How to draw objects in perspective. How to give the impression of depth

In order to create a drawing competently and realistically, you need to know some laws of perspective and be able to work with them. Perspective is a whole direction in the art of drawing, which helps us determine dimensions various objects, changing depending on their location and distance from us - these can be houses, other objects, in general, everything. Perspective also serves to make our drawing three-dimensional. Now let’s take a closer look at what perspective is for artists.

Perspective in a drawing takes into account the point from which we look at what is happening, what we see from this point, and at what angle we see the objects in the drawing. Most of the laws in this area were developed during the Renaissance. Since then, artists have been able to depict pictures from any point of view and make them three-dimensional. The laws are based on straight lines, which, given certain rules for their application, will accurately indicate to us the sizes of objects as they move away. When we start a drawing, we try to transfer a three-dimensional scene onto canvas or paper, so how do we do this?

Parallel lines, which go towards the horizon, will tend to one point and converge at it on the horizon. Also, imaginary lines that continue the lines of the object converge at one point on the horizon or at eye level. The closer an object is to you, the more distorted its shape will be. For example, a matchbox next to you will distort (decreasing vanishing angle) much more than big house far from you. Closer objects or plans appear larger than distant ones. If you draw from life, then measure all dimensions with a pencil.

The space you are drawing can be divided into three conventional plans. The distant plan is what is in the very distance or at the very horizon, medium shot and the close-up is what is directly in front of you. Objects become smaller and smaller as they move away. For precise definitions of these dimensions, straight lines are used that tend from the edge of the surface of the most forward objects to the horizon and converge to a point. In this way, the correct perspective can be built.

A very important component in perspective is the point of view or the level of gaze, the level of the eyes, which can be called differently. View level and horizon are the same thing! If you stand in front of the rails on a railroad track, you will see that the rails run off into the distance, become smaller and closer to each other, until they converge to a point that is exactly at eye level. If you sit down, your eye level will decrease, the area above eye level will noticeably increase, and below it will decrease. If we take off on an airplane, then both the eye level and the horizon will fly up, and will not be somewhere below. Thus, we have found out and will remember that the horizon and eye level are always at the same point in front of us.

If you stand in front of the building, at the very foot, then you will not see its roof. This also applies to smaller objects. For example, in this picture, your vision level is at the middle of the stairs. Thus, you see the top of the steps below your level of vision, but as soon as the steps pass the level of vision, not only will the surface not be visible, but the steps will gradually tend to cover it more and more. Such seemingly elementary little things need to be remembered and applied in everything, initially dividing the plane of your drawing into two parts that separate the level of view. If the perspective lines are above your gaze level, then they naturally tend downwards - towards the horizon, if these lines are below your gaze level, then they will tend upward.

From the first time everything seems to be clear and elementary. But these laws must always be remembered when you start drawing. Thus, you will be able to depict full-fledged three-dimensional objects, from houses to boxes, and three-dimensional space.

On following example we see how lines can help in drawing a building and various objects on that building. As a result, all the imaginary lines showing us a narrowing perspective converge at one point, which is exactly at the level of our gaze.

Drawing lesson. One-point, two-point and three-point perspective.

One-point perspective in drawing. There is only one vanishing point here. It could be a tunnel where our gaze is fixed on only one vanishing point, or we look up at the top of a skyscraper. Such a perspective with one point where all straight lines converge draws the viewer in, creating a feeling of flying into the distance. However, many artists try not to use one-point perspective, as they consider it rather boring and monotonous. This type of perspective is best used when you know for sure that only it is applicable in this drawing.

Two-point perspective.

Two-point perspective is much more common and is welcomed by artists. This could be an outdoor scene or an indoor scene where the viewer is surrounded by various items, walls. The scene in such cases extends in several directions, all of which tend to converge at points on the horizon. Typically in two-point perspective there is a left and right vanishing point on the horizon where objects tend to go. Some tend to the left point, some to the right. This perspective also occurs with the upper and lower vanishing points of the lines. The last one is not entirely clear, but I will explain what it is. This could be the case when a person walks forward and looks up, or he walks forward along a street with skyscrapers. In such cases, when a person looks up, two vanishing points are created - one below his gaze, where the road and the bottoms of the buildings go, and the top, where the vertical lines will converge, emphasizing the height of the buildings.

