Just curious on how you approach composition and perspective. I feel as if sometimes I think too hard, not really about what to draw but how to draw it and make it look interesting. The comic panels you have been doing are amazing. Any tips/references on improving my knowledge of composition and perspective? What do you think about as you lay your pencil on the drawing paper? what goes through your mind?
*STANDARD DISCLAIMER* Iām not handing down life lessons or trying to assert that thereās a ācorrect wayā to draw. Iām just trying to make perspective more approachable for thems that want to tackle it.
1. Understand what perspective is and what itās for. Stay away from rulers while you get comfortable.
Everyone struggles with perspective because 1. itās not well or widely taught and 2. artists tend to see linear perspective as a set of rules rather than a set of tools.
Linear perspective is a TOOL we use to create and depict SPACE.Ā Thatās it. Thatās all it is. Your goal is not to draw in āaccurate linear perspective.ā Stay away from the ruler and precision for as long as you can. Your goal is to create the illusion of three-dimensional space on a two-dimensional surface. Perspective is just a tool to help you construct and correct that space.
2. Know in your bones that you can ONLY learn to draw in perspective through physical practice. There is no other way.
Grab some paper and draw with me. If you match me drawing for drawing you will be more fluent in linear perspective and spatial drawing by the end of this post. Unfortunately if you donāt, you wonāt be.
3. Sketch around in rough perspective. NO RULERS.
So letās make some simple space. letās start with a two dimensional surfaceā¦
K. We have a flat, 2D surface. Letās create some depth by putting a vanishing point in the middle, and having parallel lines converge towards it. Make a gridded plane inside that space.
Good. Letās make that space meaningful by adding a dude and a road or something. (Again, parallel ādepth linesā will converge into the vanishing point along the horizon)
And now we have the rough illusion of some space. I didnāt use any rulers, and itās not perfectly accurate, but we got our depth from that vanishing point right in the middle of the page. And since we have a little dude in there, weāve got human scale, which allows us to gauge the size of the space weāve created. Gives it meaning.
You need people or cars or some recognizable, human-scale THING in there as a frame of reference or your space wonāt mean much to your viewer. Watch. We can make that same basic space a whole lot bigger like this:
Same vanishing point in the same place, completely different scale, and a totally different feeling of space. Cool, right?
3. Sketch around in rough perspective MORE. STAY LOOSE.
See what sort of spaces and feelings you can create with vanishing points and gridded planes on a post-it or something. Super small, super rough. Feel it out. Pick a vanishing point or lay out a grid in perspective, and MAKE SOME SPACE. Do it. Draw, I donāt know, a lady and her dog in a desert. Iāll do it, too.
Good job. LOOK AT YOU creating the illusion of space! This is how youāll thumbnail and plan anything you want to draw in space. All of my drawings start this way. I think about how I want the viewer to feel and then play around with space and composition until I find something that works.
Once you have a sketch you like, and space that you feel, THEN you can take out the ruler and make it more accurate and convincing.
4. Draw environments from life.
I cannot stress this enough. Draw the world around you, try to draw the shapes and angles as you see them, and you will āgetā how and why perspective is used. Use something permanent so that youāll move fast and commit. I usually use black prismacolor pencil.
Youāll learn or reinforce something with every drawing. I learned a lot about multiple vanishing points from this drawing:
Learned from the receding, winding space I tired to draw here:
Layered, interior spaces:
Life drawing will also help you develop your own shorthand and language for depicting textures, materials, details, natural and architectural features, etc. Do it. Do it all the time. Go to pretty or interesting places just to draw them.
Take a second and just draw a quick sketch of whatever room youāre in.
5. Perspective in formal Illustration: apply what youāve learned.
1. I always start with research. For this particular location I looked atĀ Angkor Wat.
2. Once I had enough reference, I did a bunch of little thumbnail sketches with a very loose sense of space and picked the one I liked best.
3. Scanned the thumbnail and drew a little more clearly over it. Worked out the rough space before using formal perspective.
4. Reinforced the space with formal perspective. I dropped in pre-made vanishing points over my drawing. If I were drawing in real media hereās where Iād get out the ruler to sketch in some accurate space.
5. Drew the damn thing. Because I do my research, draw from life, and am comfortable drawing in perspective, I can wing it. I just sort of ābuildā the ruins freehand in the space Iāve established, keeping it more or less accurate, experimenting and playing with details along the way. I erase a lot, too, both in PS and when drawing in pencil. Keeps it fun for me.
And thatās what I know about composition and perspective. If you want more formal instruction on perspective and itās uses, you can use John Buscemaās How to Draw Comics the Marvel Way. OrĀ If you want to get really intense about it,Ā Andrew LoomisĀ can help you.
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