HOW T0 sumer weouseer: DRAW by Scott Robertson with Thomas Bertling designstudio oDEDICATION, This book is fr those with a passion for drawing and leorning, Never stop! BEYOND THIS BOOK: Bi Slop-bystep videos ate an integral part of the How To Drow educational experiencel Use & emariphono of lablo! fo open a GR Reader app and écan this QR code, I links to the Dosgn Studio Press imagerecagnition app needed to play the videos. Download the DSP opp, scon Scot's photograph from page 008 and an introductory video wil load ‘All of the pages in this book tha! link to educational videos have & "play button" at the botom, Heiss & No smartphone of lablel? No worties, Go to page 205, ype in tho URLon ery computer to gain access to th entire links lie Copyright © 2013 Design Studio Press. Al Rihis Reserved. [Ab ext ond ertwork in hiebook ore copyright © 2013 Seat Robaton, Thomas Boring uniess done by on of heir Foxmerstuen's or as noted throughout the book, No pot ofthis Look may be reproduced or arsmited in ony form or by any meons, elachenie or mechanical, ducing photocopying, erography, and videegraphy racorcing wihou' writen petnision om the publisher, Design Ski Pes Copy Editors: Haliase Kon! Erika G. Bertng, HewherK. Danns, Jessica Homer | Graphle Design: Cecio Z> Published by Detign Sidi Prose ‘Address: 8577 Higuera Stee, Cover Ciy, CA 90232 | Website: warw designstdiontesscom | fom infoBdevigrenchopress com Peited i China | Fit Eden, November 2013 oee7es4a2t brary of Congress Control Mombers 20/9943944 | MardcoverISBN-12: 978.199349279'5 | Paperback I$BH-13s 978-193349259.9 004INTRODUCTION | race 001 TABLE OF CONTENTS ciueree01 Drawing Materials and Skills | rst re 12 013 14 os, 016 7 os a1 ‘cuarrer 02 Perspective Terminology | rkct020 022 023 : 024 026 027 030 032 033 034 @ 036, 037 . 040 a2 043 046, oe on, 050 051 053 054 os7 058 061 062 068 Choosing Your Drawing Moierials Choosing Pons and Poper The Craft of Drawing Procicng Freehand Straight Lines XYZ Coordinate System Practicing Freshard Smooth Curves Practicing Freehand Elipses Drawing on Ellipse onthe Minor Axis Defining the Perspective by the Viewing Position Cone of Vision -COV Finding Vorishing Points or the Picture Plane Physical Parallel Lines Converge to @ Common Vanishing Point Horizon tine Ralotve to Position cnaeret 03 Perspective Drawing Techniques | rst ore Division and Multiplication of Dimensions in Perspective Mutipying ond Dividing Recongles Dividing into Odd Numbered Proportions Mincring in Perspective Mirterng Tied Panos Mivring Rtaed, Tited Planes Mirering 20 Curves Mirering 8 20 Curve ono Tid Surface Mitoring 30 Curves in Perspocive: The 2Curve Combo Perspective Grid Typos Pexspecive Grid Constuction Diagonal Vanishing Poin, Sttion Point Method 2ein Grd Construction with Vanishing Ports onthe Page Roleted 2Point Grids with Same Sized Squores Tronslering Scale in Perspective The Brewer Method: Constucting @ Grid wih Vonishing Points of he Page Creaing © Grid of Squares, without Diagenel Vanishing Pints When io Use & CompulerGenerated Unceroy ‘Otho: Bonois and Ways fo Use an Underlay Not Al Perspective Grids Are Created Equal Assembly and Exploded Viows Scot fetter | Thence iting | OW TO peAW 005cchartes 05 Ellipses and Rotations | nceory - 072 073 ora ora o75 076 078 079 082 084 085 086 088, 089 090, 092 093 094 096, 100 loz | Pace 04 108, 10 2 15 Ne 18 120 124 126 128 130 132 133 137, 142. 146, Scot Rebahon | Thor Bact | MOM TO DRAW Ellipse Basis ond Terminology Placing 0 Circle in Perspective or Drawing Elipses Creating « Cube Using Elipses Offseing Ebipses Hinging ord Rotating Flaps and Doors Subdiviing Elipses Shericuts to Dividing Elipses Placing @ Circle on a Sloped Suface Plonning Belore Perspective Orthographic Views, 0.k.0. Cxhogonal Views or Dak Views Transfering 0 Side View ito Perspective Puting All Together: XYZ Section Drawing Extending the Sections 2Curve Combo Counting Volumes ‘Adding Rati and Fillets Wrapping Grephics Detoiling and Sculpting Surfaces More Tips for Medifying Complex Volumes Contour Lines, Overlapping and Line Weight XYZ Section Drawing Applied Photo Underlay Site Planing ‘Thumbroil Sketching ‘Non hoto Blue, Then Ink ‘SciFi Environment Stop-by Stop Warp Thot Grid with a Wide-Angle Lens! Ouidoor Environment Sketch Stopy Stop Airplore