How to Draw Buildings in Perspective: A Street in Edinburgh



Hi, Tom here with this week's Circle Line Art School video, I'll show you one way to draw a city road in perspective, for this drawing draw a horizontal line first across the middle of your page, next we can draw two vertical lines for the corner of a building in the foreground on the right, next, if we draw a cross on the far left, this cross meet our vanishing point and parallel lines that are going towards that direction will look as if they meet, if they went all the way to the vanishing point, and we can use this to draw two lines for the top and bottom of the doorway, next we can make our vertical lines into double lines, next we can add one more parallel line for the top of the door, now this horizontal line will be a diagonal line going towards the vanishing point, because we're looking at it from an angle in perspective, we can add a curve, a semicircle, for the top of the archway for our door, next if we draw a second vanishing point on the right that will make this drawing into a two point perspective drawing rather than the one-point perspective drawing, meaning we're looking left and right at the building's rather than just left, we can use this second vanishing point to find the sides of the doorway step in front of the doorway, we can also add at this stage a thickness to the arch on the left, now we're going to see the thickness on the left because that's the way that we're looking, that's the direction of our view and to get the shape of it we just need to repeat the side of the arch that we've already drawn, now the sides of the step are parallel and they will look as if they meet at our vanishing point, if these lines were to continue all the way to the horizon, I'll make this corner of the building taller just by extending these two, the first two vertical lines, that we drew for the right-hand side of this building in the foreground we're looking straight on at the right-hand side in parallel lines the horizontal parallel lines won't be in perspective because we're looking straight at the wall, it's not at an angle to us, it's straight on at us, once the basic shape of this first building are in place we can next add some details, for the left-hand side of the building which is in perspective, going to the left-hand vanishing point, we can use the vanishing point to find all of the top and bottom horizontal lines for any windows that we need, but all the vertical lines will stay vertical and parallel to the vertical line of the edge of the paper that we're drawing on, so next we can add some windows and draw some of the details of this sandstone building, based on the roads in the old town of Edinburgh, next we can draw a sweeping curve for the curve of a road, now this road is going downhill, and it's curving so we just need to draw a natural curve that gets narrower as it goes towards the vanishing point and gets wider as it comes towards us, we could also add more curves for either side of the edge of the pavement of the road, the next step in this drawing is to add a variety of tall thin buildings, the vertical sides of all of the buildings should be parallel to the vertical sides of the paper that you're drawing on, because although these buildings are on a hill which is going down, the vertical sides of them will stay upright, we can also draw a variety of different roofs and chimneys for the tops of the buildings, this drawing is based on some of the streets in Edinburgh Old Town, Edinburgh has some wonderful architecture, a great variety of inventive buildings and in the old town it's on a hill so we're always looking down or looking up at these very tall buildings which are quite compact and they have different sort of shapes at the top of them and different windows within them as well, thank you very much for watching this video, please join Circle Line Art School to learn more, please subscribe to Circle line Art School to keep up to date with all of the videos that I make, thanks very much for watching and see you next time!

Why I QUIT my DREAM JOB as an industrial designer



going so I have something to show you what kind of a surprise as well my wife she works at a shelter and we found this dog day hi how are you she actually didn't get along with thee I guess the owners didn't get along with her so it was either take her here or she would actually be put down it's gonna be here for a couple of days and hopefully we can get someone to adopt her right you want to get adopted if you know anybody in the Tampa st. Pete area who wants a dog she's super friendly and good with cats as you can see so if she's super chill and if you know anybody let me know what is up everybody is Myron here with a new sketching video and I'm just gonna doodle in this video not really sketch anything in particular but what I am going to do is I'm going to talk about the journey to becoming a designer and why what I'm doing right now and why basically the story behind what I studied and what I worked where I work and what I'm doing right now it was a question in the comments on I think the previous video so I thought why not make a video on it and doodle something at the same time if you've been following my journey for a while or my Instagram or YouTube or any of the social media I think you know that I'm from Sweden and I write now I live in the u.s. I live in Florida I started the I always wanted to be a designer and my dream when I was a kid was to was to work as a designer sketch cool stuff next to the beach and that was my main goal for four yes since I was like eight years old I always want that that was what I wanted to do so I started by you know I always had a passion for sketching obviously because that's what I love doing and I thought how can I make a living sketching stuff and especially how can I make a living sketching stuff while I live next to a beach in a sunny warm place so that was kind of what I had in the back of my head for a very long time and I kind of led all my decisions that that guided my decisions so I studied I applied for bachelor degree in industrial design in Sweden and then I got in and as soon as well it's called mid Sweden University great school had a lot of fun I met some awesome