let’s say this is high. It’s coming up pretty high.
We want the shadow to be short. So we’ll come here. And you just estimate it. We’re
artists. One of the things I’ve been talking about a lot in my college classes is that
the students are forgetting that they’re artists. It’s getting almost too sterile.
If I want a machine I can go to an engineer and get that. Now, I’ll put in—in the
case I was talking about there was an apple. Now that shadow is perfect right off that
apple. The light is coming here. Go back to my fundamental videos and you’ll see what
are cross-contour is as we come around. There is your shadow. There is your core.
There is your shadow.
You can even think of this as a box shape.
This could be a layout in an animated film. You could have like this little mouse coming around, right,
and looking up at this giant apple. You can say
Papa, Papa! Look, Papa, there is a God. You know,
because he’s looking at this giant apple like, oh my. And then the mouse will move
around here, and then it’ll find the mousetrap, and it’ll get killed. You know, we have
to kill something or it’s not an animated film. And the all the audience, oh my God,
you just killed the beautiful mouse. Yes.
going to do one here. This is kind of difficult. These are staircases. I’m always thinking
whenever I’m out and about, God, could I use that to learn from? Can I use that to
teach? When I saw these stairs I said this is perfect.
First thing we have to find is where the horizon line is. What you want to do is you want to
look and find a place that doesn’t show a top or a bottom, and that’s your horizon
line, so we’ll go like that. That’s my horizon line. And the first, the stairs on
the top are going to go this way. We’re going to do a grid going down there. This
base is going to go to another vanishing point way the heck out there somewhere. Then the
other ones are going to go from the other side going this way. So you see how that works?
That’s a lay-in, you guys. Lay-ins are personal, and don’t let people freak you out. Don’t
get too crazy on them. So whatever works for you. Then we have this hill going up above,
so I’m like this. Then we have a hill going like this. Then we have the ground going like
that. Then there is a pole right here. Then you have your candles which we’ll put in
later. Alright, so the next thing we want to do is find a place to start. So let’s
start with just this box that’s going off into nowhere land this way.
Really, as long as your lines are converging you’re
pretty safe. These are going to converge somewhere
over there on that vanishing point. Now comes the auxiliary. We have way the heck over here
somewhere, way over here on the page is some auxiliary vanishing point. Then way over here
in God’s country somewhere is another vanishing point. So let’s start with our horizon line,
which is here. This one is going to go this way.
Just putting in your stairs.
Alright, so we’ve got that. Then this part is going to go way up there to that vanishing point,
that auxiliary, way up like that. Then this is going to go down, and there is your box shape.
But oh, check this out. This is where the mountain part comes in and hits that.
Alright, so that’s that one. Then we’re standing over here. auxiliary.
Then this one here is going to go this way to another
So yes, I can hear you guys talking. You can have a thousand auxiliary vanishing points.
It doesn’t matter. And this is going to go this way. And then this would be a box shape.
This one will go this way. Then your lines come out like that. Then your handles
are going to go up and follow the same auxiliary, and then the same thing here. This will go
down to your true horizon so that’ll go this way, and this will come back up again
to this vanishing point way up there. You see how I’m doing all
my roughing with blue pencil.
There’s a controversy. I saw this, everybody keeps talking about this movie. I finally
saw it yesterday. It’s about a drummer in a college. And everybody’s asking me, what
do you think, Sheldon? And I was laughing when I was watching this movie. So if you—I
can’t mention the name of the movie. But if you know what it is, it’s all about a
kid who is in this school for music, and this very, very difficult teacher, very tough teacher.
With the exception of being hit in the face—that was my training. It was tough. Mine started
at 13, and I loved my teacher for it. But boy, talk about tough. So remember that this
stuff we’re learning is not for the faint at heart. It’s not for the—It’s like
they say, it’s like a contact sport. Okay, it’s supposed to be hard. Alright, so we’ve
got that. Then you can put in your trees coming this way, pointing. Then you can have your
trees coming this way and pointing. Then we can put in the street light up here. We’re
looking up at it, so that’s going to go down to a vanishing point, and that’s going
to go to a vanishing point. So I guess there’s a rule of thumb if it’s feeling really easy
you’re probably doing something wrong. This is below the eye level so I can see the top.
