DRAWING TUTORIAL – how to draw architecture in perspective (

DRAWING TUTORIAL – how to draw architecture in perspective (

Welcome everyone to a little spontaneous tutorial.

What you see here is a demonstrational drawing I made on a dry erase board for an art class I teach in our atelier.

In this film I’m going to make it again in pencil and on that occasion we’ll repeat some perspective architecture drawing and greenery.

I encourage you to stay until the end – there’s a nice surprise waiting for the patient ones.

I start from the horizon situated at about 1/4 of the frame.

I sketch a rectangle in perspective and based on it construct a cuboid with a protruding part.

Its bigger part is placed over the horizon just like a bigger part of every building is placed above our eye level.

With diagonals’ help I find the centres of chosen walls and I lead vertical lines out of them.

I mark the height of the gable wall on one of them and I then move this height to the next chosen wall.

This way I get the roof and the gable walls.

I immediately extend these in perspective creating the eaves.

I get the rest of the eaves by dragging down the roof surface edges.

I sketch the corner of the neighboring building so that the wall of both buildings is placed on the same surface.

I draw the eaves quite high not to cut the top of the further building’s roof.

I add an identical plinth in both buildings which is just the walls’ edges raised a bit in perspective.

Next I sketch the initial placement of the entrance and the upper floor’s windows on the closer building.

There’s going to be a church on top of a small hill behind the residential houses.

Here I start from a ‘levitating’ cuboid in the same perspective.

With diagonals’ help I find its bases centres I immediately elongate the lower diagonals to get a wider base for the tower.

From diagonals of the upper base, that are elongated a little less, I get the corners of the protruding bell tower.

I construct a small cuboid on a base enlarged this way.

Similarly I enlarge its upper base creating the roof’s eaves.

I construct the roof as a sum of two pyramids: the taller one is on the smaller base and the shorter one is on the enlarged base.

I add another cuboid to the expanded tower base and I then expand its base too, helping myself with diagonals and creating a roofed ambit.

I also add the church’s main solid behind the tower in the same way I’ve constructed the 1st building.

I close the frame on the left with a corner of the nearest building.

I allow myself to change the vanishing points – to slightly turn the house to better expose the roof’s slant.

I create a gate between the houses and the church.

I start from 2 cuboidal columns above which I sketch a hip roof.

I build the roof by connecting the rectangular base with the middles of the columns that are raised above it.

After a preliminary sketch and the objects’ construction it’s time to add more realistic details.

This is why I weaken the whole drawing with a kneaded eraser so that the sketch doesn’t disturb me in the next part of my work.

I start drawing the details from sketching roof tile strips and accentuating the roof’s character with a jagged outline.

I sketch 3 rectangles on the bell tower’s wall from which I’ll create openings.

also add visible parts of the wooden wattle and daub construction commonly known as timber framing.

A few lines on the roof, aligned with the roof surface’s slant, will additionally suggest the roof tiles.

Horizontal lines will create blinds in the bell tower’s windows.

The side wall is in too much of a convergence to precisely repeat the construction so I only delicately mark the windows.

I work out the bell tower’s slanted surfaces similarly to its roof although in this case the covering material would rather be wooden planks.

To break the boring roof line above the porch I add a triangular pediment signaling the temple’s main entrance.

I accentuate the constructional divisions on the porch more to highlight its openwork character.

The roof above the gate will be covered with shingle.

I sketch the brakes in the stones on the columns.

For the objects to look natural and create a consistent scene I never accentuate the simple divisions in the ground floor but I deliberately try to cover it with as many different and spontaneous objects as possible.

Plants and grass hiding the stairs’ constructional divisions or the gate’s base will come very much in handy here.

The fence, the 2nd gate and the bigger bushes in the background will help me connect 3 objects into a consistent whole.

They will build a feeling of space in-between all of them.

Gutters and eaves drawn with a double line will start to give the building a feeling of massiveness.

To draw the windows I sketch te rectangles on the house’s wall.

Then I add cylindrical lintels and I accentuate the windowsills with a double line.

I also add another vertical line inside the window suggesting its depth.

Thick horizontal lines scattered across the wall will help suggest its brick texture and uniform stripes below the eaves will imitate the formwork perfectly.

A small window in the gable will break its too monotonous surface.

I work out the remaining surface below the roof with vertical lines suggesting the attic’s wooden finish.

More precise and less regular divisions on the base will create the feeling of a stone surface.

Similarly I work out the buildings’ remaining surfaces.

To add naturalness to the scene I draw small objects such as a lamp by the entrance, the stairs, the rail with some planks, the standing beside bucket and so on.

As I’ve mentioned before I try to cover the place where the buildings and the ground meet because that’s how it most often happens in nature.

A jagged line of bushes or grass is enough.

I sketch 2 even lines along the roof’s slant and I make a surface out of them.

From it I then push the chimney’s shape deep inside.

can find buildings like this one in charming corners of Northern Poland in Pomerania, Warmia and Masuria although the place presented in this drawing doesn’t actually exist.

This whole scene is drawn from imagination and as I’ve mentioned before it was previously created for show on a dry erase board during architectural drawing class that I teach in our atelier.