Three-point perspective.

This perspective is much more difficult to build, but all the more interesting. It is used when the artist wants to show that he is looking from below or from above, and not directly. In this case, you need to place vanishing points along two horizontal points: a point on one of the sides and a vanishing point in front on the horizon, a vanishing point on the left and a vanishing point on the right + a vanishing point along vertical lines. If you are looking from above, then buildings and other tall objects will taper downwards, if you are looking from below, then, accordingly, buildings and other objects will narrow towards the top.

In the future, calculating the sizes of all objects is difficult at first glance. But now that you are familiar with its laws, you need to correctly depict only one object in the drawing, determine the border, the level of view, and then the remaining objects can be determined only by continuing the lines from the main object, for example, a building. For example, a building with a perspective stretching into the distance and two people following each other. The person behind will be shorter than the previous one, but how can we determine how much shorter he will be? It's pretty simple. We draw a line parallel to the line of the roof of the house, only now not from the roof, but from the top of the first person’s head. This line will clearly indicate how tall the person following will be.

This concludes the lesson on drawing and building perspective. If you still have any questions, ask them in the comments. Follow the site's releases to stay updated on the next drawing lessons. Good luck!

Drawing perspective is considered the most difficult aspect of art. However, the mistakes young artists make are often the same and can be avoided with a little effort.

• The lines do not reach the vanishing point.

Figure 1.1

Such errors arise as a result of inattention or lack of understanding of the basics of perspective. Before you start drawing objects in perspective, I highly recommend reading the tutorial or article "Perspective Basics" on our website.

There are two main aspects when working with perspective:

• ALWAYS "send" your lines to the correct vanishing point, otherwise your drawing will look awkward. Double check your work if necessary.
• ALWAYS use a ruler. Even if your style doesn't mean absolutely straight lines, still use a ruler and pencil as a guide, and then modify your lines as you please, at least you will have the right reference points.

Figure 1.2

If you prefer to draw on a computer, then modern software drawing tools such as Clip Studio Paint or Manga Studio 4EX or 5 will make things much easier for you. These programs have "perspective tools" that automatically snap your lines to a similar point.

Figure 1.3

A similar error appears if several lines do not converge at the starting point.

Figure 1.4

If one line of the plane comes out of the correct point, and the other does not, then the drawing will look awkward. We must remember that the similar point is ALWAYS on the horizon.

Figure 1.5

The correct perspective is shown in Figure 1.6:

Figure 1.6

• Depth

Any object has depth. However, it is not always what you imagine it to be.

Figure 2.1

The correct depth is shown in Figure 2.2:

Figure 2.2

This is what a correctly drawn cube looks like.

At the very beginning of their training, young artists draw depths that are much longer than they should be. This error can only be corrected by practice and double-checking.

Figure 2.3

The table shown on the left side of the picture is huge.

Moreover, the closer you are to the horizon, the “thinner” the depth of objects should be.

Figure 2.4

If you walk along these buildings, they will be a kilometer long!

The correct image of the depth of objects looks like this:

Figure 2.5

Be alert to the scenery on the horizon. Do not draw buildings tens of kilometers long. If it's a central perspective, then you can easily get by without depth.

Figure 2.6

• Repeating Depth

When drawing repeating parts, such as columns holding up a building, street lamps etc., many errors also occur. This is mainly because many people try to do it on a whim. However, here you also need to use a ruler.

Figure 3.1

Draw the first area (Figure 3.2):

Figure 3.2

Draw three lines in perspective (Figure 3.3):

Figure 3.3

Draw a diagonal(Figure 3.4):

Figure 3.4

Draw the following line from the diagonal (Figure 3.5):

Figure 3.5

Continue drawing diagonals and lines as shown in Figure 3.6:

Figure 3.6

Now use a basic sketch to complete the painting:

Figure 3.7

• Surfaces parallel to the horizon

This in itself is not an error. However, for the beauty of the picture, you can always make some adjustments. For example, rotate the table a little or reduce the height. This way you will achieve a better look.