people there good friends that I wish were living closer but it was a great time and that was three years after that I felt like cars are you know I love to sketch cars so maybe I should try becoming a car designer so that's what I did I applied to Italy to SPD and same thing there I got in to SPD in Milan and that was a year of master degree so that was cool got in there got to sketch some cars and this is kind of where where things started to change for you know for me because I had this image of what a car designer was and what what you did as a car designer but that image China changed in Italy I kind of need naive image of what I was going to do I thought it was gonna sketch cool cars all day but obviously that's not how car design works and if you're a professional car designer you're probably laughing at me right now which I totally understand that was not what I was going to do so I cannot Italy kind of gave me the feeling that there's a lot of politics I guess involved in car design and who gets picked to do what and stuff like that and you know personally I don't want any of that stuff all I want to do is to sketch things use my markers my my legendary big pen at this point and some some random printing paper and just sketch things that's that's what I ever wanted to do I thought I wanted to be a car designer but not really so hokey run so let's cut to after Italy I got my master's degree now I guess I was going to apply for a job somewhere I still had the dream of living next to a beach so I applied to to I worked a bit in Italy and Switzerland for that was very short time around three months I think after I graduated we did some I just did some concept sketches for for a couple of companies there and after I left that place I went home to Sweden and started applying the crap out of you know company so I just applied everywhere there was abroad and that met the criteria of having a beach close to so I I applied back to South of France Italy Australia I applied here obviously to the US I even applied to Canada because I thought why not I mean it would be a cool country to go and work working so I sent out I still have my old emails in my old Gmail account of all the applications that I sent out and there were a lot of applications allah-allah a hundreds maybe a hundred a day for a month or so to all kinds of companies letting them know what you know what I have to offer so I tried to do some research I didn't have a template of an email that I sent out so this took a lot of time but what I did I tried to research the company that I was sending the email to and tried to figure out what my specific skill set could help them with so what if I was the owner of the company and I was applying myself to my own company how would I present myself as a potential employee at that at my own company yeah I want to know what I can bring to the table that's number one why am I paying you to be here in my company so I was trying to figure out what they needed help with and if I was a right good fit for them if I actually can help them if I if I knew that I couldn't help them with my skills I just wouldn't apply simply simple like that long story short I got the job in Florida moved over here spent it was a small design studio I spent about a year and a half there I quit that job because I felt something was missing I went online I started the sketch monkey that's that's what I wanted to do I wanted to sketch I didn't really want to go through an entire project it took six months and do sketching for two weeks and then just do rhino and alias for I don't know how long months I just didn't like to do that and I also felt like the 95 style of lifestyle is just not something I can do I don't like to be told when I can do something I don't like anybody else to have control over my time that's a that that kind of came slowly that that realization just getting to know myself basically over these years what I actually want to do and I didn't know that from start I thought I wanted to work as a designer but that that was not the case so fast-forward I got another job in Deerfield Beach which is close to Fort Lauderdale and it was a great job a great workplace everything was perfect I had my car my Mustang and you know all the everything you can ask for from a from a job basically but I still wasn't happy and I couldn't really figure out why until I realized that you know either you keep going right now you're very comfortable I'm very comfortable at this job and I can do this for yeah sure I can I can stay here and do you know be comfortable or I can just go for whatever what it is I really want to do which is to sketch everyday and what I'm doing right now like talk with you guys and sketch on a video this is what I want to do with my time like I love doing this so I can't do it when I work at 9:00 to 5:00 and this is not my only light this is not this is definitely not the only thing I do during my days I have a couple of online businesses that I started as well in outside of sketching that doesn't have to do anything with anything to do with design it's a couple of ecommerce businesses so I spent my time doing that and it's going really well at the moment I'm not you know I don't regret anything because I I don't like being comfortable when I feel like I get too comfortable I know that something has to change and that's exactly what happened and when I quit my job so I quit my job in August of 2016 and I've been self-employed ever since since that day and I would not change change it for anything so I guess I hope that answered the question that was posted how did I get here Oh or I just wanted to I don't think I ever told told you about the whole story like this before so I think it's a good idea to do that and if you want to be a designer I mean go for it until you're there you don't really know what you're going to think about it if you're gonna like it or not so the only only way to do that is to basically you know just go ahead and go after it and then when you're there you might love it I don't know I know a lot of people a lot of my friends designer friends just love their jobs which is totally cool happy for them it just wasn't for me and that that applies to any job I just don't like having