Pe eur ee In manga, artiste primarily a Desks and Chairs: Impeccable Desks and Chairs ) ecenes of characters at desks | — 6 close-up panels. However, Artist S challenged us to create a full-igure comp ussion is for his records. © Profile View Challenge ition, 20 this Vanishing Point of = the Chair's Seat Nelther the desk's top nor battom surface is hy. visible, which means . A that the horizon tine is . approximately located here However, the lines forthe desk and the character's feet converge at this point, which suggests that this isthe horizon tne. () Forte above, tne att £4 proccod a rough seth and £ then added finishing touches i wile being conscious of depth | st | ais his custom. at frst ane, . ‘the drawing seems — + \ el nestle, Hower, we Hf Ly Le noice a problem when we = ; redraw the composition in I é perspective The desk’s perspective does not match the chairs perspective Line for the ough Sketch Chair's Legs 1. Individual Examinations of the Desk and Chair oS — & p" ibs ‘ U u The above shows the chair drawn in 2 Since the desk's vanishing point is ‘well defied, we know that the horizon line should be here. 134 This does not mean that there should be ‘multiple horizon ines one for every vanishing point. For this drawing, we ‘need only one horizon tne perspective that has the same vanishing point ‘and horizon line as the desk. Now, the chai's back exists in "the world above,” which means that the floor should be made visible.2, Returning to the Basics of Drawing a Chair in Perspective f} Chair's Back Floor Basic Pont 1: Let's draw the chairs seat and \_ Fie legs so that they match the chai's back Next, we draw the \Y | depth ines so that they ae virtually parallel (draw diagonal lines that converge toward an imaginary “ vanishing point). This technique is calle, “simulated one-point perspective.” Basic Pont 2 Using the sketch of the chai’s seat and the floor underneath the chair, let's establish the vanishing “© points location and draw the chai’s back to match this vanishing point 3, Revisiting the Challenge: Redrawing the Chair to Match the Desk's Perspective —— r = 4, Tae Mae ie \ — iy Now. individual examinations of | = SB the desk and chair show us that no perspective problems remain, % We are able to feel secure about ‘adding the character t Horizon Line xt 4 \r —— ¥e o ‘The above shows the final ‘composition. We met our challenge successful a136 PEC © Front View Challenge 1. What Happens When We Examine the Sketch? Line forthe Bases 4, \ ofthe Desk’s Legs 4 4/4? ¥ Une for the i 7 4 4 Desk's Legs wa A Once again, there are two f vanishing points. 2. Solution: Whether to Use the Desk’s Top or the Area of Floor Underneath to Establish the Perspective ‘Using the Desks Top: Making te Upper ody he Conposto's Focus B. Using the Fr Underneath Desk: Making the Lower Body tateon ——ye the Compost acs " Une —— re - In this case, f=) 2 the desks F 7 | ‘underside will 4 . uF Horizon —} x ‘come into F mewn tne | vow supp tndereat te desk shoul also ‘move toward the vanishing point Let's draw the horizon ine above the desk The shape ofthe shadow underneath the desk will change asa resut 3, Redrawing the Desk, Using the Desk's Top to Establish Perspective Ifyou intend to show off a character then the face has more appeal than the legs. Here, we t reposition the character's face ‘along the horizon line and revisit mi the challenge y The composition seems tobe the a {* Character ater he haacter 7 “i . X Desk’ Top and the desk’s top surface, which sth ara fuses ino one. However we A” (ft A seat also sketch the chai's seat and the SS ‘oor undemeath the chai, which \ wil be obscured in te fina | \ 8 a ‘composition tis important be I aware of al thre portions ofthe es 3 ‘composition: the tp tid, the $ Foor ‘An inspection reveals " sais middle third, andthe bottom third. __ Sao Ie the steel cptn perspective. fe met our challenge successfully@ High Angle, 3/4 View Challenge Returning to the Basics Adjusting the Spatial Relationship between the Character and Surrounding Objects ‘These thumbnail sketches illustrate the relationship between the character and the desk. Uniess you are extremely unaccustomed to sketching, you should ‘raw thumbnall sketches lke these regularly while you compose a drawing First, e's produce a study sketch, roughly sketching the character's pose Capturing the Figure eoth es connecting the ‘The body's fours joints. upper surfaces are visible When reproducing this on your own, be sure to draw the torso asa three cdimensiona object as. seen from a high angle. ‘An inspection reviews a few problems. a 7 Is this supposed to be simulated one-point perspective? Solution: Having a Horizontal Horizon Line and Moving the Two Vanishing Points Farther Apart Establishing the Character's Posture We establish the angle ofthe character siting at is desk. A slight sift in the face's direction changes the impression that the image projects Desk's Top Seat 65x45 em 39.5 x40 om (Approx. 25 5/8" x17 (Approx. 