Anatomy Visual Research Drawing from Observation Loose Concept Skeichir "Paper Plane” ideation "Poper Plane! Perspective Grid Drawing 2 Foper Plane, StopbyStep Using © 3D Underlay Final Airplane Drewing Stopby Stopcuariee 09 Drawing Wheeled Vehicles | ct ise 154 Visual Reseorch 157 Hove an ldo or a Goel Bofere Starting to Sketch 160 Some Basis on Vehicle Packaging and Architaciure 164 Flexing Your Creotivity 166 Grids, Grids, Guid 169 Drawing a Side View in Perspective 170. Drawing a Stylized Side View in Perspactive 174 Basie Body Sculpting 173. Drawing the Windchiald and Greenhouse 176 Wheel Walls, Wheels and Tires in Perspective 178 Common Avomotve lines 180 Cor Drawing Construction, Stepby Step Grid 186 Vehicle Sketching with a Wide-Angle Lens cuarrex 10 Sketching Styles and Mediums | re ee 190 Ballpoint Pen 191 Copic Morker + Ballpoint Pen 192 Graphite Pencil 193 Colored Pencil 194 Pilot HITEC Pen on Newsprint 195. Copic Merker + Filo! HITEC Pen 195 NonPhoato Blue Colored Perel + Marker + Brush Pen 197 Pentel Pocket Brosh Per 198 Copie Morker + Pen + Gouache 199 Govache on llustalion Board 200 Toned Poper = Mixed Medio 201 Digital: Sketchbook PRO Glossary | nets Index | rast 203, Additional Resources | past 20+ Video Links | race 2% Bios | race 207 Special Thanks | rast mxINTRODUCTION a 4 Drawing is olmott @ magicel power. enabler you le commanizata in «a diferene way than spoken or writen language. Perspective drawing lets yeu convey how things work and bow they look. You can inspire ‘thors wih something as simple os a pen end a napkin! When | erected Design Studio Pros, ths isthe fist book I over intended to write, Wel DSP turned 10 yeots od this past Morch, With 55 other books already in print, 0 much for Hon A! Finally, wit the hap of my good friend and longtime coteacher, Thomas Bering, | bring you the drawing know-how I've tough for over 18 years in my own workshops and ot rt Center College of Design Ciganiaing this book wor lke © sport whero you train for yeort in cxder to compete ot @ high level for @ few seconds. We combed through over @ decade-and.aholt of dems ond lactxos to frulate the poges we now present 0 you (Once you masier these monageable perspecivedrawing exercises, you will have the knowledge steich anyhing from your imagination, to think like © designer and drow things the world hos never seen! Becks are great for looking ot beoutifully printed reproductions of eriginal drawings and reading about the thoughts ond matbods Lechind those drawings, but video might be even better for siep-by ep demonstrations, For that reason, many pages of this boat lnk fo coline tutorials. Check out page 004 for a ful explanation of how lo ee the Datign Studi Preze app. Alnest ll ofus drew when we were kids ond sore of us never stopped, While takes practice to mosier the techriqus in this book, ifs worth the effort, Humans have been drawing for ove 40,000 years so you're cout to acquire one ofthe oldest forms of communication. Jump in cord do the basic exercises a the beginning ofthis book with possion, ‘As you mattor these ancint dll, poss olong the krowiedge ond teach thers he wonders of perspective deowing fem their imagination, Lets drew! Set Kebecton Moy 31, 2013 los Angeles, CaliforniaDRAWING MATERIALS AND SKILLS In this chapter you will learn cbou! all the basic tools needed to get storted with drowing. There are two cotegoriet: materiel: ond skill Ite importont to know how to pick the right materials fo tho jab of hord. As the topic ond inten of the skeich changes, so wil he mater cls needed. tick lose skeches require © good flow of nk to paper cond sometimes stokes should be very igh find “hoppy accidents” inthe drawing, Tight drawings need clot of alteion. Optimal, one fen is used 10 generate vorying thichness0s of lines. To achieve the bes! workflow, moth different kinds of pope to diferent pens. When you find your Faovite pen, make sure fo buy several Sometimes thot beloved pon gost out of production wey too fast CHAPTER Building up mechanical drawing skills is an important factor in ere ‘ating great drawings. It might seem simple, to draw a straight line, se oF curve, But these skills mus! become ingroined in muscle memory 0 tha! concentration can be spent on constuction versus thinking cbout how to create the lines in