0:00:29 > 0:00:33I quite fancied drawing the view from my bedroom window.
0:00:33 > 0:00:36If I'd drawn it before the 16th century,
0:00:36 > 0:00:38it would have looked like this picture here,
0:00:38 > 0:00:41very, very flat. This is the Bayeux Tapestry.
0:00:41 > 0:00:43and it's not very 3D at all,
0:00:43 > 0:00:47but in the 16th century, they discovered how to do perspective.
0:00:47 > 0:00:51This was during the Renaissance, as it became known.
0:00:51 > 0:00:53You can see the picture stands out.
0:00:53 > 0:00:55It's a lot more 3D
0:00:55 > 0:00:57and all of the lines seem to be disappearing
0:00:57 > 0:01:01to one point in the distance which is known as the vanishing point,
0:01:01 > 0:01:03which is the key to doing perspective.
0:01:03 > 0:01:06So going back to the view from my window,
0:01:06 > 0:01:08I've drawn the house in the foreground,
0:01:08 > 0:01:11cos that's the biggest thing in my picture.
0:01:11 > 0:01:14The other thing about perspective is that things get smaller
0:01:14 > 0:01:16the further away they get.
0:01:16 > 0:01:19I found my horizon line
0:01:19 > 0:01:21which you can see is just a little way down
0:01:21 > 0:01:26and drew that line on to my picture here
0:01:26 > 0:01:29and then I did the corners. I followed along with my ruler,
0:01:29 > 0:01:33drawing them into the distance to the horizon line.
0:01:33 > 0:01:36Eventually, you'll notice they all meet up
0:01:36 > 0:01:40at the same point on the horizon line which is here -
0:01:40 > 0:01:41my vanishing point.
0:01:41 > 0:01:44Now I need to carry on everything.
0:01:44 > 0:01:48Let's get the second house in. Let's get the window.
0:01:48 > 0:01:52That would go like that, there to there.
0:01:52 > 0:01:54Down like that.
0:01:54 > 0:01:58And if you just keep moving your ruler along,
0:01:58 > 0:01:59all of those points,
0:01:59 > 0:02:04following those lines, you can't really go too far wrong.
0:02:04 > 0:02:07You keep that going all the way along
0:02:07 > 0:02:10until you got to some point in the future
0:02:10 > 0:02:13like this, which I've now done in pen.
0:02:13 > 0:02:18You'll notice, in my original picture, there are trees
0:02:18 > 0:02:20so I've left some gaps
0:02:20 > 0:02:23cos there's a big tree that goes along there like that.
0:02:26 > 0:02:29There's a tree back here that needs to go into my picture.
0:02:29 > 0:02:32What else have we got? We've got one popping out over here.
0:02:32 > 0:02:40At the front, there's a bit of tree action going on there.
0:02:40 > 0:02:44Next is to paint all of that. I've started painting mine
0:02:44 > 0:02:46and I'm just going to add the detail.
0:02:46 > 0:02:51I think we'll do some dark green and just sort of dapple
0:02:51 > 0:02:58in here like that. Get some nice detail on the go.
0:02:58 > 0:03:03Paint all of this tree a nice dark colour.
0:03:05 > 0:03:12So now all I'm doing is adding the shading and final touches
0:03:12 > 0:03:14to the perspective.
0:03:14 > 0:03:17There we go.
0:03:17 > 0:03:19Nice messy green.
0:03:19 > 0:03:22That bit goes in there.
0:03:22 > 0:03:25Just get a bit dappling under there.
0:03:25 > 0:03:29Nice white dappling over here, I think.
0:03:29 > 0:03:34And you can see,
0:03:34 > 0:03:37I've achieved the perfect view for my window. It needs a frame.
0:03:37 > 0:03:40And there you have it.
0:03:40 > 0:03:46The view from my window with perfect perspective.
0:03:51 > 0:03:54- My name is Eleanor.- I'm Eleni.
