- 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 third video lesson, Sheldon will focus on three-point perspective which is vital for drawing extreme up and down angles. You will learn how to: find your vanishing points and horizon line, make a grid of your drawing, draw from low and high angles, and create ellipses. Sheldon will then apply these concepts to a low-angle drawing of a building using colored pencil.
- Pilot Rexgrip Retractable Pen
- Copic Marker
- Faber-Castell Big Brush Artist Pen – Dark Sepia and Black
- Kuretake ZIG Letter Pens
- Kuretake ZIG Letter Pen Cocoiro Body
- Prismacolor Colored Pencil – Scarlet Lake
Discuss this video in the forums!Discuss
In this video series, instructor Sheldon Borenstein shows you a friendly and simple approach to perspective.
In this third lesson of the series, Sheldon will focus on three-point perspective, which
is vital for drawing extreme up and down angles.
You will learn how to find your vanishing points and horizon line, make a grid of your
drawing, draw from low and high angles, and create ellipses.
Sheldon will then apply these concepts to a low-angled drawing of a building using colored pencil.
One more than two and 12 billion less than just kind of less than 12 billion, which makes it three.
Okay? Really simple.
Let’s not over complicate this. Let’s not go crazy. It’s just adding one more
vanishing point. So this pen is a really nice ballpoint pen, which was given to me by a
very special student named Rachel, and it works.
Alright, Rachel is my very close friend, student, and I get to mentor her, and she’s amazing.
Let's have some fun with three-point perspective.
Basically, I'm just going to draw one out of my head.
Let’s see what we got here. Here’s my horizon line. You
know what a horizon line is because we’ve covered it in video one and video two.
Okay, so we got that. I want to look down.
So because I’m looking down, things are going to get
smaller as they go away. If you’re flying in an airplane and you’re looking down things
are wider, and then they get narrower as they go away. So we’re going to have one point
down here at the bottom. So we go over here and do our grid. One is close. One is really far away.
We go like this.
Now we're looking down.
So we just want to grab any one of these boxes.
I’m going to grab this one.
And what’s going to happen is these lines are going to come down to this one.
Then we get one, three-point perspective. See that?
Then if you want to show the city you go like that.
There we go. Do another building coming this way.
Maybe a shorter one over here. A standalone over here.
There’s your three-point perspective. Then you’ll have Spiderman going [singing] “Here
he comes to save the day—Spiderman is on the way.”
Your horizon line is way over here. Maybe there are some mountains, water. This is a grid of a city.
And there you go. It’s three-point perspective. Let’s put on a marker on there so you guys can see it.
There we go.
But you’re looking down. What happens if you want to look up? Do the opposite.
Our eye level can be here. Most artists are dyslexic.
I am so I have to really kind of stop and think.
Okay, so we got that. We can just take one of these corners and draw from this point down.
So now you have your three-point perspective, but you’re looking up. So you’re
third vanishing point is above the picture. There you go.
Three-point perspective looking down, and looking up.
Let me do something for you. Let’s do a city.
This can go back…and this can go forward
this way. It’s going to go all over the place,
which is fun. Okay, so this is actually two-point perspective.
Let’s say, ooh, we’re going to play with this later,
but here’s a road. Then down here in the
valley we’re looking at this. Okay?
So we’re up on this road here. We need to
make sure we don’t fall off. You have this
city, and then down below the horizon line there’s this
other city over here. It goes up a little
though, the mountains.
This is the Lost City of the Below the Road.
Let’s get a little creative.
Let’s put a little marker on there. Okay?
So you get to play.
Let’s take a look at this photo that we have, and let’s have a little fun.
Let's grab a few markers. You can really see in this photo how they really
move up towards that other third point.
There’s a book called “The Pencil” by Paul Calle.
I think that is the ultimate in lay-in, and it’s really cool. The way he’ll just scribble, get that
lay-in down, and you’ll see at the end how his stuff is just so strong.
My markers are dried out today.
So really simple.
Okay, and really if you were doing a storyboard you could settle for just that if you wanted to.
Let’s see. Okay, that’s another lay-in.
What we’ve done is just added to the horizon line.
So if you take a look way off in the distance, there’s your eye level.
Okay, that’s me. Look at those lines are still there in the street. This is really cool.
I wonder if they did that for us. What do you think? Do you think they painted those
lines just for the artists? Can somebody Google that for me? Can you Google that and let us know?