the constuction. Also, these skills will help create clean drawings that can be dene quickly ond passed along the production line easily. Not having i use multiple ‘cols will dio speed up the drawing process. Building muscle memory takes tine ond practice, so be potien!t Toke fon the exercises one af « time, ond soon your sil wil improve. Scot Rboticn | Thoms Bring | MOW TO BRAN 11,CHOOSING YOUR DRAWING MATERIALS In the begining, © lo! of money does not ne material, ll hot i¢ really needed are pers, caper and a few basic fools. Brand names don't matter much, sola’ ge into the ceria for choosing materials, Basic tools [A circle template is quite vse to clean up cides, especially in side compass is ice to hove, but the circle omplate is foster to use. uiemotive curves. But don't rely on them to diciale your design Always drow your lines Freehand ond then vie the sweeps to clean io avcid ink globs on the poge, dab the ballpoint pen frequently on oberon | Theroe Barking | MOWTO DRAW Equal spacing divider ‘An equal spacing divider is @ superhandy tool that divides any tance into even segments 5. Strightodge Use siraightedge to cansruct grids for underlays 6. Ellipse tomplate sot Useeligsetemplatesto cleanup elipses.Alvino Picket are recommended brands since they work fo mot situations. A good tof olineo guides ie {an investment, but worthwhile because it wl lst decodes.Pens Paper CHOOSING PENS AND PAPER ‘Motch the pen to the poper in order to create drowings with different line weights. idelly, you won’ to be able 10 draw both construction lines ond contour lies without switching your drawing el. ellpoint pens When choosing a ballpoint pen, tes! it on the poper that you plan fo use most frequenlly 10 soe how much ink builds up on the tip os rmuhiple lines ore sketched. A pen thot can sketch at least 10 lines without forming on ink glob on theta is best. Wo erasing! Being able to erase is not an advantage in this sive of dewing. There Cre so many inereecing constuction lines thot i is necly impossible to erase anyhing wihout disrupting these valuable shortcuts thot belp to explain your deaming. Plus, erasing slows dewa the drawing process a lot ‘So whot can be dane whon exesing is no! possible? Drew lightly I's os ‘imple os thot, Sure, some lines might be incorred, but you can clean up the drawing later with an overlay Refer to the last chapter of this book. page 188, for examples of combinations of matericls used for vaious pee of drowings. Choose 1 poper thot works well with your prefarted drawing toe. A rougher poper will be able to produce both thin ond thick lines with Faster owing bellpint pans Types of Try many combinations of pens ond poper until 0 favorite ie found, ‘Anything from cheap copier paper to specialy papers will work There ore 2 couple of specially papers that work well with markers as well cs pons, Be swore thet there are wo sides fo these papers: one side is waxed and the cther is raw, Alwoys draw on the raw side, The ‘waxed side is there to preven! markers from bleeding through to the ‘ext page ond is terrible ta draw on with markers. Softness of the Drawing Surface This i¢ not refering to the paper isalf, but how i is used. Drawing ‘on a sof surlace enables the bes line quality. Do nol work on 0 hard surloce with o single pioce of paper! Hove at leat! 15 pages under @ drawing to get the best line quality possible. vunderlays, oak for poper that i transparent enough so than an undetlay can show though, but not so transparent that the table shows through \whon you prosent your drawings. ‘Seon Robeson | Thomas Boning | HOW TO DRAW ———— O13THE CRAFT OF DRAWING Drowing requires full concentration! Initially you'll spend most of your ‘energy on craftsmanship and construction and very litle on design. The more craftsmanship end construction skills become muscle ‘memory, the more design con become the fcus. The First step in his Set up a workspace ‘ Learn to draw one straight line ov ‘Scot Rattan | Tomo Baling | NOW O DRAW process is to practice the bosic craft of drawing lines: straight ines, controlled curves ond ellipses. This book has several good exercises for practicing these skis, As skills increase, the need to practice these exercises wil diminish, Let's start with ome wormup drawings. ear the space in order to stay