Figure 4.1

Figure 4.2

When surfaces intersect with the horizon or each other, it looks false and does not benefit the composition.

Figure 4.3

The painting is yours and you decide what to do with it, you are not forced to place the table in this exact place, just move the table.

• Lines without changing width

Another thing that helps in depicting depth is the width of the lines. It's simple. The closer the line, the thicker it is, the further away, the thinner it is.

Figure 5.1

Figure 5.2

• Details going to infinity

The lines become thinner as they move away. You have no reason to draw them ad infinitum.

Figure 5.3

Extra lines in the drawing greatly distract the viewer from the main, main object. This mistake also often occurs when drawing objects of the same type, such as a brick wall. At a certain point, drawing each individual detail can harm the drawing, so you should stop. Most the best option, this is to lower the drawing level as you move away.

Figure 5.4

Also, as the object approaches the horizon, it is worth reducing the resolution detail. Using windows as an example (Figure 5.5 - too many details in the background)

Figure 5.5

Figure 6.1

And don't forget to make the lines thinner.

• Objects without depth and completeness

Another mistake that looks disgusting in the illustration is unfinished objects without depth.

Figure 7.1

This window looks like a sticker on the wall.

Drawing depth is a boring process, but you can't do things halfway. One way to correct the situation is to look at the photo.

Figure 7.2

Of course, many people have their own own style, but even the simplest kind of drawing must be based on reality. This kind of preparation never hurts.

• Exaggeration of central perspective.
  • Error in placement of vanishing points and exaggeration of perspective.
  • The character is out of perspective.
  • The vanishing point is the point at which parallel lines of an object converge in a perspective image. Each separate group of parallel lines has its own vanishing point. Depending on the direction of the lines, vanishing points are located in different places in the image. There are main, central, air, ground, distance points, and also an inaccessible vanishing point.
  • F1 - for horizontal lines of the main facade of the object;
  • F2 - for horizontal lines of the side facade, forming a right angle with the first ones;
  • F3 and F4 - for square diagonals;
  • F5 - for the ascending lines of the main main facade;
  • F6 - for downlinks;
  • F7 - for ascending lines of the side facade;
  • F8 - for descending lines of the side facade;
  • S is the vanishing point of the sun's rays when it is behind the viewer.
  • Perspective - department descriptive geometry- one of the methods of depicting spatial bodies on a plane or any surface as we see them when directly viewed from any one place - the method of projection with rays emanating from one point - central projection.
  • planar - image on a plane;
  • panoramic - on the inner surface of the cylinder;
  • plafond - on the inner surface of the ceiling above any room;
  • theatrical - on a number of separate surfaces;
  • relief - perspective in which the image has spatial forms;
  • diorama - a combination of a picture painted on both sides on translucent material or glass with three-dimensional objects;
  • architectural - in which buildings, streets, etc. are depicted;
  • stereoscopic - in which two images of an object are drawn on a plane according to the rules of linear perspective.

Central perspective has limitations - if you place objects too far away it will look weird.



Figure 8.1

The blue object is a cube. Red... no.

Despite the fact that some masters purposefully change the perspective, they achieve stunning results. It is worth noting that these people deeply understand all the rules of drawing. If you are just at the beginning of your journey, try to avoid this. Do not place vanishing points BEHIND the drawing:



Figure 9.1

Do not place vanishing points inside the drawing:



Figure 9.2

Again, you don't have to draw everything. If you notice that the perspective becomes strange towards the edge of the picture, crop the drawing.



Figure 9.3



Figure 9.4



Figure 10.1

The characters must also fit into the interior. You can't have little people next to a huge door.



Figure 10.2

Be careful with proportions.

Also be careful about the relationships between characters.

