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7d
added comment inSolving Perspective Problems with the Picture Plane
I think I follow, but mostly maybe I don't!
The plan stage lost me - the video mentioned placing things at an angle and being a certain distance from the picture plane. How does this translate to drawing? Is the picture plane the easel? Is this only when you are drawing from life? Is the viewer the artist? I see the logic of distortion but also I'm so confused.
Lin
4d
The picture plane is both the window through which you’re viewing the image, and the flat surface of the drawing where you’re producing what’s in that window. You decide how much you’re drawing. In rizz parlance, it’s like taking a screenshot in a video game. Screenshot is picture plane. It can be what your eyes see, or you can crop it so you only have a specific part of it you want to show. You decide how much goes on the canvas.
Every screenshot is taken from a specific position, and can only include so much in it, that’s your cone of vision. You can’t include 360* degrees, only how much your video game eyes can see. Technically we are both viewer and artist because we decide where the image is taken or seen from - top down, front, etc.
When it comes to distance, it’s the distance between you and the objects you’re drawing that changes how things look. The picture plane is just there to be aware of. Imagine you’re looking at a cat. We have a 60 degree cone of vision as humans so if we are too close to the cat all we will see is its snout and a bit of fur. it won’t be all in our sight. if we are really far away we will see the cat and all the surroundings in the picture plane. Same if we take a photo of it with our phone from up close vs from far away. For example, Boston is very close to the camera here so all we see in the picture plane is her head. That’s why Marshall says put the station point aka viewer a bit further away from the object to make sure the entire cat is in the cone of vision.
Asked for help
I tried different mediums like ball point,fineliner,fountainpen,marker and brushpen.
and overall i loved the outcomes of fountain and brush pen!!!
Loved this challenge,hope we get more like these in the future😊
really useful, seems that it is necessary to determine the position of observation
Great work! Yeah, I can’t wait to learn about the cone of vision from Marshall rather than than the books because anything outside of it seems to be very distorted
This answers so many questions about right angles, like why one VP is often out of the image, or why the line moves so fast when it’s close to the centre then really slowly when it’s far away. Rn I think I’m putting the viewer too close in the 2-3 min quicksketches due to speed but I want to be able to do some of this mentally to help with cuboid intuition
Lin
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9d
Asked for help
This doesn’t look nice as it’s my first attempt at this kind of object, but I learned so much. By 1 minute I could visualize the attachment points at the bottom moving in a circle and how the front are facing us but the back ones are turned away. I wish the output looked a little nicer but I’m still glad I chose the chandelier because it did something weird to my brain XD
Not nice??? This looks great!! 👏🏼
(and thanks for the warm welcome in the Yt chat 🧸)
Lin
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14d
Is that an architectural 3D model of the basilica sancti petri my beloved
ᴬᵇᵃⁿᵈᵒⁿ ʳᵒᵒᵐˢ ᶜʰᵒᵒˢᵉ ᶜʰᵘʳᶜʰᶦᵗᵉᶜᵗᵘʳᵉ
@Sita Rabeling and @Blondie the good So I found this 3D model which can be simplified into boxes and rounded forms, exactly like the anvil/arrows we did. It also provides the ground plane making the hl obvious: https://sketchfab.com/3d-models/florence-cathedralgothicfioremapscanduomo-dd1bff8c880d4c22ad1f7bd4117c39f5 vertigo allowing I was thinking of doing a personal mini challenge of 5 very simplified views if you want to join me? :3 (anyone else who likes the idea is also welcome!)
Wishing the best for Peter, yesterday he posted on his channel about his struggles with Miller Fishers syndrome: https://www.youtube.com/watch?v=zDFWX3v6qUY
Hope his path to recovery is a smooth one.
Lin
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17d
I am very glad to see this video because I am using what we learned so far to tackle my weakness, which is the skull in perspective, from reference and imagination. You mentioned drawing what we love and I don’t love anvils and I don’t love rooms, so skulls, figures and churches it is😭. I couldn’t get the cranium in perspective when I started out last year so I’ve been dodging them since. I didn’t know what axes were, to be fair, or how to control them. Now I can direct it more and it is fun learning how different shapes shift as the angle changes, sometimes in ways that you don’t expect (looking at you, the hellspawn form known as “eye sockets”). Anyway these were warmups, but I want to do 50 skulls like we did with the rooms, hopefully I can get them a little closer to a standard I’ll accept for now :3
Have you tried tom-fox's anatomy book!,his stuff helps to break anatomy down into simple chiseled forms and how to put them inside boxes(it's like simpllified process that kim-jung-gi used) and tom was once marshall's student too if i rememeber correctly!
he did a lot of skull simplications too that can help you out👍
