[MUSIC] Hey, guy’s, so in this video? I’m gonna show how to make to perspective brushes. The only perspective brushes you’ll ever need and then we’ll go into setting up a PSD file in Photoshop to setting up how you can kind of quickly block out or sketch out comps and scenes, so let’s start off by making a new file. I’m gonna go with one That is about two thousand pixels wide in this case. So if I break it up into four comps later on, that’ll give me about five hundred or so, maybe a little less pixels for each image, and that’s plenty to work with so see. There’s a fairly default one. I like this one 72 dpi. I never go higher than that. No reason to if I’m working on a computer And so for our first perspective, brush this one’s going to simulate the vanishing point. So we need this line tool right here. See it’s line tool. You want to make sure it’s set to pixels? I’m gonna upper top and I’m gonna start with a a weight of about four and see how good that is that that seems like a little too thick so well. Drop that down to three. Yeah, that seems good. I think one one two two two two three is probably ideal, so what we need to do. I’m going to just start by drawing this straight down the center and then going off from the center from there and basically just kind of doing the same thing all off from the center on one half. Until I get to the top. The the more careful, the more careful you are at pinpointing your center. The more accurate or the less clumsy. It’ll look, so that’s pretty good. See, that’s all on one layer. I’m gonna just duplicate that and now transform and rotate that horizontally and then match it up, so there’s no overlapping, basically like that, and that’s gonna be our brush. I’m gonna take the square marquee tool, right, select the entire canvas and what you’re going to want to hit is the define brush preset button right here, so see, and that’s going to make your first perspective brush, and that’s going to basically kind of. Look something like this, right, pretty nice, instant vanishing points wherever you need one. Now the second and equally important one we’re gonna do is a bunch of horizontal lines. Some people may want or get. Precious about how equal and spacing these actually are. I generally don’t bother, so they’re just going to be a series of lines. If you want them closer together, right, you can always skewer scale everything a little bit further like that and once more right, I could duplicate these and get a lot of ground covered like that. Repeat the same process. Select everything hit edit, define brush preset, all right, so in action that second brush is going to look like this right pretty handy, so the that the added benefit of doing something like this is you can either make your mark and then rotate it like this for your vertical lines or you can just save out another brush like that, but this is all we really need to do for -, and so generally the that the premise with the brush like this is that we establish our horizon line always first, right, and I seem like a Oh, here’s our comp, right, We’ll frame it. Even there’s our horizon line. So how do we use that brush? You know, in particular, because I think it’s pretty self-explanatory. Oh, if we need a vanishing point right there, you know, like that that that works that self-explanatory now the thing to remember when doing this, it’s always good to put your vanishing point on that horizon. It just won’t make sense for those of you. That are really a not familiar perspective. It just wouldn’t make sense to have that floating way above or way below. So you you may notice. The tricky part is if we want a more natural shot where the horizon is really far off. Right, We have to place it way out the picture, and then we run short. So this is how that other brush is gonna work, so let’s put one horizon or one vanishing point Right there, right, lets. Switch gears! I’m gonna make a new layer well. Get back our other brush. I’ll make this one purple. Just so it’s a little easier to see, right. We make our mark and so the trick with this is again. Use the skew tool in Photoshop strands form options. And you can just drag this out off. You know, like that and so see how there’s like a middle handle as long as that aligns with your horizon line, it perfectly simulates having a point being way out of shot and way off the clump so so you can adjust the perspective accordingly, and as long as that line again, that’s the most important part runs across your horizon line wherever that may be, it’s going to work, right so to put this to full effect. I’ll do three-point vanishing points now. If this one’s going to be in green just to show you the difference once more, right, we make our mark. Then we rotate it vertically and now. I’m just gonna stretch it to fill our call and then to really give it the full effect. All right, we’re gonna skew it up Just a bit just to give it a very natural sort of shot. You know how the human eye perceives depth and life and this is not necessarily perspective lessons, but it’s how you can quickly set up a few Photoshop brushes to get your comp. So now you can basically get in over this, right, If let’s say we were drawing a few buildings right because the the latest brush loss challenge is rooftops, so you’d be very easy to get in here, so you’d be very easy to get in here and just setting up some basic buildings for your compositional setup and structure infinitely -. You can do anything with them and again. These lines could go out like there. That could go like that, right. This could go like this and it very easy to set up a skyline using perspectives like this. Alright, so now that we have the perspective set up, Let’s show how we can set up a comp page now for efficient, basically gonna fill a new layer