- 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 second lesson of the series, Sheldon will focus on two-point perspective, showing you how to find your multiple vanishing points and horizon line, how to correctly scale, and how to turn your subject to draw it from different angles. Sheldon will then apply these concepts to a drawing of a street corner using a fountain pen.
- Kuretake ZIG Letter Pens
- Kuretake ZIG Letter Pen Cocoiro Body
- Water Brush
- Ball Point Pen
Discuss this video in the forums!Discuss
instructor Sheldon Borenstein shows you a friendly and simple approach to perspective.
In this second lesson of the series, Sheldon will focus on a two-point perspective, showing
you how to find your horizon line and multiple vanishing points, how to correctly scale,
and how to turn your subject to draw it from different angles.
Sheldon will then apply these concepts to a drawing of a street corner using a fountain pen.
the one-point perspective video and take a look at that.
You’re going to see we had our horizon line.
You have one of those angles that looks like this.
And for us non-math people it looks like that.
It’s got the short and long. It’s like a 30, 90 angle.
But basically what you have is you’re going to use this to find your vanishing points.
This is my horizon line, and this is my piece of paper that I’m drawing on.
It's real important when you’re drawing that you have room around. So this is box that is on the
piece of paper. Let’s go like this. This is my piece of paper.
Work smaller and have that little box floating in that piece of paper.
This is going to help you guys a lot.
Take this angle right here, set it up so that one of your vanishing points is close to the
paper, and one is far away. It could be in the next town. I mean sometimes if you have
this set up where you’re like way out off of that paper.
Now, I can hear you guys asking that question. What do you do if it’s off the paper?
Well, it’s not that hard. Let’s say here is my grid.
Here’s one vanishing point here. This is going this way.
I have this one...
...way over here.
See what direction you’re going.
See this right here? With these two little areas right here where it’s going
off the paper, just divide those up. So if here’s the side of your paper, and this
is going way far away just divide up that side of the paper.
Those lines with intersect with
anything like this on the side of that paper.
A lot of it has to do with guesstimating because we’re not doing this engineering piece.
We’re doing a piece of artwork. Relax a little bit. Relax, relax.
Okay, so that’s this part. The two-point is really the same as the one-point. It’s not that difficult.
Let’s have some fun with it. Let’s try.
What we have here is just a fun little piece. The way to find the horizon line is—there
are a couple of things. You just take your corner. I like to work from the corner of
the piece. Whatever I’m drawing, there’s a corner. Take your pencil, hold it up, lock
your elbow, close one eye and see what direction the line goes. Take the bottom and see what
direction the line goes. Where they intersect is going to be your horizon line.
Now, and interesting thing that happens, where you have your eye level, the line will be
straight on both sides. See that? So it’s really fun. So you’re looking at a photo
or you’re looking out, and you want to know where the eye level is, it will be straight
across the entire picture. Okay? It’s a fun little tool.
We have this one coming off here, meeting,
and this one is tighter. We’ll make this one go here.
Just decide what you’re going to do. Make a decision and then go with it.
Do not copy the model. Do not copy what you see.
You want to make sure you’re communicating. This will be my two-point; one, two.
Then we have another one coming out this way. That’s pretty fun. That goes off the page.
Side of the building here...
side of the building here...
and then we have some coming back. Then this one stops.
Go back to the fundamentals videos and take a look at the section on silhouette. It’s
real important. How many fingers? Two fingers. Three fingers. How many fingers? You don’t
know because it doesn’t silhouette. So it’s real important that you squint down and take
a look. When I squint and I see you guys in there, and I can see who you are by your silhouette.
Your silhouette is in the shape of a camera, so I can see you. So there you go.
There's your two-point.
If you want to grid out from here go for it.
There’s your two-point perspective. Now, in case like this, let’s have some names
that work. Let’s call it—this would be a single subdivision.
Okay, and then we’ll call this—You can call it a multi-subdivision. But I always see this as columns,
so why don't we call it column subdivision. We’ll just go like this.
