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“I m kevin hill and today i m gonna try my best to teach you you about perspective. I m not gonna get caught up in a bunch of technical. I m gonna try to show you how they actually worked themselves out in the painting. It should be fun.
And if you re enjoying these and you want to see more be sure to leave a like and subscribe for more painting videos alright let s get started now as you can see i m using acrylics today. I ve got my acrylic brushes my palette. Which is dirty from last time and some of my acrylic paint. If you haven t seen it before there it is i enjoy using it it s really nice the colors are very bright kind of cheery okay i m gonna show you a road so how often do we do rows actually haven t gonna do the bad stuff on the side and the good stuff on this side.
How s that cuz. I can show you the bad one first how often do we do roads like this okay. I m just using water here to thin it down i m not gonna waste my good medium right we do roads like this that snake back now you re thinking well what s wrong with that perspective. It gets smaller well here s the thing just like we learned before it looks like we re in a helicopter looking down on it because it just doesn t expand it s not big enough when you re doing roads and paths.
The proper perspective and perspective is you know it narrowing let me show you you know like that would be perspective right. I m not good at drawing. Just so you know so that s like a road going off into the distance right. There s your you ve probably seen this example before and there s that horizon line it vanishes in the distance of the desert or something right so that and then you got your little poles like that right so that s good.
But this path doesn t do that see that that will erase that this path doesn t get big enough so let me show you over here. The proper way to do a path. What you want to do is you want to start. And i want you guys to get it about well.
I m gonna say about half the size of the canvas. The only time you don t do this is if you are doing a footpath that you want to look really really small and you ve got other items to scale such as the big bush or a big big tree. You would know is really big and right there in the foreground. But watch this i want you to expand that path out very quickly and evenly as you go.
And it takes up oh easily half in fact you know way more than half that way it c creates better perspective look at the difference. See how that looks weird and and flat..
And this actually looks real yeah. That could be a that s a sketch you know for a painting. You could just start your painting. And you d have a wonderful composition already alright next thing and these are just the simple things really let me do a house once you learn the most important thing.
Which is the horizon line and how objects work in your painting. The scale and size of them to create that perspective throughout the painting. The rest is not so hard let me show you a house here s the wrong way to do a house. So you got you you start with your eaves.
It s looking good your roofline. See that kind of flat. Now. I m gonna do one on the other side.
And i ll show you the differences as we go. And when you re doing a house. Although you don t always think about it you can draw a little line. So this is i think called a vanishing point or something like that i m not up on the name.
So you know me i m. I think. It s got to come all the way out there there we go see how this works everything needs to come back to that point. And then you can cut your building off at any point.
That you want oh look at that look what happened it looks like that building is going way way back watch. When you put a front door on this one right. There watch. When you put a front door on this one do you see the difference you see how this one that the front door helps you to kind of see see they ve looked at almost okay until you put the front door and that low something s wrong with this house.
See the difference on this house. This one shrinks back into the distance..
So. What you do is you just draw a little point. And you do this in your imagination. You don t do it on the painting.
And you connect each line up just like i did even the bottom line. Although it seems severe look at how it actually looks good cool. Huh. Just for the sake of the lesson.
Let me just wipe this out before you so you can see it better mmm actually you could do this when you sketch and then just white out since reason girl look at that mmm that was actually really cool so there you go that s how you create perspective in the house. Now. If your house was up on a hill. Then your line would be lower.
And everything would be sloping down to it this is more kind of like in the houses level and our you know you d have some rolling hills and a foreground in your canvas would probably end somewhere right about there we re just taking a couple seconds to create the next bad example just didn t think you d want to see it have you ever seen a landscape that looks like that if you ve ever started. You know kind of a beginner started a painting. I ll bet you have i know i ve done a few like this here s the issue. There s no depth.
And you have to build depth with layers. And you re creating a perspective throughout the entire landscape right just like a road. How everything recedes as it goes toward that horizon. Let me show you the first problem was these trees and excuse the terrible looking evergreens.
I know that you guys can paint evergreens or if you can t we got some good dvds on it these evergreens back here were a little too big. But i realized that you know i don t want a painting that goes back 100 miles. I want one goes back just to the other side of the lake. So i will make these have a little height to him maybe.
There s not quite as much okay there we go over here we ve got our trees look at the height difference. I m gonna mark the top of those trees the other they all start below the background tree line let me mark the background tree line maybe in like red for you there s the background tree line okay do you see that so that s our background and there s our horizon..
Would be right about here and then all of our foreground trees. Although they re much much bigger they end or they begin rather way lower. That s that s not a good thing. Here s what needs to happen they need to grow.
If you want them that size. That s okay you need to bring them up. Okay. Let me show you what i mean and obviously you use tones that you know darker tones in the foreground which i ll try to do as well but i m gonna do virtually the same size tree so i ll go down to right there just to show you it s not the tree.
It s the placement of the tree and when a zigzag this color in like this and you ll see very quickly make it a little darker so it stands out there it is same exact size tree. It s not the tree size. It s the placement and look at that we re creating depth now we see a little perspective. This tree is bigger.
Those trees are smaller as they recede just like the house check this house up see how there were seeds. It s the same idea even though. This is not a man made structure. This is where it gets complicated.
This is the one that people it s not that it s complicated. It s just that you have to think about the perspective in a little different way because it s not so it s not so plain to see not so plain to see cool like that and they re creating more depth. Now. What would be better than over here.
These little tiny evergreens they they look all right there they look like whole saplings. Let s do one just to show you that you can do it we re gonna put it right there no it has to start it doesn t have to because it s a sapling but i m gonna make it start just above that tree line and then right next to that sapling. What we can do is check us out. We re gonna do a big tree.
And what this is gonna do is give it a big wide base. There it s gonna create more of that perspective and honestly it again..
I i know there s a lot of technical rules on perspective. Here s what i do personally to keep myself from going too. Crazy. Yes.
I like for me to just kind of look at nature and go with it i don t necessarily know i mean i know that this is all prospective stuff. I just don t know exactly all the right terms. That s okay you do it because this was exactly how it appears in real life. That s it you re you look at nature and you copy it.
But the idea is creating some perspective as you go back so that it recedes watch this you can you can come i don t want to mess up our painting. But look let s see how you can kind of draw those look like see that you can kind of imagine like a little road going back. There everything works as far as the perspective. Which is good so just remember when you re doing the landscaping this applies to any landscape or seascape.
Actually your waves and a seascape is make sure that everything fits you can kind of almost feel like you walk back in remember. If you if you want to make things bigger stick them up you know come up make sure you stick them over the horizon. So that things receive from the top and the bottom like this you don t want things receding. Where the tops are below the tops of the trees hope that makes it it s easier to see a pin.
It is to explain it they see how everything recedes. I m actually gonna draw a line. I m gonna do it i m gonna draw a line everything kinda recedes down like this it doesn t have to be dead center on the canvas. It could be anywhere you know.
But just generally things tend to receive down into the painting pretty cool huh well. I hope this short lesson on perspective has helped to clear things up just a little bit and also help you as you learn to create even more advanced paintings. I hope you had a great time don t forget to check out our website dvds and brush line thanks for watching. ” .
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