Tips, tricks, and full information about how it all works.

This is part one of a proposed two to three part tutorial series on composition theory, perspective, and how all of this will allow you to create some really awesome drawings.

In part one, we'll look at all three types. linear perspective With step by step examples and LOTS of advice. I really hope you guys get something new from this tutorial! The information given here is similar to what is given in any art colleges/institutes. Only here everything is free.

1: BASE

Perspective and composition usually go hand in hand. Good perspective in a drawing can greatly enhance the effect of a composition. Conversely, poor composition can completely ruin the perspective effect.

Today, in the first part of this tutorial series, we're going to focus on Linear Perspective, and help your drawings gain depth and atmosphere.

INTRODUCTION TO COMPOSITION VIEWPOINT

A conversation about perspective cannot begin without first mentioning the horizon line. The horizon line is the most basic component of any perspective. It divides what is above and below, what is above and below, where the lines/objects go and how far they go. The horizon line is the farthest line of the earth that one can see. human eye. This is an area where everything comes together. Where heaven and earth meet.

In the figure, the direction, angle and height of the camera is what is called point of view, or TO. TO is a very important tool in creating the mood and feeling that a drawing evokes. If you look up, the viewpoint will place the horizon line lower on the drawing plane, causing the sky to dominate. If we look down, the horizon line moves up on the plane of the picture, and we see mostly the earth. We must consciously understand that we see more, we cannot just put the horizon line anywhere just because "we liked it so much." For example, THAT, looking up, opens the sky for us, and there must be a reason for this.

When planning your vantage point, ask yourself the following questions:
"Why do I show the earth or the sky more?"
“How high up am I looking? Can you see the horizon line?
“Are there objects or characters blocking the sky? Standing in the way?
“Is there a ceiling or a flat surface? Or is the sky absolutely clear and open?”
“How does this viewpoint feel with these elements?”
"Is this the feeling I'm trying to achieve in the drawing?"

Look at these examples:

Click on the image to view the image in full size and 100% quality.

Here are three planes of the drawing with different provisions horizon lines. Have you noticed how placing the horizon line higher or lower on the plane changes our point of view? For example, what would be the best position for the skyline to showcase a race track or a stadium? What about demonstration flights? What about the example in the middle? Why is it lost against the background of the other two? In this example, the drawing is divided strictly in half. There is no dominance between heaven and earth. This option may not be chosen by chance if the focal point is not the background.

LINEAR PERSPECTIVE

Since the horizon line is where all the details converge when sky and earth meet, logically we would have to follow where the objects built on the viewpoint go.

In linear perspective, all details converge to a single vanishing point on the horizon. All objects that look at us have parallel sides. Thus, all verticals are absolutely vertical, and all horizontal lines are horizontal. The only angled lines are those that move away from the edges of objects towards the vanishing point on the horizon line.

These lines moving away from the objects are called "orthogonal", and so we will call them further.

Consider the following examples to better understand the principle of linear perspective:

1) Here, a horizon line is drawn on the plane of the figure. The vanishing point is on the horizon line. At this point, all our orthogonal lines that come from the objects in the drawing will converge.

2) Here we have drawn a square and a small rectangle. Note that the square is at the intersection with the horizon line, while the small rectangle is located below this line and on the right side.

3) From each corner of both figures we draw orthogonal lines to a vanishing point on the horizon. They all converge at this very point.

4) Now we remove the lines that are behind the object. (Also, you can choose not to draw these invisible orthogonal lines at all if you don't need them, as in this example. However, drawing invisible orthogonal lines can help you understand the object better.)

5) To avoid the effect that these blocks are removed to infinity, we can cut off their back part by crossing the orthogonal lines of each object. Notice the front of the blocks have straight lines going up and down, left and right. Notice the new vertical and horizontal lines we've added to the back cut of each block?

6) Finally, we remove the orthogonal lines going up to the point where we crossed them with the vertical line, thus forming the final edges of these blocks. Now you can see that they are voluminous and located on the surface of the earth. You can continue to build up the drawing area with other shapes to obscure the horizon line.

7) Look at these new blocks we've added! Let's draw their orthogonal lines to better convey the depth.

8) Looks better already! You can again cut off the orthogonal lines with a crossing vertical line, as we did earlier, to give these blocks volume. Next, remove the excess orthogonal lines and superimposed shapes.

9) Now we have nicely lined up objects in linear perspective. Think about what this scene is like. Maybe on a city street? Or maybe these are large containers in the warehouse of goods? In just 9 steps, we have prepared a good base for further development scenes.

PRACTICAL APPLICATIONS OF LINEAR PERSPECTIVE

Linear perspective is best used when we look at something straight ahead. Typical linear perspective scenes are long stretches such as a corridor, tunnel, train or bus interior, street scene with a road going down, a city street going up or down. When you think about these scenes, it's easy to see why they're best captured at one point. Because detail at one point most likely leads and converges at a point on the horizon line, that's where your eyes will be directed. This will be the focus of your drawing. Of course, you can use volume and contrast to look away from the point where the orthogonal lines converge and change the center of focus (which we'll discuss in more detail in Part 2), but you should expect the viewer to still want to look exactly at the vanishing point of the orthogonal lines. lines.

The vanishing point in your scene doesn't always have to be on the drawing plane. Have you ever thought about drawing big stage, instead of cutting out certain areas, which is why overall composition becomes already? Have you ever thought about tilting the horizon so that all the elements in the drawing are at an angle? You'd be surprised how little things like that can change a drawing (these effects will also be discussed in Part 2). Making small sketches of the scene can help you choose the right perspective. Save yourself the headache - plan your perspective and composition ahead of time, even if it's as simple as the pictures below:

1) What if we cut out a small area from the drawing we created earlier? Let's see how this cut out area will look in full size...