There’s our center line.
Just draw right through it. Okay, and that’s it. That’s two-point perspective.
Let’s do a little drawing here. Let’s play with it a little bit. Let’s do a different lay-in.
Scribble, shape, form.
This is how I would work if I was in the studio. I don’t
have time. This is the shape. This shape.
Okay, come on down.
Find my vanishing point.
Even at this point you could be putting in the dark side.
You can divide down.
Take these down back to the horizon line.
Okay. Let’s see, we have some buildings over here going to the same vanishing point this way.
Same vanishing point that way. Here’s the next building coming up here.
You want to scale.
Let's say, okay, we’ve got this traffic light. It’s this tall.
Okay, it’s out of our field, but we know it’s this tall. I bring this traffic light over here, just walk it over.
Then I go to my vanishing point,
and then when I go over here…
...Wow, that’s big traffic light. Go across right here.
That’s how big the traffic light is right here
Come over here.
There you go. See? You can scale it around.
Keep it simple. We’re looking at scale.
We’re going to leave these areas off on the top.
We’re just looking at the two-point right now. Let’s say we decided to have
this building over here. I like to find the corners. So you’re working with your perspective.
Let’s say that’s your shape. Find the corner that’s closest to you, and then work
back. It just seems to work for you. Okay, so you got that.
I’ve got this one over here, and this is the space that’s going to be somewhere over
here. Remember, we’re animators. We’re sketching. It’s not mechanical engineering
here. I’ve got this building over here. Here’s my corner. This is going to go back
to this vanishing point. It’s going to go to this vanishing point. There’s the bowing.
What we want to do is we want to find this corner. It’s going to come back to this
vanishing point. It’s going to go to this vanishing point. This will go here.
And there you go. There’s your next building.
Now, this is when you’ve got them all working with two vanishing points. What happens if
we want to turn the building? This is where it’s going to get to be fun. This is why
it’s always cool to work with a lot of different colors. Don’t worry about it.
You got to look at your drawing in different stages.
Work with different colors. Erase. If you’re in Photoshop work with different layers.
If you’re working on a light board work with different pieces of paper. If you’re out
there sketching around just erase. Okay, have fun. But let’s try to move the building.
Let’s have some fun here. Let’s see what happens. So here is our building.
If you look in the photo, the edge is over here. Let’s turn it. Let’s see what happens.
Most artists are dyslexic, so we’ll what we can do. I’m going to now turn the camera this way.
I’m going to see more of the side of the building and less of the front of the building.
Then I’m going to see more of the front of this building and less of the side.
And that's my layout.
Now, let’s see what we can do. Find the corner.
I want to go really far this way.
I just turned my building. This one is going to go this way. It’s a different vanishing
point, so I’ll go with a different color.
And that’s way up here and this is back here.
Then off in the distance I have another building over here.
It's pretty straight.
And that's back there. You can see these boxes are all
turning. So do one in different colors. Let's see how many vanishing points we have.
One, two, three, four, five, six different vanishing
points so far on the same painting.
One horizon line.
around here. Goes like this, comes back. We have a road coming this way.
Then here's another corner here. This is going this way, and it’s going like that.
Okay, straight in the foreground. It’s going back.
Boxes are really your friends. They help. Then you
can just divide these up, and you’re on your way.
So you can find a new image to look at.
Take a look at this one here. Again, if you really break it down, it’s just a bunch
of boxes. As far as the lay-in goes, you can have some fun.
This is a water brush with the same pen.
Here’s this building.
And then a building over here.
There’s one back here.
There’s a real tall one over here.
Then you have this real big one over here.
Find our horizon line or our eye line.
Here’s our street.
Let’s go ahead and throw some shadows in here.
Light is coming this way...shadow.
This is all in shadow here.
Building in the background over here.
Usually these run out, and it’s kind of fun. I do watercolors.
