This may be a silly question… but I’m an artist trying to learn backgrounds. I’ve studied perspective until my hands fell off, but I don’t know how to choose an angle or not make things look wonky. I’ve tried asking a lot of artists, but I’m hoping to hear more than “just draw backgrounds”, because I have been, but I’m not improving.
Do you have any tips on how to practice?
The anonymous ask is much more recent but it reminded me of another ask from @cerealssoggies i forgot to answer thats, OOF... gotten old. Sorry about that. I'll answer your ask more directly at the end of this.
I'll talk about the perspective ask first. Anon... I'll answer your question as best as I can!
I think what makes perspective tricky is the beginning, when you're using perspective lines and grids and such to map out the picture. Because the actual technique of 2 point perspective isn't hard or complicated, it's getting the scene to look the way it does in your head thats tricky. I'm talking about the metaphorical "camera" location, angle, and... idk, focal length? If I'm using that phrase correctly.
So you can draw something like a simple square bedroom, and by the time you're done placing your horizon line, vanishing point, and perspective lines, and actually start drawing, you realize it doesn't look like how it does in your head. And from there, it's hard or nearly impossible to move things around to look like your vision, so you'll be tweaking each thing individually: uhh, let's move the horizon line down, the left vanishing point further? The right one closer? Both further? Huh??? And it's frustrating.
I've found, if you're drawing an environment from your imagination, the best way to start is to draw an teeeeny tiny thumbnail sketch. The smaller the better. Not just environments, but any drawing idea is easier to map out when it's smaller. Your brain can latch onto the visual as a whole when it's all tiny on a piece of paper.
Drawing my current blog header, the one of ford's research tent, I had a similar pickle. I knew exactly where I wanted the camera to be, in the corner of the tent, and I knew I wanted the camera to be more wide, so you could see most of his tent while keeping the feeling that it's small. I started digitally with perspective lines and quickly got frustrated. SO - I took to my sketchbook and thought reeeeeally hard about what it looked like in my head, and tried mapping it out in a tiny tiny thumbnail. Here's what that looked like:
This was closer to what I wanted than what I first had on my computer. I knew from there that I wanted the furniture items to be closer together and the camera higher (you can see my scribble writing saying this), so I scanned my thumbnail, and drew on top of it to get closer to the vision. Then, from there, I was able to add a proper perspective grid based on what I had already drawn.
THEN you can finally get down to the fun part - actually populating your room with furniture and details. I put this sketch on paper and did most of the real drawing traditionally:
In summary: instead of jumping straight into perspective theory, thumbnail the idea as rough as you can. Then base the angles of the perspective lines on your thumbnail.
But.... even still, I don't have the strongest ability to picture things mentally, and not everyone is gonna be able to do that (although it is a good muscle to exercise.) Sort of a segue into the second ask - those backgrounds of dibs car? I straight up traced over pictures I took of my car. I'm not the biggest advocate for tracing, it does kind of feel like cheating, BUT for the purposes of this animation? There's no point in getting on a high horse. I needed to draw his car like 10 times and there was no reason to torture myself. I did photoshop some of the photos before I drew over them because the focal length made the car look bigger than I wanted it to? And a lot of it was guessing what the car looked like behind the front seats, etc.
But this does remind me of an exercise I did in school for an illustration mentorship class. The mentor for one unit was a set designer working for Netflix. She was given photos of a room that a scene would be shot in, and she drew the set on top of it: like furniture, decorations, etc. So my assignment was to choose a stock photo, and do some world building concept art based on the photo. From the photo, you can figure out the perspective by identifying lines/angles that theoretically lead to a vanishing point. You need at least two lines, and you extend them really far and see where they cross. Where they meet is a vanishing point. Find two vanishing points and they are level with the horizon line. Then use the perspective dots you just found to draw furniture, items, and you can even get creative and change the shape/height/size of the rooms/buildings/etc, while still using the same perspective.
If an image from the internet feels too much like cheating (it SHOULDN'T, you'll only learn from it and your drawing won't look anything like the image by the time you're done), you can always take your own photos. This technique is honestly what made me enjoy drawing backgrounds in the first place. It made it fun! And drawing should be fun.
I still do this sort of thing today. Here's the reference picture I had my sister take of me for my Fairy godmother illustration. (This is from a couple years ago.) I drew on top of it in photoshop to get my best guess as to the lines and angles. I didn't trace this one, but I did use it very heavily for reference!
So I guess... to summarize both techniques, don't jump right into perspective. Best way to start, that's fun and not wildly frustrating, is to use a photo. If your vision is hyper specific, start from a tiny thumbnail and work your way up. Then the fun part!! Populating the scene with furniture and items and fun little details.
To answer @cerealssoggies question more directly: omg, thank you?? :O💞 I'm always so wowed when people talk about my prints and where they put them. I'm really glad you like the fairy godmother one! My mom also has one hung up in her room lol!
My advice on the design front isn't as specific, because that always felt like the easy part. Once you have the room or whatever mapped out, it's just about drawing all the Stuff. Which for me usually means getting in the head of the character and asking myself what sort of things they'd have around themselves and their environment. And obviously if the setting isn't a characters room/personal environment like the previous three examples, then you'd just have to think about what the environments purpose is, and what sort of stuff would be there. When I'm thinking about a background before I draw it, I'll ask myself what items or features it will have. For the ford tent, I made a list of all the stuff I thought he might have in there (I googled winter camping trip packing lists, as well as science-y tools and gadgets). For dibs car, I asked people on tumblr for suggestions as to what I should put in there.
And look up references! Reference is always a good thing.
In real life, I'm a maximalist and a clutterbug. This bleeds into my drawings - I like it when an environment feels full and lived in.
Here's my bedroom lol.
WELL typing and compiling this took up a greater portion of my Friday but I really hope this was helpful to you and others!!
