All language subtitles for Perspective03_RightAngles2

Last week we talked about right angles and everybody knows what a right angle is

Everybody knows that a square is made up entirely

Have right angles

Now

What is an obtuse angle

Anything more than what is that

So that means that's an obtuse angle right

And that's an even more obtuse angle

What is an acute angle

Anything smaller than 90° which means

That

Is

An acute angle

And that is a more acute angle

So here's the thing you know

But in fact a square which could be the top of a cubit for simplicity's sake let's keep it a square

As soon as you tilt it in perspective

Though it is made entirely of right angles no angle in there but right angles

Tilted in a one-point perspective

And you will see

That it turns into

Two acute angles

And two obtuse angles

Acute

Acute obtuse obtuse

Does that happen when you tilt it in two point perspective

It does

You will have to

What kind of juice

And two acute

Okay

But of course

It just looks that way

In fact those are right angles and they have this illusion

Of changing

When you tilt them because of those principles we've talked about Demolition and convergence and all that

But here's the where the question comes in

That is confusing at first which is

How acute

I mean

Like

That's more acute than that

How obtuse

That's more obtuse than that

Write this could have been

That square in perspective could have been like that and look at that's almost a right angle

And look at that's less acute than that

How much so

You can

Let's say that this is the top of the keep it ask where you can extend this down and still make it in perspective

And make it

So that that square which could be going off

The vanishing point remember we're looking down on it so the horizon line is going to be up here somewhere

What I said it would turn into an acute and obtuse you can turn that look at that even becoming

That was the obtuse angle and it's becoming

Acute is becoming less than 90 degrees

So how do you know how far which way

Or another now it's best

When you're drawing

You have to have a time to be scientific and a time to be intuitive or did not do the 2 or necessarily in

And opposition to each other when you are drawing it helps to know where that horizon line is to nowhere

What are you looking up or down on something but then the thing to do is don't worry about Vanishing points first worry about

About what you're doing okay there's a great big rock here and there's a guy standing here and he's looking up at it and then

There comes a time or you'll get scientific

Daniel put this into a box and you'll say there's a vanishing point there in a vanishing point there and if there's a level

Clip on that right there we go like that and if somebody wrote something on that rocket would go like that and then you'll make it confirm then

Can you find out this guy stands in something about the size of a telephone booth and it's going to have lines going like that

You said you have to go into scientific mode to solve draftsmanship problems

But don't start there usually

Start by getting things where you want them

And then you're fixing layers like you don't want to think about grammar

When you're writing

Or when you're speaking

And you'll never ever getting we don't want to think about correct notes if you're playing a Sonata

You need to

Worried about this correct notes and practice time

Then you need to think about grammar in your education and then maybe go back and correct it but there comes a point where you guys just got to let it flow

Because this can all this prospective business can cripple you but you've got to ask these questions at one time or another

How far do we put these Vanishing points away how low can this go and still be in our picture plane and

That's what we're going to talk about today remember last week

We talked about POV what's POV

Point of view

We talked about you have to determine how

Hi

Your eye level is

Or how low it is

Uptodown Horizon moves with you just like the moon dies

Can you go to stablish in there somewhere maybe specifically or maybe just

Intuitively where you are left to right in relationship to things

But there's a third dimension since we're dealing with a three-dimensional illusion that is

How close am I to the object

That's what we're going to talk about tonight because it will determine these things

So we've got horizon line

For how

Hi the eye level is horizon line

We've got one we call the thing for left to right

Station point

And then what were I'm just choosing this term because it makes it proximity how close

Things change when you get close up on them

Getting close up

Is a part of

Hawaii from lovers want to be close up they don't want to be across the continent I don't want to be across the room and want to be as close to each other

Possible

Closeness is something that we want

Animals one that we saw this

A video about apes and a sape

Found a dead mouse

Deadmau5

That jumped up and left of the other side and got 25 on the other side we're going to have the kids like to do that to your face

