So moving on now to doing a one point perspective drawing, and I really like one point perspective drawing because it can really be an easy tool that we can learn very quickly. And it will help us to draw things that are in our reality it will help us to draw not only what we see in front of us if we set it up as a one point or a two point perspective, but it will help us to draw some things from straight from our mind without having to use a visual reference. So we're really getting into the depths of the more technical aspects of drawing now. So the rule here is that all lines lead to one point. If you spend some time observing the room you're in, you will easily see how this theory is fairly close to how we see our surroundings. If you stand in the center of a square or a rectangular room, and look at the firewall you will see the floor and the ceiling line is horizontal and the wall lines are vertical and the sidelines are tapering towards one point.

You can also See this principle when standing on a train track, as the further you travel away into the distance, the closer your lines become tapering into 1.1 Is everything going back to one point so you're looking at a shape directly, and we put something called a vanishing point at the back. And then the angles that you draw out to the edges all come from the vanishing point. And if I'm drawing a cube, that's I am drawing something inside there. I draw the lines going around to each point and then they maybe draw them straight, they match up and then you can rub out the lines here. And we have drawn the inside of a box, inside of a room, anything Like, what's important is that all of the lines are going back to one vanishing point. And if I'm drawing this from an outside perspective, let's say I have my cube, and everything's going to go back to one vanishing point, I can put that vanishing point, anywhere I like, even if it's over here.

And let's say I'm wanting to draw something outside of the box, then I simply still draw back to my vanishing point, and I'm not drawing the lines inside. Now I'm just following the line out so I know the angle to draw. So you can see that the lines are going back to the vanishing point, like that, roughly. And then I'm going to draw more vertical lines. And here, Mo horizontal lines, he actually joined up and I have essentially created the same thing, but in projecting out instead of projecting in way, I guess that's the best way To describe that, studying out today I have put a vanishing point almost in the center of the page, the center of the page is about here, but I've just put it off to the side slightly to give a little bit of a dramatic angle to my drawing. And then I am going to draw some random lines, doesn't matter where they're placed at this stage as some guidelines so that what I can do is sketch based on and I'll do that one the whole way across, sketched based on the proper perspective and allow everything to go back to the vanishing point.

And I think that will be enough lines so far to help guide me through now I'm not going to use a ruler the hallway. And what I'm doing today is I'm creating something called a base drawing that I am then going to trace off later, because I like to draw quite quickly and I like to look holistically at my drawing. Creating a base drawing that I trace off later means that I can work quickly and not be so particular about the end result for this drawing. So, a one point perspective, I'm used to drawing quite structured elements as a one point. However, today I'm going to be drawing a beautiful forest with a road going down the center. And I don't want to work all the way to the edge of the page, I do want to be able to cut this drawing back a little bit later.

But the first edge of the tree that I'm going to draw is here and I've just drawn a straight line to guide myself there. And then I'm going to draw some more lines that will guide my trees going back, and this is going to have become the edge of a pathway. Now what's important to remember about vanishing points is that as things move further away from us, they get smaller and smaller. So here I've started out with quite a wide tree and then my trees get smaller and stuff. as they move forward, the other thing that I want to do is to deny what is a background and what is a tree. So I'm just going to draw some lines here, so that when I'm tracing off, I know which part I have chosen to make a background and which part is not a background.

And as my trays get further away from me, they get closer and closer together so that we see no background. So I'm just going to see through the trees, here, here and here. And I will come back a little bit later and add some detail. I'm also going to allow foliage up in this area, but again, the follow up is going to go back to the vanishing point. So the top of my foliage is still going to follow those lines back in that direction, and I know that I'm going to have fallen off here. I'm also going to make the side of my pathway or my Forest Road, I guess you could call it and I'm going to have some straight rubbery going all along the bottom there so you can see the base of the trees.

And I'll come back and draw some more detailed leafs there. But you can see that my perspective is starting to become really quite strong. On this side of the road, I think I'm going to block in a bit of a stone wall. So with a stone wall, I'm going to bring my ruler back into play here. And I'm going to draw some more random lines. Keep them roughly the same height.

And perhaps that's enough and then I am going to turn that into a stone wall. Now, in a perspective drawing, you have just draw something more technical at the front here, you have vertical lines, and you have horizontal lines. So the horizontal line and the vertical line will match the edge of the page so they will be true horizontal entry vertical, and then the lines running along this path. plane or the side of the shape, and the top of the shape, all still go back to the vanishing point. So let's say that is a stone wall, and this is the end of the stone wall. I'm looking at the end of the stone wall here, and then all of my stones will go back to the vanishing point, I can then go in and draw vertical lines to denote bricks, that again, they can get closer and closer to each other as they go back and eventually fade into detail that we can't see.

So if I go here, I can add more vertical lines in between and be a little bit random with it, and then go back to detail that you simply can't see in the drawing. And I'll come out the front here. And I will allow these stones to continue on. Now obviously, this brick at the top would be going along here. So now I get my horizontal line. And it's really easy when you're doing this to accidentally drew a line like then look it doesn't look like it's In proper perspective, so I'm going to rub that out and I'm going to make sure that my lines stay nice and horizontal as I go back.

