How to Use 1-Point Perspective [Interior Spaces]

hey there everybody it's Mark Crilley I'm back with another how to draw video today we're gonna be covering one-point perspective now I've done videos on one two and three point perspective before and I'll go ahead and put annotation links here and also in the info box if you want to go back and have a look at those all three of those videos covered exterior settings today we're going to do an interior specifically the interior of a subway car now what you see here is the single one point that one-point perspective gets its name from and I'm gonna begin by drawing just the far end of one side of the subway car okay well it might not be completely clear what this is for the moment but this is gonna be the far end of one side of the subway car where the door would be that you'd walk through to go from one car to the other now I want to show you how we have the one point here and by pulling out the ruler and I do recommend using a ruler for doing perspective drawings especially one as involved as this one just following from that point and taking the corner I can create one edge of the floor now this line will not be seen eventually because there's going to be seating right they'll be like benches on either side but for now let's go ahead and get this in there so they can get a sense of the space that we're trying to fill and you know I'm doing this part real time but I think there's gonna be a lot of stuff in this video that's done in time-lapse my apologies in advance for that but it is fairly complex drawing that we're gonna be making well let's go ahead and because of these curved lines let's go ahead and add sort of two lines that represent the curve in corner sections all right so you can see how these a two section sort of curve this is I imagine where they have those sort of curving advertisements that you sometimes see inside a subway car and once we've got this in place which is you know fairly simple it's time to start complicating things a little by adding the benches so let's go ahead and put in some indications of seating here on the left-hand side so hopefully you can see the shape of a bench here in the foreground notice that all of what would be the sort of horizontal lines if you were looking straight at the bench they're all heading towards that single point in the distance the one point of one point perspective Fame and then the other thing to pay attention to maybe is that this line is parallel with the far line of the floor so though all of those horizontal lines will indeed look more horizontal I'm not explaining this very well but the horse a little bit but I have given this a little bit of a slant because I think you know seating very often they give you just a little bit of a diagonal there for you to lean back into well I've got one bench but I really want there to be maybe two more between here and that far wall so let's go ahead and get those in place so you can see what I did here I basically just replicated these same lines that came from this foreground seat in the background just having them get smaller as they recede into the distance well I think it's time now to start making indications of the doors you know the sort of entry exit doors on the side of the car okay so hopefully it's clear what I've done here putting in these vertical lines for you know one side of the door the other side and then trying to create like a little bit of the indentation just before you get to the door itself and then by putting a horizontal line here you can again use that point in the distance to make sure that you continue working with your one-point perspective now I'm gonna be adding in fact I'll go ahead and do one right now I'll be adding lots of extra lines to extra details to give more form to these sections as the video progresses but for now let's just keep it real basic so it's clear what we're doing now I'm gonna continue working on getting the sides of the bench structure in place and then also get another door back here so you can see that a fair amount of patience is required for pulling something like this off we're gonna have to do the same thing over here on the other side I'll be doing that in a minute but I thought that I would point out one thing that I'm doing here this vertical line I mean the whole thing is a little bit tilted but this vertical line here begins to sort of spread out just a little at an angle and I guess technically you could say I'm starting to head towards a three point perspective type of a scheme as the these lines begin to fan out a little bit but I think that'll give it just a bit more of a touch of reality that when you stand inside a subway car like this you don't get absolute one-point perspective you tend to get these sort of blendings of different perspectives in any case I think we've got enough in place here for me to replicate more or less the same thing over here and then maybe we can start getting into the fun part of adding a figure a seated figure in the foreground of this section you all right well it's starting to come together you can kind of see what I'm heading toward here and I guess I just point out again how these vertical lines are in fact fanning out just a little from left to right to add that extra sense of dimension there and now I want to sort of refocus the camera get in here a little closer so that I can start to put in some guidelines for a seated human figure right around here okay so you can see I begin the process by getting just a kind of a stick figure in place and then on top of that I can build a little more of the structure of the arms and legs and so forth and you know you just pay attention to the size of the seat I think one of the trickiest things is making sure that your figure is in proportion not too large or too small but then also you know fitting in to the environment I hear from people who say mark you know I I can draw things in perspective but and once I've got a scene in place I can't add the figure they never they look like they're floating or they're