Figure 10.3



Figure 10.4



There can be a lot of vanishing points when constructing a linear perspective, but the main ones are the following nine:

An inaccessible vanishing point is a vanishing point located outside the picture, which prevents it from being used in perspective constructions. There are techniques that make it possible to construct perspectives of lines that extend through this point without using it.

1. linear perspective - considers the rules and methods of depicting the contours of objects, and exactly the boundaries of their own and falling shadows and constructing reflections;

2. aerial perspective - looking at visible to the viewer illumination of objects in relation to the strength of light and shadows, color and color change depending on the distance of objects to the viewer, the influence of reflected rays, etc.;

3. analytical perspective deals with determining the position of image points by calculations;

4. geometric - determining the shape of the image using geometric constructions.

Besides, certain types prospects are:

Perspective constructions are essentially constructions of conic projections, and with geometric point view, orthogonal projection and linear projection are the same. An orthographic projection is a projection provided that the point of view is removed to infinity. However, not every conic projection is a perspective.

There is also such a thing as aerial perspective. Without linear perspective, depth cannot be depicted. The laws of linear perspective must be kept in mind when starting any drawing, and drawing is the king of fine art.

Linear is the science of geometry, this is a construction, these are straight lines, circles and ellipses, points and segments, etc.

Aerial perspective It is easier to see in painting, in landscapes, than in drawings. Although in the drawing it is also required. In short, everything that we see further from us is less bright, less clear, smaller in size, less visible details... That is, we see the distant plan as if in a “haze”, through a layer of air.

I won’t tell you a secret, air also has density and color, and the greater the distance between us and the object, then the amount of air (atmosphere) will be greater and the color less rich. If there are impurities in the air: dust, fog, smoke, rain, then there will be more blur. Therefore, the depicted object in the background will be generalized.

The first artist to describe aerial perspective was Leonardo Davinci. He coined this term.

By means of drawing (graphics) we can also create ILLUSION space.

If we take our lesson with a cube, it will look something like this:

Examples of aerial perspective in painting are shown below:

A. Adamov

In the paintings you can notice one general law: the background is not saturated with color and tone. Usually it is drawn with the addition of white and with the addition of a gray, gray-blue tint. Thus, the second and third plans become more faded than the main, first plan. But this is all individual and depends on the task at hand.

For example, if the picture is in red orange flowers(sunset, in a forge, military theme...), then the background will be in warm shades (red, orange, yellow), and not in blue. However, the tone of the background should also be softer than that in the foreground.

Bulygin Nikolay

It is recommended to depict the close-up in warm colors, and the distant ones in cooler colors. In front it is necessary to make contrasting, bright spots, drawn objects, a clear pattern and dark shadows. This can be seen in the photo below

P. M. Monsted

When depicting fog or snowfall, the effect of aerial perspective should be enhanced. That is, the more impurities in the air between the plans, the greater the blurriness, and the color long-term plans becomes more homogeneous.

But it’s better to see the aerial perspective on the street, and even better in rural areas. This is how theory becomes practice.

The second plans are less clear in drawing. The details are not indicated, they are made generalized. Also, shadows from objects are less saturated. This is clearly observed in mountainous areas. Photo below.

Ivars Jansons

At the presentation of these masterpieces we can imagine the work of aerial perspective. Paintings by such artists as: Garmash, Nikolay Bulygin, P. M. Monsted, Ivars Jansons were used.

I hope you understood everything and now you can easily apply your knowledge in practice. You have more chances to create paintings and become.
Good luck...

Video for the mood:

This introductory lesson on perspective in drawing.
A perspective drawing lesson will help beginners master the principles of perspective.

Objective of the video lesson: Find out what perspective is in drawing, why it is needed, what types it is divided into. Learn what frontal and angular perspective are. Master the basic rules of linear and aerial perspective, without which competent drawing is impossible.

This lesson and article, drawing perspective, introduces viewers and readers to the laws of perspective.

Basic rules of perspective.

