Hello, I will be showing you how to make use of several clip studio paint rules so that you can make a drawing with depth and realism in any perspective, although I do not touch all the theory because it would not reach the time I will try to be the most useful for you, I hope Enjoy my video tutorial as well as my tutorial here, thank you.

 

The Perspective

To understand the use of the rules, let's first go back a bit to the traditional. The perspective has its functions in relation to elements taken from reality and those are:

 

Those that define the space of the scene are:

 

Observer, frame plane, and ground plane

 

But what we draw or what we see is defined by:

 

Projecting lines. horizon line and land line

Axonometric Perspective

The axonometric perspective aims not to have the limitations that reality has,

it stretches the earth plane to infinity, and the observer becomes an observer from the infinite sky as if it were the sun.

Curvilinear perspective is formed by deforming the frame plane, don't think too much about it, I'll explain later

Vanishing points and axes of rotation in space.

All objects can have different vanishing points than other objects in the scene. y The feeling that we are in an environment with 1 or 2 vanishing points is due to the fact that we are used to putting the vanishing points of larger parallel objects into space.

We can certainly see that the objects move their vanishing points as they rotate, if you want to see an animated graph of what happens in any of the cubes here, you can go to my video and I show it there.

 

In addition, it is important to understand this so that you understand that the body has its own geometric shapes that rotate, rise and move each at its own rhythms with its own vanishing points and horizon lines.

Axonometric Perspective (Isometric) - you can see how I make the ruler in my video

Perspective of a vanishing point.

2 vanishing point perspective

3 point vanishing perspective

Shadow perspective

The drawing of the shadows relies on perspective, which is also affected according to the type of perspective found in the scene.

 

The elements to take into account.

 

The light source (Sun, light bulb, fire) and Earth plane

 

What we are going to use to find the critical points of the shadows:

 

The projecting lines of the solar focus. (The beams of light)

 

The corners or edges of an object.

 

The projections orthogonal to the ground plane of these beams.

Depending on the position of the sun, it will be the direction of the shadows as well as the position of our rulers. If you want to see how I put the rules you can go to my video, but I give you a brief and concise explanation here. You use the special rule of concentric lines, above the horizon line if you think the sun is in front of you, and you draw an orthogonal to the horizon line, and then put another rule of concentric lines right at the intersection.

 

If the sun is behind us, then we will place the first ruler below the horizon line. Then the steps are repeated.

 

If the sun is to the right outside of our frame plane, far away we will take it to be infinity, just like a horizontal vanishing point in a vanishing 1 perspective.

 

If it were an axonometric system then, we would use, as in the previous case, two rules of parallel lines.

 

I strongly recommend going to my video because I explain there, how to optimally use the aforementioned rules.

A comic Like in the cinema.

I like to think that we graphic artists are also a film director and photographer when we have to illustrate.

That is why I have studied cinema as such, and I have extrapolated various tools that they use to prepare my comic.

I will show you what I think is useful of those professions for us.

 

The distance of the camera, assuming you do not change the focal length (the lens) creates different frame sizes, in cases you can focus on small objects at further distances. complete environments. But when we talk about focusing on a subject, then there is a certain classification and although it is not important to know all of them, it is important to understand their objectives and their best uses.

 

And although it seems obvious to classify it, it will give you a little improvement in your understanding of space.

 

1) Very close-up

2) Close-up

3) Middle plane

4) Full or full body shot

5) Wide shot

 

Camera Height and Angles

The zenith is rarely used, but it is useful when you want to take someone lying on the ground or when you want to denote a union with someone in infinity.

Looking up...

 

The dive gives a psychological charge of weakness to a character

 

The front is neutral, it serves very well to give continuity to the story

 

The counter-chop gives power with whom it is used, but also fragility depending on the story and the environment.

 

I have seen the nadir used as a kind of counter dive even more acute, but giving another psychological load. like seeing through the wooden boards of your basement, your angry girlfriend.

 

We can combine all these angles, with the distances as well as the heights and we can also tilt the camera a little to rotate the horizon line (It is called the Dutch angle). If we add to this changing the focal length, we have a wide set of tools just before we start sketching.

 

I call that a mental sketch. Plan the sketch, we will see that after seeing the lenses.

Camera lenses, focal length and image flattening

The more spherical lenses achieve greater amplitude of vision but they obtain it together with a distortion of what they see at the edges, they are usually cameras of 8 or 16 millimeters of focal length.

 

The standard ones do not present much deformation and are close to what a conical perspective can be.

 

Long or telescopic cameras, 200 millimeters allow you to focus very far, but they do the same as 8 mm and distort the visible space by flattening the image.

