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How do you guys set up your vanishing points for establishing your construction/perspective? I often feel like I need an ENORMOUS piece of paper in order to get the VPs far enough away from each other to keep things from getting extremely distorted.
I'm also wondering how you work these things out when drawing digitally. Do you create a much, much bigger canvas for your vanishing points, and then establish a smaller frame within that for the picture? If so, can you post a screenshot of the "big picture" view so I can see how you do it?
I've been wondering this as well. Is there some way to expand the drawing space outside of the canvas to place VP's? Instead of starting out with a 6000 x 3500 pixel canvas then cropping out the edges...
Carl Dobsky has released a set of videos which should answer your queries:
I've watched the first one and ended up with this:
(This is answering the how to set them up so that they dont distort business)
When I'm drawing an illustration I don't actually set up the whole perspective grid with vanishing points though. I only do it as a way to train my eyes to see convergance.
When working digitally, another option is to mock it up in 3d. Google SketchUp is really useful for this, and relatively easy to get into. As a bonus, you can try out a few different camera angles in your scene.
When working traditionally, you don't need huge sheets of paper to fix your vanishing points. I used to tape my paper on the wall, and mark my vanishing points on a piece of tape. All you need is a point which is fixed with respect to you paper. A nail would do.
In Photoshop, I do my construction as a path, which can extend beyond the canvas, and is a vector, so it remains intact when zooming in or out.
That feeling is entirely correct. You do need an enormous piece of paper, or at least an enormous table you can drive tacks into at the VP positions. And a long ruler.
I always just draw lightly freehand to set up the basic scene and then impose the hierarchy of perspective, using my initial marks as reference, fixing as I go.
Thanks for that link - I bought those tutorial videos and watched them, but I think what I took away from them was that I don't need to go through that whole process for much of what I do. It's rare for me to draw interiors or rectilinear structures, I mostly draw organic things for which measuring precise distances in perspective is not needed. Most of the time, I should be able to establish a basic ground plane and vanishing points and just go with my gut after that.Carl Dobsky has released a set of videos which should answer your queries:
It certainly reconfirmed my suspicions about the scale of the picture plane relative to the vanishing points! The canvas is TINY when he places it in his perspective setups!
One thing I'm curious about, though -- how did you factor in the lighting/shadow plotting? I think I might have missed it if he went over that in the video.
I remember asking that question about how to set up perspective accurately with VPs off the page in a small space awhile back. I got an answer and grid setup but cant remember exactly what it was.
It didn't have to do with having a big table though lol
I've used that software when I had to be the background artist for my final illustration group assignment.
It was helpful, but at the same time, as I am just a newbie in perspective, it's kinda hard a little on directing the position you want.
But it was a good try using Google SketchUp. And I found a tutorial for transporting the 3D models and perspective view into your Photoshop.