Then you can just go ahead and take your black pencil and tie it down.
In the olden days what we did is we worked with nonphoto blue pencils, and did all your
roughing like that. Then you would Xerox it onto cells. You’d do nonphoto blue, and
then you’d come back in with black and do a perfect beautiful line. Then they would
take that drawing and Xerox it onto your cells, and that would be the line on the cell, or
they would link it on there before the Xerox. Then they would paint it, and that would be
your cell. In the olden days when I was younger and I was working for the Pope in the Renaissance
days, you know, with my buddies Michelangelo and Raphael. Rubens was my hero. God, I love
Rubens. He was just the master of masters and the nicest guy. He always had time to
stop and teach. Some of them were a little picky. You know, they get a little pissy on
you. But Rubens would also stop. What they would do is they would draw with a Conté,
and then they would get that Conté just perfect. Then they would take ink and draw over it
and then rub out the Conté. So the process from when I first started 500 years ago to
when I worked in animation, which was only maybe, you know, I don’t know, 10-15 years
ago. I still do exactly the same. Here I’m above the eye level, so I don’t have to
see any of the tops. I just have to dance my way back.
Then we have our whatchamacallit,
the handles. These handles here are going to go to the true, so they’ll go this way.
Then this goes up so it goes like that.
I don’t think that the training should be
tough as that movie, but I found myself smiling and laughing during the movie because—and
this is that drumming movie—because a lot of this stuff that these kids are going through,
I had to go through that. It was interesting. A lot of the teachers that I had who did that
to me, a lot of the pros, you know, they’re not here anymore. They’ve moved on, and
it’s so sad because you can’t do that training anymore. They won’t allow it. I
don’t know. Are we going to get a whole different world. Art is tough. Especially
with them because there is only, you know, one. You know, with us at least you can get
a bunch of people working on movie, but he was training that one amazing artist or musician.
But don’t ever break up with your significant other for your art. That’s wrong. That killed
me in the movie. He broke up with this girlfriend. I sneak all this stuff in here. Know where
your value is. Your family is it.
If you go to the video #1 that I did on fundamentals,
you’ll see that you can just draw cross-contours. There are your mountains.
That’s a simple lay-in.
Alright, let’s move on to another one. This is really kind of fun. This is a church. The
reason why I chose this one is because I wanted to, it has boxes and it has the side of a
house. Let’s go ahead and rough this out. I’m just going to do it over here and have
some fun. This is going to be neat. This is like a pan in the animation world, so we’ll
be able to pan this thing. This will be your screen, okay. So this is going to fulfill
this whole thing. And it’s going to be one of those like zoom-up type things. This is
actually called a 90 degrees counter-clockwise tilt pan. So there are names for everything.
Everybody is going to going, what, what is that? Just buy a good animation book, that’s all.
Okay, so let’s see where is our horizon line? Where is our horizon line? Look and
see where a line is going across the entire page with a straight line. It’s probably
down here somewhere. So go like this. I’m going to show you. The other thing you can
do is just take two of the lines and pull them.
So find your corner and pull these lines and just see where they
meet. Where they meet, that’s your vanishing point. That’s your horizon line. Okay, boom.
So then you can just take this and go this direction. So this is going to be short. This
is going to be super long, way out here.
Okay. Notice, you know, during this stage you can
rough all you want. Don’t even worry about it. I’m going to say, okay, there’s the
side of the building there. There’s my—finding my center. We did that in the first videos.