a job that's that that's the main I guess the main issue or if you want to call it an issue or whatever but the main main thing here so I it's not that it doesn't matter where I would work it's still the thing the thing about owning my own time that's the most important thing for me and you know I don't want to have to talk to engineers all day which is great because I gave engineers a sketch like this and you know what's what happens I see the product gets engineered which means that basically ruins everything that I want want to put in the product it's either too costly or the you know the they don't have the molds it can't create the moles to create it and boring stuff like that did I don't really care about which makes me a bad designer I know but that's the whole reason why I quit the design industry and just focus on sketching these days so that's that's about it I mean I don't know what else to tell you if you want to know anything else just let me know more than happy to talk about anything you want to know I've kind of done the journey to you know to get from wherever you are right not to becoming a designer so if you have any questions about that just let me know and I'm not sure where I'm going with this sketch it looks like what am i this is like the this car right here is the template of a 3/4 rear view that I sketched whenever I when I don't think about what I'm sketching like right now I didn't even like whoa it's a car here I didn't even think think about sketching when I was sketching this so I guess this is my default design and I think you know that because this car is all over my youtube channel maybe I should maybe I should build this car someday that would be cool but just focus on what you want it because I think I think it takes some time to get to know what you really really want to do that's not something you know when you're like 18 or 20 and under I don't think you know really what you want to do because even if you think you do that it's going to change that's about it comments below if you have any questions I'm gonna stop this video right here and that's about it thank you so much for watching I hope I didn't ramble too much I don't know I probably did but it's alright I hope you got the yep the points across I hope to see you next time and take it easy guys you

CONSTRUCT Better Characters- Character Design Consultancy feat. GetMadz & Midweek Critique!



hey it's Brooks as I mentioned last week I've been crunching on some client projects recently with absolutely no time left over but rather than leave you with nothing this week I thought I'd share one traditional critique that of Benjamin's but first something a little different when it comes to critiques a character design consultancy that I did for the YouTube animator get Mads a few little notes and adjustments that I had for him it's the kind of thing that I find really interesting and I think it can be valuable to you to remember that you can always get a critique of your own over on patreon.com slash beigel Dennison can't wait to get back to content in earnest next week and enjoy the critiques either get Madson so I figured I'd just record a quick video the way that I do my critiques typically just to give you some context on a few things because I wrote notes but I also kind of went into it a drawing coma just kind of working on this and so I wanted to explain a few things that aren't in the notes so first of all the probably the thing you're drawn to first is like the coloring and stuff I'll get to that in a minute based on your original here here's the here's your little avatar like with the stem actually in the head you can I did alternative head shape stuff here and you know like we're friends and stuff so don't don't worry about like if you wanted to you could straight up just trace my work but if in the chance you're like I don't really like that head shape don't don't hesitate to try something else but let me explain sort of the reasoning for this so one thing from your initial sketch that which I really like your hold your style and everything something that comes up sometimes is like claustrophobia of the features of the face there's a maybe just not enough room to express and stuff like there's very little room on the on the sides of the eyes and stuff here so what I've done is kept the eyes really big but built out the mass of the head especially kind of in the back there so that you have a little bit more room to play around with and also the the mass of the head itself is more than just a single sphere writer it's more of that that beam shape the reason for that being you when you have a character who is ahead by themselves kind of kind of like Kirby but we're not gonna think about car because Kirby's perfect but like not everyone can make Kirby essentially right this is a completely different kind of style what you're you're trying to do here or what I'm trying to solve here is by creating a head that's also a body you give the head that same sort of arcing capability that we have with our spines in order to express because a lot of expression comes from the arc of a spine forward or backwards and so that's what I kind of did here this sort of pushes in right so with the main kind of shape of the head here where it's he's kind of he's drooping forward here's a here's a version with little arms you know possibility of adding those if you want but because of everything kind of hanging while he's floating right you have a little bit of a droop forward with them but then and it's kind of a forward arc because you see there's the pinch right here and that's smooth on the outside here is just the opposite right where you still have the line for like the brows but this stretches and then this pinches in right there so that's the flexibility and that you have one thing I'll just say is make sure whatever you go with make sure you know him from all sides like this because it makes a huge difference even though so I know you do your work in character animator and stuff and so you might only have the one drawing or something right but knowing him from every direction kind of helps you to understand and really know like when an expression is right so the other idea about that I had here was