2) How do you like this option? By enlarging this area, we find new possibilities for composition. Looks better? What if we add a person on the front ledge?

3) How do you like the rotated composition? The image is still in linear perspective, everything is just at an angle. How do you feel about this option compared to the previous one? When you see a lot of sky, should there be anything there?

Here are some examples of my work that was done in a linear perspective.

Using a lot of detail to break up the vertical and horizontal lines can give the drawing a more or less one-point perspective look. Notice in the first example how using lots of shapes and short orthogonal lines can give the feeling greater depth in a fairly small scene?

2: ANGLE PERSPECTIVE

While linear perspective is very common in drawings, it only occurs when you are facing the subject. Otherwise, if your TO (recall, this is the Viewpoint) is rotated a few degrees to the right or left, it automatically becomes angular (two-point perspective).

Linear perspective uses only one vanishing point and one set of orthogonal lines. As you probably already guessed, V angled perspective involved two vanishing points and two sets of orthogonal lines. This means that in angular perspective there are only two sets parallel lines on your object, which are usually (but not always) vertical. If you think about how objects spin around you as you turn in place, you can see how quickly objects can move from a one-point perspective to an angular one. If we look ahead, we see most visible world in an angled perspective and this should be one of general forms perspective, often used in drawing. Look at the examples below:

1) Here we have a horizon line with two vanishing points. To begin with, I will say that we are not going to draw flat figures as in linear perspective. Instead, we'll start drawing orthogonal lines radiating from the dots to get a better feel for the object we're about to draw.

2) The lines extending from each point form a grid of orthogonal lines. I have assigned a different color to each dot so as not to confuse them. This grid will serve as an aid in creating perspective angles in our scene.

3) Using only orthogonal lines coming from points, we have drawn two walls converging at one corner. Note that all the vertical edges of the walls are parallel to each other. This blank could become the basis for creating both the interior and exterior. Is it a building, or part of a long corridor? It could be both.

4) In this case, we create the interior! Using the same orthogonal mesh, I added a few more walls, doors, and ceiling lights. All these lines only repeat the already given orthogonal lines along which they go. The red vanishing point directs all left-facing walls, while the green vanishing point directs all right-facing walls.

5) So, we finalized everything and added even more details, again relying only on the orthogonal grid. Notice how we've raised the ceiling by continuing the line of the walls and reconnecting them to the vanishing points. You can use temporary orthogonal lines to measure what you need, such as the height of doorways, to fit into the environment.

6) Remove the orthogonal grid, erase the temporary orthogonal lines, and you have a blank for an attractive scene!
Just think about how easily we could turn this scene into an exterior where there is no ceiling and the walls form other buildings.

Continued on next page

In this lesson we will learn how to build different kinds perspectives, having considered examples of perspective in photographs and drawn compositions, we will get acquainted with the basic principles of building perspective and try to put it into practice.

1 step

Perspective is used to achieve a three-dimensional effect in images on a two-dimensional plane. The lack of perspective in the image will be visible even to the naked eye. Using basic techniques building perspective, you can give a sense of realism even to some of your completely fantastic drawings. And so, I created a new document and placed a human figure on it for order.

Step 2

Let's start from a perspective with a single point of convergence. Any drawing on the planet Earth will be made with the presence of a "horizon line", regardless of whether it is located directly on the canvas or not. In the example below, we have the most ordinary horizon line in the middle of the image. In addition to the horizon line, we also need a vanishing point. When working with perspective at one vanishing point, we have a point at which all lines converge along the Z axis, indicated in our figure by VP (Vanishing Point) and the horizon line, indicated by HL (Horizon Line). In this case, all parallel lines going to the horizon will be directed at an angle leading to the vanishing point.

3 step

If we need to draw a cube, or a box, the lines along the X and Y axes will look like in normal constructions (black squares in the example shown), but the lines going along the Z axis will go towards the vanishing point VP.

Step 4

Shifting the horizon line can give your composition more room to see the terrain and can be useful in cases where you want to display the landscape or take a view from a higher angle. The vanishing point remains in the same position along the X-axis as it was, but moves up vertically, as shown in the figure.

Step 5

If, on the contrary, the horizon line is lowered down, this will give us the opportunity to depict details in the sky: birds, skyscrapers, aviation - in general, everything that comes to mind in this direction. So we focus less on the ground and the horizontal surface and get a more familiar point of view for a person, in which the horizon line is slightly below, and the eyes freely examine the street or the surrounding space.

Step 6

Now, can you guess where the horizon line and vanishing point are?

Step 7

Yes, the previous step was probably superfluous. Even without the obvious presence of these objects, we can always understand where the lines converge in the end - at the vanishing point. So it becomes clear that without the existing horizon line in the figure, you can get beautiful view above.

Step 8

Step 9

That's what happens in the end, if you take the vanishing point infinitely far away - we get a full-fledged view from above. In practice, you are unlikely to need to draw in such a projection, but knowing how views are obtained under different angles, will allow you to better handle the application of perspective when designing your own work.

10 step

Probably, you have already become interested in how I draw all these lines. Now, using the example of perspective with two vanishing points, let's look at the technique of drawing guide lines in Photoshop. So far, we have considered a perspective with a single vanishing point. Now we draw one more vanishing point and get the new kind perspectives. As for the first point, create a new layer for the second (Ctrl + Shift + N). Next, I took a regular 4px round brush and, while holding Shift, drew a vertical red line.