Draw a line straight up. Then this is going to come this way. It’s going to stop around
here. Then this is going to go like this. I’m going to put this back behind there,
and that’s going to go this way. So that’s going to the same vanishing point cause it’s
on the same plane. That’s coming this way. Boom. We have another building going this
way. Then I have a vanishing point way up here in nowhere land, and that’s going to
come down like this. That’s my auxiliary. Then that’s going to go from this horizon
line going straight up to that line. Then this one is going to go to another auxiliary
way over there on that other vanishing point. That’s going to give me my corner of the
church. But you know what, I want this to be taller, so I’m going to go up here and
go like that. Then I’m going to go like this. There is another house. It seems to
be falling on the same plane, so go like this. There’s my corner. It’s going way over
there. Way over there. Put in, there you go, there’s my corner. There’s another part
of the house coming out right there. This is going here. This is going, and we’ve
got this house growing out. This room going this way. It goes like that. Let’s see,
this is going straight. I’ve got to find a box shape so go right here. That’s going
to go to a vanishing point, which is going to follow this one. But it’s coming out
more so we go here. This is going like this. Where is my horizon line right there. This
is going right there. Then I put in my X. Come up and then go like that. This goes all
the way to here, and that goes like that. I’m doing this on purpose for you guys because
there is a saying that the drawing is the process. So I’m literally walking my way
through this thing. I call this the “Raiders of the Lost Ark” school of drawing. Now
if you’re walking down the street, and you see somebody and they’ve got this giant
sword, and they want to fight you with a sword and you have a gun, shoot them. What are you
going to do? Are you going to fight this person with your hands? I’ve got a giant sword.
You have a gun. Shoot them. That’s what we’re doing here. We’re just going to
fight this person with a sword. We’re just going to fight this person with a sword. This
is going to up an auxiliary vanishing point on three-point right here. So this will be
three-point we’re looking up. This is how I animate. This is how I do my work. Just
let the drawing have its own path. But you’ve got to be secure enough to do the scribble.
If you’re not you’re going to have some issues. We don’t have time for you to do
this finished drawing and then, you know, say no, it’s not what we want. Then you
just sit there and cry cause you put 50 hours in on a drawing. You can show this to any
art direction and say is this what you had in mind? I’ll say, no, no, no. Let’s move
this over here. Let’s put this over here. Let’s make this more oblique, and you’ve
wasted like nothing. Okay, now the next step is then you can come in there and start wrapping
it up. Remember, this is your lay-in stage. I’m going to do some finished work on the
next videos. You’re going to see a whole different mindset.
Just think about this: For any drawing that you’re doing give yourself maybe three or
four roughs, five roughs. Don’t try to do this finished drawing too fast. Okay, we’re
going to go here’s the window going this way. Here is my center line.
At the end of the season, you know, when I worked in TV you’d have a stack of roughs. Even on a
feature next to your desk. You’d just throw them all away. Then the kids go in there and
they steal the drawings. Sometimes you see your drawing at like one of these conferences
or something. It’s really weird. You’ll see this conference. It’s really weird.
You’ll see this conference. You know, you’ll go there and you go whoa, that’s my drawing.
Where’d that come from? Some kid took it out of a trash can.
You could actually do this for a living.
See how this works? This is more 3-point as we go up.
We’re standing way down here, so we’re starting to look up at it.
Probably not so extreme.
That’s off in the distance. Okay? See how that works. These are your layouts.
I’m going to do some finished work. On the next videos, though, just so you know, I’m
going to be taking it to finish. These are roughs.
And the other thing I want you guys to understand is that you have to be able
to change these. Just imagine that you’re in an interview for a studio job or anything.
And they say what can you do, and you say you show me anything, and I can copy it. They’ll
go, well, what do we need you for? We need you to invent things. If we already have it
why do we need you? Well, I can copy anything you’ve done. Well, we need you to do something
new, they say. That’s where the interesting part comes in. That’s what we’re going
to do on the next ones. I’m going to take it to a more creative-type level and show
you some stuff. Okay? So these are the lay-ins.
Just remember, when you’re doing your work, scribble.
I’m doing this out of my head. This is going to be a light pole. I’m looking up at it.
It’s got kind of a top that’s going to go off to an auxiliary, and from here we’ll
say, okay, let’s see, here’s the pole.
You’ll get a mass amount of work done if
you follow this process. Scribble for story. Shape for design. And cross-contours for form.
Kind of a weird light pole.
There’s your process.
Work with different colors. Have some fun and don’t sweat it out. Don’t drive yourself crazy.
Give yourself the opportunity to have your roughing stage.