Why did they paint those lines? Okay, so here we go. And I’ll show you how to
divide these up in a little while. Look what happens here. We go from this point right
here, from here to here, straight up, and you get this arch.
Start with a nice box shape.
Now if you go back to the fundamentals videos. That’s what is so cool about this New Masters
Academy is you get to go back to those videos. They’re right there for you.
Take a look at my fundamentals. What are you going to see?
You have three shapes you get to work with: A circle, a box, and a cylinder.
Look at what we have here. Here’s a box shape.
Now, this line here...
...these lines also go down to that vanishing point.
So if you notice that from that vanishing point they could also go up through that box.
We bring it down and voila!
There’s the inside.
And there’s your arch. It’s all working
with that one line which is your horizon line, eye level, ocean line; it doesn’t matter.
Call it anything you want. We’re not going to be giving you a written test on this.
Okay, so we have that.
And then on the top here, here is the top of our building, and all of this is one point.
So if I were to draw this box right here. Wow, it looks like
a boarded up door or something.
These lines here. Let’s do another arch.
Let's say this one here. These will also go this way.
And this becomes more of a two-point, so we'll
leave that alone. Okay, so let’s focus on this. I don’t want to confuse you.
Okay, so here we go. Boom, boom, boom.
You know, it’s really funny, you guys. I teach at universities and you get these kids.
They come into my class, and they’ve had just crazy, intense perspective.
Then I sit down and I say, “Okay, now draw,” and they can’t. So you have to learn it.
You can learn it from a book. Just go buy a book. Does it talk to you? Does it make sense?
Buy it. That would give you technical perspective. If you’re really good at math, do a quantitative one.
Go ahead and get one that’s all math. I cannot stand math so for me that doesn’t work.
But you know, if you’re more like me, which is a sketching type, then get yourself a sketch one.
There you go. One-point perspective.
Okay. Then here’s your ocean here. Way out there.
There’s your perspective.
Working in colors really helps.
It all goes to that one point.
You’re not going to see these lines. They’ll converge.
I’m going to show you how to make these perfectly.
The problem is you can’t teach it all at one time. You'll go crazy.
Okay, so that’s a real fun piece to start with.
Okay, check this out. This is a really fun photo. We are above the street. So our horizon
line is high, and we’re looking down. But it’s still one-point perspective.
Let's go ahead… now let’s start introducing gridding, a one-point perspective grid.
These are all tools. I used to love to go to our meetings at the studio where I work,
and I spent my whole life working in studies. I was the organic guy. I was animator.
Clean up. Real serious, you know, doing the drawings that you see on the screen. Very organic,
everybody. So if anything that to do with mechanical, anything that was like a prop
we sent that to effects. We didn’t do the backgrounds. That was done by the environment,
the background people. We didn’t do the storyboards. That was done by the storyboard people.
We were into doing people. I mean we were organic people, you know, animation.
That was my department. We would draw Bugs Bunny, draw Daffy Duck, draw He-Man.
But I loved to go to the meetings because I was the supervisor and watch the concept people,
the storyboard people, and they would start with a box and they’d lay down a grid. Really cool.
So we’re going to be doing our perspective techniques in two areas. You got this?
The first one will be what we normally teach with our figure drawings: scribble, shape, and form.
Easy, you guys learned it in my figure drawing on New Masters Academy. You learned
in the fundamentals. Always go back to those fundamentals lectures. They have all the answers.
So if you haven’t seen them, take a minute and go start watching them. We made them kind
of silly and fun, and I guarantee you’ll be entertained. If not, use some artificial
substances like a Coca-Cola and a dark chocolate Milky Way candy bar. Perfect, definitely put
you in the mood to watch those videos. But the scribble, shape, and form are very story,
but the grid is more mechanical. But these artists, they were really good at just laying
these grids. Let me show you the grid. So here is a one-point perspective grid.
We're going to go here, and then you’ll just go out.
Just like that. These are your lines.
Now, don’t do what I do. I’ll actually draw this grid, and then when I put my drawing
in I don’t draw it on the grid. I’m like, Sheldon, what? Don’t you see the grid?
Oh yeah, that’s right. I need to draw it on the grid. Alright, so now here’s our horizon.