focused, i's best clear enough space and time fo conmit fully fo the drawing. Heve o clear work surface with tools o! the ready. Flow wil be broken when a pen 3 stoightedge can't be found! The worst part thatthe sth is lot for thot drawing and what wat clear ton minutes ogo will che oncther ton minutes Yo understand agoin. Have a sof pad ta draw con wih fleas} 15 pieces of paver underneath the crawing for best lino woight result. Being able lo drow stright lines from point fo point and in o gr is ‘xzental for oll of tho techniques in this book. These exercisas may seen simple, bu! to do them well means burning through some poper to build the necessary muscle memory. Lefs look ot the body mechanics thot are necessory to achieve consisenty sight Ine. You erly noed to lagen how to draw one svoigh lino, Ato the! roteo the poper 10 change the line direction Without this technique, keeping the paper in a lixed postion would leed to hoving oleern how fo draw an infinite number of straight ines Draw with the whole arm! Fo long ines, use the elbow and shoulder [oints; is almost impossible to achieve this ky only using the ws. Draw slowly! Lines need fo be repeaicble and controlled. Draw each line once and do ret Hace the some line ever and over agoin Ghost the line! Go through the movement with the pen hovering ‘bove the poper. When the correc! orenlation is found, drop the pen fon the paper and drow fine arching? 1. Muscle memory might have to be rewired whan @ line thot feels stright ile drawing tesulls in an arch (ted line) 2. The bos! way to counterbalance isto drow a line tht feels Ike the opposite arch (green line). 3. Aer some practce the feeling of drewing © sircigh line and the ‘ont will match up (bive lina,PRACTICING FREEHAND STRAIGHT LINES Drawing porallel lines Sor! off with chert lines, something in the 3.inch range, and work up tothe ful length of the paper. Make eure to engage the ene crm ‘nd tha lines are deawn consciously: they should be repeatable ot the Aiming lines point to point Below are two ways of prociing. Fics, draw a coupe of points ‘on the poge and connec! them. Remember to rotate the papor 10 cient one sroigh’ line tho he body knows how to drew. i's ine to ‘overshoot the pols slighty to improve How. Drawing boxes in perspective fin way t proctce drawing sroight ines st draw boxes in T-point perspective, Drow o Horizon Line (Hl) and choose a Vanishing Pint [VA) Drow @ rocangle and conrac each cormorto the VE. Craw another rectangle in he distonce between these lines and you have @ box! HL some length and spacing, Draw lighty. These are the fundementols for rowing constuction lines. The second exercise it to draw lines that meet in one point. Start to drow at any point outside of the center, draw a line through the center, and confine, Drow through, which means 1 draw even the edges that would noi ba seen, because they ore behind the box. Draw the complete box with light construction lines, then darken the inside edges ond the outlines of the box. The cullines should be darkest. Trove linas again and cegain fo achiove diforent line woights Sect ber | Thora Beng | NOW TO DRAW osX-Y-Z COORDINATE SYSTEM Sketching in perspective requires understanding the X¥Z coordinate system. Each axis points foward © Vonishing Point. Eoch plone is perpendicular to is axis. Stay in contol of your drawing by olwoys knowing on which plane you ore sketching. This system is used no! only to thetch boxes, bo! fr all complex for. ‘To drow a box where no side is perfectly perpendicular tothe viewer, point perspective is needed Drawing a box in 2-Point perspective Ht 1, Draw the Horizon line (Hl). Then draw the front commer of @ box. This establishes he X, Yond Z Axes. we HL 2. Extond the X Axis and the ¥ Axis lings from the botom of the vertical, nil they intersect the Horizon Line. The inloroctions of theso lines erect the left Vanishing Point (IVP) and X AXE Right Vonishing Point RV] for the drawing, we H {3 Draw lines from the top ofthe vertical, to the Loft ond Right Vanishing Points. Then od two verticals a! any distance. we i 4, Close the box by drowing ines from the top ofthe two new veticas tothe Left and ight Vanishing Point Add the resuling hidden vertical inthe bock we HL 5. Dorken the visible edges of the box. The rowing stil shows the