 

Now I show you how I classify according to height. For more detail I recommend you watch my video.

The height from the ground level is especially good for giving powerful low peaks, but be careful not to overdo it.

 

In addition to that, it is good to show qualities of a character, such as their walk or what they wear, the shoes and the walk say a lot about one. You can use it to introduce an important character.

 

In addition to being used when there is an important detail to show the viewer.

 

The one at the knee level, is especially used to show details, some stockings, for example; as well as to give low shots.

 

This level has the peculiarity of being able to focus on a person who is sitting on the floor

The Dutch angle is used to show a confused or disengaged psychological state. Use it in surprise scenes. Even if you know what is going to happen and the viewer can see it coming too, adding that angle gives a more dramatic effect to the surprise, be it good or bad.

The zenith is commonly used to advance the story when the subject is thrown, but it can also be used in a scene where someone is on top of another, such as in a fight, to give a kind of dialogue in an over the shoulder.

 

It can have a connotation of realizing something really important as well as a connection to the divine.

The level of the hips can show details, as well as can give a psychological load of superiority and inferiority. I have also learned that developing a dialogue with the hips is a common resource to denote strength.

The shoulder-level camera is commonly used to develop dialogue and various psychological weights are usually seen in dialogue depending on the shot.

 

But the most important could be when at the beginning of a dialogue the subjects of the dialogue are in the same frame and the dialogue ends with them ceasing to be in the same frame, which denotes separation of objectives or emotions. The same in vice versa. If they were in different frames at the beginning but as the panels progress they are placed in the same panel then you are showing emotional or goal approach.

 

In addition to that, it serves to give discreet low-angle shots.

 

(That a dive or a low dive is discreet means that it will have some of the respective psychological load, but that it does not carry the deformation of the environment, which makes it more natural and easy for the viewer's subconscious to accept.

 

 

Eye level view is the most common and very neutral, but being neutral is essential for constant use, as it allows for wide use without disregarding history.

 

It is like the accompaniment in food, it is necessary to appease strong flavors.

A sequence of images that illustrate how I made the Isometric (axonometric) perspective rule,

To create any axonometric rule you will use previously marked angles. Then you will take the perspective ruler and (for example in the isometric ruler) you will click at the end of the 30 ° angle line to pull the guide to the center of the angles predefined by you.

 

When you release the first guide you will mark the next guide as you see fit, but I recommend that you move it away from your first guide since you will need the first one clear.

You do the same steps with the 150 ° angle and with the 90 ° angle leaving a 3 vanishing point perspective. Now we will look for infinite, in the perspective ruler tool and we will specifically select the guides that we made at the beginning, for that we wanted them clear.

Once infinite correctly we will have finished configuring our axonometric (isometric) rule.

 

I recommend that you delete all the guides by changing the tool to delete guide, then you can create guides every time you need in the order you need without the first guides confusing you.

How to make a 4 vanishing point or cylindrical perspective ruler

We will deform this hemisphere mesh to start

Dragging the points with shift, so that they stay in the same horizontal.

we proceed to give it the following shape, doubling consecutively.

We will make 2 lines that intersect where I show on a new vector layer. So that we can erase to our liking.

 

Finally, it only remains to convert it into a rule from vectors.

Remember that to finish the rule add a special rule of parallel lines, completely vertical, help yourself with shift while placing it

How to make a 5 point vanishing or hemispheric perspective ruler

We flip with transform and shift, 90 degrees and then join them

remember that the 5-point rule is not complete until you put a concentric lines rule right in the middle.

put the special rule in the center

5 vanishing points, for a camera view, diving from a room.

As in the conical perspective ruler, if you want to achieve a certain degree of uncertainty in a curvilinear ruler, you can turn it slightly and you will have done your job.

How to make a 6 point vanishing or spherical perspective ruler.

a, b, c, and d are the vanishing points that share the spherical 360 ° rule, while F is the front and B is the back

 

Look, I made a happy face!

Although it looks simple, the difficulty lies in the depth of the objects inside and the viewing angles, since if you go deeper you will see that this rule will have to be adapted for greater ease, but if you have a great command of spatial intelligence, you will be able to do these perspectives , not only based on them and without complicated grid fillers, but you can also combine and deform them at your convenience. For that I recommend that you practice a lot, start with the geometric shapes, then progress to single objects simplified in the geometric shapes that you already practiced, to get to make many objects together,

THANK YOU FOR READING.

If many subscribe to my channel I will publish my speed paints sooner.

 

with love, Polishka