Here’s the end of our road right here. And you can draw another line, and that’s coming
out this way. We’ve got these bushes that are going above so they’re going up like this.
Big tall bushes over here.
And then we have this building. I have a lot of fun.
What I do is I train my students to be really good, and then I study with them. I learned
this from a student named Josh. We love Josh. See here, I did it. Here’s my line for the grid.
Look what I did. I put that line going that way. Isn’t that funny?
I don't know how I do that. I don’t know, some weird wiring.
But here we have this line of the building, so just go ahead and put the line in like that.
We have another building over here, so just go ahead and put that line in right here.
Now it’s coming towards us. Keeping it nice and loose. You could combine the scribble.
There’s a sidewalk. And all the lines that are going this way are going to be straight.
They’re going to be perfectly horizontal because it’s one point.
Okay, so coming over this way is another sidewalk, so we’re over there. There’s some plants down in here.
You see those bushes. Don’t be afraid to scribble them in. Scribble, shape, form.
This is above the eye level here. Here’s our roof coming here. And it’s straight.
If it’s not, that would be oblique. We’ll get into that later. Okay, relax. I can see
all you perspective gurus out there saying, oblique angle! Okay, so this is for this is
for those people out there who think they’re all that because they know all this perspective
and think I don’t: oblique angle. For everybody out there who doesn’t know what that means,
that was sexual for the people who are really into the perspective. So right now they’re
all having to leave to the room because they’re getting all hot and bothered because I said,
“oblique angle.” Whoo! They’re all excited. Did you see them? We’re not going to do
that though. We’re going to stay nice and straight.
Then we go this way. Here’s our building. I’m going to show you how to make these
things work. We’ll do that later. We’ll start it over here, and then we’ll combine it.
Okay, look at this over here. Oh man, this is so cool. Here’s the sidewalk.
See, we’re walking over there. We have a sidewalk. There’s a sidewalk here, a big street. And
then we have—ooh, there’s a shadow on the ground. Could it possibly be that the
shadow follows the same perspective. A movie so horrifying you wouldn’t want to take
your grandmother. “The Shadow Follows the Same Perspective,” the movie.
[Grandma voice] “Oh no, not the perspective from the shadow! Could it be? Oh no!”
But I’m staying with that same horizon line. I’m just adding more of this one-point perspective.
Oh, let us not forget the building in the front. There you go. It goes straight through
and off to the side. So, you know, it’s right over here. So that’s when you’re going to go,
[surfer voice]“Dude, like the buildings in the front, you know? Like, you know,
it’s a still a building, you know, like, yeah. So like my friend was telling me, you know, he says,
“Like, this in the front, and it’s a building, okay? But it’s big and I know it's big
because it’s bigger than this. And this is also a building, and it's over here, you know?
And I know it’s a building because I have a friend who works there. He’s, like, got a job okay?
Yeah, it’s the thing that my mom wants me to have, but I say no.
Okay, so he has a job, so he’s like this big, okay.” And I always go, “Dude, look at you man. You look like an ant."
And I always laugh. An ant is going to work.’Cause ants do. You know, they work a lot.
So like all these people in this building, they’re like ants and they’re, like, working.
I don’t do that cause I don’t want to work.
So this building right here has like lots of ants, you know, and they fit in the building.
But this building here is bigger. It’s like big, you know? So I’m like,
dude, this is like a really big building. Yeah, so it’s like if these people are ants,
and they’re in this building, are these people bigger ants?
Dude, that like blows my mind. So that’s here.
So like let’s say this is like a telephone pole, you know?
So like this building right here is taller than the ant, so like this ant is actually
like six feet tall because he’s my friend. I know he’s six feet tall because I make
him change light bulbs. So that’s here. So he’s six feet tall, dude. So he’s over here.
But I say, “Walk across the street, man.” So I walk him across the street.
Now my friend, he doesn’t know how to get to work because he’s on this side of the
street now. He walks on both sides of the street, but we don’t talk about that
He's right here. So now, I go, ‘Whoa, man. Like, this is like how tall he is in this building.
Okay? So now my friend, he’s this big over here. Dude, so that like blows my mind. Okay,
now this building here is like taller than six feet tall so it’s like more. So let’s
say like this is more than six feet tall, which is like really tall.
Now, how tall is the building here?
Well, dude, it’s like this tall. See?
Here's this building, it is this tall here. Yeah. Okay.