If you guys are asking, these are Zig pens, and they’re really fun. My fear is that
they might be discontinued. I’m really hoping they’re not because they’re really fun.
You just take it and go like this. Then here’s a tree in the foreground.
It's always fun to have green clouds.
That could be a layout.
Okay, so now we’re going to go with our corners.
Here’s our outline right here.
See that? See that’s going up, but that’s just a lay-in. So we’re going to come down this way.
Box number one…box number two.
And this one is fun. It’s growing up. You want to see what grows out of what.
This is now growing out.
This one is growing this way.
That's one way in the back.
Building right here.
There is your lay-in. But it was done with just washes.
It's really fun.
I don’t want you guys to tie yourself down to one method.
If one thing doesn’t work, jump to the next.
Let me take the same piece, and we're going
to change our our eye level.
Now we’re looking down.
Now we’re looking down and up just by changing the eye level and having fun with the grid.
This one here that is across the street. It’s not so big anymore, but it is still taller
than this so it’s going to come up here.
There you go.
We’re going to go put a park over here.
Now the tree will still stay inside that box
We’ll draw a box. Put the tree inside the box.
The tree also occupies the perspective.
Here’s the top of the tree. So if you take a look at the top of the tree, it’s right
here. Here’s the side of the tree.
See how that works?
So one of the things that is really important, which you guys are going to start thinking
about now, at this point, is that we want to start owning our drawing.
Again, we don't copy. You can get anybody to copy. Now we can start moving things around, start inventing
our drawings. That’s going to make you marketable.
I did a painting for a woman that is hanging in her
mansion. She said so many people want to be in my collection, but she purchased
my painting. She said, “You captured what I feel when I see my painting. How did you
do that?” I said I’m an animator. I walked through your house. She said, “But that’s
how I feel when I see my house.” That’s what we want to do, you guys. We want to be
more than just somebody who copies something. We have taken this picture right there, and
we’ve turned it and changed the eye level.
So now we’re looking up at these buildings. We’ll take this one right here, field in
closer. Zoom in. We got this building way up really close and looking up at it.
And then I’ve turned this so this building right here is now on the foreground. It’s way
over here. It has this—like a teardrop. You can start putting in your details.
Here is a light bulb but it’s off to the side, so we can come up here and find one on that side
of the building and take it back. You have another light pole over here.
There's a sign coming out this way.
You just keep adding more shapes, but they all follow
the same basic rules, or as Vilpuu says, “Tool.”
Have fun. The lines don’t have to be perfectly straight. You can pull your eye in. This can
go this direction. Getting this composition. Coming around here is Spiderman. “Here he
comes to save the day… Spiderman is on the way.” He can fly around like that, come
down to the street. All the cars are coming. On and on and on. See how that works? So you’re
owning your drawing. And I think that is one of the most important parts.
Let’s do this though. Let’s choose that nice two-point perspective. Let’s just do
a pencil drawing. We’ll just have fun with it and just do some sketching.
Let’s do a demo. We’re going to keep switching up the techniques. I didn’t bring any paint,
and I didn’t bring any pastels. But I this really beautiful pen. It’s gorgeous. I like
to collect pens. I judge a person by their pens. This is all handmade, real pretty, and
it’s just a ballpoint pen.
So we take a look at our picture that you have on the other side of the screen, and
you want to start looking to see where lines converge to find the simplest horizon line.
It’s going to be right about here. If you look, we’re going this way. So you’re
just really sketching. If you look on a pen just where the edge, if this is your pen,
this is the ballpoint, just hit it right on that corner right there.
Okay, you can get a sketch.
Remember scribble, shape, form.
What is scribble, shape, form, Sheldon?
Well, go to the fundamentals. I know that we’re setting this up as individual
videos, but you do need to go take a look at what has been done before.
Scribble, shape, form. Look at the fundamentals.
Now, here is a vanishing point here. The other one is going to go way out there in nowhere
land. This corner right here, this one is going way out this way.