Step 11

Here I would need to draw vanishing lines, but as a right-hander, it is not very convenient for me to draw from left to top to right to bottom, and vice versa. Therefore, to speed up the process, you can display the canvas horizontally, do all necessary actions and then return it back. Go to Image > Rotate Canvas > Flip Canvas Horizontal. You may have noticed that I have this command bound to the F1 hotkey (which brings up the help window in Photoshop by default). You can set hotkeys in the Window > Workspace > Keyboard Shortcuts & Menus menu.

Step 12

If you get curved lines by hand, you can use other tools for drawing them, except for the brush. This can be using a pen followed by a guide (Path + Stroke Path), Line Tool and so on.

Step 13

Here is the result of freehand drawing.

Step 14

Use the Free Transform tool (Ctrl + T) to correct the lines. Any line you create can be rotated with it by dragging the corresponding corner of the object in the desired direction.

Step 15

Apply a few more lines until you have enough to work with. Now let's flip the canvas horizontally in the opposite direction by doing Image > Rotate Canvas > Flip Canvas Horizontally. I also lowered the opacity of both vanishing points in order to make it easier to over them with graphics.

Step 16

Here, the lines of the object tend to the first vanishing point (indicated by red arrows) as if it were a perspective building with a single vanishing point (step 3).

Step 17

Look at the dotted red lines in the example below: you can guess where the endpoints of the second surface (circled) will end up. This is where the power of projection comes into play. A little imagination will help you figure out where this surface should be.

Step 18

If you now draw parallel lines (red arrows) heading towards the second vanishing point (VP2) - you get a great second face of our box.

Step 19

This technique also works for complex symmetrical shapes. If you look at the example below, then the point circled in red will be along the path of the perspective line from the first vanishing point, passing through the corner of our future figure (indicated by the “collide” mark - the intersection of two perspective lines). Then this line leaves the corner point already in the direction of the second vanishing point (red lines), stopping at the point obtained by crossing the parallel to the horizon drawn through the initial given one in the red circle. In general, this is easier to see in a picture than to describe in words, so let's look at an example.

Step 20

Having done similar constructions for each of the points, we obtain quite specific results.

Step 21

Complete the connection process and note that vertical lines (pink color) continue to remain strictly vertical regardless of their position on the canvas.

Step 22

If we add a few more lines along the X or Z axis, they should all also go to their vanishing points, as shown in the figure below.

Step 23

Often the use of two vanishing points on the same canvas gives a very tangible result.

Step 24

To complicate the task, you can move one of the vanishing points far beyond the boundaries of the canvas so that we cannot see the point itself. In this case correct application lines turns into a rather difficult task. The most correct solution would be to first draw a set of parallel horizontal lines, and then transform them with the Transform Tool. First, draw a series of parallel lines on the canvas, remembering to use the Shift key.

Step 25

Now with Free Transform (Ctrl + T) rotate the lines in the direction you want. Keep in mind that at least one line (red) must match the horizon line (green), otherwise the perspective will fail.

Step 26

Now we will repeat the same shape but without the effect of the wide-angle lenses, which reduces the vanishing points. closer friend to friend. By pushing the vanishing points further away, you will get a picture that is more familiar to the eye, which will be perceived much more realistically. Remember that the Z-axis lines (red) should be directed towards one vanishing point, and the X-axis lines (blue) should be directed towards another, in this case, an imaginary point, located outside the canvas.

Step 27

Not bad. With such an underestimated horizon line, we get a viewpoint from a height characteristic of the level of the human eye.

Step 28

Now let's try to raise the horizon line and see how it affects the whole composition.

Step 29

The verticals of our figure have remained practically unchanged in their length, but now their position has changed slightly in accordance with the current lines of perspective.

30 step

And again, draw the horizontal edges of the figure along the Z and X axes, as required by the procedure for constructing perspective.

Step 31

With this position of the horizon line, we get a top view of the object, as if we were examining the area from a balcony in some hotel.

32 step

Now consider a perspective with three vanishing points. Everything will be the same here, only with the addition of an additional vanishing point that does not lie on the horizon line. Let's start by creating a standard perspective box with two vanishing points.

33 step

Using the techniques from step 24, create lines for the intended vanishing point, located quite high off the canvas, as shown below.

34 step

This vanishing point is responsible for the direction of the verticals present in our drawing.

If in your composition the cubes are in different planes, you can create several combinations of vanishing points along the X and Z axes for each cube. But keep in mind that the verticals must go exactly in the same direction, so the vanishing point in Y for each cube must be the same. This is true for anything: when drawing buildings, walls, cups, etc.

35 step

Returning to our cube, we need to delete its vertical faces and redraw them according to the new perspective lines going skyward to the third vanishing point. When working with perspective, three vanishing points appear great feeling scale, a kind of macro view of the object, because in real life everything is perceived more directly.

36 step

As you can see, raising the horizon line in combination with the third vanishing point at the bottom works just fine. Imagine what happens if you move the third vanishing point even higher - towards the horizon, giving an even more breathtaking vertical perspective. Moderately using this technique, you can get very quality result with a subtle hint of perspective.

37 step

And now we're looking! Cool, yeah?? Now try to create something similar yourself.

38 step

Now consider how perspective is present in photographs. Fortunately, in these photos we have a clearly checkered floor, which makes it easier for us to determine the lines of perspective along the X and Z axes. Like all normal photos, this one also has a vertical perspective with a third vanishing point, but in this case it is almost impossible to determine it due to the absence of obvious vertical objects.

39 step

This shot shows a great example of z-axis perspective, and the lines of windows on the building on the left (highlighted in green) make it easy to see the lines of perspective going down the street. The wall on the right with its serifs also helps us to set the vanishing point.