not really solidly in place while the trick of course is to make sure that you know the structure of your figure is agreeing with you know the structure that you've set in place it's easier said than done but if you're careful enough I think you can in overtime and with a lot of practice begin to I get the basic structure so that it fits into this location and then you begin to build on top of the sort of skeleton that you've put in place and you know I wish that I could do all of this real time but unfortunately there's still a lot to do in terms of the one-point perspective stuff so bear with me I'm going to go ahead and finish up the basic guideline to this figure in time lapse all right well I've got the basics of my figure here in place and I think it's time to refocus so we can see the entire image and I'm going to start to add just a few more structures to the interior of this subway car all right well before we do anything else let's go ahead and get the sort of obligatory door that you always see at the end of one of these cars and later on I'll add further detail to this in fact of pretty much everything in this illustration but the first thing I want to do right now is to get some of these polls you know that you can hold on to if you were you know if it's standing room only or whatever people need to hold onto these polls they generally go right down the middle of a subway car and I should just say quickly that you know this is based on photo reference I looked at photo reference of subway cars interiors and you know I would advise you to do the same if you ever have to draw anything like this well what I'm going to do now is put some lines in the floor and the ceiling that will serve as the sort of structure to which these poles are attached so hopefully you can see what I did there I just got two of these lines going towards again that distant vanishing point on either side then did a much narrower pair of lines up there doing kind of the same thing and then dropped in these horizontal lines now these are going to help me in terms of placing these poles that I was talking about because each pole will come to an end sort of resting right on one of those lines or you know really there's only gonna be three poles that we see but just to show you how I came up with that guideline system for helping me place the poles certainly not a bad idea well let's go ahead and get those poles in place and then I think we're almost going to be able to knock it off with all this time-lapse and get into some real time drawing all right so um one thing that I probably should have pointed out was that I eventually realized him who is best to get a line in here again going toward the vanishing point that would help me get all of these two line ups so sorry about that I rather should have made that part of the introductory section there but in any case I think it is high time to kick old man time lapse out of here sorry hold me I'm but you have got to go for a minute so that we do some of this in real time and I think what I'll do is come over here and do one of the windows one of the things about doing a perspective drawing is that you're always looking for uniformity right so if I decide to make this top window recede right here then that I might as well get a line in here that goes all the way across and then any other windows that I draw will all stop at that same line right you know frankly doing perspective drawings is kind of a pain you know it's I don't I don't relish the opportunity to draw things in perspective it's kind of a necessary evil I think but if you have the patience to bear with it all the repeated you know drawing of lines with rulers that's not exactly a height of fun when it comes to drawing I don't like to use rulers but it's nearly impossible to do a good perspective drawing like this without the use of roars all of this stuff is maybe not my very favorite stuff to do but it is in depending on what kind of a story you're working on or kind of illustration that you're trying to create it's just necessary sometimes to to do perspective drawings now I thought just for fun I would add in the sort of a panel here you know me I love to do these dystopian things so this one probably will be a sort of dystopian subway car of the future and I'm gonna go ahead and add a little I don't know maybe they're advertising panels or something like that over here but again every time I do a line that would be a horizontal line on the wall it's always having to agree with that vanishing point has to go back towards that vanishing point and that's why you know I'm more important than even the straight lines is to have that this rule are showing you where the vanishing point is so that you know the proper angle but yeah having got that upper line in there for the windows then if I add another window in here we know that it comes to a stop up there and then joy of joys we have to of course make an indentation in the wall that lines up with that one so you're doing a lot of this sort of consistency stuff where you want all the windows to line up and you know this is not perfect and people may have noticed that the the line here on the floor touches the door but it doesn't touch it over here and that you know maybe it's a mistake maybe it's just sometimes maybe I'll justify it that's the manufacturer of the subway car is really into asymmetry that's you know it's their artistic statement right an architect in any case it is a struggle sometimes to get everything to line up and you may find as I did that some of the things just they're just not perfect and rather than beat my head against the wall or start all over again sometimes I just sort of accept the little quirks and yeah write it off as making the drawing more interesting so I thought I would and try to do at least some of this real time although I think you know the repetition of the windows is certainly not something that I want to put you all through how about if we put another one of these sort of advertising panels back here I find that sometimes you