Ron Kempke
Somewhere under the rainbow
I am not a monkey. This is a caricature of my cousin but the engineer's cap is mine and I wish he'd return it to me.
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Daniela
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7d
added comment inSolving Perspective Problems with the Picture Plane
I exclaimed "Oh so that's why" multiple times throughout the video. The drawing looks a bit off though and I'm unsure if it's just because of the lack of a 3rd vanishing point or I wasn't precise enough or both. It was very interesting either way
Ron Kempke
6d
Your perspectives appear distorted because they lie outside of the 60-degree cone of least distortion. This limit will appear as a circle on the picture plane, centered on your eye level. To find it in your plan, draw a 60-degree cone with its apex at your station point and note its intersection with the picture plane's edge view. Measure the diameter of the cone at its intersection with the picture plane. To establish that intersection In your perspective, draw a circle, centered on your eye level at your center of vision, with a radius equal to half the diameter you just measured. To appear undistorted, your perspectives of the block need to be contained within that circle.
Asked for help
It’s cool to see how I can actually draw the scenes in different angles. Also being able to do the 2 point perspective ones. Around a year ago I started with 2 point in the basic course and I tried to do rooms but it was so much harder than 1 point so I could not do it. Every line was a struggle. A nice reminder that I am improving.
Anyway i did struggle a bit with the time. I did keep track at first but then i just kinda forgot about it, So i probably did spend longer on some of this. Then i took advice from the comments here and drew out small squares first and then just filled them. Those are around 1-3 minutes. A bit messy but i guess the time limit is there to make us focus on the perspective and not worry too much about other stuff.
Good work! From the volume of work I can see you're serious about understanding this material. It's a good idea to get used to including the eye level line on all of these for when we learn how to scale perspectives.
@josephl
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14d
Asked for help
10 head drawings from scratch. I feel like I'm getting the 3D form down okay but I still struggle a lot with the eyes and some of the proportions. I also struggle with getting down the likeness too, I never feel like it looks anything close to the reference.
Construction, construction, construction. I don't see any. Including it in your studies would help you improve.
Ron Kempke
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1mo
Marshall, is there a way to use this way of building for drawing the pose/gesture of a figure? Will you demo it for us when you think we're ready?
Ron Kempke
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2mo
Visualizing boxes is elementary compared to visualizing what's in the box. That's the real issue and it's usually glossed over by drawing instructors. What do you say, Marshall?
Ron Kempke
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2mo
Something that may help students "eyeball" are the cube face shapes that Ernest Watson illustrates in "Creative Perspective". Watson suggests copying them (in orthographic) and drawing their appearance freehand from different locations and distances. Doing this helps build "intelligent perception".
Asked for help
Crystal clear presentation! Great models too! It is my hope that Marshall will eventually show the relationship between figure drawing and this material. How about it, Marshall?
Very nice job. On the costume, try warming your lights a little more toward amber and cool your shadow color slightly more toward red. Using analogous hues on the color wheel when modeling light and shadow creates more visual interest. It depends on the effect your light source has on your local color too. Try using the most intense color for the halftone next to the core shadow, as you've nicely done on your cheek.
Ron Kempke
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4mo
As interesting as this approach is in itself, can you elaborate how it would be used for finishing an illustration?
If I may offer something, I take this as the "okay, what do we have here?" part of my process. It lets me make sense of what I'm looking at in terms of what the model or reference is maybe just hinting at, and allows me to build up my own intuition, and trust that my eyes are seeing what they are seeing. From there, I can push the hints in the direction of what I want to say. I've only been doing this for a few months now, and feel confident in what I've learned so that when I sit down to look at things I like, understand how to make those myself.
Now, if you're someone who already sees well or has an intuition already built up, it may not serve you to go to this level. Some folks can just get right to business in their own way and create something magical. What Michael is giving us, from my point of view, is a structured way to analyze what we see in terms of an idea which we eventually get to translate to the illustration once we are confident that we have what we're looking for to say what we want to say.
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4mo
This is an analytical approach aimed at understanding what's there. It's not as focused on creating an immediately rendered figure (if that's what you mean by illustration?).
However, I do have plenty of videos on my YouTube channel that might help show this complete process. Here's a couple links. One is sped up and another narrated. Hope this helps.
If I'm missing your question entirely here please just let me know.
https://youtu.be/pqHbUWmQODw?si=6leD9PvG2sw1kcVW
https://youtu.be/2H2NNpnN8a8?si=cGtaQcCgLVtdsjSx