40 step

Since our building is obviously rectangular, and we will assume that the architects have done fantastic work, having built it with an angle of strictly 90 degrees, the windows along its left plane (highlighted in yellow) and the second plane of the wall on the right show us the direction of the lines along the X axis. Also here you can observe a clear vanishing point somewhere in the sky - the verticals in the photo perfectly demonstrate such is her position. Here the perspective is similar to the one we talked about in step 35.

Step 41

In this photo, the most obvious vanishing point is right above the top of the canvas. The road and long buildings (colored green) make this vanishing point easy to spot.

Step 42

Perspective on the x-axis is already a little more difficult to capture, but a trio of parallel buildings (highlighted in yellow) will help us in this - you can determine how far the vanishing point is after all, catching a subtle tendency to converge. There is also a hint of the third vanishing point (pink lines) in the picture - if we look at the verticals of some skyscrapers.

43 step

Here, many of the buildings are not parallel, like our cubes in step 34, but the street planes (green and yellow highlights) are at their own angles, which allows you to determine their perspectives along the Z axis.

Step 44

However, notice that the vertical lines, no matter what, all converge to the same vanishing point. After all, even if the buildings are deployed in different ways, they are all directed strictly vertically.

45 step

Now let's create something of our own based on the knowledge gained in this lesson. Here the X perspective lines are red and the Y lines are blue. We will not draw the Z axis in depth yet, since now we only have 2D image. Each set of lines was created on a new layer (Ctrl + Shift +N) to provide more flexibility in your work.

Step 46

Now let's add some depth by drawing perspective lines along the Z axis to the third vanishing point.

Step 47

Now draw the rest of the X and Y lines to give depth to the letters and get rid of the extra length of the green Z perspective lines.

Step 48

Because the green lines are on a separate layer, they can be set to zero brightness to color them black. This can be done by changing the corresponding Lightness parameter in the Hue/Saturation window.

Step 49

Now let's paint over our creation with some nice color.

50 step

Now we just need to put some polishing touches on the background and voila! Fast and efficient construction using perspective is fully integrated into the appropriate setting.

Conclusion

Determining the perspective in the presence of parallel structures is quite simple. Also, having learned the basics of building perspective, you can now easily apply these methods to draw simple compositions. People who look at your work should see in it the perspective they are accustomed to, which they have seen all their lives all around. If the construction turns out to be sloppy, this, at times, can even introduce a person into a moment of confusion. If none of this is present, the eye will miss something to complete the picture. Therefore, these basic principles should be carefully studied, and then practiced on drawing buildings. Just do everything so that all the lines converge at the right vanishing points. You can even start with rectangular chairs or tables.

Well. I hope you received material for thought, so I leave the lesson for you to study, and please post all questions and comments in the comments below in essence.

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Translated from the site psd.tutsplus.com, the author of the translation is indicated at the beginning of the lesson.

Before learning about linear perspective, it is assumed that you are already familiar with the term eyeball. If you haven't already, then you need to do it. In another way, we can say that the eye is an observational perspective. But to have a good eye without knowing the laws of perspective, the so-called exact science, which is part of linear geometry - linear perspective - that's not enough.

In order for the eyes to be able to see everything that appears before us, they see it in a distorted form. I have nothing to do with what is depicted. I refer this to drawing, the image seen in the plane of a sheet by means of a perspective relation of forms in space.

Linear perspective - already a section descriptive geometry. And we just create space on the plane of the sheet. You just need to know how everything works, how everything happens.

Your eye without the very understanding of linear perspective is a blind copying of visible objects. Success in working on a drawing largely depends on the knowledge of the rules of linear perspective and the ability to apply them in practice.

I will try to explain as simply as possible, without going into the jungle of details of descriptive geometry - no one needs this. Let's isolate the main. My the main task at this stage, start your thinking in this area - linear perspective, which is an important practical addition to your eye. Using the eye, backing it up with knowledge of perspective, is our task and the path to a successful drawing.

So ... Look to the side, up, down - absolutely everything that moves away from our eyes, everything is subject to apparent change and reduction. But we take it for granted, for granted. This is how it should be, this is how our eyes see and sometimes we don’t even notice this feature of them. Well, well, but we need to depict approximately the same reality already on the plane of the sheet. Our task is to be able to convincingly depict objects in accordance with our visual perception visible shapes in space. We must be able to support the work of our eye with the knowledge of linear perspective, to use it if necessary.

1. Let's add some geometry to our training in order to come close to mastering the exact science. What to do, because linear perspective is part of one of the branches of geometry. Not much to understand the meaning.

Let's take for starters the simplest and most beloved shape - a cube, and even simpler - its constructive beginning - a square. We will make a three-dimensional cube from a flat square using linear perspective. So let's draw a square.

All its sides are equal, the angles are right. You can use a ruler. Draw with me.

2. We drew a square, okay. Now we will draw the horizon line. In general, it is believed that where the eyes are, there is the horizon. The horizon line is always at eye level. In real life, for example, when drawing a still life - how to determine the horizon line? Of course, with the help of an eye when observing the shape of objects. It is also easy to determine with the help of water poured into a transparent container. I think you understand how? Move the container in front of you - at the height where the surface of the water appears to us as one line - then your horizon will be. In general, this is an imaginary line, but which plays important role in perspective imaging.

In geometry, perhaps the horizon line is set, so for now, set yourself the distance between the square and the horizon line yourself. We draw.

3. Now let's get acquainted with the vanishing point. This is the point at which all parallel faces of an object converge. In fact, they do not converge, but approach as closely as possible in perspective, because the parallel lines do not intersect, but you cannot dictate conditions to our eye, because it sees.

And we will also make it so that our vanishing point will be located almost in front of the square. As if we are "in front", we are looking at the square from the front. To do this, we make intersections on it - from corner to corner (we draw diagonals), we get the intersection point of the diagonals and draw a perpendicular line of the horizon along it.