The word perspective itself is translated from Latin as “Look through.” Perspective is the science of depicting objects as one sees them human eye. That is, with apparent changes in space (linear, light, color, tone, contrast). We need perspective in order to depict objects realistically.

Perspective is divided into linear and aerial. Linear perspective is the apparent dimensional changes in space along the contours of objects that can be depicted with a line.

Aerial perspective is the apparent light changes in space that are conveyed by tone and color. Aerial perspective has its own laws and linear perspective has its own laws, we will consider them.

I will give the laws of linear perspective at the level of a good draftsman, but not an excellent one. Because perspective in serious drawing is a symbiosis of geometry and drawing, but from a slightly different perspective, although with the same laws. You can verify this by taking tutorial V. M. Ratnichin “Perspective”.

And in order to begin to understand at least a little in perspective, that is, to master First stage, Ernest Norling's book will help you Volumetric drawing and perspective." It provides basic concepts such as the horizon line, vanishing point in a very accessible way for beginners, and there are many explanatory drawings. You can download this book from this page.

Perspective is divided into two types: frontal and angular. Frontal perspective is, for example, if you take a cube, bring it to eye level and see it as a quadrilateral without planes, like a square in a notebook. And angular, this is if you look, for example, at the same cube from above or below or from the side, that is, when you look at it at an angle.

Angular perspective is when an object is located at an angle in relation to you and you can see its edges, edges, planes.

Frontal perspective - when an object is located frontally in relation to you and you see only one side of it.

I explain all the laws below in the lesson.

Let's consider the laws of linear perspective.

Let's consider the laws of linear perspective.

1. In order to depict the depth of space, you need to partially overlap the distant object with the near object. That is, to make a plan in the drawing. In a training drawing, they usually make about three plans.

2. A near object is always visually larger than a distant one, if they are the same in height in reality.

3. The closer the object you are drawing is located, the lower its base is to the edge of the sheet. The farther it is, the higher its base is from the edge of the sheet. If there is another object that is located further from you in reality, when drawing, the higher its base is in relation to the object that is closer to you.

4. All vertical lines are always drawn vertically, without changes, except for those cases when the object is very tall and we look at it from the top or bottom, for example, we look and draw a high-rise building. Or, for example, you are standing near trees with your head raised up.

5. Horizontal edges in an angular rotation (angular perspective) must be depicted obliquely.

6. Horizontal ribs in an angular position should be depicted shorter than in a frontal position (frontal perspective).
7. Frontal perspective is depicted linearly without perspective changes. And in the corner - you need to depict linear perspective changes. We depict it as we see it - horizontal lines, for example, will be shorter than vertical lines of the same length. We also draw perspective reductions of objects in space (a linear decrease in the size of objects in space, in relation to you.) You must also be able to see the direction of the horizontal edges of objects.

8. The closer the horizontal lines of objects are to the horizon line, the more they contract. That is, the closer they are to the horizon, the shorter they are in length. A plane located on the horizon line is depicted as a straight line.

9. If we turn the circular plane in relation to the eyes frontally (frontal perspective), then we draw a circle. And if we turn it at an angle (angular perspective), then we draw an ellipse. Depending on whether the ellipse is rotated horizontally or vertically, it will be located either vertically or horizontally.

Let's consider the laws of aerial perspective.

Aerial perspective refers to the apparent changes in the characteristics of objects under the influence of air environment and space.

1. We depict as we see, we see all nearby objects in detail. And deleted ones in general. That's how we draw.

2. All near objects are perceived clearly, but distant objects are perceived vaguely. Accordingly, to convey space, the contours of nearby objects need to be made sharper, and distant ones softer.

3. The further away the object is, the lighter it seems, the closer, the darker we depict it. At a great distance (landscape, for example), light objects appear darker, and dark objects appear lighter than those nearby. That's how we draw.

4. The closer the object, the more voluminous it seems. This occurs due to pronounced light and shade when the subject is close. The further away an object is, the flatter it appears. To convey space, we depict nearby objects in chiaroscuro in a more voluminous manner, and distant objects in a flatter manner.

