Today I’m starting a new unit of tutorial series: Drawing Spaces.
Before drawing all of those architectural sketches and interiors, which means turning the 3D world we see into 2D illusion on paper, there is that basic knowledge you should learn and apply in your drawings. So, in this purpose, I am examining masses this week; trying to explain perspective, surfaces of the masses heading towards vanishing points on the horizon; and then, next weeks, slowly moving to architectural sketches from masses, then to the interior, maybe some amorphous masses. Let’s go on and see! ^^
So, before taking pencils and papers, I should explain the reason that we use a vanishing point and make the surfaces look like trapezoids, is because of the way we perceive the world, actually. If you pay attention you will see all the lines which should be parallel actually, are converging into a spot on the horizon, surprisingly. Once, I remember when I realized that I was like “O yes, that facade looks like a trapezoid!“. So, we use central perspective types(1-2-3 point perspectives) than parallel(isometric, dimetric, trimetric) in our drawings because they give us more realistic results.
And this week, this is the order I follow, which makes things easier:
-Grid (with the plans I prepared)
-1 point perspective (1 VP on the horizon line)
-2 point perspective, (2 VPs on the horizon line)
-3 point perspective (bird’s eye view and worm’s eye view -not under this title-)
P.S.1: VP is ‘vanishing point’, a spot on the far distance, where some of those lines meet, you’ll see. Those vanishing points may be on your paper, or somewhere outside of it. You can try both.
P.S.2: I didn’t use any ruler, obviously. I recommend for you not to use, too. Using doesn’t make much sense I think. Train your eyes&hands in every single study.
P.S.3: I drop a link for you to read if you like, about parallel¢ral perspective types, in a tutorial where I gathered information for perspective(parallel->isometric, dimetric, trimetric; central->one-two-three point perspectives.).Here is a cube as the first example, must be the simplest one. White gel pen above indicates different groups of parallel lines.
While starting it is good to prepare a grid -with slight lines I suggest-, whether it is a parallel perspective where all the group of lines are parallel to each other; or perspectives with 1, 2 or 3 vanishing points.
So after the grid, you can start drawing the surfaces with paying attention to which line heads where; you know some group of lines will meet at a far point. See the guidelines I drew above.
In my sketches all VP’s are on the same paper, this gives a stronger result. Try both on and out of paper, and you will understand what I mean by that.
We are going to the complex forms step by step. Try to see the surfaces they head toward the vanishing points, where the arrows point.
In order from left to right:
The 1st line: A simple plan, parallel perspective, another angle of parallel perspective
The 2nd line: 1 point perspective, 2 point perspectiveMasses stuck together. Try to catch all of the lines of the surfaces head towards the vanishing points and how some other lines are parallel to each other. It already looks a bit like a street view, doesn’t it?
In those examples of mine, we see the roofs, -let’s say-. We look at them downward. When you move your horizon line down(and VPs, as well) you will see how the perspective changes and you start seeing the masses from down this time.
Those lines which converge into a point, are actually parallel to each other in real life; think of pavements, street lamps, top and bottom lines of windows and doors etc. You can also extract a piece or do opposite of it in your mass. You can think of cave-like entrances and balconies here from life.
So these are the 5 examples from simple to complex. You can move your horizon and VP together, keep VP on or our out of your drawing surface and experience different results.