with with any kind of solid color. I’m gonna use black to keep things clean and simple. I make a layer above that layer and using the square marquee tool, I can fill that with a shape. It can be a horizontal shape. It could be a vertical shape. Whatever shape you basically want to sketch within and so. I’m duplicating that now a few times, so I can basically arranged and organized a little page and I just stretch these out so it can fit that real-estate the best it can, and I hit Commander control, you know, Mac or PC on that layer as I mouse over it and I can delete it on that black layer below, and so when I make a new layer, that’s below that that frame. That’s all we were doing was building that frame I can then go back and turn those that one perspective grid that I made, and I can move it around behind the various shots to kind of come. It’s almost like a two-dimensional way of viewing different angles. You look simulating looking through like a three-dimensional camera, It’s the best way. I do it if I’m not already. In the 3d software, and of course, you can rotate the perspective if you want a dynamic sort of Dutch camera angle and so on and so forth so see, you can position the perspective anywhere underneath it and then create a new layer in which you just start sketching right and drawing up your scene, so in this case. I’m doing like a rooftop rumble, right, I can just really easily get in here and draw to my desire where I want things to play out. Erase that out! Here’s my giant sort of billboard, right, Here’s the Raptors for this. And if, of course, I’m if I’m sketching out most scenes, I keep them fairly simple and straightforward, so this would be again like the sign. There may be like a couple other elements underneath that there might be the letters in there. There might be the external lights up here. We may show different pipes, right and things coming to and from the foreground and in the background and so once more to clarify, this is not a compositional sort of lesson or talk. It’s not even a perspective one, but it’s just one technique. I use to Ill to get in here and it kind of quickly block or rough out or in a way. Sketch my compositional scenes. So I’m just kind of polishing this up as you can see. There’s no sort of consistency to kind of how I’m doing this. I I have like one reference of what a roof kind of looks like. And, of course, there would be a lot of varieties of that, But I’m just drawing some basically some fans some pipes. You know what else are on a roof antennas, maybe skylight windows. I’m drawing here just basic elements so that it almost looks like. I know what I’m drawing and then, Of course I could try my hand at doing a couple skylines for the roofs and again that would change, you know, drastically, depending on the type of city. It is alright so now what I like to do is copy that perspective folder, so I can select everything else and delete it around that one for that clump, so I can just keep it, but now I since I copied it, I have, right. I still have it so I can move it around and basically build another comp with that original sort of grid so I could rotate it horizontally. You know, I can flip it around. I could try shots where the perspective or the horizon line is far below. You know, far above variety is that’s what’s awesome here, so I can constantly just change it up, so see like that. A lot of that grid ends up falling well below this frame, but that in itself, kind of lent lends itself to a really nice. A creative approach to coming up with a shot design is that. I’m looking up. You know, in into this scene now, so here’s like another kind of billboard thing. I’m not if I’m complaining out a scene like this. I’m not planning so so much with the lighting and what the the overall value structure is of things. I’m just kind of having fun, drawing a bunch of shapes that at this point, just abstractly kind of represent building spaces and therefore I might know, like if I’m drawing a couple characters fighting, I can vignette them within that sign shape and so on so forth, it’s like a little bit of planning ahead, but I like to treat a sketch stage like this as very non-committal very kind of quick and destructive phase that I can just iterate and iterate ideas and, of course, toss the ones that are not even close to heading in the right direction, so as I just repeated the last process of copying the perspective folder now I can go back into the folder on this third shot and just move things, so I’m not using that exact same proportions for how those lines are set up so again, it gives me slightly different shots, and, you know, if I kept going with this, there’s there’s no reason why within an hour’s time, you know anybody, almost any skill level couldn’t just sketch out, you know, Eight to twelve compositions and then you could write you a number of them and you decide, okay. These are my best four, then progress, those four, the best for two compositional lighting and value based structure in in that fourth. And not everybody kind of works this way and I don’t always work this way, but it’s just one very easy way that some of the you beginners out there or some people just practicing composition and drawing perspective, this is a great exercise and a great, simple approach. You know, to the subject matter eventually, of course. I’d have to actually get tangible reference for a lot of these elements, so I could draw them with a little bit more conviction, and, you know, a little bit more accuracy, so I’m not just making up bunch of these lines and shapes. Oh, this is the back of sign. I don’t know what the back of sign looks like. I’d have to research it, but anyways, guys. I hope you enjoyed this. Take care! I hope to bring you a video next week as well.