I’m running out of my…okay, rough it out. From there you can spend—after this stage you could spend 60,
70 hours doing a finish, but at least you’ve shown this to your art director, and they’ve
said, yep, that’s what I’m looking for. Then you go back to your desk, put on your
headphones and celebrate. Pour yourself a nice Coca-Cola Classic from the bright red
can. You know, what could be more perfect than Coca-Cola? The bottle is shaped like
a woman, for God sakes, come on. Then sit back and enjoy, and have all your photo scrap
for your details. Just relax and be an artist. But you know you’re doing it with confidence
because it’s already been approved. The scribbles are the ones that get approved.
this pen. The wonderful thing about this is it’s such a beautiful pen. But you can get
these really nice refills. It’s the FP10 refill. They’re a little pricey but definitely
worth it. Then what I’m going to use is the pitt. This is a Faber-Castell Pitt Pastel
medium, and it’s the white. And I’m going to use a Copic marker warm gray #5.
Now, on this drawing we’re just going to start, and I’m looking at my reference,
and you’re looking at your reference. I’ve got this whole area here to play with. It’s
going to be really loose, a very loose drawing. I’m not going to draw it out. I’m just
going to start and see where it takes me and let the drawing be the process, you know,
be within the drawing. I want to find my eye level. If I look at those stairs you can see
right by where our cardboard woman is standing. You know, it’s interesting that there was
a cardboard woman standing there because usually you see cardboard people in L.A. Hahaha, okay;
it’s an L.A. joke. So if you look at the steps they are pretty much going to a point.
Then if you back at the step in the back behind the woman you can see that you really on the
very bottom step there’s a line, and I think that’s the horizon line. Remember, when
I took this photo I was standing on the stairs in front of us. So we’re going to start
here and just work our way out. And a very different lay-in than when I rough it out.
If I’m doing animation or illustration, I’m going to rough it out because I want
it to fit in the page. I want it to be what’s needed for the movie. In this case I’m not.
I don’t really care. If it ends somewhere then I don’t really care. It’s not an
issue. This is art, man.
Let’s see, I’m just going to start with this bottom box right here.
Really careful though. There is a great line by this master draftsman, the best artist I’ve ever met
in my life; his name is Senor Glenn Vilppu. Now here I don’t see the top. What he says
is “Go for finish.” That’s what we’re doing right now. There’s that step. I can’t
see the bottom of it, obviously, but I also cannot see the top. Then I’m going to go
straight. This right here will establish my entire drawing. Now, for you digital artists,
just building it in Maya. Still working on my Maya. There is a song.
[sings] “I met a little girl, it was 8/15, and when I got to know her I found out she was really mean.
Her name is Maya. Ma-ma-ma-maya.”
She’s mean, man. I’m giving myself time. The difference
between me and some other people is I’m giving myself a year. So I’m going to do
that tonight. That’s what I would do. I would just start with that box and then just
work out of the box. That’s what you’re going to do. I’m going to come up here.
Looking here, this part is growing out from here. That’s the second step. There is my
eye level. If you want you can put a little dot, but really you don’t really need to.
You’re going to be judging the entire drawing off of this. This is going to go that way.
Keep it kind of loose so you can make little adjustments. This for me is so relaxing. If
I’m stressed out—you know when I’m stressed I just sit and draw. There is nothing like
a nice figure drawing to relax you. The figure drawing is like meditation. I’m using the
paper as my local value. If you look at the rock part, I’m only using the light. I might
put a little dark here. That’s where this marker is going to come in. This will be for
shadow areas like that. After establishing my light source the light is going to come
this way. You can see it’s light on this side of the building. It’s dark on this
side. But because, if you look off in the background there are slivers, there are all
kinds of trees. The light is going to also fly through. We’re going to get kind of
this light that is just kind of working its way around. Going through the forest. But,
you know what I’ll do is I’ll just, I’ve got sketch books. I’m working in about eight
different sketchbooks right now. I’m going to start a new one tomorrow. That’s been
two years on this one sketchbook, but I’m going to take my kids out tomorrow and we’re
going to go paint. Not my biological kids, my students. We’re going to go ahead and
do some painting. But one of the things I
enjoy doing the most is just sitting down and doing these tonal drawings,
these Renaissance-type drawings. Now here is going to establish my horizontal right
off there. So that’s important. It looks like there are some, well, no. They
didn’t get to crazy, so it goes like that. This is going to establish my straight line
right there. It’s going to go this way, that way. This is a one-point perspective.