So this is how we scale and get the perspective. So what you’re going to do is you’re going
to find one thing that you and measure, which is my friend cause he’s six feet tall.
And then we walk him over, and then we just measure him up and take him to the horizon, and that’s
measuring. Okay? Get it? It’s fun. We’ll do more of it. One-point perspective.
Notice how we keep it loose. We can put tracing paper over it. We can draw in different colors.
If you’re working in Photoshop you can work with layers. In animation we always worked
on light boards. They gave us lots of paper, so you can constantly work over and add to this.
Don’t try to do it all in one pass. It will drive you crazy, man.
Okay, so that right there is one-point perspective. I want to show you something though. I’m going
to show you something. [whispers] I’ll be right back.
I'm going to grab some markers. Here’s some markers, and let’s have some fun roughing.
So let's say here’s our eye level, and you can actually just go like that.
There we go.
This is probably the most common way to do a lay-in because we want to separate creativity from drawing.
Drawing has tendency to stiffen you up. You know, it’s like drawing, ugh, perspective,
heavy. Tone, heavy, heavy. But as artists, we’re all hired to do concept especially
in homicide where I work. Sheldon, this side says this. This side says that.
Would you tell us what really happened? And I read everything and I study. Write this down, everybody.
The definition of being an artist is to research, to study. And if my high school teachers and
junior high school teachers knew that’s what I did today, they’d be freaking out
because I was not the studious student type. But what we do is we study and we get all
that information, and then we close our eyes and we see it. concept,
We come up with the narrative with the story. Well, this allows us to free up. See this is really mechanical.
Look at free that is.
So we’re combining what we learned in our figure drawing with our perspective.
We’re putting the two together, okay? So that’s right here.
Let me show you a fun little trick. Let’s say—and you guys will be able to see right here.
I have my one point. So these lines are converging to my vanishing point.
I'm going to put a center line. So look, we’re going to take a line, we’re going to go here.
So these are our lines that are converging to the vanishing point. This is our center
line right here. Okay, we’re going to take one line here.
This is going to be what we’re going to use to scale from.
So take a moment. It’s not that complicated but I can hear
you guys going, what? Again, these lines here are the ones that are going to the vanishing point.
This is what we’re using. That’s this line, this lines here, like railroads.
This is like railroad going. If you stand on a railroad track and you look, you’ll
see that those lines get closer together as they go farther away.
Don’t stand on the railroad too long because then you’ll
be flat. Okay, but I want these lines to converge going back.
I’m going to take yellow. We’re going to draw from here straight through. It’s going to go from this corner, through
the center, all the way until it stops, this corner through the center, all the way until
it stops. What if you want to do it on the other side? No problem. Don’t worry about
it. You can go like that too. It doesn’t matter. They’ll stop in the same place.
See that? That’s your next line.
Then you take your next one.
Could be green if you want. You go from this one.
This is your first one, second one. You go through that
center line to there. Stop. Get your head around it because it looks complicated, but
it’s not. If I can figure it out, you can figure it out because I hate perspective.
Okay, so we’re going to go from this dot through the center to where it lands on that
line and move across. What you’re going to see is these lines are getting closer.
Let’s grab another color.
Here and here through here.
And there’s your next one.
And they just keep going off into the distance.
But they’re perfect in perspective.
Cool, huh? One thing for you animators, if you put a foot on this one and another foot
here, and you put these feet on here, that will be a person
walking towards the screen in perfect perspective.
Now, let’s take a look at this. So now we can go ahead and just grab one of our pens.
Notice I’m working with all these different colors, having fun, cause I need to put the
tracing paper on it, draw over it in black, put paint on it, whatever. Okay, so what we
have here is one-point perspective. Bingo. And it’s a staircase.
So for you people out there who don’t like perspective, I’m going to make life easy for you.
You don't have to like it, but you have to learn it.
And there you go. Now, here’s this step here.
We’re walking along.
And this one is going away,
so I really can’t see where it steps down. So we’ll go like this. These are cross-contours,
which you learned in the fundamentals. You did learn it. I know you did. Cross-contours.
Now, we’re going to break this up because we’re going to have these holes. I’m going
to go here, and this is going to go down like this.
There’s the end of our building here. It just goes straight.
So I laughed when Josh asked me to teach perspective, but I do realize
it’s the perfect way to go. First of all, I’m teaching you guys all fundamentals.