your main avatar characters almost in this like 7/8 perspective right there they're almost forward-facing and even the hair pieces are sort of these flat faces and I was thinking with this character because he's mainly only ever going to be interacting with your avatar or maybe speaking to the audience right if you keep him in this 3/4 view like 3/4 view hovering over the side and then all you need to do to have him address the audiences just bring these pupils over right and now he's now he's talking to the audience kind of like a fourth wall break instead of being forward-facing right what was the next thing oh right the coloring so here's an example that's very I don't know how detailed you want to get this this version probably fits your existing style a little bit more where it's just these smooth gradients right but what I went for was because he's fruit based and everything just the things that are appealing about is that a is that a fruit pun maybe about fruit is a lot of the gradiation and spotting and stuff and then also that that little bit of shine and stuff that we get with fruit and then here is just a colored line art version and I kept some things like these teeth are symmetrical right there's a tooth on either side but you know you can kind of mess around with that also understand your your feet shape very important these are basically just Kirby or Goomba feet right they're just those little half half sphere sort of being elongated bean shapes and I think that's everything oh right that may be the most important thing and I don't know I didn't address it is the eye sockets this is the thing that you see with like most notably like with stitch or Simba right is this outer shape of the eye socket and the eyeball kind of rests inside it and it gives you that domino mask shape and it means that the eyes are a little bit more recessed into the head right like here maybe it's kind of more like this right but there's a little bit of area in front of it and that means that you get things like part of the eye being covered in here even though you don't have a nose right because it's recessed back and it just to me I like it kind of gives a little bit more of an equal vibe right the other thing I just remembered too is with these leaves and I kind of made sure I there's some spots where I did it in the sketches but not I would in these central like yeah I don't know what you call these veins right if you want to you can do like a full line from the inside to the outside like that from from end to end but then as soon as you do that make sure you kind of erase away and and cut it you don't want like these tangents right and that's when I realized once I had inked it I was like I don't really like how you're kind of cutting the shape in half instead of adding some contour to it so just make sure you do that where you never really complete these lines even though it might be that way literally on a on a leaf just from a character design perspective ya see here like that's probably not a good idea to have those touching at least not at the ends of the leaves right okay hopefully that's everything let me know if you have any questions I feel like it covered it all thanks a lot hey there bengi man let's let's get into this how's it going so I've assembled a little bit of your work here I've seen the things that you're talking about you want to improve specifically you feel like you're go too fast and that you don't know what you don't know which is a very astute I think that's like that's a good answer that anyone could give when we're looking for help right is you don't know what you don't know you it's always good to have other eyes on your stuff to help you understand what maybe you're not not grasping so here's a little bit that I've put together and the main thrust that I'd like to to get with you on is not being averse to use using angles and kind of hard shapes and being able to break things down into more complex forms if that makes sense so here's what I have as far as draw overs here's a here's a really good example of like it's it's a cute panda and everything and everything looks like it it works right but then we get to something like here where the arms are kind of one big sort of noodle set over top of the torso and ideally what we'd like to see is some actual structure there so that you understand okay the animal has a torso right then there's the arms coming off of it and the same thing up here this this shape flow is nice into the head it's something that you can you can retain it at some capacity right where you've got just kind of the arms going straight up into here and obviously the actual animal is gonna have that too but I'd like to see you show a little bit more maybe this separation of the skull shape and the head shape into kind of segments like this so for example you've got this main sort of head sphere right and then off of that like a sort of a jaw shape and obviously in the back you know it's different for every creature but in the back you've got all the neck and everything that sort of builds at the bottom so it's isn't just this one circle it's you've got additional thing it's kind of going on this is a side view of course okay so that's what I'd like to see you do a little bit more and this is sort of an example of how you can do that maybe these know I would let's see you can shave this down just a little bit right on the sides but that's the general idea right with these legs here I added a little bit of a taper for you where it's just like big feet is great and everything but we want to see just a little bit more believability and I added even some some sharp corners in here right and that usually a sharp corner or just an angle right is like the edge of a basic 3d shape and so you kind of have to know that in order you need to know that that information is there before you can actually add it right so just think about in terms of your characters as you're going forward think of them in those those basic shapes right try and wrap your head around them here's another one here where I just did a little bit with the pose here we've got so here's let me turn this off I realize that for other people watching it's they need to be able to see the original