See, if you look at that line it’s going way out here, and this one is going way out here.
The way you check your line is find your corner.
Hold your pencil up, and look for that negative space in between your pencil and the bottom
of your subject. I’ll do some exercises for you later.
That's what I am doing. I’m basically just holding this up, showing my horizontal, taking a look
and seeing what direction these lines are going to go.
Once you decide on what it’s going to be, don’t change it. If the person is going to go back and stand exactly in
the corner that you are, exactly at the time of the day and check out what you’ve done,
I will give you a “get a life” card that you can hand them.
Get a life. Okay. There we go.
Okay, so that’s our lay-in. This is actually going to go this way.
This way you can make all kinds of changes. Let’s see, we want this here.
Probably put a tree or something there.
Okay, so that’s your lay-in. Super loose, very different. And that’s the key.
We don’t want to all be the same.
Little park area here that’s kind of fun. There are some trees. So that’s the lay-in.
Now, you can have a good time.
I have a chopped off corner right here.
Then we're going to come down…
We want to find the center. I want to do my center divide.
Now we're drawing, or we should say sketching. Now, this we can divide into thirds. It might be
kind of cool just to go in the center here. Okay, there’s our center. Then we can go
center here. There’s another one, center here. There’s another one.
So now we're going one, we have two in the center.
One, two. One, two.
Which will net out three windows.
Now you’re experiencing… Sheldon, you should be drawing.
Guess what? I don't talk while I draw. That's a teaching thing.
That’s a window here.
Shadow shape comes here.
There’s a tree here. That has distinct shape.
Side plane, under plane.
Treat the tree as if it were a person standing there so have a nice little rhythm to it.
This has a shadow. I’m going to show you guys how to find the shadows in perspective.
It’s really easy. Okay, that comes here. We have this building coming out this way.
It’s going to follow the same vanishing point.
We have all these bushes here--so that was that tree.
Got this cool palm tree here. That’s kind of a round shape. You want to start with the
shape first and then draw the leaves out. It’s important to know to a certain degree
how the trees work. If you’re working on a movie or a project you absolutely have to
know how the trees work, if it’s the right tree for that location. What will happen is
that you know you’re working on a project and you just throw a tree in there. They go,
well, that’s a palm tree. But there’s somebody out there is kind of a fanatic on
palm trees. They’re going to stay, well, you drew an Eastern palm tree and put it on
the west. The problem is that it’s starved in the West for water, so it’s going to
grow to this size. You actually took it from the East where isn’t starved, so now it’s
going to grow this way. You go, can you get a life? They’re going to go, well, I love
palm trees. You have to kind of fall into whatever you’re drawing. Make sure it’s
accurate. It’s going to save you a lot of hassle and can possibly save you a lawsuit.
very nice word. I look it up and go, wow, that word is the thing that killed the person.
You got to make sure you’re absolutely clear. But right now I’m just sketching. But if
this was for a movie I would definitely get in there and make sure I knew every little part.
You can control your values with a ballpoint pen.
Sketching away. The fence.
Just remember everything is going back to that vanishing point.
Looking at your negative shapes and
your positive shapes. We talked about that in the very first perspective video.
Positive space you can touch. These are positives. These are negatives. They’re equally as
important. The shape between the objects that you’re drawing are equally as important.
So let’s do this. Let’s take this box, divide it in half. Find the center, draw through.
We talked about it in the first video. Now
we know where our windows are.
How you guys all doing out there?
Some of you are looking to get into the field, working as an artist. Some of you are out
there just to do it for fun. It’s identical. It’s the same. Somebody once asked me, “What’s
the difference between working as an artist professionally?” Answer: They don’t give
you any time when you’re doing it professionally. If you’re working professionally you need
to sever that umbilical cord, be able to take the criticisms.
You know, it’s there for a reason. You draw for a reason when you do it professionally. That’s why I carry a
docking bag. It’s this giant bag and in there it’s just a full art supply store.
I have 65 other bags and those dock to the big one.