15 5/8” x 18 1116") 1116") ‘Lines Connecting the Joints of the desk and the ir parallel to the nee connecting the jolnte ensbles you to sketch the desk and sitting stra pecti 2 helps to heighten the 137The partition, cot, medicine cabinet, and window with a curtain are all obligatory props. @ High-Angle View of the Nurse's Office Seen from the Door [|e yt! Wastebasket window (xterion) [cabinet] Room Layout The above thee lines establish We the space asa room. These alone YY Refer tothe room layout and create the ilusion of a space. The sealing dagram as you draw horizon line forthe room corner the furniture and windows. shown above is positioned high in - (Once you have established the the composition, nis es ios ie cares ed \ window's height, then that will appear if the horizon ine was become the basis fr scaling positioned low in the composition. the remainder of the room. 138ceiling | | | | | [ ‘the Wastebasket _/Floor undemeath the Stoo! a Floor underneath the Medicine Cabinet Floor underneath the Cot Medicine Cabinet Establish the shapes ofthe undersides ofthe cot and meticine ‘Scaling Diagram cabinet, gain an idea of the floor's appearance, and establish the heights of objects. Sketch the position of any other object to add as a flor shadow. © Positioning Characters ‘Sketch the characters to match the scale of ‘he furniture and window. f you use the \window’s height as a basis for scaling al other ‘objects, then any figure you draw according to the window's height or figures located next to ‘another piece of furniture should appear natural. When drawing a main / Characters room or a room as a setting, always sketch a room layout and a scaling diagram as well. 138@ Nurse's Office Seen from the Window ‘This room gives us the impression of peeking in from the ‘outside, The nurse's ofice tends to be smal, so use one- Point perspective instead of two-point perspective, which Position @ mock-up figure against the wall to would emphasize a sense of expansiveness. draw the medicine cabinets and ater items.Two-point perspective is excellent for portraying an immense building with an immense interior. Exterior View ) Begin by Drawing a Box & This isa bird's eye view. Draw a box that wil eventually become @ the vauited root . : Selecta height that wil best suit the intended vaulted root a Toward a Vanishing Point ‘Sketch a box in two-point perspective. Toward a Pe —— Vanishing Point —_ (might took (7, complicated but rely (you can reproduce this \ A gymnasium using only) ‘Select the smaller ‘surface to draw the "x" boxes and the " Use the "X method” to locate the ‘ *\ eet on wa center and then caw a net de wen sent aa. ‘the first story from the second. the degree of evo. utDrawing the Vaulted Roof This portion will beoome the vaulted root | Flat Wor Begin by sketching a box resting on the ground.” lines to create a at surface (the ‘ground PARAG ‘| Weal | r \ | Draw an almost perfectly } vereal ine at he wariors Lo et rst at yout Rough Sketch create a vertical sense of OS sent. This stows the am breaking through ‘he ground. Here, the curve of the elipse used to define the arm's section plays akey role in giving the The artist composed the demon arma sense of volume and portraying By drawing him ina box as wel ws, ‘he ground asa fat sutace ‘Use Three-Point Perspective and High Angle Compositions to Communicate Situations in a Clear yet Dramatic Way 169In the Sky over Tall Buildings: An Aerial Battle with an Evil Demigod© Creating a Composition That Portrays "Midair Flight" over Crowded Buildings Viewed from a High Angle Depth Vanishing Point Horizon Line ——~ With Line ef The width tines are ~ ‘rawn parallel to each othe, creating the sense of two-point Perspective. ‘The buildings have multiple depth vanishing Points. While this means that the buildings are at orderly lined up along a single road, it also serves to shake up the scene's expanse and entance the compostton’s sense of dept. Width Line f LIRIAS — Siac ‘Use Modified Two-Point Perspective to Portray "In Midair, High above the Ground” in—— BEEWROHOS My Room: A Doll Looking Down on Mischievous Sprites© Creating Compositions of Rooms That Emphasize Expanse and Depth ‘Draw the room in standard two-point perspective, while using “simulate three- point perspective" forthe neght. The height Hines \——~ ‘of room's rear have just a barely perceptible angle, ‘Slightly exaggerate the angle ofthe height | lines of those objects close to the picture plane. This creates a "wide-angle lens" _ ‘Make the characters appear tiny with respect to the objects in the room. This wil ‘make the room appear larger. Setting up to Achieve the Desired Portrayal ‘The ats sized the doll o be approximately as big as agi's head. ‘Use Three-Point Perspective and High Angle Compositions to Make a Room Appear Expansive 173Communicating Characters and Scenes Seated Characters Drawn in Perspective: --*°*****s°ss AS} Shoulders: = bios am _—— Feet Draw the bench as a simple box and sketch the figure as a nude wile adding ‘some sense of foreshortening {) Produce a rough sketch ‘Add ovals to give the figure a sense of volume, Horizon Line > 2 Sketch the background, maintaining awareness of the perspective. 174Lines connecting the character's shoulders, his, and feet should converge toward the ‘same vanishing point s those of the bench \ Fe Coes of = 175“Seated Characters Drawn in Perspective * ° © ee es eeeeeeeeeeeee Rectaiog on a Chaise Lounge Two-Point Perspective | A SZ <2 Render the chaise lounge andthe character as simpe soli objects. This, Produce a rough sketch, constitutes the compositions layout. Sketching the Room's Interior