I just established my center line right there.
Really careful. Now growing out of this step is that back step.
I’m not plugging. I’m just telling the truth. Probably one of the best books ever
written is a book called “Sketching On Location” by Glenn Vilppu. In there he talks, there’s
a page where he says he’s growing out of an ear. He’s drawing somebody on an airplane.
Just buy the book, and you’ll learn how to sketch on location. It’s the best book.
That’s what we’re doing. Okay.
I’m using the negative space of the paper to show the
difference between the two bricks. See that right there? That negative space is really
important. This would also be looked at as painting. So drawing and painting is the same.
We’ve got that. Light coming this way. Light is going to be coming down, so I have to be
careful. We have one more fun. That’s coming right here. That’s why this pen is so fun
because it’s so free. It’s really cool. Now, know where I’m going. Here is my horizon
line here. It’s right there. This is going to go down and meet somewhere. It’s going
up. It’s going to go this way.
We’ll turn that into something later.
I always like to give you guys advice because
right now I don’t have anything funny to say.
You know I study with the best teachers on the planet, but right now I study with my
students. You’re going to find that that is the best,
so the answers are always in front of you.
The fun part is I’ve been teaching long enough to see the students become the famous artists of today.
I imagine what it would be like back in the old Renaissance
days when Rubens was young, knowing that this was going to be somebody who changes the art
world, and what a joy it is to be able to teach that person. It’s just incredible.
That’s you guys. The ability to sit and teach you guys who is going to be the next
great masters is really fun.
There we go.
Alright, so that’s establishing the piece. Now here is my center line so I can establish
this part. Put in my straight line. A lot of this is being done in my head. This is
going to go to the true horizon which is here. So that true horizon is, actually it’s beyond
there. It’s way back. Here’s my eye line, my horizon line. It’s going to go like that.
So we’ve got that. Then we have our piece here. That’s going to go out this way.
I never considered myself to be talented. I just considered myself to work hard. But
boy do I work with talent. There are so young.
Okay, so we’ve got that. All the rest is
going to come out here. Now let’s work our way up. So growing out of the top of this
step right here is this little ledge. Again, we’ve got to follow these same lines.
And doing a drawing like this is pure panic. It’s a good thing, but you’re scared the whole
time. This is coming up. It’s kind of sketch. We’ll go straight up. If you notice there
is a neat, nice loose feel to it.
Okay, we’re coming down.
Let’s get back to that drumming movie. I saw it yesterday.
When you get a chance see it at the movies. So you say, wow, that teacher is so mean to
me. This guy takes it over the top. I don’t agree with what he does in the movie. But
you say, wow, you know this person is really mean. Why is he on me so much? He wouldn’t
be unless you were good. It’s really interesting. You’ll find that if the teacher is not interested
in you they usually ignore you. So if they’re on you it means you’re worth investing in.
I don’t like teaching that way. I’d rather have a loving class. Sometimes you’ve got
to get your kids to wake up. The world itself is mean. It can be really mean especially
in the art world. But again, not like that. It is extremely, there we go. We want to use
some of this tone too for these bricks. I was laughing in that movie because I lived
through some of that. I mean I lived through quite a bit of it.
The difference is I loved my teachers for it.
There we go. I want to put a shadow. So this light is going to come
from way up here, and it’s going to hit these guys. I’m going to put in a shadow
here. It’s going to stop, go here.
That’s an organic. See that? That’s kind of fun.
This is something I would do in figure drawing but also applying it to perspective makes
it more organic. Okay, so we’ve got that.
Now what’s growing out of that window. Let’s see, we’re coming down to a true horizon
here. Always checking it. Boom, boom, boom. We’ve got this lamp that’s coming out.
That’s going to go to the true horizon because it’s on the building. The only thing that’s
not going to be on the true horizon are going to the stairs.
That’s going to go to the false horizon.
Okay, this is white here and it’s got this white little variances there.
What’s growing out of that? There is a line coming down this way.
This is going up.