And then it does look like those bricks turn the corner. So, I did these lines here just to show you how a true perspective works. Sorry, I'm going to rub those out and I'm going to continue my brickwork so that it goes off the page a bit. So yeah, we'll have it tapering out. I'll add some more stones here and allow the base part to continue off. And then I am going to draw a edge of a stone here.

So it looks like my stone wall is kind of crumbling out of existence. So here, I have this and small so the line here via the line here, still want to go back to the vanishing point. And then I'm just drawing, I guess you could say it's boxes on top of boxes, and they are getting larger and larger. The closer that they come to us and the edge of my drawing is actually going to be cut off around, maybe around there. So I won't worry too much about the detail down here. But technically, that's what we would see.

Okay, so now we've got a nice little step down coming towards us here with a really strong angle of our wall that's going to ride off into the distance. And then we're also going to have some trees, so just draw some random vertical lines coming up here with that same canopy that's going to get larger and larger as it gets closer to us. Okay, and now this area here is Going to be my ride. And that detail is going to get larger again. So now that we've created a true base to our one point perspective, we've got some really strong angles and strong lines. I'm going to go back in and fill in some detail.

So starting at the edge of my pathway here. I think I've mentioned in an earlier drawing that it's good to have some strong details in the foreground. So I'm going to do some nice sort of shaped leaves here that are really quite large and beautiful, spilling out perhaps onto the pathway a bit. And then maybe even a bit of a Fern detail, because we know that plants certainly don't discriminate and they like to be next to each other. Here. We've got some nice detailed fans.

Got some stronger leaf details here. And then as we get further back, those leaf details are going to get smaller and they're going to become less defined. So, by the time we get right back, we really do just have a suggestion of foliage at the bottom. And we want it to the more random that you make it, the more natural it will look. So even though the tapering line will become more consistent towards the back, we've got some real variation of shape here, coming out into the pathway, and that helps give it a more naturalistic feel. We're also going to add some details to our tree.

So obviously an edge of a tree is not straight. So I want to start to bring up some beautiful branches and allow those details just to naturally happen wherever my pencil wants to go. Perhaps there's a big knot in the tree going off that way and now that I'm getting closer to my page, this will be a trunk but again, the drawing is going to be cut off slightly there so you won't see the opposite side of that tree. So, my foliage again, I do want a little bit of detail in my fall edge and I'm going to use a bit of scumbling here to create some random detail in my leaves. And then I'm going to move on to my next tree and I'm going to allow my branches to intermingle into each other, going off to the side, up into foliage. Now it's important to remember that these trays in real life Are all roughly the same height we have a canopy, that's all going to be definitely above human head there.

So if I was a person and I was standing here on the road, just gonna block in a person, I would be about this big. But if I was standing further down the road, then I would get smaller and smaller as I go away. So I also want to make sure that my branch details are still not getting ignored as I get further away even though I won't see them as clearly. They still follow the same line back to the vanishing point so I can taper off my height. The same as I've tapered off the detail in the bushes and in the lives above. Now I want to give a bit of life and a bit of shading to my brick wall.

This is looking really blocky and really structured. And what I want to do is create more of a stone feel to my wall and the best way to do that is to make things look round and taper off the edges. You wouldn't see a crumbling old brick wall in a forest with lots of moss on it with these hard lines on the corners. So I'm going to curve off my edges and I'm just going to allow the natural flow of my head And to create the imperfections in the bricks. And the quicker that I work with this, the better effect I'm going to get because it will help me to get that rustic look. Continue with our follow up.

So here are some photos coming out here here. And this is meant to look a bit like a vine, which it will when I add a bit of color, but then I've left some random areas without the foliage. And so I'm just going to randomize it as I go further back and make sure that it doesn't look too patent or too well spaced. So the more random we get, the better and produce Some more kind of fine detail coming over here growing down, and that will be enough, I would say. And now I would like to mimic a similar kind of long tall forest feel on this side. So I'm just going to go ahead and do the same effect over here, except what I want to do, because my vanishing point is slightly off to the side.

I want it to end at the same height, but it's going to have a different angle. As you can see this is a shorter angle. This is a longer wider angle because my vanishing point is not in the center. If my vanishing point was here, these would be more symmetrical. However, this angle over here is going to be a little bit softer. This is a stronger angle.

Now that I have edited all of those trees I can clearly see See all of my lines. And I am pretty happy with the end result. It's really a dramatic view going back to that vanishing point. It also shows the principles of how to work in a one point perspective, with our horizontal lines, now vertical lines, and then all of the other lines on the side and the top planes going back to the vanishing point. It shows how things get smaller as they go further away. They become less detailed as they go further away.

It's how our eyes work. You know, we can focus on the foreground, but we can't really focus on what's happening in the background here. And so our drawing is following the natural rules of how we see the real world and I am going to trace this off soon and add some color. Over all this drawing has taken about 20 minutes. So I look forward to seeing how Go with this drawing as well. Try and perhaps follow along with what I have done and allow yourself to create a little one point perspective of garden wall and a forest.

You can either follow my video or you could simply look at the end result roaring and try to recreate from there. It's up to you how you want to do this. But it's definitely a great starting point to creating drawings that have depth, dimension and distance in them.