That's it, the vanishing point has been found.

4. Next step: connect the corners of the square with the vanishing point:

5. The next step is to make a cube from a square. For this we need to find segment a-b, which will be the back face of the cube.

Again, in a linear perspective, it can be calculated - we will not bother so much. In the drawing, it is determined by the eye, but for now we determine it by feeling.

When we have determined, we complete the cube as shown by me - we build the remaining faces of the cube.

This is how we got the cube, which we built according to the laws of linear perspective without resorting to the use of an eye-observational perspective at all.

But such a drawing can be obtained if we look exactly in front of the depicted object. It is necessary to deviate to the right or left and the picture is already completely different. And most importantly, there are actually two vanishing points. After all, we can deviate from the subject in two directions, right? Least. Usually, one has to take into account the right and left sides of the object. So, we work further.

As in the first case, we draw a square, mark the horizon line and determine both vanishing points, but now taking into account the fact that the cube that we get will be rotated in space.

One vanishing point will be located closer to the square, the second further. In a linear perspective, of course, these quantities are determined or set by size, but we do it "by eye", by feeling.

Now, as in the first case, we connect the corners of the square with one and the second vanishing point. As you can see, we have a segment b-c, which is useful for building a cube in perspective further:

And then we will build a cube, as in the first case. Here we have such a cube, taking into account promising constructions. It's just a pity that such constructions will not have to be done in the drawing. Why, it is impossible, we are not engaged in drawing, we are "creating" space in the plane of the sheet.

And it is not at all necessary to make drawings on a sheet, determine vanishing points, and make constructions. When drawing from nature, first of all, one should use an observational perspective, that is, an eye gauge, and apply knowledge of the basic laws of linear perspective if necessary, reinforcing the eye. One must help the other. Only in this case it is possible to achieve good heights in drawing, professionalism.

Well, how is it all achieved in the picture? How can I correctly convey the perspective in paper space? How exactly are eye-observational perspective and linear perspective combined? Please see how:

If you analyze these diagrams, you can understand that the eye and the perspective go "toe-to-toe", helping each other. First, the eye works, determining the main quantities, location in the sheet, main angles, rotation, finds the initial perspective relationships using three points (which form conditional angles). And linear perspective works to substantiate, verify, confirm what is found, and correct the actions of the draftsman where he needs it.

In the drawing, we do not show you the vanishing points, we do not direct the horizon line, if only lightly, for ourselves, in order to confirm the correctness of our actions and help the eye. We simply assume the presence of perspective and subject it to the laws of what is depicted.

And vice versa: the perspective changes of the sides and the location of the vanishing points in the drawing are determined by eye. And the accuracy of the definition just depends on the degree of development of your eye.

Work some more, build your own perspective. Change the viewpoint (left, right), change the height of the viewpoint, then- have a line horizon. See how the picture changes before your eyes, the very appearance of the object. Practice, these are useful skills.

For example, how the cube will be displayed when it is rotated like this:

Here, those faces, or angles that our eye determines, are highlighted in red. We finish the rest and check ourselves with the help of linear perspective.

And how will behave in the future, for example, a cylinder?

A very useful geometric figure, without the drawing skills of which it will be difficult to convey objects based on a cylinder.

One thing to note here is that any cylinder can be inscribed in a rectangle. Suppose a rectangle rotates in space, we will build it taking into account the perspective, then the shape of the circles of the cylinder will depend on the shape of the rectangle. It’s easier to say as a basis, you can take the base and top of the rectangle, and build a circle based on this.

And again, look - at the basis of the construction, you can take a curve that the eye can calculate. This curve is highlighted in red. Everything else is already predetermined.

And now let's draw three-dimensional forms, as they say, "from the lantern", according to the idea, at will. It is important. Let's perform an exercise for the development of volumetric-spatial representations and get a little skill in the perspective image of these objects on a plane.

Draw, I get such a group of objects, see on the left. In the process of work, you can notice that I depict some objects from a perspective, or with a strong turn. For example: look at the shape that is highlighted in orange - everything is in order, it has those vanishing points that were set.

Now look at the shape highlighted in blue: it has one vanishing point. Rather, it is located in such a way that it is enough to use one vanishing point to convey its shape. And it happens that the form has such a perspective that the vanishing points of its perspective change. See below:

The figure highlighted with purple shading has a strong angle, the vanishing points are shifted - O3 and O4 - which goes far beyond the limits of our sheet.

But nevertheless, absolutely all vanishing points will be located on the horizon - at the level of our eyes. If you shift the horizon line, then absolutely everything will begin to change - from edges to corners.

Of course, practice is needed here, draw, draw, experiment with turns and angles, practice. Develop your logical thinking. You need to try to reach such a level in your understanding of linear perspective that you resort to its help in drawing already at a subconscious level, take it for granted. You do not need to draw anything in the drawing.

And one more point, for the future, for the most persistent: if you have reached the point in your practice that you perfectly use different vanishing points, work with volumes from small to huge and feel that there is the possibility of using two horizon lines, and you want it to do, then you did a great job with this lesson. You have a solid, fat five. You are well done! I explain why: such sensations arise when depicting, for example, an interior or exterior, where a person may feel too small or large volumes are incorrectly built (according to our feelings) and there is a need to introduce some adjustments to the perspective construction in accordance with the visual perception of what is being depicted . In general, this is their complexity. Sometimes you have to use two horizon lines, then use multiple vanishing points. But this is a completely different story, which needs no less attention, if not much more.