Station I like to get right up so it does like a carnival mirror

We want to get close up on things whether it is a dead mouse or our beloved

And somewhere you got to ask how do you do

A picture

Hey just make it bigger

Making it bigger is a start but it won't be enough

You can't just take

A cube

And go like that and say that's going to do for being close up

Because when you get close up on a cube something different happens

Tell me if you can tell the difference

Between what I'm doing there

And what I'm doing

Here can you see that that looks closer up just a bit

An exaggerated that more as we go

But before I do I've got to go into this theoretical mode for a sensitive for a moment and explain something

We didn't talk and hear about the cone of vision yet did we

You say

Let's look down on a person's head

There's their nose

We've got

We're going to pretend like we got one eye but even if we include two eyes

You look out something like that right

You do not

Like a fly

See

Like that you just can't

You cannot see 360° around yourself

You've got this coronavirus in that goes out and how wide is that coronavirus in

It is

Arguably about

60° which means

What if that's a right angle

Right half of a right angle is 45

Show me a little less it wouldn't be

Fandangles something like that

That you're seeing out now it could be more it could be less

Depends on the person some people have better peripheral vision

What we say we got to limit it to something like that

Now if we do that

If we limit our vision to that

Kona Vision that we see

Which incidentally as you look out of your eyes

You see something like this don't you ever say you got to do this

Try to imagine where the borders are what you seen you see there's a little

Little indentation there where your nose is

So it's somebody mentioned Daniel mention somebody else mentioned about all this linear perspective it isn't really true is

I mean it's more curves than that that's correct

All the straight line business

In your field of vision doesn't have you can see that in camera lenses how things start to curve toward the edges that's what happens in your eyes

But all this prospective business is complicated enough

With straight lines

A straight lines are way of simplifying it

So we're going to keep with the straight line business and not get off in the metaphysics or anything I ever going to stay with

Vanishing points are straight lines and then when you get more advanced you can curve everything now

If this is if on the other side of the picture plane Miss characters looking at

Let's say that the picture plane is right here

And we'll put a box there like that

I said in that boxes is a little girl

Firebox over here and in that box of the Great Big Bear

Put the claws coming out to where the little girl on over here will say there's a picnic basket and you know we can

Figure little girl sitting there eating her picnic basket

What is the sky God in his vision

What can I see with that coronavirus in

Probably something like that

That if we wanted to see more

We can widen his, vision which starts to distort things

Or we can do what

We can just pulling back same Kona Vision same angle and he'll include the picnic basket and all that

If we move him in closer

So that his

Head is right there same code of vision

He's going to see just so you see how we've got a coma Vision that's looking at a picture plane

But it's not just what you take in my name's you step back you'll see more

But something happens as you get closer to this

And I'm going to have to keep it simple

D'amelio's book explains this over and over so if you're reading d'amelio's book you'll get it

Here's our character give him some shoulders

And give him an arm a couple arms pointing in a direction if you stand in front of a window

If I've got a window in front of me I'm sitting in front of my window testing this today

And there's that table on the other side I've got glass window here

If I

Point

My arm in the direction

Of this line on the table

And that window extended

Point that I'm pointing at will be the vanishing point for that line on the window

If I point in the direction of this line on the table

That is a parallel my arm is parallel to that line it will touch the window

At the same point that all those Vanishing points there

This guy

Is pointing parallel to that box with that arm right pointing that way

And parallel to that one with that arm

Vanishing points to hammer going to be right there it does happen

In this guy's field of vision

There will be a vanishing point that will intersect

At the same point that's going to go off and it's going to appear to disappear somewhere they are course

His field of vision

I happen to make it for simplicity's sake all of this the same now what will happen

If he moves

And points his arms like that

What will happen to the vanishing points remember he's paralyzed pointing in the direction of that one and that one that's not his field of

That's a right angle by his field of vision is 60 degrees so it's going to be more like like that