5. All distant objects are covered with an airy haze and acquire the color of this haze - violet, blue, light blue, whitish. To convey space, nearby objects need to be depicted as bright, and distant objects as pale.

6. All nearby objects seem to be multi-colored, and distant objects appear to be single-colored; that is, to convey space, all nearby objects must be depicted with different colors, and distant objects must be the same.

For this lesson, I will recommend you an excellent book that gives you the basics of perspective. It is well suited for beginners in perspective drawing. It competently and sensibly explains and shows the rules of perspective. If you start studying perspective, it’s better to start there.

Margarita Makarova "Perspective" "
This good book in the future, it is for students of universities, colleges and artistic direction. It shows perspective images of interiors and perspective drawings of architectural structures. This is not a superficial book, so I recommend buying it only for those who really need a perspective with in-depth knowledge.

In the art world, perspective is still about your opinion and how objects relate to each other. When you learn to draw, you learn the importance of perspective. It's all about how you view the world, and that's exactly what Patrick Connors teaches in his video, The Artist's Guide to Perspective.

In A Guide to Perspective, Part 1, Connors shares the basic lessons of perspective and shows how you can learn to draw by seeing objects differently. In Part 2, Connors expands on these drawing lessons by demonstrating how to do one- and two-point perspective; he then applies these painting techniques to complete the still life piece by piece.

Why do perspective and perception go hand in hand?

Although the basics perspective drawing seem pretty straightforward, the possibilities of how you can apply perspective to your art are vast. In fact, perspective is almost synonymous with perception.

What I mean is that you can use the principles of this technique to create your own perception of the world around you through art. You have the power of illusion, the ability to make the viewer see what you want. You can change the perception of your art just by mastering the basics of perspective drawing.

How to learn to draw in perspective? Well, first, let's look at a few key terms you should know before delving into perspective drawing, extracted from the book, Perspective for the Ultimate Beginner, by Mark and Mary Willenbrink.

Linear perspective

Visual depth is expressed through linear and atmospheric perspective, as well as the use of color. With linear perspective, depth is achieved through the lines, dimensions, and placement of shapes. Although compositions may vary in complexity, the basic terms and definitions described in this section are inherent in linear perspective drawings.

Horizon- the line where the sky meets the earth or water. The height of the horizon will influence the placement of the vanishing point, as well as the viewing level of the scene.

Vanishing point- a place where parallel lines appear together at a distance. In the picture below you can see how the parallel lines of the road recede and visually merge to create a single vanishing point on the horizon. A scene can have an unlimited number of vanishing points.

Ground plane- a horizontal surface below the horizon. It could be land or water. In the image below, the ground plane is level. If it was sloped or hilly, the vanishing point created by the parallel path lines may not rest on the horizon and may appear to be on an inclined plane.

Orthogonal lines (orthogonal lines)- these are lines that are directed to the vanishing point; for example, parallel lines of railway tracks. The word "orthogonal" actually means a right angle. It refers to right angles formed by lines, such as the corner of a cube shown in perspective.

Vantage point, not to be confused with the vanishing point, is the location from which the scene is viewed. Point of view is affected by the placement of the horizon and vanishing points.

One-Point Perspective. Linear perspective with one vanishing point - one-point. The vanishing point usually appears in the central part of the scene.

From this vantage point, you are looking at the plane of the earth towards the horizon in the distance. Parallel lines of railway tracks converge at a vanishing point on the horizon. If the box lines were drawn back to the horizon, they would converge at the same vanishing point as the railroad tracks because the box lines are parallel railway tracks. Notice that all the lines in this scene either converge at a vanishing point, are vertical (perpendicular to the ground plane) or horizontal (parallel to the horizon).

Two-Point Perspective. Linear perspective using two drop points is called two-point perspective. Scenes in two-point perspective usually have vanishing points located on the far left and right.