light constuction lines. This is what it means to "deaw through," which is very helpful to conkol your drawings 016 Scot fetoren | Thomas Belin | NOW TO DRAW Y Anis SRY AKis eve eve RyePRACTICING FREEHAND SMOOTH CURVES Drawing requiras net only straight lines, but curves too. There iso skill to drawing smoot, accelerating curves. When working in side view you determine how the curves flow; in perspective, the constuction detates how the curves low and it can sometimes be surprising how radically some curves move in perspective. Drawing curves through multiple points Proctice drawing occelerating curves through multiple preexisting nat end points. Otherwise, the segments will hove to be redrawn points. A smooth, graceful curve is optimal. Tis is dane bes! by _muliple limes ord that causes fuzzy/heiry lines. Keep procicing {rowing the curve n segments, sing the guide point ae waypoints, curves To prevent hs fom happening, —_—_——+ —. a _— —_— C — * NS Ne po Place points thot follow your intended de. sign, then creaie @ smoath curve through those poins. Rotote the page while drawing cond use the natural curves your wrist and Fingers drow. I's fine to draw the curve in sogments; is not necessary to draw it ot ‘one continuous line. Do NOT 0 NOT Create 0 curve with edges and comers. Create a fizzy line. Soy focused ond ‘Avoid this by seeing the poins as waypoints methodical. Contol the line os much os rather then endpoints, possible so thot the fark con be repeated ‘over and aver ata high quality. ‘Scot Robeson | Thomas Bot | HOW TO DRAW owPRACTICING FREEHAND ELLIPSES Elipses occur frequently. They ate essentially circles in perspective, comfortable placing ellipses, stor! by drowing a contlled clips. ford some obvious ellipses ore wheels and gauges. But they are In lotar exercises, placing a circle in perspective, which bacomes an also needed in constructions to rotate doors and objects. To become ellipse, will be exploined. Drawing on ellipse and adding the minor axis 1. Draw a freehand elipse. Make sure to move the whole orm 2. Draw with o light line. Later, the drawing can be cleored up with €on ollipse guide. Do not darken the lines too much by repeating the strokos, Even if you drow an incorteeallipse, drawing over and vor ‘twill only make t more obvious, Too dark aad too mony lines ved line weight 3. Check thot the elipee has no flat spate and ie not lopsided 4, Place the minor axis on the elipse, The minor axis isthe ine Hat vides it in helf across the narrow dimantion ofthe elipte moking each half equal to the other. The minor axis ploys on important role in placing the ellie in perepactve, 20 finding and controlling iti eszonia eiay 5. Deublecheck with an ellipse guide o fold the paper olong the \ ‘miner axis and check tha! the two halves line up on top of each othor by holding the poper up othe light. Flat spat Round Draw minor axis Clean up with Elipse Template Fold elipse along minor axis on top of ise (1), _—<‘eananiiactanraernaneDRAWING AN ELLIPSE ON THE MINOR AXIS Now switch tp. Oraw the nino: axis fist ard then ploce heelipse over Moke sure hot the elipse is symmetrical. Check hat i is on axis. The it Align the hand correc by lating the paper to ge the bes ore. rniner axis needs to be centred and perpendicular to he drawn elise > XD \ Minor axis fist then drow the ellipse Perpendiculs, bui ct symmetical Ellipse is not perpandiculor to axis 4 i Drawing ellipses defined by the minor axis and width Draw te minor axis, then alinetothe lf ondihe ightoit Makesure hese lace the elipsos cn the minor cx and mech hem the width fhe 0 oer Ines ae symmetica et will ke impasibie lo draw eligss that fi. eddtonl nes, Vay he degiee [how narrow or wide they ore os we ‘Sct Robern | Thence Bering | HOWTO DRAWPERSPECTIVE TERMINOLOGY Explore this chapter to fomiiarize and refresh your knowledge of perspective lerminology. The ecus i on the lerms ond principles that {are essonial to navigate perspective drawings and 19 design objocs and scenes from your imagination Remember, @ trua version of wha! is seen is not created, but rather emulated, since stereoscopic vision is not possible on poper. Humans have two ayes, which ollows us to see in 3D. Drawing in perspective it «© cheat, en aperoximation of how we see the world This chapter will explain the