In addition to all this beauty that you can portray, try to draw the following:

1. kitchen utensils

2. furniture

When drawing them, try to take into account perspective cuts. You can do searches simply by training your eye, draw arbitrarily, as you think, or you can line them up using a ruler, with a horizon line, vanishing points, enclosing them in a geometric figure that will be their constructive basis - then try to compare both options. You can not draw the whole room in which you are now. You are in it, and when drawing the interior space of the room, there are some points that are not considered on this page. If you want, you can simply fragment the room. Do searches for specific areas.

3. you can just practice drawing geometric figures in perspective.

4. Sketch outside. Draw individual buildings, the whole street, cars, the road and nearby buildings. Constructive, catchy, outline only the main thing. And the main thing is the search for perspective distortions of what you depict in space. The eye works and reinforces its work with the knowledge gained.

In this lesson, we will learn how to build different types of perspectives by looking at examples of perspective in photographs and hand-drawn compositions, get acquainted with the basic principles of building perspective and try to put it into practice.

1 step

Perspective is used to achieve a three-dimensional effect in images on a two-dimensional plane. The lack of perspective in the image will be visible even to the naked eye. With the use of basic perspective building techniques, you can give a sense of realism to even some of your completely fantastic drawings. And so, I created a new document and placed a human figure on it for order.

Step 2

Let's start from a perspective with a single point of convergence. Any drawing on the planet Earth will be made with the presence of a "horizon line", regardless of whether it is located directly on the canvas or not. In the example below, we have the most ordinary horizon line in the middle of the image. In addition to the horizon line, we also need a vanishing point. When working with perspective at one vanishing point, we have a point at which all lines converge along the Z axis, indicated in our figure by VP (Vanishing Point) and the horizon line, indicated by HL (Horizon Line). In this case, all parallel lines going to the horizon will be directed at an angle leading to the vanishing point.

3 step

If we need to draw a cube, or a box, the lines along the X and Y axes will look like in normal constructions (black squares in the example shown), but the lines going along the Z axis will go towards the vanishing point VP.

Step 4

Shifting the horizon line can give your composition more room to see the terrain and can be useful in cases where you want to display the landscape or take a view from a higher angle. The vanishing point remains in the same position along the X-axis as it was, but moves up vertically, as shown in the figure.

Step 5

If, on the contrary, the horizon line is lowered down, this will give us the opportunity to depict details in the sky: birds, skyscrapers, aviation - in general, everything that comes to mind in this direction. So we focus less on the ground and the horizontal surface and get a more familiar point of view for a person, in which the horizon line is slightly below, and the eyes freely examine the street or the surrounding space.

Step 6

Now, can you guess where the horizon line and vanishing point are?

Step 7

Yes, the previous step was probably superfluous. Even without the obvious presence of these objects, we can always understand where the lines converge in the end - at the vanishing point. So it becomes clear that without the existing horizon line in the picture, you can get a great view from above.

Step 8

Step 9

That's what happens in the end, if you take the vanishing point infinitely far away - we get a full-fledged view from above. In practice, you are unlikely to need to draw in such a projection, but knowing how views are obtained from different angles will allow you to better handle the use of perspective when designing your own work.

10 step

Probably, you have already become interested in how I draw all these lines. Now, using the example of perspective with two vanishing points, let's look at the technique of drawing guide lines in Photoshop. So far, we have considered a perspective with a single vanishing point. Now we will draw another vanishing point and get a new kind of perspective. As for the first point, create a new layer for the second (Ctrl + Shift + N). Next, I took a regular 4px round brush and, while holding Shift, drew a vertical red line.

Step 11

Here I would need to draw vanishing lines, but as a right-hander, it is not very convenient for me to draw from left to top to right to bottom, and vice versa. Therefore, to speed up the process, you can display the canvas horizontally, perform all the necessary actions, and then return it back. Go to Image > Rotate Canvas > Flip Canvas Horizontal. You may have noticed that I have this command bound to the F1 hotkey (which brings up the help window in Photoshop by default). You can set hotkeys in the Window > Workspace > Keyboard Shortcuts & Menus menu.

Step 12

If you get curved lines by hand, you can use other tools for drawing them, except for the brush. This can be using a pen followed by a guide (Path + Stroke Path), Line Tool and so on.

Step 13

Here is the result of freehand drawing.

Step 14

Use the Free Transform tool (Ctrl + T) to correct the lines. Any line you create can be rotated with it by dragging the corresponding corner of the object in the desired direction.

Step 15

Apply a few more lines until you have enough to work with. Now let's flip the canvas horizontally in the opposite direction by doing Image > Rotate Canvas > Flip Canvas Horizontally. I also lowered the opacity of both vanishing points in order to make it easier to over them with graphics.

Step 16

Here, the lines of the object tend to the first vanishing point (indicated by red arrows) as if it were a perspective building with a single vanishing point (step 3).

Step 17

Look at the dotted red lines in the example below: you can guess where the endpoints of the second surface (circled) will end up. This is where the power of projection comes into play. A little imagination will help you figure out where this surface should be.

Step 18

If you now draw parallel lines (red arrows) heading towards the second vanishing point (VP2) - you get a great second face of our box.

Step 19

This technique also works for complex symmetrical shapes. If you look at the example below, then the point circled in red will be along the path of the perspective line from the first vanishing point, passing through the corner of our future figure (indicated by the “collide” mark - the intersection of two perspective lines). Then this line leaves the corner point already in the direction of the second vanishing point (red lines), stopping at the point obtained by crossing the parallel to the horizon drawn through the initial given one in the red circle. In general, this is easier to see in a picture than to describe in words, so let's look at an example.

Step 20

Having done similar constructions for each of the points, we obtain quite specific results.

Step 21

Finish the connection process and notice that the vertical lines (pink) continue to be strictly vertical regardless of their position on the canvas.

Step 22

If we add a few more lines along the X or Z axis, they should all also go to their vanishing points, as shown in the figure below.

