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An accurate perspective drawing is an essential base for most matte paintings. Learn how to create linear perspective drawings of a castle in Adobe Photoshop with this course, and migrate the lessons to your own project. David Mattingly, a matte artist for many groundbreaking motion pictures, teaches you about the three types of perspective, and how to set up vanishing points, find and rough in the forms in your painting, add detail like crenellations, draw ellipses, and polish the final drawing.
Note: This installment of Digital Matte Painting Essentials builds on the concept sketch from the first course, but it's not necessary to have those files to proceed.
In this section, we're going to add some repeating decorations to this lower side wall. Each decoratoration should fit right between two crenolations, so let's start by adding a new layer for the guides. Call it Wall Details, and with the brush set to 20%, draw straight down the tip of two of the crenelations. I also need a few guides for the top and bottom of the decorative curve.
Let's add a side line for the decoration. Then draw the left side of an arch, Lasso around it and copy drag duplicate it and transform it negative 100%. I'm going to erase the top of this to even it out, then with the lasso tool lasso around the arch. And then copy drag duplicated onto another layer.
Hide the selection and let's copy it again. Notice we're copying these arches flat. They have no perspective added to them. We're going to rely on Photoshop's distort tool to do that for us. This is the same technique we used to create the crenelations, taking one form and duplicating it to get a uniform pattern. (BLANK_AUDIO) we'll be distorting this side down.
That's probably enough. Turn off the visibility of the arches. We need to draw some guides to help line up the distort tool. Draw straight down from the tip of each of the crenelations on this side of the wall. We'll use these divisions to line up the arches and perspective. Turn the arches back on. You can see they don't line up with the guides, but we use the distort tool to make them fit. This wall vanishes to your left, so carefully line up the top and bottom lines of the distort tool.
To your left lines of convergence, making sure the right and left sides of the box stay vertical. Now the arches match both the guides and the lines of convergence. Press Return to accept the transformation. We've got some clean up to do. The arches shouldn't show on this tower. These arches aren't lining up on the left side of the tower, so I'm going to scoot them over a bit, and clean up the lines below the ground.
Turn off the guides for the wall details, so we can see them clearly. Let's switch to the wall on the third tier. This has some tiny windows with form lines around them, so let's do these the same way. Draw guides straight down from the tip of every other crenelation. Switch to the layer with the final arches, so we aren't working on top of the guides.
The perspective on these is simple enough that we could just draw them in perspective, but once again I'm going to draw one window flat, duplicate it, and distort it into perspective. There's one window, let's lasso around it and drag copy duplicate it. Remove that first window from the selection, so that it doesn't get doubled up and duplicate it a third time. We need one more.
That's all the windows flat. Now we need to bring them in perspective. You want the selection as small as possible, so Cmd or Ctrl Up or Down arrow key to have it contain just the windows. Press Cmd or Ctr+T and select Distort from the drop down menu. You'll need to play with this a bit. Once again, make sure it lines up with both your guides and your left side lines of convergence. That side needs to come in.
And checking to make sure that all the windows are lined up with the guides. Here's a bit of clean-up. You don't want the windows to appear in front of the crenelations. And press Delete. Next, we're going to add some fun detail to the domes and towers.
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