We’re going to be covering all the fundamentals. But you gotta do what you don’t like, and
again, I have a lot of fun with perspective. I carry seven sketchbooks wherever I go, and
a lot of perspective drawing. But you got to embrace what you don’t like. So if you
don’t like perspective, you still need to learn it. And that’s what we’re doing
today. So the title of this lecture is “Perspective for People Who Don’t Like Perspective.”
If you like perspective, then it’s also for people who
like perspective who want the more relaxed approach.
Then here’s these buildings, and they’re going off in the distance this way.
I teach at Chapman University and San Jose State
University, and at Chapman University I do teach
perspective. We have a lot of fun with it though.
Let me find a black. Okay, so that’s our building.
I want it to really stand out. Let’s put yellow on it just so you know that it’s there.
Okay, that’s our window here. I screwed up. It should be right here.
You guys see this so far?
Okay, and off in the distance let’s go gray.
Here’s my building, street.
Now, I want to put my railing, and I want that railing to be even. Okay, all the way
across. Let’s put three railings in and make them even…let’s go like this.
Let's just grab this box here make it here.
Put in my center line.
Go from here, through here.
Boom. There’s another one. From here to here, there’s another one. Here’s my railing.
And then it’s at an angle, but we’ll worry about that later.
And there you go.
These people can hold the railing as they walk down.
Okay, and that’s even, they’re evenly spaced.
There we go. Stops here. You’re on your own for these. That’s it.
It's not that hard.
One thing that you do that would help you would be to go ahead and just trace.
Take a magazine that has one-point perspective in it and just trace it.
You'll be shocked at how much that can help you.
Now, if you’re doing a sketch out in public you don’t want it to be over mechanical.
You want it to be nice and loose. People seem to like that.
You know, you go to a museum and you see super complicated paintings and everything’s finished.
You know, it’s like oh that’s boring. And then you have another one where it’s
somewhat loose, you know, and more relaxed, and you get to become part of it. So this
is a sketching tool here. Let’s say this tree right here is this tall. It’s on the
street, and it’s relative to this. Let’s say this tree is 12 feet tall, and I have
a person standing right here, and they’re six feet tall. Double them. Now I know that
it’s 12. This person is six feet tall. Draw across, double it. Now they’re 12 feet tall.
Now all the trees going to this horizon line are 12 feet tall. They’re evenly spaced.
Draw that line here. Come down. Now they’re evenly spaced. And there are your trees.
If it starts getting complicated, just do it on different pieces of tracing paper.
So as we’re doing these, one, two, three-point perspective, we are adding other tools. The
tool that is most important on this one is scaling that we can actually scale my friend
across the street and up, measure him up to all the different floors of the building.
Find something that you know what the scale is and use it as your tool. We’ll be doing
a lot more. How to divide up so that it’s perfectly even going back. Now, you might
be asking, what if I don’t want to do that? What if I just want to have it just done right
in the center? No problem. Let’s do this. Then we’ll be finished with this part.
There's our center. Just go from this corner to this corner. This corner to this corner.
And there you are, right in the center. You want to have this in half like this.
And there's that center from here to here.
And there you go. Just another way.
There’s always more than one way to do anything,
but this works also, and you can do it like this.
This is better if you want it to be perfect, though.
quick little drawing as if we were out just sketching. What you see here is actually Central
park, which is New York, so way to go New Yorker’s. And Kansas, you’re everything
else, so what the heck. And who wants to draw L.A.? So it looks like we’re going to be
New Yorkers. There’s definitely some Chicago, which is the same as New York, and then there
is Kansas, which is the same as everything else. Then L.A., who cares?
Figure that logic out for a professor.
Technique is not going to be a U.S. Army bag, but the U.S. Army bag does house a lot of
markers. These are Tombow markers. They’re really cool. They’re fun. But they’re
strong in their chroma. They’re strong in their color so we’re going to use a lot
of grays to tone them back. But we’re going to start with the pencils, with just a pencil
doing. Remember, we’re sketching, different than the other kind of videos that we’re
mostly seeing. This is more sketching on location.
What we want to do is first start with a horizon line. It’s one-point perspective.
Got some buildings in the background. Really want to sell the bridge.
I don’t think we want to sell that much of the front. I like the trees.
