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@rinivar
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28d
added comment inPerspective for Drawing Anything
Asked for help
Hello! My name is Andrej and Im really looking forward to this course! So I thought I’d simply pick some of my favorite artists, post their work which includes interesting perspective and say what I like about them and what I would like to learn from them. But to be honest, identifiyng the "interesting perspective" part of it was harder than I thought.
The thing is, a lot of art that I like doesnt rely on a bombastic and complex perspective. Most of it is about the emotion and vibe that characters give off through their body language, the stories they evoke by little details and how they come alive when drawn in different poses and from different angles.
That being said, I would like to mention that Im a beginner. When trying to create such lively characters from imagination, I often struggle because I lack the natural ability to move and rotate forms in specific ways. Occasionally I may get some picture "right" by chance or with significant effort, but as soon as I try to draw the same characters in a different situation or from a different view, its all very inconsitent and just... weird.
I think, that the lack of the ability to move and rotate forms is also making it harder for me to properly learn other concepts like proportions and anatomy. I feel like If I learn better perspective now, it will help me to learn those other concepts as well. So my main goal is to get an overal better understanding of forms and their movement in 3d space. And then, I can freely explore ideas and tell stories without being constantly slowed down.
I chose these artists as a base for my perspective learning inspiration:
- Frank Frazetta
- Heinrich Kley
- Ian McCaig
Toma Zhikov
21d
Hi, @rinivar . I'm not a fellow student who's taking this course but I decided to go through people's picks out of curiosity. I read your post because I really loved your picks and as someone with a bit more experience I would love to give a bit of advice. You don't need perspective to learn proportion and anatomy and not knowing it won't stop you from that. That being said it can always help especially if you cannot place characters or just simple mannequins in space. Having taken other proko original courses, this one might be coming out for a long while so I suggest you start learning anatomy and proportions whenever you want without waiting for this one to finish.
I hope this helps, I don't like giving advices that nobody asked for but I felt it could save you some regret in the future for postponing important fundamentals. Have a great day, afternoon or a night wherever you are!
@hansheide
28d
when i try to attach pictues, it just shows a grey square where the picture would've been. and the "attach" button is just grey, and i cant press on it, do you know what to do? it might just be something with my macbook.
@rinivar
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2mo
Hello, could you please give me some advice how to improve them? I think the main problem is proportions + wrong perspective. I sometimes find it hard to visualize the box behind all the distracting volumes of the muscles and skin. I try to focus on the visible landmarks, make a line where I see them, but then I struggle with connecting it to the other side (which is sometimes hidden behind those other volumes.
numbers by the drawings are refference to the poses from the Gesture Reference Sampler nude.
Putting into words what is off about some of the boxes would probably take quite a big wall of text since it would require explaining perspective again. I do not have the time to do a drawover, so I will try to make it brief. Numer 9-0 and maybe 3.0 look pretty good to me, but almost all other boxes ignore some rules of perspective. This lack of understanding how perspective works and how one of the boxes would have to be drawn in relation to the other, makes it feel like they are not connected properly in many cases.
In general i would argue that you have some trouble with making the lines of your boxes converge "correctly" and understanding "3d" space (or rather the illusion of 3d space on a 2d piece of paper). Practicing this with distorted and twisted boxes is making things needlessly more difficult. In other words: You are focusing on landmarks and muscles before having understood perspective enough. Given that you still struggle with perspective you make focussing on landmakrs and anatomy even more difficult. Most of the boxes are also hardly rotated (mostly front facing with some rotation but no bending of 90° or anything) This further makes me feel like you need to work on understanding boxes in perspective more before tackling body shapes.
Given that understanding boxes in perspective intuitively is pretty essential, I would recommend to try the 250 Box challenge over on https://drawabox.com/lesson/250boxes . It is pretty boring but it helped me doing boxes intuitively a lot. (read and follow the instructions though, especially the part about checking the convergence of your boxes after every page. If you first draw all the boxes and then check them, you learn a lot less than if you draw five boxes on one piece of paper, check and then implement what you learned on the next page)
some words on particular boxes:
1.0 - the lower edge of the top box aligns with the upper back edge of the lower box. Therefor it looks like it is further back. The boxes would have to overlap to be correct. You have improved that in 1.1.
2.0 - The left and right side of the lower box are visible simultaneously, which would only be the case if the box got wider towards the back. In other words, the edges do not converge properly.
12.0 - The edges of the bottom box moving "away" from the viewer are parallel. No real convergence to one point.
15.9 - The top box has all of the edges going "away" from the viewer are also parallel. No real convergence, just some distortion.
Whelp… turned into a wall of text anyways. I hope it wasn't too harsh and you can get something out of it. Keep it up.