I invite you to check out the link to our school’s page – creosfera.

Com – in the description below.

In the case of the nearest building I work out the divisions inside the window and add a visible thickness to the frames with a 2nd and 3rd line.

Additionally to make the contact point of the building and the ground more attractive I add more small objects typical for the country scenery such like a barrel, some boards or a fence.

To highlight the openwork character of the fence I draw additional grass straws behind the pickets.

The building on the right will be slightly different from the others.

I sketch an open to 2 sides arch shaped entrance in the corner below the covered porch.

Inside the porch I draw a visible in the back shed to add more space to the drawing by adding more layers to it.

I sketch the window and the building’s bottom like in the houses before.

I sketch windows’ placement on the 1st floor matched with the openings below and next I add wooden beams, posts and truss webs of the wattle and daub construction.

I accentuate their thickness and the windows’ depth with double lines.

The gutters, the wooden roof soffit and the roof tiles’ divisions add heaviness to the roof.

At the end of the linear phase I add bigger bushes and trees.

Their oval shapes will soften the building’s angular character and add rural, natural and private mood to the drawing.

I refer everyone more interested in drawing greenery to the whole dedicated to it playlist.

You can find the link to it in the description below.

I try to shade in such a way that the darker objects help show the brighter ones and vice versa.



the bright gate roof is better visible placed before a darker tree and the church and the temple’s solid will seem darker, even in the illuminated areas, against the bright sky.

While shading the gate’s columns I darken the horizontal and the vertical divisions and I suggest the harsh stone texture with hatching.

For contrast I shade the greenery elements with short jagged lines.

Such accentuation of the bright objects with darker ones is especially attractive in the case of openwork forms such as fences or church’s porch construction.

In the case of big uniform surfaces such as roofs or walls I try to differentiate the shading.

We can always assume that some of the roof tiles are brighter or darker from the others or that the uneven stones or brick texture can reflect or absorb light in different ways.

It’s also good to consciously differentiate the shading saturation not only based on the objects’ placement in relation to the light source.

Old wood is usually darker from a brick wall just like field stone foundation.

In historical architecture it’s also very common that the inside part of windows is darker and that can perfectly help show the bright frames and muntins of the window woodwork.

The objects placed against the sky will usually seem darker due to the high contrast so it’s good to darken its contact points with the white background.

When shading many similar objects it’s important to on the one hand try to differentiate them as much as possible and on the other hand to not create an effect of a shredded mosaic.

You can see it right here.

The bushes as well as the fence and the gate should be shaded hard because they are turned away from the light source on the right side.

Giving them a uniform dark grey tone will give the whole object group more cohesion while shading with a delicate gradient and differentiating the lines to straight ones – for the fence and jagged ones – for the greenery, will ensure a proper diversity to the spot.

Also here I accentuate next grass parts horizontally.

A high contrast with the bright fence in the front will ensure cohesion for the grass spot.

I darken the lower part of the fence and dissolve it in the grass lines so that it doesn’t look glued on.

If I have 2 dark touching objects to draw I allow myself to create some delicate illuminated parts by the edges just like in the case of the gutters.

I do this to avoid closer and further plans melting together.

In the case of drawing big surfaces – like the roof on the left, I once again alarm you to not be too repetitive.

Instead of counting one roof tile after the other it will be much more pleasant for the eye to just suggest these divisions.

Besides what we have here is the periphery of the work we can deliberately leave it more in sketch form not to distract the viewer’s attention from the centre of the frame.

A big uniformly dark window might weigh on the right side too much so it’s worth using all the possible methods to break its monotony.

Darkness inside creates a good background for bright window frames or a translucent curtain.

One of the most asked questions on this channel is what pencil I use while working on a given work.

I’ve already made a film before about how to shade and about what materials I personally use.

You can find the links to both of them in the cards and the description below.

I encourage you to check those out and in big summary I’ll tell you that in my case what works best are 2b-3b pencils for linear drawings and 4b-5b pencils for shading.

The more layers we have in a drawing the more you have to try and make everything consistent and clear.

The dark green of the further layers together with the dark shed create strong filling of the porch, which should also by dark inside.

The tips we’ve talked about before will now come in handy for all this not to turn into a grey mass.

I shade each of these objects with completely different strokes strokes and I also use illumination by the edges and gradient shading.

You can see the last one best on a brick column where neighbouring surfaces exchange shading.

In a building exposed like this one it’s also worth paying more attention to the smaller details.

The sole shading of the darker posts and truss webs isn’t enough.

Only adding thin dark lines will suggest their protrusion before the building’s light front wall and give proper massiveness to the whole.

Similarly to irregular shading of bright fillings.

We can also allow ourselves some more precision in the roof’s case and accentuate dark wavy bottoms of the roof tiles’ stripes.

We’ve started with such board frame and finished this one in pencil.

There were of course many more show drawings like this one.

Here are some of them.

Let me know in the comment section which one of those you’d possibly like to see next as a film.

As soon as this film gets 500 likes I promise to prepare a next tutorial based on the subject chosen by you.

The link to it will then be placed on a board at the end of this film if you like this formula we’ll be able to continue it on your opinions, support for this channel, likes, shares and comments.

See you all.

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