Here is a two-point perspective looking across the plane of the earth to the horizon in the distance. The parallel lines of the train tracks and the box converge at a vanishing point on the far right. Other box lines that are parallel to the railroad tracks have the same vanishing point on the far left. All lines in this scene converge at either the left or right vanishing point or vertical lines (perpendicular to the ground plane).

Multi-Point Perspective. Linear perspective should not be limited to one or two vanishing points. A scene may have multiple vanishing points depending on the complexity of the item. For example, three-point perspective is similar to two-point perspective; it has left and right vanishing points on the horizon. In addition, there is a third vanishing point neither below nor above the horizon.

In addition to having dots on the left and right, this scene has an additional vanishing point below the subject. With this design, the horizon is above the subject. Each object line is an orthogonal line and goes to one of three drop points.

With two-point perspective, these vertical lines remain straight up and down perpendicular to the ground plane. In three viewpoints, the viewpoint is either looking down or looking up at an object. Instead of vertical lines it has a third set of orthogonal lines that converge at a third vanishing point.

Atmospheric perspective

Atmospheric perspective, also called aerial perspective, conveys depth through variations in values ​​(light and dark), colors and clarity of elements. Foreground elements in a composition have higher contrasts, more intense colors, and greater definition of detail. At a distance, values ​​and colors become neutral, details are less defined, and elements take on a dull blue-gray appearance.

Atmospheric perspective occurs because particles in the air, such as water vapor and smog, affect what is seen. Shapes viewed from a distance are not as defined and have less contrast because there are more particles in the atmosphere between the shapes and the viewer. Likewise, the wavelength of color is affected by distance. Blues bounce off, while longer color wavelengths do not affect particles in the same way. As a result, blues remain more prominent than other colors in the spectrum.

Values (values)- these are light and dark shades of the composition. Values ​​can affect the impression of depth in a scene. High contrast values ​​tend to appear in the direction of low contrast values.

Stage lighting (lighting) influences the shadows and values ​​of shapes. This may also affect the perception of these shapes.

When drawing, depth can be expressed in both linear and atmospheric perspective, as well as through the use of color. Combining all three will produce optimal results.

Creating an indoor unit

Now that the basics are covered, here's a fun step-by-step perspective drawing demonstration that plays with the power of illusion. This tutorial involves sketching squares with lines that recede to a single vanishing point. Depth in the finished drawing is conveyed through linear perspective and the use of values.

Materials needed to complete this demonstration:

• Paper: 8" x 8" medium texture drawing paper; 8" x 8" medium texture sketch paper
• Pencils: 2B and 4B
• Soft eraser
• Lightbox or transfer paper
• Ruler
• Triangle
• T-ruler

Step 1: Draw the squares

On a piece of sketching paper, use a 2B pencil to form a large 8" x 8" (20 x 20 cm) square. Draw small squares inside the larger square, using a ruler to mark the lines. The measurements should be the same from top to bottom and left to right: 1.3 cm, 5 cm, 1.3 cm, 5 cm, 1.3 cm, 5 cm. Draw lines using a T-ruler and a triangle to ensure that they are straight and precise.

Step 2: Add a Vanishing Point and Orthogonal Lines

Place a dot in the center of the paper for the vanishing point. Start adding orthogonal lines from the corners of the squares to the vanishing point. Avoid drawing lines over the front surface, which should remain white.

Step 3: Add More Orthogonal Lines

Continue adding lines that converge at the vanishing point.

Step 4: Tracking or Image Transfer

Use a 2B pencil to easily trace or transfer a structural sketch onto a sheet of 8" x 8" (20 cm x 20 cm) drawing paper. Leave unnecessary lines.

Step 5: Add Light Values

Add lighter values ​​with a 2B pencil. Make the values ​​darker as the inner shapes recede.

Step 6: Add Internal Values

Add averages. Continue to darken the tunnel shapes as they recede into the distance.

Step 7: Add Dark Values

Add darks and details with 2B and 4B pencils. If necessary, highlight any areas using a soft eraser.

Don't forget to sign your work! Because your work is a unique expression of yourself. This will give you a sense of accomplishment and will also help you keep track of your artistic skill development.