05-08-2020, 07:07 AM
JosephCow: I respectfully accept your respectful disagreement, brother.
That's well and good. I just think you're over-doing it.
By detailed forms, do you mean organic things like human bodies? You cannot become so good at perspective that you can figure out how a complex form looks from all angles, without studying the thing itself. As far as I know, all you can do is pick out important landmarks and figure out what relation they have to each other, and then draw the form inside of a box in perspective if you really want be precise about it. Also, foreshortening is something that most people use references for.
Are you talking about underpaintings? The usual approach for that is to use a complementary of what you ultimately want the dominant color to be, so that the complementary will show up in spots and make it "pop". It's not more complicated than that, as far as I know.
Sure, that's what Frank Frazetta did (according to himself). I didn't mean to imply that you shouldn't think, though. The main reason I wrote that whole screed was that you said you wanted to be a concept artist/illustrator, but then brought up not understanding mechanical drawing or the cone of vision as a major roadblock. Such things are not necessary, and not used by most acclaimed professionals you can think of (including Michelangelo).
(05-08-2020, 05:42 AM)Forsaken Pluto Wrote: My feeling has always been learn the fundamentals then you can be creative and adopt any style when you know how the fundamentals work. So I only want to be able to do realism so I can have control over the principles and have it carry over to any medium.
That's well and good. I just think you're over-doing it.
(05-08-2020, 05:42 AM)Forsaken Pluto Wrote: My big problem with perspective is understanding how to foreshorten the far side of forms(not basic forms but detailed). My emphasis on perspective accuracy is to arrive at what the other side of a form really is and not what I vaguely guess it to be.
By detailed forms, do you mean organic things like human bodies? You cannot become so good at perspective that you can figure out how a complex form looks from all angles, without studying the thing itself. As far as I know, all you can do is pick out important landmarks and figure out what relation they have to each other, and then draw the form inside of a box in perspective if you really want be precise about it. Also, foreshortening is something that most people use references for.
(05-08-2020, 05:42 AM)Forsaken Pluto Wrote: As far color and master studies I was saying I can look at individual color planes and go through their properties hue value temp sat. But I don't know how to get those base colors that people start with which aren't at all the final color that is seen. Not sure if that makes sense.
Are you talking about underpaintings? The usual approach for that is to use a complementary of what you ultimately want the dominant color to be, so that the complementary will show up in spots and make it "pop". It's not more complicated than that, as far as I know.
(05-08-2020, 05:42 AM)Forsaken Pluto Wrote: But I think your right about too stiff of an approach. Would you suggest to just make more pictures and just sketch from refference a bunch and not think so hard about what I'm doing?
Sure, that's what Frank Frazetta did (according to himself). I didn't mean to imply that you shouldn't think, though. The main reason I wrote that whole screed was that you said you wanted to be a concept artist/illustrator, but then brought up not understanding mechanical drawing or the cone of vision as a major roadblock. Such things are not necessary, and not used by most acclaimed professionals you can think of (including Michelangelo).