Those are kinda cool and the buildings in the background are kind of fun too.
The first thing you want to do in your drawing is just take a look at it and say what do
I want to draw and leave the people out for right now. That’s a later video.
Let's have some fun. You have the fence that’s kind of showing us the one-point perspective
so it’s cool. Alright, I have a little border here, and we got to stay inside. So let’s
go here. So just sketch in kind of a light horizon line like that.
Let's find a center so I have that. We’ll do a combination of the two. I like everything. You know I’m
an animator, figure drawings. I like everything nice and loose. Let’s have some fun.
I want to find one thing to start with.
You want to find something to use as a guide so here we go.
This is my ground, and this is above the eye level. I can see the eye level
here. I’m going to come up, come to here, go to here, go down. So this is where I’m
really thinking. And this can go in.
Now, what I’m going to do is just what I call direct draw.
This is the cover of the—these are the bricks that are on the outside.
You get lost in it. It’s relaxing. This is therapeutic. What we’re going to do is we’re going
to look to see what grows out of what. This is going to the dot.
Okay, see that? So it’s direct drawing.
Now, we have this side over here. It seems like there’s some brick coming up like this.
Now, while we do this little talk. Let’s talk. I don’t want to have dead air. Real
quick, before I give you guys some advice on how to use the website. My lectures are
theater and I’m an artist and I’m an animator. Animators have a tendency to be very inside.
We’re in our own heads. I don’t sit at home in my own studio and talk to myself.
Actually, when I’m not teaching I don’t talk at all. Pretty quiet. This is all theater.
Universities, some of the kids have decided in their mind that I am the person they’re
seeing in the theater. So for the first time in over 30 years of teaching...
...I'll actually be turning off the humor this semester and just doing straight videos. But we want to
have some fun here. Joshua really likes the silly, so we’re giving the silly. We’re
going a little shadow underneath here. I’m really thinking of this horizon and this vanishing point.
So at Chapman University they’ll be getting very straight lectures. San Jose, right down
the center, a little bit of humor. But Chapman very little if any humor at all. They’re
just straight academia. It seems that’s what the kids want, and that’s what they’ll
get. It’s actually easier to not have to teach without being a silly goose. So I’m
going to interrupt myself as I go. I’m going to check my distance here and now move across.
Again, it just looks like more stone coming across this way.
You want to utilize these videos. Don’t just stay in one little area. You know the
best color designer value person on the planet is Bill Perkins, personal friend and a hero.
Watch his videos. Steve Huston is just godly. I used to take his classes. I was a supervisor
at Warner Brothers. I would approve his hours for my employers because I had to approve
the time and then I would go take those classes. It was amazing. Glenn Vilppu, nobody better.
But you also want to go back to my classes. I’m a fundamentals person and take a look.
Don’t think just because you took a fundamentals class in high school that it’s exactly—you
think, oh I know it. Go ahead and watch those videos because they’re going to answer about
70-80% of all the questions you have.
Okay, so if you look I’m just putting in these shapes and I’m direct drawing. This
is all pretty right in it’s one little spot here, so I don’t have to worry. Pretty soon
we’re going to use what we did with the scale. I’m going to come this way.
This area here, pretty flat really with the exception of these lines here going back to our vanishing
point. We want to start thinking about scale. If we look over we’ll see that this light
post right here actually lines up pretty much right here on our bridge.
I think there are bricks, but we’ll just leave them. Maybe it’s just painted stucco or something.
Right here, this line is going to go here. Here, this line is going to go here. This is actually
a two-point, which we’re going to get into later. We’ll treat it as one. The top of
our light is going to go right to that vanishing point. We have that. We’re going to look
here. Look down here and see that straight line. This part will line up with that vanishing point.
When it’s below our eye level, we’ll bring the lines down like this. Then they
get straight right on there and they come up.
Okay, so this is the dirt.
This we can use as a guide. It’s coming towards us. Maybe we want to cross over, cross the street.
Walk over. When you when walk over--using the cross contours.
So stop, everybody, just stop your thinking. This is in the fundamentals video. It’s
real important. You do have this wonderful opportunity to learn all of art school. You
know, most places you talk to the students. I talk to my kids and I say we’re going
to teach the fundamentals. “Yeah, yeah, yeah; I know that. Teach me Maya. Teach me
Photoshop.” I just want to cry because the computer doesn’t do the work. It’s just a tool.