rules tha! exist to create the best illusion ‘on paper. Once the rules have been mastered, i's okay ta break them intentionally. However, ifthey are broken accident con sabotage ‘what you ate Irving 10 convey to the views. For example, imagine CHAPTER 02 you want someone to view you fantastic Kndscape ond house os someplace they would wan! to lve. Instead, © nagging question comes 10 thoi mind—something is add and they cannot figure out ‘hot iis. This quesion is iggered by on inoccuaie perspective in your drawing and should not have happened, since the goal wor fo, talk about the project, not perspective This wos unintentional ond ended up dsiracing the viewer from the goal. Knowing the fundamental cles of parspacve wil ellow you to join the discussion ond exploration of perspective knowledge. There ore rary books ha! cover this terminology in depth, ord doing adiional research is encouraged. Join the community and star exploring your con questions and finding answers tha! ellow for judging work and heloing oer. Scot Pebeton | Thomas Bang | MOWTO BRAW 021DEFINING THE PERSPECTIVE BY THE VIEWING POSITION Defining the viewing position is essential to conrcing the perspective rowing, Keep in mind thai photography is being replicated inthe rowing: toro, its oxseniol'e define where one is standing, ho viewing dtecton, and the lens being used. This knowledge will ply Defining Point of View - (POY) 2. Picture Plane 022, Scot Robarnon | Thoms Bang | OW TO DRAW to the quessed perspective, the constructed perspective, and even to the computergenerated perspective. The rules need to be known so i! becomes obvious when they are being broken. Let's look of the following sivalion. A grea! picture of o building is token with o camera and displayed, Another porton wants to toke the some shot when visiting the same location. In ordar for this % happen, the second photographer needs io know the location, viewing diroction and the lens to use. This ie the come information needed 'o create a drawing 1. Ground Plane ‘The poston ard direction where the photo wos token needs 10 be known. This could be on the street, on © bridge or onthe sond at the bach. Whetovor surface on which the phologropher wos standing or siting is the ground plane, Tha’s simple on Earth, but what cboot in ‘outer space? in space itwoud sil be considered as siting or stonding ima spaceship ond this would determine the ground plane. What i the ship is removed from the equation? Then thnk ofthe ground plone 13 the extension ofthe soles of the feet Station Point + (SP) Now thet the ground plane is established, the location and height (of the camera—or in the cate of a drawing, the eye—noeds te be disclosed. In @ drawing this spot is called the Station Point. Think of the Staion Point os @ point in space that has no direction, Line of Sight The diecion one is locking isthe Line of Sight. The Line of Sight thor the vertical and horizontal lines fallow the perspecive grid. ‘5. Use this technique to find even subdivisions. Ths construction has been further divided into 1/4.as well os 1/16 (shaded pink). 8 Sect febotion | Thomas Bring | NOW TO BRAWDuplicating a rectangle, in perspective Reverte the tachnique uted to divide @ rectangle inorder to dupicata ‘oy reciangle. This wosk great for building symmetrical objects, since ‘he duplicaion line eon be a centerline, toa 1 1. Define he rectongle and the direction to muiply = toward. Since th height wil sty the same, ex'end the lines that go toward the mulpieaton direction. / 2, Find the midpoint of the mulilcation axis This point con be found with the diagonals or by exiting the halfway point when the dividing line is horizontal or vertical - | ~ 3, Draw o diagonal thot connects the for corner ofthe initial rectangle through the mispoint until i crosses the extended line. 4. Drow a parallel ine from the intersection to find the boundary of he duplicated recongle. TP: Choose the shorter line (green) to draw! There ore two possible diagonals but the chertor one i he beter option, cince chorter hand. TIP: Multiplying in all directions ie possible with this metho drawn linas re more precica «rs ons ttn | How Baan onMULTIPLYING AND DIVIDING RECTANGLES Pay olfenton to your craft and make sure to draw light consirvetion lings. The rectangles can bo cbsorved aviomotically foreshortaning Rotate the page fo get the best postion for your aim to draw those stroigh’ lines, Evertvaly there will not be @ need to draw oll he lines; some tick marks wil sufice. } / os 1. Drow a lower and on upper line toward a common Vanishing Point. 