Step 23

Often the use of two vanishing points on the same canvas gives a very tangible result.

Step 24

To complicate the task, you can move one of the vanishing points far beyond the boundaries of the canvas so that we cannot see the point itself. In this case, the correct drawing of lines turns into a rather difficult task. The best solution would be to first draw a set of parallel horizontal lines and then transform them using the Transform Tool. First, draw a series of parallel lines on the canvas, remembering to use the Shift key.

Step 25

Now with Free Transform (Ctrl + T) rotate the lines in the direction you want. Keep in mind that at least one line (red) must match the horizon line (green), otherwise the perspective will fail.

Step 26

We will now repeat the same shape but without the wide-angle lens effect, which brings the vanishing points closer together. By pushing the vanishing points further away, you will get a picture that is more familiar to the eye, which will be perceived much more realistically. Remember that the Z-axis lines (red) should be directed towards one vanishing point, and the X-axis lines (blue) should be directed towards another, in this case, an imaginary point, located outside the canvas.

Step 27

Not bad. With such an underestimated horizon line, we get a viewpoint from a height characteristic of the level of the human eye.

Step 28

Now let's try to raise the horizon line and see how it affects the whole composition.

Step 29

The verticals of our figure have remained practically unchanged in their length, but now their position has changed slightly in accordance with the current lines of perspective.

30 step

And again, draw the horizontal edges of the figure along the Z and X axes, as required by the procedure for constructing perspective.

Step 31

With this position of the horizon line, we get a top view of the object, as if we were examining the area from a balcony in some hotel.

32 step

Now consider a perspective with three vanishing points. Everything will be the same here, only with the addition of an additional vanishing point that does not lie on the horizon line. Let's start by creating a standard perspective box with two vanishing points.

33 step

Using the techniques from step 24, create lines for the intended vanishing point, located quite high off the canvas, as shown below.

34 step

This vanishing point is responsible for the direction of the verticals present in our drawing.

If in your composition the cubes are in different planes, you can create several combinations of vanishing points along the X and Z axes for each cube. But keep in mind that the verticals must go exactly in the same direction, so the vanishing point in Y for each cube must be the same. This is true for anything: when drawing buildings, walls, cups, etc.

35 step

Returning to our cube, we need to delete its vertical faces and redraw them according to the new perspective lines going skyward to the third vanishing point. When working with vanishing point perspective, there is a great sense of scale, a kind of macro view of the object, because in real life everything is perceived more straightforwardly.

36 step

As you can see, raising the horizon line in combination with the third vanishing point at the bottom works just fine. Imagine what happens if you move the third vanishing point even higher - towards the horizon, giving an even more breathtaking vertical perspective. Moderately using this technique, you can get a very high-quality result with a subtle hint of perspective.

37 step

And now we're looking! Cool, yeah?? Now try to create something similar yourself.

38 step

Now consider how perspective is present in photographs. Fortunately, in these photos we have a clearly checkered floor, which makes it easier for us to determine the lines of perspective along the X and Z axes. Like all normal photos, this one also has a vertical perspective with a third vanishing point, but in this case it is almost impossible to determine it due to the absence of obvious vertical objects.

39 step

This shot shows a great example of z-axis perspective, and the lines of windows on the building on the left (highlighted in green) make it easy to see the lines of perspective going down the street. The wall on the right with its serifs also helps us to set the vanishing point.

40 step

Since our building is obviously rectangular, and we're assuming the architects did a fantastic job building it at a strict 90-degree angle, the windows on its left plane (highlighted in yellow) and the second wall plane on the right show us the direction of the lines along the x-axis. Also here you can observe a clear vanishing point somewhere in the sky - the verticals in the photo perfectly demonstrate its position. Here the perspective is similar to the one we talked about in step 35.

Step 41

In this photo, the most obvious vanishing point is right above the top of the canvas. The road and long buildings (colored green) make this vanishing point easy to spot.

Step 42

Perspective on the x-axis is already a little more difficult to capture, but a trio of parallel buildings (highlighted in yellow) will help us in this - you can determine how far the vanishing point is after all, catching a subtle tendency to converge. There is also a hint of the third vanishing point (pink lines) in the picture - if we look at the verticals of some skyscrapers.

43 step

Here, many of the buildings are not parallel, like our cubes in step 34, but the street planes (green and yellow highlights) are at their own angles, which allows you to determine their perspectives along the Z axis.

Step 44

However, notice that the vertical lines, no matter what, all converge to the same vanishing point. After all, even if the buildings are deployed in different ways, they are all directed strictly vertically.

45 step

Now let's create something of our own based on the knowledge gained in this lesson. Here the X perspective lines are red and the Y lines are blue. We will not draw the Z axis in depth yet, since now we only have a two-dimensional image. Each set of lines was created on a new layer (Ctrl + Shift +N) to provide more flexibility in your work.

Step 46

Now let's add some depth by drawing perspective lines along the Z axis to the third vanishing point.

Step 47

Now draw the rest of the X and Y lines to give depth to the letters and get rid of the extra length of the green Z perspective lines.

Step 48

Because the green lines are on a separate layer, they can be set to zero brightness to color them black. This can be done by changing the corresponding Lightness parameter in the Hue/Saturation window.

Step 49

Now let's paint over our creation with some nice color.

50 step

Now we just need to put some polishing touches on the background and voila! Fast and efficient construction using perspective is fully integrated into the appropriate setting.