Then this is straight.
This is going to go down to that true horizon to that vanishing
point because it’s one point. Make sure you really got that.
Then this is going to go there.
It does look like they’re manmade air conditioners. We’re getting rid of that. This drawing
took place back in the Renaissance days. They didn’t have those.
Alright, so we’ve got that.
Growing out of the top over here there’s going to be stairs.
Put another window over here.
I want something to land to. Okay, and then over here is a straight. This is going
straight back this way, and then the other one goes off to the side.
We’re going to go like that.
Then we’re going to put in a little planter. Little foliage.
Our auxiliary vanishing point is going to go this way.
Don’t draw all the line. Break it up a little bit.
Leave this area open.
Let the audience complete as much of the piece as you can.
I know we always talk about, you know, the commercial side of the art because
I want my students to be as successful as possible. The only thing that’s commercial
is pretty good. But I also work as a fine artist, and I have my paintings hanging in
private collections, one of which is the Wrigley mansion, one of the Wrigley mansions.
But the one thing that you do when you’re dealing with a fine art type thing is let the audience
be part of the process. So if you leave areas open they get to finish it. That’s what
you’ll find a lot with the nonrepresentational, more modern art type stuff. People get to
read into the drawing. You’ve got this beautiful, almost photographic-type, just gorgeous painting.
It doesn’t sell. You’ve got this other thing that’s just, it’s just crazy wild
stuff, and the person buys it. And I ask them, why did you buy that? They go I get to read
into it. It’s what I want it to be. Really something to think about. So by leaving these
areas open it really gives you a chance, the audience a chance to be part of it. Also,
the fact that the perspective isn’t perfect gives the audience a chance to relax.
So learn to make it perfect, and then when you’re doing your piece, you know, if it’s
more of art thing. Sometimes in a movie you want it to be not so perfect. It just gives
the audience a chance to identify with it a little bit more. This is going to a true
horizon out there somewhere. The vanishing point, it’s weird. Okay, the vanishing point
is here so we’re going to go that way. We’re going to go like this.
This line is going to go that way.
Pull this out this way and show this. This is your true, and that’s your false.
If you were doing like a product or a car or something like that you wouldn’t want
to start it like this. Map everything out.
This was a really fun vacation. It was a Mediterranean cruise. When I rough it
I like to get on a cruise ship. To me that’s roughing it. If I want to go camping and experience
the outdoors and fresh air and go where no man has ever gone before, I’ll Google it.
Anything worth anything adventurous is worth Googling. Also, I have friends who do do that,
and they go out. They are the wild people and so I just live vicariously through them,
and I just look at their photos and say, wow, that was rough. I need a cheeseburger. But
why would I want to go anywhere that doesn’t have bathrooms and doesn’t have like In
N’ Out, you know? I mean, come on. How do you survive? You’re out in the wild. How
do you eat? How do you eat when you can’t order by number? It’s crazy. They say, well,
we’ve got this really good food that comes in a pouch. It’s in a pouch, man. Yeah,
but it’s really good. You add water to it. Dude, it was like dry, okay? But you add water
to it and it’s not dry anymore. But what if it goes in my stomach and the water goes
away? Now I’ve got like dry food in my stomach. You know, now I’m walking around and like
I get chased by a bear, but I can’t run because I’ve got my brick in my stomach.
Dude, forget it. You know, if I’m at In N’ Out and a bear comes in, I just get in
my car and drive away because I’m in and I’m out. Get it? It works.
Anyway, some of the foreground here. What were you talking about, Sheldon? I don’t know.
Okay, here we go. We come down this way. Bring in the eye back. So now that’s this top here.
I’m going to add a building here. Vertical.
This is going to come from here out.
There’s my line. You actually get a straight line going all the way across
the painting when it’s your horizon line. That is so trippy, man. How was that invented?
I don’t know. It’s like getting a phone call at the same time that you get another
phone call. How do they know? There we go. Some of the mysteries of life. Life’s mysteries.
Like why is it when you’re driving you always get the red light? It’s trippy, dude. Like
today, driving down here as soon as I wanted to change a lane, he already changed lane.