0:03:54 > 0:03:56My dad's a well-known artist.
0:03:56 > 0:03:58He does cartoony drawings and animations.
0:03:58 > 0:04:02This term, he will be helping us with our school animation project.
0:04:02 > 0:04:04Dad, how do you make the animations?
0:04:04 > 0:04:07I'll show you one here. Look, on the screen.
0:04:07 > 0:04:09This is someone called Sarah.
0:04:09 > 0:04:11I asked her to dance for me and I filmed her
0:04:11 > 0:04:13and I drew over each frame in the film.
0:04:13 > 0:04:17The film is made up of 24 little photos per second.
0:04:17 > 0:04:19This is the most recent film I made.
0:04:19 > 0:04:21I filmed a guy called Bruce who's a dancer.
0:04:21 > 0:04:25He came here and I asked him to go on my walking machine.
0:04:25 > 0:04:28That's all my drawings put together.
0:04:28 > 0:04:30One on top of the other.
0:04:30 > 0:04:33You can see the net version of it is quite a complicated little mess.
0:04:33 > 0:04:36These are the numbers of all my different frames.
0:04:36 > 0:04:37I've drawn 48 frames.
0:04:37 > 0:04:41That's number 10, 11, 12, 13, 14, 15 and so on.
0:04:41 > 0:04:45You can see the movement through there.
0:04:45 > 0:04:48Is this exactly what we'll be doing for our project.
0:04:48 > 0:04:50Technically, it will be very similar.
0:04:50 > 0:04:54The only difference is that I do all my drawing on the computer,
0:04:54 > 0:04:56your class will use black felt-tipped pens.
0:05:04 > 0:05:06We've been split into different groups.
0:05:06 > 0:05:10Some of us are directors, some of us are the people who move
0:05:10 > 0:05:12and some are the camera people.
0:05:12 > 0:05:13# Girls on film
0:05:15 > 0:05:17# Girls on film... #
0:05:17 > 0:05:20Remember you have to start and end on the same movement.
0:05:22 > 0:05:26# Girls on film... #
0:05:31 > 0:05:33We've just finished recording it.
0:05:33 > 0:05:36It went quite well, but now we have to draw it.
0:05:36 > 0:05:38I hope it works.
0:05:41 > 0:05:43My dad printed off 43 pictures for us
0:05:43 > 0:05:46and for the rest of the five groups.
0:05:46 > 0:05:50We have to get the photocopy
0:05:50 > 0:05:54and line it up and get a clean sheet of plastic
0:05:54 > 0:05:58and slide it in there to trace over.
0:05:58 > 0:06:03We're doing the lines quite simple so it's not too hard to draw.
0:06:36 > 0:06:39So I've scanned in all your drawings. They were excellent.
0:06:39 > 0:06:41This one is Erica.
0:06:41 > 0:06:43We've put them into a scanner
0:06:43 > 0:06:46and you can see that each drawing is slightly different.
0:06:46 > 0:06:47If I run them,
0:06:47 > 0:06:48you can see the movement
0:06:48 > 0:06:51and you can see the little numbers flickering in the corner.
0:06:51 > 0:06:55- Can we see ours? - Before everybody else?- And cheat.
0:06:55 > 0:06:57Oh, OK.
0:06:57 > 0:07:00I'll give you a preview. It's a file called Eleanor.
0:07:00 > 0:07:02- There you go.- Cool.
0:07:02 > 0:07:04- Do you like it?- Yeah.- Yeah.
0:07:04 > 0:07:05It looks really funny.
0:07:05 > 0:07:09You can see that it's not as smooth as the film that I did,
0:07:09 > 0:07:12but that's because it's done by hand,
0:07:12 > 0:07:14so you can see each drawing shaking around,
0:07:14 > 0:07:16but I think that adds something.
0:07:16 > 0:07:19I've saved the films on to a disc. You can take that to school
0:07:19 > 0:07:21and see what the others think.
