I decided a good perspective sketch would be this kind of lens distorted white angle photo I took at Diagon Alley in Universal Studios. The basic idea when you're doing any kind of perspective sketch in one point is to set up your horizon line and your center line because that's going to kind of anchor you and give you some stuff to work on. I like to start with the major shapes, the big back plane and then when I get into the detail I want to start with sort of the most prominent corner and in this situation it's this corner on the right because it's kind of it's close it's obvious and the contour of it's very distinct. Now I'm gonna I don't like the sort of wonkiness of this sort of environment so immediately I'm gonna start making changes and regularizing all of the variations and sort of like leaning towers and everything. I think the aesthetic is a little more mature when you kind of do that instead of this sort of cartoon unbelievable realm and another thing that I'm doing is restricting the field of vision bringing everything closer and as you get into the detail you know you have to figure out how to work with insets and outsets because things are always projecting and going back into space and perspective and when you do that say on a window you have to kind of find the the front part and the back part and as you work with these insets knowing what's coming forward and what's going back is gonna be really important. When you subdivide you have to subdivide based on what plane you're working in so when you do the X method to find the center you have to be very clear whether you're working with the back plane the front plane or someplace in between. When you're insetting and outsideing if you have vertical and horizontal alignments you can't you have to make sure that those alignments are broken up and changed so they don't look like they're part of the same thing. When you're outsetting it's sometimes more freeing because you can just sort of build outwards for them all add break up contour lines find some cross contour lines and add interest. Insetting can be a little bit more mentally taxing because you're having to draw through a wall. So bringing those concepts back into the to the main sketch you're always thinking about you know what hits you in a perspective drawing. Obviously what's in the center hits you so that's really important and that's why in this sort of situation in the architecture that they built they put the sort of spire at the back and the photo you can't even really see the greenouts bank area so I wanted to add that eliminate the drag in put a dome on top of there make it a little more classical looking and I wanted to bring the height down of the building so you kind of see that bank make the bank a little bit taller and you know add some details that you can't really see in the reference photo that I'm using. I thought this archway was really boring so I decided to change that significantly a bunch of like vertical and horizontal lines didn't seem very like magical at the time it's just very practical to construct and you know all of these structures within the theme park kind of backstreet between the fantastical and like the boringly structural and I think changing it and making sort of patterns that you wouldn't necessarily use in an architectural way is a little more fascinating a little more interesting so I kind of like went to town on this sort of detail and I think that's kind of a fun thing you can do when you're sketching is to you not stick to the real world and you know that's the that's one of the greatest things about you know sketching and doing artwork is that you can use the real world as a basis and then change it as you see fit you know anytime you can break up a contour I think it's really critical to to try and do that so if you have this sort of like flat straight corner of a building if you can break it up and have the contour go around if you can clear up any overlaps and details essentially in a perspective drawing your your overlapping and changing size relationships so whenever you can do both of that at the same time you're increasing depth by a huge amount you know the other thing too is that I couldn't really quite see everything in the reference so I had to kind of go with what I know about architecture and buildings and sort of add stuff to it in a sort of exaggerated way so that it could kind of help make sense a little and I realized that I hadn't put a little building on the left side and everything else is coming far along so I had to change that that a good bit you know doing bricks and textures is always kind of risky because it can get really time consuming but if you figure out a quick way to do the texture I think it's worth it you know one of the last things you want to do is go in at the end when you realize your time time is running out and like clean up a lot of the contour and make sure they get varied and and changed you know if there's any texture that you missed go back and add that anytime you have like a perfectly straight vertical or perfectly straight orthogonal it's kind of gonna not be particularly interesting you need some of those places so your eye can take a break but as many of those as you can get in it's gonna add interest to your drawing and you don't want to do like a perfect exact contour you want to be sure that that contour is broken up and overlapped a little bit so that you're not again flattening your image and then when you're at the end just find a stopping point this is usually defined by how much time you have unfortunately