2. Ceave a vectongle with hwo parallel lines, 3, Now that there is @ bose rectangle, muliply ether toward or away from you. The reciangles wil foreshocien auzomerically in perspective. Multiplying and dividing boxes ‘More fun are the constructions where you slack boxes on top of ‘one another. Draw through! Show the hidden edges of boxes where they are helphul. This is 2 way to double-check the constructions Wotch out when moking corrections. Avcid dking multiple lines to find the right ono. twill only darken the lines end drow atontion the ateo of uncerainy. Just drow ore ine and core ity making on educated guess os f© where the octal subdivision line should be. Tis will produce cleaner drawings and wil be foster! ‘ovtomatically. Should lines not meet ot the expected intersection, go bback and check where things started fo misalign. Being deliberate ‘bout this wil increase loorning speed, Scot Rebarkn | Thomas Bering | HOW TO BRAWTop view DIVIDING INTO ODD-NUMBERED PROPORTIONS Whot hoppers if hete is © need to divide by 9 or more? This can kee cczomplshed with 0 very fundamental technique of ransfring 0 ‘propotion ino perspective. In ths example las scbdivide a rectangle into 5 equal units 1. Define the plone. 2. Draw a line poral to the Horizon tine, stoning ot the front edge of the plone. Divide this ine inlo $ equal togments. 3. Connect the las! subdivision pin o the end of he plone and ‘continue the line tothe Horizon Line. All lines orale! to this line will convocge ot this some Yonishing Point 4. Drow porollel fines in perspecive from each segment pola’ othe newr Vanishing Poin 5. Draw vertical lines at each of the intersection poiats to transfer the subdivisions. Youhave divided « recngle into ‘5 qual sections, in perepocive. Perspective view HL -——————_— Ht pee v |e y ve Hu = i P | ve Hu Sconobaion | hones Baring | WOW Y RAM 033MIRRORING IN PERSPECTIVE It is essential fo be ble fo mivror elemenis to daw symmetrical objects, To miror any point in perspective, use one cf there rectangle muliplication techniques. These techniques are very versatile and can be mixed ond matched, Mirroring horizontal planes Omidpoint 1, Draw a rectangle ond 2 perpendicular miror plane, Extend the ‘widih lines of he rectangle toward the mieroe plane until they intersect, it. Drow diagonals in the rectangle to find its midpoint, and draw a line from thot point, in perspective, to the mirror plane, 3. Mirror the far line by using the mutiplication technique, 034 Sian Rober | Thomoe rting | HOW TO DRAM 2. Use the mirror point to mirror the closer line tothe mitror plane: ‘withthe multiplication technique, then move on to the far line as 4. A mirored plone has now been created. This technique con be opplied for other parall plane constucions. Remember this is cll bosed onthe multiplication techniquel +— EI 1. Hore, the some tochnique is use to mirror plane. Craw diagonals fo find the midpoint ofthe miror plone for mirring Mirroring offset planes 1. Set up a plane that hovers above the ground ar mirror plane. Extend the lines ot each ofthe comers in the mirror direction 3. Complete the plane by folowing the perspective gid and using the Vertical lines to define the size of he plone. 4, Darken the outer edges 2. Extend the widhh dimensions of the rectangle for the expected postion of the mirrored rectangle ond find the centerpoint Mirroring vertical planes — rt 3. Complete the consrction with the diogonals ond find the height of the mnitrored rectangle, Dorken the lines ofthe resitng rectongle 2. Mirror the font line by using the multiplication technique. os Scot akarson | Thoms tarling | HOW TO DaaMIRRORING TILTED PLANES Mircoring ted plones uses the some technique of multiplying rectangles, Thete cide by side examples illurate this principio. They ‘are seporate consructions, miroring diferent ited planes. 