want to get stuff just to fill in the blank spaces and also to give a sense of solidity back here you know it's just adding something like that makes that wall feel more like a wall it has more that flat strong look back there the more of these lines that you put in notice how I decided to put this one sort of deliberately going behind the poll I'll do that a lot it's the double purpose of solidifying that wall but then also causing this pole to pop forward a bit I hope that shows through maybe they have one of those little ticker tape amounts or things up here that shows the next stop you know digitally racing by this part I would say is more fun adding the little details oh you know I want to get like a surface line here for the seats all of this stuff again the more of these lines you get in here the more solid things look the more it reads as a continuous surface you've probably noticed that each one of these things kind of curves as it reaches the end so that's something that has to be consistent there are mathematical systems for figuring out the spaces between these lines and maybe in a future video I will use one of those it involves drawing a diagonal line as I recall across and that shows you the intervals I as you can see I'm kind of winging it here and it's the theme of this video less than perfect but how about if we go ahead and refocus stop with all of this straight line stuff and get into adding details of the figure okay so maybe I can atone for some of the earlier time lapse of palooza by doing all of this in real time all of this added detail I've decided to make this girl here slightly punky looking pretty rarely do spiky hair for the female characters in my videos so I thought that might be fun to do something about this sort of urban futuristic subway ride made me think this would be a good opportunity to do that so I'm adding in headphones of course you gotta have headphones when you're on the subway right what is she listening to podcasts NPR I highly doubt it and I'm sort of refining the face here you know with a figure I could spend the whole video talking about anatomical stuff and I just you know this really is not about the figure this video it's gonna be more about the one-point perspective but I didn't want to say a few words about you know the tricks of getting figures to fit into an environment you know number one don't forget the value of of reference you know I looked at a reference photo and ironically not it ended up not being of a actual you know person riding on the subway I found a piece of modern art that was from the 70s or 80s that had a sort of a sculpture of someone that was riding on the subway and it seemed like the perfect sort of pose that I wanted to stuff reference is a great way of figuring out how your figure is gonna fit into a wider environment but otherwise I do think it's just sort of trial and error as I was saying before I find it useful to start with some sort of stick figure skeletal structure and then build on it from there and provided you've got that the way you want to then it's you know not so hard to add whatever details you want to like I'm doing it right now wrinkles that that's a whole nother video and I and I have done whole other videos on wrinkles so I hope you maybe I'll link to those as well you can check those out so anyway I hope you'll enjoy this video my thinking is that this is my opportunity to not only teach one point perspective but also to do an interesting type of coloring at the end I'm gonna try scan and get into my computer and allowing the heightened contrast you know in Photoshop I'm not gonna do anything fancy I'm just gonna heighten the contrast and try to get that to almost make the lines look like inked lines well by the way I'm having her read a tablets the future is now man people who are already reading tablets curly you need something more futuristic it's got to be like in Star Wars a little hologram that's reading the news out loud to her anyway I am gonna try a little technique at the end here that allows me to add color in an interesting way pretty rarely I do this but sometimes I will do a video in which then you know it starts off bristol board which is what I'm using right now but then I actually scan it into the computer printed out and finished the illustration I'm a computer printout so you have this sort of line art version and then the computer copy paper colorized version anyway I hope that this doing this part of it real time was helpful for those of you who want to try to follow along with this you know that's part of adding the figure in but I would encourage you to you know make the details your own change it around and not necessarily feel like you have to follow every single line that I put in here in any case I think we are at the end of this part of it and what should I do next how about if we add well okay in time-lapse I'll go ahead and get all the windows out of the way and then I want to add some more sort of like advertisements or something almost like people are able to post you know eight-and-a-half by 11 sheets of paper up here as if that's the allowed in the future of subway travel and then well I'll do that I'll do these windows I'll come back to do the rest of that real-time as well okay so you can see I also in some of these structural lines for the benches to make them match the ones over here and before I go on to do this sort of post your bills and you know and tear off advertisements I want to add just a little bit of curvature to the the section here where like I said before I'm pretty sure they still have them advertisements like this on the subway that while you're standing there you can look up and read and maybe at the very end of this video I'll add in little actual advertisement plushies everything is plushies in my videos new blah she's well as a band name now right maybe it's the new release by the BLA she's this is the futures they're still advertising I don't know what downloads streaming I guess in any case you can see by adding these repeating curving lines that