How did you know I wanted to change that lane? Trippy. Cosmically connected on the freeway,
you know? That’s perspective. It just sucks. It’s different.
Okay, so we’ve got that. You don’t need too many. I’ve got this window here.
Let's add some brick.
Make it organic, how it goes swooping down like that. Okay, so that’s
coming like that. This line is going to go across here. Here’s your straight line.
This is going to come down this way.
If you draw into the shadow there then it will definitely
look like a shadow. Don’t be afraid. Don’t make that like a whole—sometimes I see people do that.
Alright, let’s see how we’re going. Okay, so we’re going up. Now we’re
going to add another. So this auxiliary is going all the way up here somewhere. The next
one is going to go all the way over here somewhere. I’m going to tell you why. You ready? The
stairs are turning. Yeah, the scientific answer of why is because the stairs are turning.
They built the stairs going this way, and then they said let’s go this way. So that’s
why it’s doing that. So now these stairs are going to go this way. We’re going to
have this auxiliary going like that. See? Really tough, man. So now this goes like that.
Then they’re going off into nowhere land. Put little tiny—you know what you could
do is we could put a center of interest and have the eye push back there.
Go really strong on the white.
We can push that back.
Then you want your lights to guide, so we’re going to go this way.
So you want to think of it this way. This is the beginning, and this is Sheldon, and
this is a dark chocolate Milky-Way over here. You want to get me there. So you want to connect
your lights and your darks. Go like that, and then we’ll walk along this way. Then
we’ll come over here, step across. Then it will come up this way. It will come up
here, and then this is where it’s going to be really bright. See how that works? We
can bring that out by putting in this dark behind it. You notice how all this started
just from this little area right here. That’s why you’re going to find that “Sketching
On Location” book so valuable. That’s where he talks about it. What grows out of
what? This is going to point down also. So this will be little slivers of light. They’re
going to point to that area here. This light is coming through like this, and it’s pointing
to our center of interest. It’s just coming through the trees, just hitting the mountain.
I’m just hitting the wall but it’s actually pointing to our center of interest. See that?
Okay, so that’s taking your eye over there. I don’t want to put in another one of these
things, just the one is fine. So now we’ll take this. We’ll add this to the—now notice
what I did. This is from working in the studios for years and years and years. I stopped here.
I picked up up here, but left this open. Okay, really important because it gives an eye a
chance to silhouette this. That’s real important.
I’ll just put in some windows, but no white because we want the eye to stay down here.
There’s a tree. I don’t know if we should put that in or not. Alright, so we’ve got
that. Then we’re going to put in some doors. We’re going to put in some real strong lights
back here. The eye is going to go where there is the most contrast. Here we go.
So our eye is coming in here, comes around, works its way up, goes to the center of interest.
Then it comes here, works our way up and goes across to the center or interest. That’s
your center of interest right there.
We have two auxiliary. We have one true and two auxiliary
vanishing points. And there you go.
We can put in darks here. This is such a fun pen
because you can do lots of different textural things. I’ll guess I’ll put a texture there.
We’ll pull the eye up. There is no texture like this anywhere else
so it pulls the eye in.
Let me do one quick pass on it. They call the CPR passes. You can tie down the drawing.
Even this shadow will now point to there. That’s why this has to be for not the technical
person, but for more the—I really want to get the eye here. A person is going to come
out here and go what a beautiful day. We need everything to point to that person.
That's an arrow. That’s one, and that’s one. They’re all pointing, taking your eye up.
One thing else I can do if I want to really bring the eye cause I have it on there. If
it could just get in there and rub back some of this white so it’s slightly out of focus,
and now your eye is going back there. There you go.
So now that you understand that the auxiliary vanishing points go high up, and you’re
able to, you know, when the time is right you can get it up there. I think it’s a
good idea. Don’t always keep it on the ground, you know, those opportunities. Remember, after
every up there is a low so take the vanishing point and bring it down low, and then you
could go down. But these are really important parts of your perspective because you’re
going to use it for your staircases, for your mountains, for your roads, and you can also
you it for your shadows. So practice it, trace it, and when the time is right, ladies and
gentleman, when that moment’s right, use an auxiliary vanishing point.