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HOW TO
UNDERSTAND
VOLUME
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FROM A SQUARE TO A CUBE

To create a square, we just need to draw its width and height. BBut what do we need then, to create a cube.
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FROM A SQUARE TO A CUBE

We have to fill in the missing dimension: the depth. In order to do so, we will just
duplicate this cube and “push” it further behind the first one.
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FROM A SQUARE TO A CUBE

We have created depth. If we now connect all the corners together, we will make
this depth visible, and have created our first cube.
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FROM A SQUARE TO A CUBE

By doing so, we have create 2 new shapes additional to the first square. Both have to do with depth. The
side plane represent the depth of the cube on its side and the top plane on its top part.
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THIS IS PERSPECTIVE
This method can be applied to the creation of any form in space, and to convert any shape in volume. This
is the base of the technique or perspective.
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HOW TO
UNDERSTAND
THE HORIZON
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THE HORIZON IS...

First we have to understand that perspective is the representation of what we see. Remember this,
there is no perspective if there is no point of view.
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THE HORIZON IS...

The horizon then, is just a consequence of our point of view. It is only the farthest observable point of the floor I’m standing on. This is
why, when I look up, the horizon seems to go down. It actually doesn’t, it just slips out of my point of view.
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THE HORIZON IS...

Same thing when I look down...
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THE HORIZON IS...

The horizon is also useless because it will help me divide the things around me in two categories. The ones above the horizon are
bigger than me me (I will only see their underparts), and the ones below are smaller than me (I will see their top parts)
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THE HORIZON IS...

Only if my point of view changes, when I climb a ladder, or grow suddenly bigger, will I have a different perception of things around me.
But the horizon will still be my guide to define what is taler or smaller than me and which part will I perceive of my surroundings.
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HOW TO
UNDERSTAND
PERSPECTIVE
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1 VANISHING POINT
A vanishing point is where the parallel lines of depth converges. It is always placed on the horizon.
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1 VANISHING POINT
With just one vanishing point, only one dimension (depth) will be altered; which means that all the
lines of depth will converge towards this point. But there are other situations...
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2 VANISHING POINTS
The condition to a 1 vanishing point situation is that the objects we want to represent are facing us. But what if the objects are tilted, not
facing us exactly? The first thing is that the vanishing point would move to the side on the horizon.
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2 VANISHING POINTS
The second consequence would be the creation of a second vanishing point. In this situation, not only the depth dimension would be altered,
but also the width. This means the width parallel lines would all converge to this point. 2 vanishing points = 2 dimension converging
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COMPARISION
We can see here a clear example of the 2 situations on a similar kind of scene. On the left, only the depth dimension is
altered. On the right, both the depth and with are converging towards their respective points on the horizon.
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HOW TO
COPY TO LEARN
DRAWING
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1. COPYING ARCHITECTURE
When copying a street scene or an architectural element in general, we first have to analyze and understand the perspective
of the image: this means observe and deduce from which point of view are seeing this scene.
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1. COPYING ARCHITECTURE
The second part has to do less with perspective and volume, and more with proportion and angles, our key elements to drawing. We
have to observe and simplify the biggest shapes and the main angles of the image. Sounds familiar?
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1. COPYING ARCHITECTURE
The rest is all observation, calculation and comparison. Having established the
perspective will considerably limit our mistakes.
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HOW TO
COPY ORGANIC
MODELS
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2. COPYING THE HUMAN FIGURE

To copy an organic element is not so different than it seems to copying a building. First and foremost, we have to establish our perspective lines.
Even though they are harder to find, they will be necessary to a proper understanding of the volume and the point of view.
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2. COPYING THE HUMAN FIGURE

Also similar to the architectural copy, we have to study and establish the main shapes, proportions
and angles first in order to guarantee an accurate end result.
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2. COPYING THE HUMAN FIGURE

This will help us considerably to build all the details with confidence over a good base and structure.
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HOW TO
LIGHT THINGS UP
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ADDING LIGHT
Even though this course is not about painting, adding a simple shadow pass will always help considerably to enhance your
drawing and their ability to seduce and be well considered. To do so, we first have to understand the volume we are drawing.
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FACE ORIENTATION
The first thing we have to understand in order to light an object, is that shadow and light distribution depends on the orientation of the
faces of an object. We have to be able to identify, buy and large at least, which faces are “looking” up, down, left etc..
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LIGHT DIRECTION
With the second element in hand: light position and orientation, we will then be able to deduce how light will display on the object we have drawn.
For example, if light is places on the left and looking to the right, only the left sides of the objects will be lit and the rest will remain in shadows.
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LIGHT ON ARCHITECTURE
In this example, we can see in the original image that light seems to come from front, slighty left to right. We then identify all the
building faces looking front, they will be lit, and the rest will be in shadow. TIP: don’t forget about the cast shadows!!
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LIGHT ON THE HUMAN BODY

Even with a more complex volume such as the human figure, the principles work the same.
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We have revealed in this unit most of

drawing’s technical aspects and you
should now feel comfortable copying
images. THIS is drawing. But it’s not
creating… yet