What happens

Vanishing points

They move closer

That's the big secret

For tonight

I want to tell you

What photographers know

About perspective

Photographers we could we can divide up their lenses into four different kinds

What's the kind that you would use if you're trying to

Photograph and get close up on wild animals but you don't like to put yourself at risk

Telephoto

A telephoto lens

And what what are the numbers that people put on what would a millimeter number be

Come on I'm here for stalking for the 500 mm lens

Is a telephoto lens

Okay

But say that you just want a standard lens what will cause what would a standard

Mm lens be

50 is pretty standard 80 is okay too but will say

What would say 80

50th standard on most 35 mm cameras which remember 35 mm camera doesn't have anything to do with mm of win

35 mm focal length which is what I'm going to talk about

Okay

There's another kind

Which if you want to get more in the picture

Recalling

Wide-angle and what is an

A real standard wide-angle lens

28 mm lens

You got your

You're mine alter your Nikon or Canon and you want a wide-angle lens you buy a 28 cuz if you go 424 it's going to cost you

Morpher that went

Okay now there's are really such a wide-angle lens what's it called Daniel

Officially lands someone is a fish Island what kind of numbers are we talking about

8 mm lens is a fisheye

Okay

A telephoto lens

Looks like that

When you're looking down and then I can turn it into Ellipsis here so you'll see what I'm talking about

It looks like that and then the camera would be here

Connection to the camera you got your shutter button there

It looks like that what is a standard lens look like

About how much of that

Yeah it's probably going to be something like that

And what happens when you start to get a wide-angle lens

You got a very shallow cylinder like that

The here's what goes on there

I'm going to tilt this up

When you've got the film right there this is where the image is going to go on that film we're looking down on this cam

Look at what is happening

With the angle of the way the image the buildings are the elephant three blocks away gets in there

It comes in here

Like this

You see that

Now let's say that we're doing

The wide-angle lens

How does it get in there

You see the difference between the telephoto and wide angle

And what happens when you do the fisheye lens let's do a fisheye lens on there

Okay

That's why these are called

Focal

Winx

The longer the links

The more acute this angle will be

The shorter the length

The Wider

And more obtuse this angle will be

Okay

That

Theory

In photography

Relates directly to what I'm talking about tonight for the picture plane

And perspective and how close you get on think remember this diagram

Because that's what it's about

And let me

Demonstrated

Here's a picture plane

The window it looks out at a street

A street that has telephone poles on it

We'll make it so that the street has a

Horizon line right there and there's going to be a telephone pole it's going to start down here

And it's going to be this great big thing there and then as the next one might be you know something like that

Actually we need to start at way over here to keep it on that line the next smaller and smaller as they go back

We'll talk about how much smaller but let's say look at this we've got telephone poles that are getting smaller and smaller

Smaller as they go back

The difference between

I could have cropped it differently but I didn't

There's going to be one over here that's going to be real big the difference between

This telephone pole

And this telephone pole

Is a big difference right

The difference between

These telephone poles is going to get

What's different they're all just little lines out there

When you use this telephoto lens

What do you get you can't get a few like that what are you getting

You get this part right here magnified really big on the film

So that the picture plane of telephone poles looks like this

They're all just

Pretty much the same size repeated over and over

But when you get the wide-angle lens what happens

The first telephone pole is huge

The next one's kind of small the third one's really small and then as they keep going back they just start to give you get the ID

That is the difference between what taking it severe now is you is you in between there's a lot of gradation

Official ends

Does something interesting what is a fisheye lens always do to the negative what is the shape of it

You got a 35 mm - that's something like that and what is the shape of a fisheye lens

It turns it turns it into a circle and there's a reason why

The Vanishing points become right or actually you know when you got a fisheye lens