again and it continues the idea of the structure that was established way back here at the beginning and then yeah maybe over here I'll go ahead and just do a little bit of this idea of um a ragtag assortment of advertisements than people I've just started sticking up there on the wall sort of reminds me like I'm a college campus sometimes they have this big concrete cylinders would that be columns or where people are almost encouraged to stick their little paper advertisements I thought it'd be kind of fun if I had that just as I'm always looking for any opportunity to add little bits of detail to my illustrations and that's a little concept came to me as a way but again you'll see me constantly linking up with that dot in the distance that all-important vanishing point key to getting all of this stuff to look like it's really there well maybe we're finally at a stage where I can scan this thing into the computer as I said I was gonna do then we're gonna print it out you're gonna see quite a change in contrast but I promise you I'm not going to be you know messing around with Photoshop effects basically I'm just gonna scan this in I'm going to adjust the contrast print it out and then come back and show you how we can you know actually work directly on that office paper print out version of this illustration well you know quickly before I do that I felt like the illustration was a little undernourished and so he saw I added some structural work here to the to the ceiling and then I thought this was worth telling you about my idea of you know getting some scraps of paper and stuff on the floor I thought this whole area of here was looking quite empty and I didn't and I was gonna try to do this sort of dystopian thing so I thought I would show you how I add these little pieces of litter and so forth that are going to hopefully complete this illustration also this wall over here that sort of the side of the chair that looks like it could use a little more structural detail to to sort of separate it out from the seating that's in front of it but mainly I wanted you to just see me adding a bit of garbage really I wanted you to see the garbage because I knew you wouldn't be able to forgive me if you hadn't seen the creation of this fine top quality garbage that I'm putting here on the floor okay I think that really does do that you know finish it up for this part of the vid I'm gonna go ahead and scan it in and we'll be back to finish it off all right well here's the original piece and beneath it the printed out piece as I said I scanned it into the computer it's really just a piece of office paper here but you know greatly heightened out of the contrast now I'm gonna pull out some markers this is a Pantone tria marker and I'm gonna start adding just a little bit of darkness here now I can't make this a video about you know marker techniques you know mark you're you're always saying what the video is not about it's not about the anatomy it's not well what is it about mark would you care to enlighten us what is this video about do you even know answer the question but yeah this video is as I recall about one-point perspective so I'm gonna have to sort of rush through this markering stuff but I thought I'd give you some idea of how I'm achieving this final effect basically I'm gonna use three different markers all of them four brands as it turns out this one is what the touch this one is the touch brand and this is the prismacolor three different shades of grey' basically to finish off this illustration and then it will come as no surprise to anyone that I want to come back and do a little gouache at the end but let's go ahead and use time-lapse to do all of the marker stuff before we come back for that final little touch you well as you can see I did pull out the black prismacolor and added the word blushes here yes as well as lots of other little assorted details but you know the fact that I am holding a brush in my hand can mean only one thing yes it's time for gouache and as always I anticipated this by you know lowering the brightness on the printout to create you know a relatively dark surface so that when I came in here on top of it with the white wash and started adding these bright whites that wouldn't really pop and stand out and so that's a little trick that you can use in fact them kind of the first time I've tried it really this idea of you know scanning and pencils letting the heightened contrast almost serve as your inking tool in a way this is you know not inked it is of course just a pencil drawing but I think by heightening the contrast and sort of darkening things up a bit it sort of looks as if I went in with my trusty black person of color to do all of this line work anyway let me know what you think of this technique I can use it for future videos but clearly I need to kick it into time lapse so as to finish off the gouache phase and then I'll be back with a few final words all right well there's my video on how to illustrate an interior space using a one-point perspective let me know what you thought about it I could certainly do more videos maybe turn it into a bit of a series but for now I want to thank anyone who has supported me by getting any of my books like Brody's ghost or Mickey Falls my two graphic novel series as well as mastering manga and mastering manga to my how to draw books and coming soon the realism challenge should be out May 5th thanks very much indeed to anyone who pre-orders it by using the link in the info box below but I think it's high time I lay down this pencil I want to thank you all for watching this video I hope you enjoyed it and I'll be back with another one real soon you

Channel: markcrilley

Views: 996,310

Keywords: Mark Crilley, manga, anime, how to, draw, drawing, tutorial, markcrilley, one point perspective, 1-point, 1 point, perspective, subway, Train (Transit Vehicle Type), interior, narrated, step by step, girl, sitting, seated, woman, Pencil (Product Category), markers

Id: QZlLbgAD35s

Length: 27min 49sec (1669 seconds)

Published: Sat Jan 17 2015