0:07:21 > 0:07:22BOTH: Thanks.
0:07:23 > 0:07:25ALL: Wow!
0:07:25 > 0:07:27It looks like it's shining.
0:07:27 > 0:07:29And the hair changes shape.
0:07:32 > 0:07:33It's better than I thought it would be.
0:07:37 > 0:07:42- The ear's really funny.- Yeah. It pops out every once in a while.
0:07:49 > 0:07:54- I like the way it flips back and forward.- It's really funny.
0:07:54 > 0:07:56Look at the hand.
0:07:56 > 0:08:01I though it would be jerky, like, picture-picture-picture.
0:08:01 > 0:08:04I like the way the skirt goes.
0:08:04 > 0:08:06It's amazing to think we did it from scratch.
0:08:06 > 0:08:08I like that one, it's really nice.
0:08:08 > 0:08:12I like the way this one looks so realistic.
0:08:12 > 0:08:14Everyone's really pleased with their project.
0:08:14 > 0:08:18Yeah. They would make great screensavers.
0:08:28 > 0:08:32It's very useful as a guide
0:08:32 > 0:08:36to drawing a human.
0:08:36 > 0:08:40It's a skeleton, so if you draw a very basic stick man,
0:08:40 > 0:08:43and then flesh it out using sausage shapes.
0:08:43 > 0:08:46You've got an oval there for the stomach,
0:08:46 > 0:08:48circles for shoulders
0:08:48 > 0:08:50little sausages for arms.
0:08:52 > 0:08:54And big sausages for legs.
0:08:54 > 0:08:55OK?
0:08:55 > 0:08:59There is your guide and straight away, you can see your stick man
0:08:59 > 0:09:01is now becoming a fleshy sort of character.
0:09:01 > 0:09:04Now, if you get a darker pen,
0:09:04 > 0:09:10and go round the outside of your body,
0:09:10 > 0:09:14and legs, you'll see that you've got now,
0:09:14 > 0:09:19a very good - even though I say so myself - person.
0:09:19 > 0:09:23Yup. OK, now we've done the stick man static,
0:09:23 > 0:09:25let's give him a bit of movement, OK?
0:09:25 > 0:09:27Same principle again.
0:09:29 > 0:09:35This time, I've got my stick man in a slight running pose, OK?
0:09:35 > 0:09:38Let's get the same technique again.
0:09:38 > 0:09:41Sausages for the legs,
0:09:41 > 0:09:43for the arms.
0:09:43 > 0:09:48I'll just go over the head again to make it stand out a bit.
0:09:48 > 0:09:51Finish off with a darker pen.
0:09:51 > 0:09:54Just go round the whole thing,
0:09:54 > 0:09:55just to pick it out.
0:09:57 > 0:10:00And there you have stick man in a running pose.
0:10:08 > 0:10:11The artist I've come to meet is Ken Done,
0:10:11 > 0:10:12who, in Australia,
0:10:12 > 0:10:16is celebrated as one of the best artists of the 21st century.
0:10:17 > 0:10:20Ken Done's work has been described as the most original
0:10:20 > 0:10:23to come out of Australia and has been featured in galleries
0:10:23 > 0:10:26all over the world. We can see why.
0:10:26 > 0:10:28Ken, it's lovely to meet you. Welcome to London.
0:10:28 > 0:10:31- Thank you very much. - I've been admiring your art work
0:10:31 > 0:10:33and apart from the vibrant colours,
0:10:33 > 0:10:35the first thing I've noticed is how often
0:10:35 > 0:10:37you use the famous Australian landmarks.
0:10:37 > 0:10:40You've got the Sydney Opera House, the harbour. Why do you do that?
0:10:40 > 0:10:44Just around the corner from where I live, I can see the Opera House
0:10:44 > 0:10:45and the harbour bridge.