Let’s say I’m going out to dinner, and it’s a nice restaurant.
I’ll bring my nice restaurant bag, and I’ll dock the
art supplies in there that I want. You know, let’s say I’m going out for the day, I
might bring a bigger bag. Maybe a backpack, smaller than my big one and put it in there.
I keep my big one in the trunk. Then just dock it.
But you’re always drawing. If you’re doing it for yourself, just have a good time.
You might as well learn the right stuff.
Alright, now we’re coming over here. Now we’re over, we can see we have these lines.
These are taking us this way. These continue to go this way. This way, this way, this way.
We’re all guiding our eye. These will take us this way also.
Then we’ll bring this around. So we have that circle. We might have Bambi’s mom walking
over here, and if Bambi’s mom just happens to be walking down the street, we have to
shoot Bambi’s mom because it’s a Disney film. Oop—It’s a film that’s not Disney.
No, no, no. A different Bambi. It’s not a mouse company, but a different company.
But there’s a Bambi in there, and it happens to have a mom, and we’re going to kill that
mom because that’s what we do. We want to kill parents. It’s a good thing. It makes
kids cry. You know you’re doing well as an artist professionally when you can make
a five year old cry. Say, “Hey little five little year old, do you like your mommy?”
“I do.” “We killed your mommy. How about your dad? Is he the king of your life? Is
like the Lion King of your life? Well, we killed him too.” It’s just kind of a thing.
Make the five year olds cry, and life is good.
I might go darker here. Make more contrast. Over here go lighter. Atmospheric perspective.
I’m doing freehand on the dividing of the windows.
Here’s my eye level. Notice the eye level is the same across the entire picture.
Really cool. We have people all over the world, so let’s give you a little lesson.
If you’re in L.A. and you’re back a few years ago you’ll say, "that’s cool." Okay?
"That's cool." It wasn’t too long ago where if they liked it they’d say, "that’s bad." "Dude, that’s bad, man."
And then sometimes they say, "that’s rad." So that’s another one. Let’s see, what else is kind of new?
"Yo," that’s a big one. “Yo, Mister White.” That’s a big one. That’s cool.
Giving you guys a little lesson.
For the people who want to come to L.A., it’s real important that whatever you use you put
the word “like” in front of it. Okay, it’s really important. You would say something
like, "so like right now, like what I want to do is I want to, okay, so like…” And
then forget what you’re talking about. It’s really important because
in L.A. we have a hard time remembering things.
This is like a telephone pole, sign type of thing and this is like 12 feet tall.
So it goes to the horizon line. This is the vanishing point on the horizon line, but the door is
actually like 11 feet tall, so we’re going to go like this, and then we’ll come down
a little bit less, and that’s the door. See? So that is like that. That’s real important,
that you know how to speak, like, totally.
And then this might come out this way.
Let’s say this telephone pole goes like this, and then here’s our telephone pole over here.
This telephone pole is like 12 feet tall, and this telephone pole is like 12 feet tall.
Do you know what that means? That’s two 12 feet tall telephone poles. If you put them
on top of each other then they’re like really tall. So there you go. Then you have that.
That’s our drawing done with a pen. We went to a hotel once, and they had the coolest
pens, and I stole all of them. I know when they go in there to clean the rooms on those
carts where they keep the pens, so when the woman goes into clean room I stole the pens.
But don’t tell them! But this one wasn’t stolen; I bought this one.
Maybe put a little dark here because people read from this area to this area. Unless you’re
in a country where you read from this area to area, but then there’s some people who
read this way to this way, so you want to put it all together, and then you can read.
We’ll go in like that. And that tells you you’re going to go this way. And then maybe
it goes into the tree this way. It comes around here. Clouds take us around here. We guide the eye.
And that’s it. Okay? So that’s two-point perspective with two different sets of vanishing
points. That’s really an important part. Just break it down into basic boxes and have
fun with it. Remember that sketching is the meaning of life.