The Perspective Course
Understanding Perspective(101 Lessons )
Intro to Perspective
Materials to Spare You Pain
Depth Tricks and Old Masters
Intro to Forms
Orthos and One Point
Orthos and No Point
XYZ
Grids
Eye Level
The Picture Plane
Wide Angles
Bonus Lessons
Mastering the Skills(0 Lesson )
4 Point Grids and Curved Perspective with Philip Dimitriadis
270
Course In Progress
Course In Progress
Philip Dimitriadis is back to show us how to build a four-point perspective grid from scratch in Photoshop and why making your own grids helps develop real drawing skills. You’ll also learn about measuring lines, overlap, and drawing believable environments for animation or storyboarding.
Newest
Kai Ju
6d
don't have a lot of patience for this kind of thing but still gave it a shot and i think i got the hang of it
Dedee Anderson Ganda
14d
Testing with 4-point Downshot, I can get a sense of height elevation with right angles but manipulating them into curved slopes that we often sees in nature is difficult. Especially connecting them to structured object such as staircases. 🤔
Dedee Anderson Ganda
14d
ah I also messed up diminution of them fences
Shayan Shahbazi
15d
Hello there everyone, hope you are feeling and doing great, after 5 month finally I am back in the game, I was working in long shifts, and I was working on my drawings as well. I missed so many fantastic assignments even though I was thumb nailing for a project name "captain Sapphire" and doing the practices that Marshal recommended I haven't post any of my thumb nails yet. but after seeing this video, I thought to give it a shot and this happened. Thank you for everything.
Dedee Anderson Ganda
14d
Heyy welcome back and what a nicely distorted angle of the city you made!
Dermot
15d
That's brilliant Shayan - I hope you get some feedback.
:)
Dermot
16d
Thanks Philip for the 4 Point demo.
I'm not familiar with Photoshop, so this is interesting for me too
.
When creating the grid at the beginning each line is adding separately.
Is it possible once you have three you could copy and paste all three to give lines 4, 5 and 6 and dragging them as a group ?
I suppose if you were using this grid a lot, you would save it as a template or would that be too mechanical for creating a casual drawing?
Sita Rabeling
18d
Great exercise, but I was hoping on a better result. Maybe next time. 😊
Dedee Anderson Ganda
17d
It is still a charming piece :)
Randy Pontillo
18d
Here's to many next times!
Dermot
19d
Thanks for another interesting lesson.
It's brilliant to see how thing come together.
:)
M C
19d
@Marshall Vandruff and my wonderful classmates: I need help. I'm trying to use perspective to draw a 3/4 head thinking of a cube, and then the same head same position, but rotated back around an imaginary axis going through its ears. OK the rotated head/cube has it's own vanishing points, but where do i put them on the horizon line ? ok again it probably depends if i want distortion or not (and also do i want a third vp - the choice is mine i suppose) but what i c nt get is: compared to the vps of the head/cube in the first position what happens to the vps of the second position? I fell there is a mathematical relation like (stupid example): when tilting back a cube the vps come closer together but stay at the same position relative position to the center of the object?? I'm missing a key here and all my tilting cube and heads results in frustration and a fear of getting it wrong as i have to use my intuition and its got no data to compute around - i have intuitively no idea what the vps should do so I'm stuck! any info most welcome! 🙏
Lin
19d
I would wither and perish if I had to think of VPs when drawing heads. I use cubes to figure out front, sides, top and bottom, and how much we are seeing of each, and how is a plane facing, but that is exactly where my situationship with cubes ends (right angles can go to 🔥 hell 🔥).
When it comes to actual drawing I
- use asaro heads to build a visual library otherwise how can you know how things change with direction for something so complex? It’s been a year and a half and I’m still learning planes each day. Can’t stress how important it is to use 3D models before you jump into imagination rotations
- think of the finger test. how would the cross contours feel if I ran my finger across that shape
- use spheres and ellipses instead of cubes for heads. Sometimes I use them for weird stuff like elbow joints too. You can see them in my draft below, before I changed the guy to make my own character. I use them for lining up stuff in figures, now understanding them more after curvilinear perspective. As for VPs…I know lines go up to the sides somewhere if we are looking from below… but that’s the extent of it. Beyond that I don’t think of them really. And mostly wing it til it feels decentish. To get here I did a lot of cubes and forms from references in different positions though.
ultimately I have just accepted stuff will not be mathematically correct for a while, especially when it’s imagination stuff or color/value, or stuff I don’t spend 12+ hours on. I did a painting of a demigod holding a sword when we were doing dramatic perspective (not that this pose is super dramatic) but it’s some foreshortened. It’s my first color imagination thing, very wonky, and already the more recent heads are a bit better than this color wise.
just make it exist, you can make it good later. :3
•
19d
MC — In one way, you are answering your own question. You don't have the data. You are like a music student trying to learn notes, frustrated trying to conduct an orchestra.
In another way, you are asking the wrong question. In trying to rotate a head, in all its complexity, we hardly worry about vanishing points.
That's why I emphasized doing this intuitively. If you're intent on getting it correct, project a plan of a head and transfer an elevation. That will solve it all. But do you care that much?
To address your frustration, my best advice is to refer to our earlier lessons: Construct a general form, blobby or blocky or both, play it into a position (and proximity) that you like, then break it down into smaller forms like Bridgman and Loomis do —brow, cheekbones, chin, etc. When you get that, you will have the most valuable tool for inventing heads in varying positions, including close and distant, with only a respectful, though grateful, nod to the positions of vanishing points.
Randy Pontillo
20d
"drawing test" sounds petrifying
Dedee Anderson Ganda
20d
Another banger lesson, mid-way through this practice it starts to get easier and faster in constructing boxes along the grids
Stepka
21d
Great lesson. Thanks Phil!
M C
19d
humble question, I am a beginner: the "O" shape of trees in the distant middle left, shouldnt its trees on the south east side (toward us) be taller than the others???
M C
22d
great lesson!😻
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