0:10:45 > 0:10:48You know, the Opera House is such an amazing shape
0:10:48 > 0:10:52and the bridge is so important to Sydney,
0:10:52 > 0:10:55I guess I've painted it lots and lots of times.
0:10:55 > 0:10:58Are there any rules you have to follow when you're doing a picture?
0:10:58 > 0:11:00Yes and no. There are no rules in art.
0:11:00 > 0:11:02It can be whatever you want it to be.
0:11:02 > 0:11:05I think it's very important that you learn to draw.
0:11:05 > 0:11:07To draw something means it gives you a chance
0:11:07 > 0:11:09to understand what it's like.
0:11:09 > 0:11:12Well, Ken, you have definitely inspired me. I'll give it a go.
0:11:12 > 0:11:17I think I need some water, some boats and a bridge perhaps.
0:11:21 > 0:11:24Ken, I feel a sketch coming on. Will you show us how it's done?
0:11:24 > 0:11:28That would be good fun. I've never drawn this bridge.
0:11:28 > 0:11:31When you're going to draw something, you've got to have a look at it
0:11:31 > 0:11:33and think about how it's constructed.
0:11:33 > 0:11:36They are the two towers
0:11:36 > 0:11:39and there's some nice pointy bits at the top of each.
0:11:39 > 0:11:46And then there's really beautiful blue bits that hold it together.
0:11:46 > 0:11:51There's not one there at the moment, but there should be a bus.
0:11:51 > 0:11:56Even though the river may not be the same blue as Sydney Harbour,
0:11:56 > 0:12:00it's really quite a beautiful colour.
0:12:04 > 0:12:06But that's how I reckon you look at a bridge.
0:12:06 > 0:12:08You've made it look too easy.
0:12:08 > 0:12:10I bet the kids could do it better than this.
0:12:10 > 0:12:12That sounds like a challenge to me.
0:12:14 > 0:12:16Sometimes, out of the corner of your eye,
0:12:16 > 0:12:19you see something that would be a good thing to do.
0:12:19 > 0:12:22Wonderful little orange and red sailing boat.
0:12:22 > 0:12:26The great thing about your drawing is that you've gone straight to that.
0:12:26 > 0:12:29You've looked through the Tower Bridge
0:12:29 > 0:12:32and found the beautiful picture in there.
0:12:32 > 0:12:35It's bright and bold and you can see what's there and a bit more.
0:12:35 > 0:12:40That's right. Now, the bit more is what an artist does.
0:12:40 > 0:12:43Cos the bit more comes out of your head.
0:12:43 > 0:12:46It's your imagination.
0:12:46 > 0:12:49Most people think that bridge is just made out of stone.
0:12:49 > 0:12:51and there's not much colour there
0:12:51 > 0:12:54and that's exactly what we were talking about before.
0:12:54 > 0:12:58You can use your imagination and make it a pink bridge.
0:12:58 > 0:13:01Joe, what do you think you've learned from Ken today?
0:13:01 > 0:13:04I've learned that you can use whatever colours you want
0:13:04 > 0:13:08and you don't have to draw what's actually there.
0:13:08 > 0:13:10Draw the main shapes and do what you want with it.
0:13:10 > 0:13:16I find that it's easy now to draw whatever I like however I like.
0:13:16 > 0:13:19I don't always have to draw the sky blue.
0:13:21 > 0:13:23Well done, everyone. They're fantastic drawings.
0:13:23 > 0:13:27It just shows you what fun art can be. They're great.
0:13:27 > 0:13:29Thank you so much. This has been brilliant.
0:13:29 > 0:13:31You've inspired us all.
0:13:31 > 0:13:33Thanks very much. It's a great pleasure.
0:13:33 > 0:13:35And hopefully, we've inspired you too.
0:13:46 > 0:13:49Subtitles by Red Bee Media Ltd
0:13:49 > 0:13:52E-mail subtitling@bbc.co.uk