heart and work right so this is go stood out that's what it looks like so that's your original pose for our human character here in the middle and here's the change that I made let's bump that down a little bit more so this is just a slightly more relaxed pose instead of the shoulders kind of being up here in the arms coming off like that it's not really a position we tend to find ourselves in and this arm here is kind of coming down and then not resting at any point here so instead I have her just kind of resting it on the side maybe you know it's coming through the bag or over top of it right behind it something like that you can incorporate the bag from there but even with if she was kind of resting on the bag it would be a little bit closer right and the same with the feet here I think this is kind of important is the positioning of them right now is sort of like one foot is completely sideways while the other one is facing forward it's a little bit of an awkward especially when you're trying to do that like it usual your feet kind of end up in an l-shape I'm kind of doing it myself here but to have one foot forward and to the side isn't really a natural position up here you'll notice that with the head that you've got here there's that it's kind of one basic circle right and kind of like we were talking with the Panda the head is a little bit more complex that than that so this is see we've got sort of the main head sphere here but then just a bit of a jaw line coming down off of here even when a character or a human being is very round faced they still don't have a truly spherical head right there's a lot of extra information going on I also did a little bit of work here and down on the acorn where you're just finding a central line for the head right but find out what direction or angle the head is facing so for us here it's it's kind of this it's toward us into the side a little bit and then from there you can add things like the eye sockets right which are right here and that way you have a little bit more indentation and it allows you to lay the the things like the eyes eyebrows and the eyes in a way that that makes sense in perspective right so we have our eye here behind the nose just a little bit right and the nose it falls exactly on that center line okay so even if it's just if it's turning the head a little bit more from where you're you initially had the pose that's sort of the idea going forward and of course here you would just want a little bit more of a skull if this was you know actually bold up bald otherwise you know a little bit of the hair kind of indicating that there's more back here is definitely helpful for you okay sonic is honestly I feel like a deceptively difficult character seems it seems to be a simple character to draw at first and of course there's people who are great at drawing him and have a lot of practice and here what I I noticed specifically I've got a little bit of a pose change for you here where the energy kind of pushes up a little bit more so that there's this curve in the back and maybe that you know the chest comes forward a little bit more like that and then again not being afraid of sharp angles we we can still have a rounded elbow on this arm but you kind of want that to be the intersection of two 3d shapes right here right so we can still round that but we want a clear difference unless you're going for like a truly you know adventure time really wavy arm style right this arm here is just recurving a bit so it comes down and out this way and then curves in the way that you have it that's a natural thing that we find in the arms is there's sort of this this shape instead of just a pure Bend and that's like on a a bone structure on a muscle level those are those hurt it was going to be true and then up here in the face we've got just like here's a you know I'm not very practiced with Sonic but just considering the shapes that are being used this line here is a little bit uneven right you've got kind of a a change here that that makes this all flat and another area here which I meant to mention on this part of the head is a little bit of an indentation where the eye socket is if you feel on your own eyes there's that that socket even to the edge of the face kind of where your temples are in a little bit lower if the face is actually making you know from the side it's making that kind of indentation it's a little bit exaggerated right but they aren't just laying flat and so if if your eyes aren't laying flat then that means the edge of the face has a little bit of that curve to it especially at a little bit of a three-quarter view so that's something I would kind of cut into here and then this line and this line as far as like the center of the face seemed to be a little bit at odds with each other so again that's why it's useful to use some lines that kind of indicate the overall flow of your character first and then everything can build off of it and things won't necessarily contradict it okay these a current ACORN characters excuse me down here are super cute and so that same idea of using a 3d shape is what I did here kind of redoing this guy here a little bit so here it's that same idea of like a disc versus a ball right so this shape maybe it's hard to indicate or a little bit harder to indicate that things are 3d but as soon as you see if you've done a good job of it here where you've got kind of the arms overlapping on one side and and being hidden behind on the other but just something to kind of keep in mind is allow things to sort of wrap around each other and avoid areas like this where something that clearly has more to it past what we can see not just cutting it off because that might give us the appearance that oh maybe it's just kind of a paper cutout or something like that okay and something like here this could benefit from you know a single line of action running through your character just kind of get a pure pose and maybe help refine some of that anatomical structure okay so hopefully that was helpful for you just a few things to kind of work into your flow a little bit more you have a lot of charm and appeal to your work so it's just some of those technical things to brush up on all right thanks a lot Ben you man you