So we’re crossing over and that’s measuring. The more we cross over there’s our measurement.
This is a shadow here.
Okay, so we got that. I’m going to walk over. There we go, cross-contour.
We’re using the perspective as a tool.
There we go.
Now, we want to scale. Here’s our light post. Next to the light post is our fence,
and it looks like it is about twice, half the size. There’s our pole.
It's going to get smaller here. But now it gets bigger. We’re going to arbitrary. When they built
these poles they didn’t really care. I’m going to go—I’m going to do some design
and come this way and have it bend. There are my poles. Guide us in. And then I have the same one.
We'll put them in the same place. We’ll just go over like this.
This one is the same size right here so we’ll go like this, and there we go. Okay, we got that.
There’s our dirt. There’s our ground. It looks like there are oil stains and stuff
there, but we’re going to use it for shadows.
Our light--It’s actually overcast. We need to establish a light source,
so we’ll have the light source go this way because we’re going to
put a tree over here. Thinking of the negative space.
I just said lighting, right? Take a look at my videos on lighting. I will be very thorough with you.
Then go take a look at Bill. Oh my God, the opportunity to study with Bill. Then see how Vilpuu does it. Take
a look at Glenn. Then go to Steve. Great painter. Start combining everything together. That’s
what I love about New Masters. It really does allow you guys to get that education.
For me it’s payback. I just want to say thank you to all the people who helped me out and
helped my career, which is not over. I’m working like crazy, seven days a week, morning
and night. Couldn’t be happier. I have my babies, the kids that I help. They are my
sweethearts and I love them almost as much as my own children, who I live for.
Okay, so you got that.
Okay, so you got that. The light is going to come this way so we have our lighting.
We might as well just go for finished so we’ll put light on here.
We're going up this hill.
Then we’ll do the same thing on this side, get the hill.
Now, over the top of it, we’ll just stop it here.
It looks like we have some poles. Those are buildings. So we go like this.
Okay, got that part.
There’s New York in the background. All these lines are going to go down. These will be straight.
Then this will be just flat. Non coincidence, means no detail.
Off in the distance here will be buildings.
Okay. And that’s your drawing.
Now if you want to, you can go ahead and put in some values. So let’s have some fun.
We’re going to use this area right here to figure out what my values are.
So I'll just go here on this side. That’s a little on the dark side, so we’ll use this for
the buildings. It’s cool. It goes off in the distance.
These will be the same, and this will be exactly the way you would work with watercolor, from light to dark. Cool
to warm. Something like that. It’s kind of a grayish day. Let’s see what happens.
There we go.
Put some clouds. One-point perspective on the clouds. We’ll soften that, a little
atmospheric perspective just means gray it back. Whatever tone you put here throw some
over here. Keep it moving. I like to call it a conversation.
The drawing is having a conversation with itself.
So you got that.
Really going to make this bridge stand out.
So we’re going to start with kind of a pinkish color.
Take some of that color and throw it in other places.
Not in the background though. I want to keep it over here.
I have kind of a brownish color for our bricks.
Green, cool. I like that. We’ll use that later.
These colors never actually look like what they are.
Our light is coming this way. I’m going to throw a shadow in.
Connect your darks.
Okay, so got that.
Light is coming this way. Little darker over here.
Okay, and this light is real dark. It’s going to stand out and same with these fences.
Shadows are coming this way.
I want this to be the center of interest here.
Make sure your colors are talking to each other.
Don’t just put them in one spot.
My markers are starting to die.
So that’s why we call it the dry maker technique. Yes, dry maker technique.
Use this cross-contour here.
These will also go to that vanishing point. Now what I want to do is I want to get the
eye in here, so I’m really going to push that color.
And from here it just depends on how much detail you want to put in. This will be your lay-in
There you go. You can spend hours and hours putting in the detail.
But you'll notice, everything supports to that one point.
If I was just relaxing this would probably be one of my sketches.
If I went back to my studio I would use this to catch the mood to do a finished painting.
Sometimes it’s kind of fun to take a real blue and shove it in the foreground and push
the eye. Make it really cold here. Add the shadows.
Okay, so it’s loose. We’ll do some tighter ones on the two-point.
Probably stay just with the pencil because the markers
are starting to wear out. Okay, let’s have some fun.