Conclusion

Determining the perspective in the presence of parallel structures is quite simple. Also, having learned the basics of building perspective, you can now easily apply these methods to draw simple compositions. People who look at your work should see in it the perspective they are accustomed to, which they have seen all their lives all around. If the construction turns out to be sloppy, this, at times, can even introduce a person into a moment of confusion. If none of this is present, the eye will miss something to complete the picture. Therefore, these basic principles should be carefully studied, and then practiced on drawing buildings. Just do everything so that all the lines converge at the right vanishing points. You can even start with rectangular chairs or tables.

Well. I hope you received material for thought, so I leave the lesson for you to study, and please post all questions and comments in the comments below in essence.

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Translated from the site psd.tutsplus.com, the author of the translation is indicated at the beginning of the lesson.

I'm not a painter step by step instructions, Honestly. A long time ago, I remember, I wrote. Today's reason to pick up a saber is caused by the blatant injustice that prevails in the vastness of photo sites, zhezheshechki and other places where photographs accumulate. All of us are white, fluffy and we know that the obstruction of the horizon is a terrible sin and the lot of noobs and losers. Quite often we observe the laconic comment of homegrown photo critics "the horizon is littered" and often we ourselves approve of their verdict, but for some reason few people care about the twisted perspective. Yes, yes, I'm talking about those strange parallelepipeds, parallelograms and other trapezoids in photographs where buildings and structures should be. In my opinion, often architectural photographs they look as shameful as the littered horizon. Moreover, correcting this misunderstanding, in general, is not much more difficult than "straightening" the notorious horizon. And today I will tell you about three simple ways correct perspective distortion.

For example, in the most brazen way, let's take a random photo of a famous travel photographer frantsouzov from his post about the Lyakhovo estate. Here is at least this image of the facade of the building:

As I said - a little more and in shape the building will begin to resemble Egyptian pyramids. It's time to try the namba one method. Almost all we need is a tool Crop (cut). Open the image in Photoshop, select this tool and, as it were, outline the entire image with it. Next check the box Perspective in the tool settings panel.

Yes, I almost forgot. You may need guides. These are lines by which we can check the parallelism and perpendicularity we need. If rulers are not displayed in your Photoshop window (see screenshot below), click ctrl+r. Next, just click anywhere on the ruler with the mouse and, without releasing, drag it to the picture. Release the mouse at the desired position. The first guide will appear. You can create any number of them. If they bother you, click ctrl+h and they will disappear. Click again and they will appear again.

After this optional preparation, we choose, in fact, the one described above crop tool. We grab the mouse by the corners of the photo and do something similar.

Once it's ready, poke enter and we get this picture.

We "straightened" the walls, but the building turned out to be somehow flattened. Not ice. We do literally the following: select the entire picture ( Ctrl+A), turn on the tool " free transform" (free transformation) and just drag our jeep with the mouse by the upper anchor until the height of the building suits us.

Here's what we ended up with. All these manipulations blur the picture a little, so you need to work with a full-sized file, and not like me with a small picture with a resolution of 72 dpi. However, now we see the building, so to speak, almost the same way as the human eye sees it. In any case, I hope so. The picture, of course, is "cramped" cropped, but this is just an example. In addition, you can initially, at the shooting stage, try to "take" a little wider, implying future cropping.

Let's move on to the namba tou method. Let's use a special filter hidden so far that "many" users of Photoshop have never heard of it.

Opening the filter window Lens Correction. By moving the block sliders Transform and controlling the result on the grid, remove perspective distortion. In drop down list edge choose what the program should do with those areas of the photo that are now missing. I chose the option when they are transparent. Option Edge Extension, where the edges are automatically filled by stretching the corners, is not appropriate in this example. It doesn't look too realistic after all. With less distortion, sometimes a tolerable result comes out, so try both options and choose the best one. Also pay attention to the slider Remove Distortion. Sometimes, after manipulating the perspective, the picture becomes, as it were, convex. This misunderstanding is easily removed by this same slider. In our example, this was not required.

Next, we again need a tool crop tool. Tick ​​off Perspective need to be removed. We just cut off the defective areas in the photo, so to speak. I also cut off some space above the roof of the building.

So, the result of the second method.

For greater clarity, let's compare the original photo and both received pictures.

The first and second options, as for me, are very similar, but the source code with such "neighbors" seems even more strange. As if, on the contrary, someone tormented him in Photoshop, trying to knock him to the ground. However, let's take a look at the third method of correcting perspective distortions. It is done, in general, according to the same principle. The same eggs, only in profile. Selecting the entire image Ctrl+A), on the menu Edit select item Transform, and there, you won't believe the command Perspective. Next, drag the corners of the photo with the mouse and draw something similar to my illustration. Click enter, we observe a picture again similar to those obtained by the first two methods.

What conclusion can be drawn here? All three methods are, perhaps, identical in terms of labor costs, so choose any of them for yourself. I note that the first method is especially good for "straightening" pictures taken from the side, tablets and the like. It will look something like this:

The result will be this image.

The jeep, by the way, is a random one issued by Yandex on request "a picture in a museum." Here is the author of the photo, if anything.
Well, I say goodbye to you. I hope the lesson is helpful. I definitely know one user who has already followed my advice and his photos have become even better. This d_a_ck9 . I recommend, and if something is not clear - ask.

NB . If, due to some of your moral, ethical, or even political convictions, you are of the opinion that it is not necessary to correct perspective distortions, I will answer you that you are simply lazy and nothing more. Yes, there are times when distortions, on the contrary, add charm to photos (the same fisheye), but I'm mostly talking about, so to speak, protocol architectural and interior photography. I quote pedivikia for the most stubborn: " In this type of photography, the main task is in a true and accurate display of the shape of the building, finishes, sculptures and decorative elements. Of fundamental importance for architectural photography is the verticality and straightness of vertical and straight lines. To do this, the optical axis of the lens must be horizontal, and the plane of the photographic material or matrix must be vertical and in no case inclined."