2. Cheote © point [A) to mitror Extond the titled plone line (ted line) and the misror plano lino to mork he intorsecton point (8) t Drop © vartical line from the top ofthe ited c plane to the ground plone (Cl, if i is not already there os part of he constuction, 1. Sot up a ited plano ond the plone to bo used as a mirror. Use @ parspectve grid to determine where both plones are located in sp0¢e, relaive to each other. Ths is essantiol to stay clear on the construction . “3 i. A 3. Use the mulpication technique to mitror point A, fo create point D, point until i crosses the inersects the curve, mmicored diogonal Thore ate now thee pins for the mitered cure: the sir! poi, he fendpoint and the new point js! created. 5. Draw o line fom 6. Repeat the previous tho intersection of the ep, but this timo uso the 2 centetine of the tihed horizontal middle line 19 plone to the curve. “ Find the intersection with Tronster the information the curve, fo the mirrored plone. Thate lines can be moved to wherever the tonsler pint ie desired, osz Scot Robson | Tomas tng | HOWTO DRAWMIRRORING 3D CURVES IN PERSPECTIVE: THE 2-CURVE COMBO 1. Build © full construction of the 3D curve, This is done wih the ‘2curve combo technique on page 089. Knowing where the line is in sp0ce is esientiol for these drawings. 3. Repeat ths process fr theres ofthe points on the curve. Mirroring some “Srategic points instead of al poits is an opfion hee, but in the begineing ‘edd encugh points £0 thatthe curve can ba found with confidence. 5. Once the curve ie mitrorad t's time to find the footprint of he ‘curve. Drop in the verticals until they cross with the exiended lines con the ground, 2. Stor! with mitroring the staring point of your curve. The rectangle is being duplicated, but skip the vertical line since the vertical is nat essential to the goal. Guessing the mitror point is possible here since there is vary litle perspective foreshortening in he vertical line, 4. Connect the points to find the mirtored curve and draw a smaoth line. one point seems off ust compensate os needed. 6. Now there are two mitrored curves! one 30 curve (green) and one flat curve (black). This technique creates @ 3D volume at the some ime it mirrors the curv. Scot Roberson | Themes Buteg | MOW TO DRAM 042Scot Roberton | Thomas Baling | MOM TO BRAMCREATING GRIDS ‘This chapter focuses on constructing and understanding grid. The most commonly used perspectives have Venishing Points thet are off the poge. Grids help ai lines toward those Vanishing Points Grids coms in very hordy when working with complex drawings ond ‘multiple objects, Understanding the basics of grids is important in bbeing able i decide how fo use photographs or compulergenerated underays When netkrg wihou agi lot of effort is span irying ti ne the corel rection, with he worst pat being not knowing whether oc not the lines were on target. Having a bosic gr llevites his problem by aiming the lnes. This makes it possible to concenrate on constuction Cond lat, on design, ot drawing becomat nore automated. CHAPTER 04 Evonivally you can stop using grids for the eaty things, bu for dificulh constructions with hinged parts, rotated elements, and mutple views of the some object, base grid is very help Grids can be reused offen since they are no! dravin on, but rather placed under the drawings. A grid used as an underley should be 6 preci e+ possible, ond ifs important to choose the most effective way 1o creole it, based on is potcuar use. t con be hond-deawn with @ skaightedge, drawn in 2D sofware or generated by 3D software. Creating process and updeting it on © regular bess it pot of being © designer ond o problem sober. Scot Roberton | Thonos Bening | HOWTO DRAW ————— 045PERSPECTIVE GRID TYPES let's look ot © couple types of porepective grids thet are often producie. To make things more complicated, it also depends on the ‘escountered ond that are useful for drawing. It's important when user's comfort level. There is no absolute right or wrong. These ora cheosing @ grid 10 consider the purpose of the final dicwing. guidelines; not the low Some grids are beter for the ideation of an environmen! than for |-Point Perspective Drawings The l-point persgecive grid ie excellent for ideation ond adding perspective to 0 sideview sketch, Ws eosy to generate ond the perspective fom let to right and up to down is e0sy to contol. This makes # simple to ronsfer proportions, since they are one foone and just scale smaller when going ee