But say that you've got to

Cube or something like that and it's that cute could be somebody's head

You know what happens you also get a vanishing point

Actually you get a vanishing point right there

So three point you'll also get a vanishing point right here

That's what you get

Everything bins

Everything curves

With a fisheye lens the whole world curves

And you could even argue that you got Vanishing points all around there

So what's been happening on all of all of these

The Vanishing points the further away they are

The more they're going to be

Leica telephoto lens

The closer in the more they're going to exaggerate

To make this a more

Acute angle

Which means you're coming closer in it

And so the trick with photography is simply if you want something to look big

That's not that big use a what

Is a wide-angle lens

I was talking to an art director on the phone yesterday who is

Troubleshooting a picture of a wallet stuffed with money

He's going to have me

Make it look bigger and fatter

And I said

Well you know you might just shoot it with a wide-angle lens and make sure that you're up close on it

How do you say do you have a wide-angle lens cash said yeah and he said let's deal with a wide-angle lens

That which I told him you may not need me but he still needs me to do more but

Make something

Big

If it's not big

Can a wide-angle internet can get clothes on it and you know what happens you've seen it where you get closer you know in the nose gets really big

Here's the way to think of it

Your eyes

Are the film

And the picture plane

Is the winds

Don't let me demonstrate in 2 point perspective this concept

Western you see why I didn't want to spend 10 minutes explaining that other concept I'm going somewhere with this

I'm making one big point which is this

Here's our picture plane

And we're going to have

A boxer say the ilvl is right there

Going to have a box here

That Little Red Riding Hood is sitting in or whatever you want to put in here

And we're going to place the vanishing points

Outside the picture playing here and then I'm going to aim those Vanishing points

It's hard to do this this big but you see that part of it is

Aiming

Okay we've got

That looks sort of like those telephone poles

Would look through a telephoto I mean that's that's not exaggerated closeness

Do you want to do the same box

And see what happens

If instead of having the vanishing points that far away let's put

I'm just outside the picture play Let's measure this so that it's the same height

And then do all this

Now which one of those boxes

Looks bigger

Does that one not look bigger

I mean we could also make it so that our level was down low

So that we're looking up at it

And you get this kind of effect

In fact let's do that if I have a box that's sitting there on the picture playing like that doesn't that look like you're now it looks like your look

Looking up at your Little Red Riding Hood looking up at the building

Where is if I take that same point of view

Put the vanishing points further away

That is make them way over there

You see see the difference

When you hears the way to think of it let's turn this into a picture plane looking down on it

Again

If you've got a character here

Looking out

At that picture plane

There's going to be Vanishing points there

Actually

Here's a way to look at it think of it is an equilateral triangle if this person is that far away

Make it so the vanishing points

Would be about that far away if you pull this character out

The Vanishing points are going to be that far away

Try to fit in a few move this character in

The Vanishing points are going to be that far away

Always think of it as an equilateral closer I get to it what happens

Vanishing points move in

Move back from the picture plane vanishing point move out

And that is what happens

When you look at a big building from a cross

The harbor

It doesn't really look that big except that you know it's big

You can't tell from your eyes though I mean your eyes are not giving him that his big we were sitting out on our porch the other night

Are the other late afternoon

I was still daytime there was a wound up there

Like a white smudge of chalk on a bright blue sky and we were looking at the moon talking about the moon and then a helicopter came by

We start talking about the helicopter

And then my three-year-old said top

I thought I was going to hit the Moon

When I remember one time he was talking about how the moon was about the size of his hand

He doesn't know yet

And you can't tell

From a picture

You can't tell by what's going on in your eyes

That the helicopter was going to hit the Moon

You can only tell because you know now

Right

So it is when you look at those buildings across the harbor

They're these little building I could be they could be cigarette packs for all you know

When you happen to know they're big

The way they look big

Is that when you get up close to them

They fill your field of vision

Which means the vanishing points come in here like that and even look up and it's this severe acute angle up there

You can make a cigarette pack look that big

By getting ride up on it like that ape got up on that Mouse get right up on it

And it fills your field of vision in the same thing happens with vanishing point pull in

And the top of that cigarette pack goes at cute

And it looks

Power

So when you get up close to something that's not so big the same thing happens in your field of vision is when you stand in

Front of a big building

40 ft away from it

That makes sense

But here's the secret

Remember the closer you get on something

The morial pull those Vanishing points in the more you step back

Because you want to flatten out the space

The more you pull the vanishing points out so what do photographers use for portraits

Do they use 28 mm lens

We did this afternoon because we were trying to make funny portraits what do you normally use

What numbers

80 to 200

Why

Because 80 mm lenses are about the point of telephoto where you don't make the face look really

Big

You don't get a wide-angle if you don't distort the face

So when I did those original funny heads of me and Nigel Nigel has a pretty flat

Chucky face so I got a telephoto lens and got on the other side of room because I wanted his face to be even

Bladder and chunkier

From my head

We put the wide-angle lens on

That way we got even more of this

This comes into drawing pictures

I'm going to show you an example

That was thinking these exact principles when I was doing the preliminary work for it

This was my third

Picture

For Alice in Wonderland and I was trying to do some nails and Daniel Dunphy was looking

At this picture that John tenniel did of The Duchess with me and he said you know

I told him I didn't want Alice in any of these I didn't want to commit myself to I want it from Alice's point of view

And it will be interesting to do that scene

From Alice's point of view do the tenniel seen from that point of view I thought that's it

That's what I want to do I want that kitchen something like that kitchen so I did about

Baby 7 8 9 10 12

Thumbnails

And this was the thumbnail that I landed on

Most people look at that what's going on I know what's going on

That is I wanted she is a little bit Above The Duchess who sitting down I wanted her I coming at you big

I started to develop a little further develop a little further I lost what was going on

Somewhere in here

But it changed quite a bit by the time I kept doing it in tracing paper overlays and which I show you crucial step you'll notice a little map

Right here

That map

Is a map of the room looking down on the room

For the counter Vision 90° of Alice

And what she sees in that way I can say Okay Duchess will be there that will be there I can include this

And there was a point at which

I thought of The Duchess hit duchess's head even though I don't you show it in here a little bit there someone showing I thought of it

The Box

But not a box like this

Her head would fit in a box like that

I thought of it as a box

Like this

See that which means look at what's happening I actually it's more foreshortening that look at what's happening on the front

One of the face

If this guy fits in there and that I fit in there do you see how that is going to be bigger

Where's my do that over here

The difference between a tie and a tie is not as big as this is this side

So I was thinking that way and also thinking like that right that ear is going to be there

I didn't draw the lines out because I didn't mean to at this point but I would have about 45 years ago to try to solve these

Craftsmanship problem ahead exist in space so this does come into things

Like

Hair and faces and placement of ears any questions about this

Doesn't make sense

Queso we solve three problems

We solve the problem of the afternoon how high you are

You should know where you are left to right although you start to figure that out when you start to draw anything in there all that's in my right after my

I can see that edge

And you should know

How close you are

Because it's going to affect solving these problems that's for writing

Next week

I'm going to talk

About the importance of seeing through the form especially if you're drawing people in a room or things in a room

You need to know what the ground plan looks like a no internet where things fit on the floor

On the way to draw bunch of stuff in a room

Yes

Go out before sketch out that floor plan in perspective first and then you can just lift stuff out

You don't have to do that Drew struzan did

The Return to Oz poster where he had all those characters on that couch that was flying through the air and they were fizz

Physically impossible you couldn't fit them all on there

They changed the proportions of everything there was a lion it was supposed to be twice as big as another pair three or four times as big anime tits

It was almost the same size

Why what's more important

Craftsmanship

Composition

That's more important than draftsmanship

That's a drag if you want to solve draftsmanship problems

And you don't know how next week we'll talk about right angles again and specifically about seeing through structure seeing through